Biedermeier Secretaire in Feather and Walnut Burl - Austria Mid 19th Century

Cain and Abel

Wood inlay. The scene is set in a countryside with trees resembling olives and a city in the background; in the left foreground, a man furiously beats another man on the ground with a stick, under the alarmed gaze of a farmer. The scene recalls the biblical episode of the killing of Abel, a farmer, by his brother Cain, a hunter. The work is presented in an 18th-century frame.

Italy Late 19th century Early 20th century

Set of four Murano glass trihedron lampshades featuring a composition of drops, beads, and canes. Metal frame.

England 1948

925 silver tray. Wavy edge, finely chiseled rim creating a woven effect interrupted by two reserves designed for engraving phrases or family initials. Interlocking glass bowls. Silversmith's and silversmith's marks engraved on the back. 2390 grams.

The Women of Cervara Rome

Oil on canvas. This high-quality painting is a replica of Hébert's 1856 work, exhibited at the Salon Carré in 1859 and at the Exposition Internationale de Champ de Mars in 1867. The work is currently on display at the Musée d'Orsay. The painting depicts three generations of women, symbolizing the three ages of life: childhood, youth, and old age. It depicts a little girl and two women walking under an archway to draw water. Hébert lived for several years in Cervara—an ancient village in the province of Rome, famous for its rock-carved figures—and in his work of folk subjects, he depicted the life and spirit of the villagers, in their everyday actions and their emotional feelings. The work presented here is framed in the same period.

Oil on oval panel. The painting reflects 18th-century pictorial styles: in a broad landscape with mountain peaks in the background, a river flows, flanked by houses; at the center of the scene, a stone bridge spans it, over which several figures walk, while other characters go about their daily tasks on the path or along the river itself. The painting is presented in a contemporary gilded wooden frame.

Oil on canvas. Portrait of a young woman with her dog, outdoors, against a vast river landscape. The painting, on the first canvas, shows traces of previous restorations. It is presented in a period frame.

Wooded Landscape with River

Oil on canvas. Signed lower right. The painting is of considerable size, likely executed for a prestigious client. Eugenio Gignous established himself as a landscape painter, creating softly lit views and almost impressionistic atmospheres. The work is presented in a frame from the first half of the 20th century.

Oil on canvas. The title "Campagna romana" is an old pencil inscription on the back. A Grand Tour painting, it features a glimpse of a popular village featuring the remains of classical columns; several figures enliven the scene, while a small town can be seen in the background. The work is presented in a period frame.

Denmark, XIX-XX Century

Legume bowl in embossed, fluted, and chiseled 830 silver. Bud-shaped handle and handles with leafy scrolls. Silver and silversmith's marks engraved under the base. Weight: 590 grams.

Shepherd with Sheep

Ink on paper. Signed lower left. Neapolitan artist Filippo Palizzi, also known as "the painter of animals" is considered a revitalizer of 19th-century Neapolitan painting. Abandoning academic painting, following contemporary French experiences, Palizzi devoted himself to life studies, especially humble subjects, such as small landscapes and animal paintings, creating works of intense realism yet imbued with an intimate poetic tone. He stood out above all for the meticulous execution of the details of his portrayed subjects. Herds with shepherds are a recurring theme in his work, as in this small drawing. The work is presented in a period frame.

Oil on canvas. Artist unknown (inconsistent signature G. Induno at the bottom). Genre scene inside a rather humble home, in which an old man sitting on his bed welcomes the embrace of his visiting grandson. The tenderness of the gesture of affection and dedication between the two figures contrasts with the poverty of the dwelling. The painting is presented in a period frame.

Gathering

Watercolor on paper. Signed lower left. De Albertis devoted himself to the military-patriotic genre, producing a rich repertoire of battles, replicated in various variations, which gradually became his specialty. Later, he turned to watercolor, but military subjects, often featuring horses, continued to dominate his work. This watercolor, in fact, features two saddled but unridered horses, responding to the trumpet call—the rallying call—sounded by the rider at the head of the squadron, visible on the right. The work is presented in a frame.