Antique Desk Clock Black Marble Metal Glass XIX Century - France, XIX-XX Century

Handwritten and autographed letter by the artist, dated 1951. The letter is addressed to Gino Ghiringhelli, founder of the historic Il Milione art gallery in Milan. In this letter, Rosai tells the gallery owner the titles of his paintings to be reproduced in the catalog, drawing sketches to match the title and date of production. In the composition presented here, the collector from whom the work originates has combined the letter with the cover and pages of the catalog with the aforementioned reproductions. The composition is presented in a frame.

Horse in a 1950s Landscape

Marker on rice paper, glued to cardboard. Signed at the bottom. Below is a dedication from the artist (Greetings dear - Aligi). The work is accompanied by a photo certificate from the Sassu Foundation, archive number PNV49. The protagonist of this drawing is once again the horse, the artist's favorite animal. He was fascinated by the energy and dynamic strength of these animals, which represented life itself and freedom, which Sassu expressed through the twisting of their figures. Sassu's works, which include painting, sculpture, and ceramics, showcase the power of horses in scenes of racing, battles, or immersed in nature, often with an emphasis on dynamism and plastic energy. Framed work.

Wood Landscape with Figures, 1883

Oil on canvas. Signed and dated lower right. The landscape depicts a stream flowing through a shady coniferous forest; two boys are fishing with rural tools. The atmosphere is filled with light filtering through the thick, green trees. Tristan Lacroix distinguished himself for his naturalist style of painting and rural realism, which focused on the simple life and landscapes of everyday life. The painting is presented in a contemporary gilded frame.

Oil on canvas. Lacroix's signature is at the bottom left. On the beach, the fisherman, having pulled his boat ashore and rolled up the sails, which his companion carries on her shoulders, is offering his fresh catch to a woman equipped with a unique water transport and accompanied by a child. The work is naturalistic and realistic, offering a glimpse of rural life rich in detail and particulars, both in the figures and in the landscape and surrounding elements on the beach. It is presented in a period frame.

Oil on panel. Northern European school, late 19th century. Inside a large, bare, yet bright, room with arched vaults, two men are playing dice; on a table to the side are their capes and hats, and beneath it a drum: it was probably a rest stop for soldiers and drummers. On the back of the work is a cartouche of participation in the 1892 Exposition Versaillese. The work is presented in a contemporary frame, with minor losses.

Landscape with Figures and Cattle

Oil on canvas. The work, signed Sorolla lower right and dated 1928, harks back to the style of Joaquim Sorolla y Bastida (1863-1923), the renowned Valencian painter who chose to reflect the Mediterranean light in the everyday scenes of his city, in a unique style known as luminism. His works are characterized by their plein air painting, depicting simple people often framed in fishing and sea scenes, capturing customs and traditions, as well as the freedom with which they reflect light and color. In particular, the urban beaches of Valencia, animated by numerous figures, including bathers and others, were a recurring setting in many of his paintings. In this work, the scene is indeed that of a beach, where figures with some cattle pass by, while beached boats and bathers can be glimpsed in the background. The work, which is effectively pictorial, despite being very close to Sorolla's manner and style, is not recognized as authentic by the artist's official archive. It is presented in a period frame.

Oil on canvas. 19th-century Northern European school. In the scene, set on a barren, snow-covered plain with a frozen river flowing through it, a large horse-drawn sleigh is parked on the bank, carrying several people: a woman with a child in her arms is preparing to climb aboard, watched by the driver, while another female figure, holding her child by the hand, walks away across the ice. It looks like a Nordic public transport stop! The work is presented in a late-19th-century frame, which has several missing or damaged parts.

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.

Still Life, 1976

Oil on hardboard. Signed and dated lower right. On the back is a label with the artist's stamps, detailing the work. A Parma-born artist who also lived in Milan for many years, Proferio Grossi created numerous still lifes, paintings of objects in which he sought an aesthetic sense, which he alternated with abstract painting. This composition also belongs to the figurative style, a linear and orderly composition, both in the placement of the objects and in the color choices, of everyday objects indicative of peasant life. The work is presented in a frame.

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

River Landscape with Figures

Oil on canvas. Signed lower right. Ivan Karpoff, of Russian origin but raised and established as an artist in Italy, gained recognition for his paintings, which oriented themselves toward the Italian Impressionist realism of the late 19th century; he devoted himself primarily to landscapes and portraits. In this work, he depicts a glimpse of flat countryside crossed by a wide river; a woman and her child walk along the path that runs alongside it. Framed.

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.