Arteluce 237/3 Lamp Vintage Design Gino Sarfatti Italy 1960s

Italy, 1950s-1960s

Set of six ceramic plates with a sailing ship decoration on the hollow and a polylobed rim. Solimene Artistic Ceramics Factory, CAS, Vietri. Manufacturer's mark on the back.

Italy, 1960s

Piero Fornasetti porcelain ashtray and cigarette holder from the "Giornali" series. Under the bases the manufacturing brand.

Italy, 1960s

Group of three ceramic jars. Missing lids. Under the base the manufacturer's brand.

Italy, 1960s

Hand-engraved and hammered silver-plated copper plate. Mario Pinton for Atelier Des Orfevres. Under the base there is a manufacturing mark and an adhesive label.

Italy, 1960s

Porcelain plate from the "tema e variazioni" series. On the back brand of the manufacturer.

Oil on canvas. Neapolitan school, 17th century. The painting, formerly attributed to Scipione Compagno (1624-1680), is in keeping with his pictorial style (which, moreover, is typical of the narrative imagery typical of 17th-century Neapolitan culture), which depicts scenes and events with countless figures, landscapes, and views depicted in a palette of browns and tans, except for the flashes of color that highlight the main characters in the scenes. The scene, filled with figures, features the Egyptian army in the foreground being overwhelmed by the waters of the Red Sea, while on the shore in the background the Israelites, now safe, watch and celebrate with dances and songs. In the center, further back, Moses stands, raising his arm with his staff, in the gesture that evoked the miracle of the parting of the waters. The painting has been restored in the past. It currently shows a slight loss of color on the left. It is presented in a late 19th-century frame.

Preparing for the Market

Oil on canvas. Signed lower right. The scene shows the old farmer sitting smoking a pipe in the kitchen, in front of the burning fireplace, while he watches amusedly as his grandson tries to use the steelyard. On the floor, baskets of vegetables from their garden are being prepared for sale at the market. The work of the Florentine painter Adolfo Dumini features many similar genre scenes, depicting everyday life with vivacity and cheerfulness, and a wealth of detail. The painting is presented in a contemporary gilded frame.

Oil on canvas. 18th-century French school. The nobleman, portrayed wearing a body armor over a civilian dress with lace and trimmings, displays the important honor of the Cross of the Order of Malta. The painting is still on its original canvas, but shows traces of previous and recent restorations. On the back is an illegible descriptive cartouche. It is presented in a late 19th-century frame.

Europe, XIX-XX Century

Bronze candle holder depicting a nymph with a basket.

Copy from Jacopo Palma il Vecchio

Oil on canvas. The original painting from which this painting is based, faithful even to its size, belonging to a private collection, was exhibited in 2022 at the exhibition organized by the Museum of Santa Caterina in Treviso. The work depicts the Madonna and Child in the center, with two saints on the right, almost isolated in a spiritual discussion. The rightmost figure is Saint Catherine, recognizable by her cogwheel symbol; on the left is Saint Joseph, depicted with a youthful appearance, likely because he uses the features of the patron. The painting has been restored in the past. It is presented in a gilded frame, in period style.

The Little Girl and the Sheep

Oil on canvas. Signed lower right. Cesare Laurenti was a multifaceted artist, highly influential in the history of applied arts in Italy between the 19th and 20th centuries, ranging from easel painting to mural decoration, sculpture, illustration, architecture, engraving, monumental ceramics, restoration, technical experimentation, and the antiques trade. His early work was influenced by Domenico Morelli, whose pupil he was in Naples; some of his rural scenes, featuring shepherdesses and flocks, such as the one presented here, are inspired by a realist taste. His artistic career later shifted toward a more symbolist style, experimenting with various artistic techniques. The work is presented in a period frame.

Oil on canvas. Central Italian school, 17th century. The painting depicts the Virgin with the Child Jesus seated on her lap, both wearing crowns. The Child is depicted blessing the viewer, holding a flower in his other hand. The iconography of the Virgin and Child, both crowned, became widespread only from the 16th century onwards, although the theme of the Virgin enthroned was already widespread earlier, as was her Coronation. The painting has been restored and relined in the past. It is presented in an 18th-century wooden frame.