Antique Wall Clock Pendulum Wood Pastiglia XIX Century - Austria, Mid XIX Century

Landscape with Buildings, 1884

Oil on canvas. Signed and dated lower left. A landscape painter, Henry Robinson Hall painted primarily views of the Scottish countryside, featuring herds of cattle or rural dwellings, such as this small village nestled in the flat countryside, crossed by a slow-flowing stream; the rosy hues of the sky create a romantic and serene atmosphere. The canvas requires restoration due to several paint losses. Presented in a period gilded frame.

Oil on metal plaque. Delicate portrait of a child, presented in a contemporary embossed and gilded metal frame.

Porch with Figures

Oil on cardboard. Signed upper right. Gregorio Mariani is best known for his engravings of Roman antiquities, but he also established himself as a painter of genre scenes, often depicting period figures, and as a portraitist. In this work, which displays an impressionist influence in its nuanced color and interplay of light, he depicts a scene of 18th-century city life: numerous figures, whose flowing women's dresses are visible, wander beneath a high portico, between whose arches opens a glimpse of the sea, crisscrossed by ships. The work is presented in a contemporary wooden frame.

Embroidery on silk, mounted on a panel. The tapestry dates to the Meiji period (1868-1912), which coincides with the reign of Emperor Mutsuhito (known posthumously as Emperor Meiji), and marked a profound transformation for Japan, moving from an isolated feudal society to a modern industrial and military power. It depicts two tsuru, or Japanese cranes, among flowering chrysanthemum plants. In Japanese culture, the tsuru is a symbol of longevity. The tapestry has been mounted in a frame, with a large portion of the fabric folded on the back.

Country Scene with Figures

Oil on canvas. Signed lower left. The scene depicts a group of peasants, both men and women, gathering baskets of flowers, making music and dancing to the sound of bagpipes and tambourines, with some taking the opportunity to flirt. It is therefore a popular country festival, a favorite subject of Barucci, a Roman painter who primarily depicted daily life in the countryside. His almost all-encompassing love for nature—the most authentic, barren, and realistic aspects of the Roman countryside and suburbs—led him to become one of the leading exponents of the rustic style. The brightness and vividness of the colors enhance the festive feel of the scene, underscoring the carefree, serene atmosphere of this moment of folk life. The work is presented in a period frame.

Oil on canvas, applied on hardboard in the second half of the 1900s. The painting takes up the pictorial ways of the eighteenth century, with a decorative cut. In a peaceful landscape, with an architectural structure on the right and the green valley with the river opening on the left, two figures walk along the path, a woman with her bundle of clothes and the wayfarer with a saddlebag and a stick. The work is presented in a chronicle style.

The Hair Cut

Tapestry on canvas. The scene, set in the 18th century, features a wealthy, bejeweled lady drinking tea with a friend, while a valet stands behind her, preparing to cut her long ponytail. The scene, likely allegorical, also features a winged cherub grasping a lock of her cut hair, while another flutters upward. The canvas requires restoration due to obvious tears and loss of color. It is presented in a late 19th-century frame.

Reading the Letter

Antique tapestry on canvas made. The scene, set in the 18th century, depicts a wealthy lady seated at her dressing table, reading a letter, while her maid offers her jewelry. A few cherubs hover above, lending an allegorical meaning to the scene. The canvas requires cleaning. It is presented in a late 19th-century frame.

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. 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.

Scene with Guards in the City, 1875

Oil on canvas. Signed and dated lower left. The English painter George Goodwin Kilburne specialized in genre scenes set in the life of the Victorian upper middle class, with hunting scenes, living room scenes, all characterized by elegance, by the meticulousness of details especially of the female figures. In 1875 Kilburne stayed a few months in Rome, and then traveled to other Italian and European cities. The scene depicted here, actually from 1875, seems to be set in Rome: at a guard post in the city, as the urban glimpse that can be seen from the open door clearly explains, some soldiers wearing the uniform of the Vatican guards are resting. The work is presented in a late 19th-early 20th century frame.