Art Deco Marble Table Clock - Italy 1930s 1940s

Oil painting on canvas. The coastal glimpse, near a rocky inlet where torrential waters flow, sees figures at the landing place of the ships, ready to welcome the boats that are approaching; in the distance the profile of the city. Restored and relined, the painting has widespread dirt stains especially in correspondence with the sky. It is presented in a stylish frame.

Oil painting on canvas. Northern Italian school of the eighteenth century. The landscape, set on the banks of a wide river, sees in the center some figures of peasants intent on picking fruit from a tree: a girl holds the ladder while the boy cuts off a bunch, on the left another couple places the fruit collected in a tub. All around a vast green countryside and some farmhouses. Restored and relined, the painting is presented in a period frame.

Winter landscape

Pastels on paper applied to canvas. Signed lower left. The large landscape is completely dominated by the play of colour: divided into two hemifields given by the sky and the earth (a mountainous land where sporadic fir trees sprout), it sees the pinkish blue of the sky prevail above, under the greenish blue of the snow on the ground , two shades of the same color range that then meet in the skyline of the mountains. Cinotti was a landscape painter who was an exponent of Italian Divisionism, whose painting is characterized by a material and pasty application with touches of spatulated color. In coeval frame.

Autumn Flowers

Oil on canvas. Signed lower right. On the back is a Galleria Spirale label with the title. A certificate of authenticity from the same gallery is included. Giuseppe Ajmone, an artist from Valsesia who trained at the Brera Academy of Fine Arts in Milan, was one of the signatories of the 1946 Manifesto of Realism. In addition to still lifes and landscapes, which dominated his early artistic career, Ajmone also developed an interest in nudes, which have characterized much of his painting from the mid-1960s to the present. Shown here is a floral arrangement in a vase. The work is presented in a frame.

Oil on canvas. German school of the mid-20th century. At the bottom right is the signature W. Purschke and the location Munchen. The scene is set inside the study of a high prelate: sitting at his desk he listens to two men who show him a route on a map; at the top left is placed on a shelf a model of a ship: perhaps the bishop is also the owner of the ship, who discusses the next trip with its owner. From the window, closed by a worked grille, you can glimpse the village, with houses with a characteristic Nordic appearance. The painting is presented in a period frame.

Inlay made with various woods. The inlay depicts the figure of a cellist in eighteenth-century dress. Francesco Ferrario was an accomplished cabinetmaker, influenced by the Neoclassical and Art Nouveau movements. Having trained in drawing at the Brera Academy, after collaborating with the finest artists of the time, he opened a workshop in Milan, first on Via Tenca, and then in 1927 on Corso Sempione. A label on the back of the work places it among the workshops of this latter location. The work is presented in a period frame. A version of this work appears in Bianca Tosatti's monograph, "I Ferrario maestri di tarsia," published in 2000.

Oil on canvas. This is a copy of the painting of the same name by Giulio Cesare Ferrari (1818-1899), created in 1863 and purchased a few years later by the Pinacoteca dell'Accademia in Bologna. The painting depicts a scene from Victor Hugo's novel "Notre-Dame de Paris": Esmeralda, a young gypsy who enchants with her beauty and dancing, is persecuted by the archdeacon Frollo because of his obsession and locked in the tower of the Parisian cathedral, where she is helped, however, by the hunchbacked bell-ringer Quasimodo. In the scene, the young woman is huddled in the narrow, dark cell accompanied by her inseparable goat. The work belongs to the historical-literary painting movement that developed in the 19th century alongside Romanticism and Realism, and is characterized by the depiction of scenes from history and literature, often with celebratory and commemorative intent. The copy proposed here, of good workmanship and datable shortly after the original, is presented in a mid-20th century style frame, contemporary with the restoration and relining of the work.

Genre Scene at Court

Oil on canvas. Signed lower right. Antonio Zavaga was an Italian painter between the 19th and 20th centuries, specialized in 18th-century style painting, mainly of a gallant and salon setting. The scene of this work is also set in a rich 18th-century style hall: a lady and a gentleman sit at a table playing chess, while the lady-in-waiting brings tea and another gentleman watches amused. The work is presented in a painted frame from the late 19th-early 20th century.

Oil on canvas. The scene corresponds to a station of the Via Crucis, during which Jesus falls under the weight of the heavy cross, which he carries on his shoulders as he climbs towards Golgotha. Christ, bent over on the ground, his gaze low and sad, is pursued by the guards, who prod him with the sticks of the lances, and one tugs at him with the rope that he has tied around his waist; a commoner looks at Jesus afflicted, while he supports the heavy wood. The painting shows traces of previous restoration and has been relined. It is presented in a period frame.

Oil on canvas. Central European school of the first half of the 19th century. The painting refers to a graphic by Johann Gottfried Haid (1704 -1767), a German engraver known for his mezzotint copies of works by great masters. The original work is probably attributable to Antonio Mercurio Amorosi (1660 -1738), known for his portraits of popular characters in the "childish" style. Our painting presents several small differences from the reference graphic. Still on the first canvas, it is presented in a mid-1900s frame.

Adoration of the Shepherds

Oil on canvas. A composition replicated several times by disciples and students of the Bassano school, in particular a work by Jacopo Bassano (1515 -1592). In the original scene, here reproduced with fidelity to the composition of the figures but not to the colors, Bassano had approached the theme on the one hand respecting tradition, on the other introducing innovations. In fact, they act as a scenic backdrop of archaeological ruins, a frequent element in Italian iconography of the Nativity. Here we see a row of broken columns on a high pedestal, on the model of Greek temples, against which a hut is leaning. The unusual architectural structure symbolizes the overcoming of paganism and the construction of the Christian church, of which the birth of Jesus is the first act of foundation. The shepherds occupy the center of the scene, and if it were not for the left side of the painting, it might seem like a genre scene with a rural character. The shepherd from behind is kneeling, showing his bare feet, a reminder of his extreme humility, and holding a lamb, the sacrificial animal par excellence, a reference to the future Passion of Christ. On the far right, a curious insert: a crouching boy blowing on a burning ember, in a futile effort to rekindle a flame. In this replica, the yellow and red colors of the robes of the two shepherds in the center and of the boy on the right stand out, prevailing in vivacity even on the figures of the Holy Family and emerging from the ochre hues of the landscape and the architectural structures in the background. The painting was restored and relined in the 19th century, with the replacement of the frame (on it there is contemporary writing in English, probably export addresses). It is presented in a period frame.

Seashore with Boats and Figures

Oil on canvas. Signed lower left. Son of an artist, Cesare Gheduzzi established himself as a landscape painter. Although he lived in Turin, he spent a long time on the Ligurian Riviera, creating wide views of the sea, coastal landscapes and fishermen at work, which he reproduced with fidelity and elegance, while favoring cold colors to create an emotional detachment and favor the scenographic effect (inherited from his father who was a set designer for the Teatro Regio in Turin). It is presented in a contemporary frame.