Pair of Swatch Skin Watches - Switzerland 1996

Christ the Worker ca. 1950

Oil on canvas. Signed lower right F. Venzo SJ (Societas Jesu, the motto of the Jesuits). This is a work by the Jesuit friar Mario Venzo, a Venetian painter who, after painting during his bohemian youth in Paris, devoted himself to monastic life in 1940, while continuing to paint. This work depicts a young worker in the foreground, inside a modern artisan's workshop, his head surrounded by light: this is likely a modern projection of the young Jesus at work in his father's workshop. The style of the work harks back to Venzo's pictorial period before 1953, the year after which his work became more vibrant with bright, vivid colors and a more stylized figure, while still often focusing on sacred subjects. The work is presented in a frame.

Oil on canvas. Country landscape featuring a small stream, boats traversing it, and flanked by small clusters of rural homes. In the foreground, a woman and her child are walking along the path. The work shows traces of previous restoration and relining. Dirt stains. It is presented in a contemporary antique frame.

Harvest Scene 1959

Oil on canvas. Signed and dated lower right. The Brescian artist Eliodoro Coccoli "was not by vocation an easel painter" but rather established himself primarily as an interior and exterior decorator, creating secular frescoes for various Lombard villas and sacred subjects for numerous churches. His canvases are very few, and mostly date from before 1922, the year in which his decorative production greatly expanded, but numerous sketches and several preparatory canvases for frescoes remain. This grape harvest scene may also be part of this type of production, although it is defined and detailed in its details. Coccoli's style cannot be traced to any particular movement; indeed, he is considered an expert in eclecticism: he selects the figurative repertoire best suited to the client's needs, adapting his style to the subject and the architectural characteristics of the location. Furthermore, it demonstrates a refined, at times virtuosic, technical expertise. The work is presented in a frame.

Oil on canvas. A pleasant view of the small village of Omegna, in the province of Verbano-Cusio-Ossola, located at the northern end of Lake Orta; the Alpine peaks rise behind it. Village life is a hive of activity, with numerous figures both on land and afloat in small boats. The painting shows signs of restoration on the back.

Interior with Fireplace

Oil on canvas. Signed lower left. This painting presents a recurring theme of the Florentine painter Mario Fattori, who depicted moments of peasant and pastoral life, primarily in Tuscany. The scene here is set in a large, sparsely furnished room in a farmhouse, with a large fireplace in front of which all the female household chores take place: while the pot simmers on the stove, the women sew, card wool, and cook, while the chickens roam freely. The work is presented in a contemporary frame.

Portrait of a Dame with Dog, 1934

Oil on canvas. Signed and dated lower left. A work by the Hungarian painter Géza Kövesdy, who primarily painted female portraits and landscapes, sometimes enlivened by naive figures. The female figure with a small dog is a recurring theme, almost a symbol of the social status of these wealthy bourgeois ladies. The pictorial style is influenced by Impressionism, in the nuances and interplay of light. The painting is presented in a contemporary frame.

Relief engraving. Signed lower right; edition number 25/99 on the left. Piza, a Brazilian painter, sculptor, and printmaker, is best known for his chisel engraving technique, which involves cutting copper plates into small flakes. Framed.

Oil on canvas. 17th-century Italian school. The Old Testament episode of Lot and his daughters has been widely depicted in paintings, albeit at different points in the story. In this case, the man and the two girls are depicted fleeing from Sodom, a city destroyed by God to punish the depravity of its inhabitants; for his righteousness, Lot is warned by an angel to flee with his family. The three figures are depicted in the foreground, half-length, with the father looking forward, urging his daughters to do the same, lest they incur the divine punishment that had already befallen his wife, who was turned into a pillar of salt for disobeying God's command not to look back. The canvas, previously relined, currently has several paint losses, requiring restoration. It is presented in an early 20th-century wooden frame.

Italy, XIX Century

Wooden statue depicting the Virgin Mary and Child.

Relief engraving. Signed lower right; edition number 68/99 on the left. Piza, a Brazilian painter, sculptor, and printmaker, became known primarily for his chisel engraving technique, which involves cutting copper plates into small flakes. Framed.

Landscape with Lake Glimpse

Oil on canvas. Signed lower left. Little biographical information is available about Angelo Rovida, a landscape painter from Lodi who painted landscapes and urban views, primarily in Northern Italy. The painting is presented in a contemporary guilloché frame.

Oil on canvas. Unidentified signature lower right. An elegant and refined composition of roses in delicate shades of pink and white, arranged in a gilded metal basin, sits on a small table along with pomegranates, a symbol of fertility and prosperity, an embossed silver plate, and a casket containing a pearl necklace. The background, in a single, earthy, nuanced color, highlights the light effects of the flowers and objects.