1950s Entrance Furniture

Oil on canvas. Signed lower right "J. Dupont da Velzquez". This is a copy of Diego Velazquez's famous masterpiece, painted around 1657 and housed at the Prado Museum. Until the mid-20th century, the painting was titled "The Tapestry Factory of Santa Isabel in Madrid": only in 1948 did studies by art historian and critic Diego Angulo Íñiguez identify a connection between the painting and the ancient Greek myth of Arachne. In the foreground, several spinners work in a bare, dimly lit room, with a soft light reflected from the background. Five women are depicted: on the left, in the dim light, the eldest spinner operates the reel; in front of her, on the right, in full light, a young girl is collecting thread on the reel; They are respectively the representations of Athena, still hidden under false guise, and the human Arachne, during their contest. The other three women are merely surrounding elements; the central one is merely a static silhouette. In the background, central and illuminated by a powerful beam of light emerging from the left, and enlivened by the bright colors of the tapestry and the robes, is the scene of the goddess's revelation to the woman. Compared to the original, this copy, while faithful in the figures and details depicted, is painted with more nuanced brushstrokes and less defined outlines, as well as less vibrant colors. The work is presented in a frame.

Oil on canvas. The scene depicts an episode from the 17th-century novel "Les Aventures de Télémaque" (The Adventures of Telemachus) by François Fénelon, published in 1699. In Fénelon's tale, Telemachus (son of Ulysses), while searching for his father accompanied by Mentor (who disguises himself as the goddess Athena), is shipwrecked on the island of Calypso and falls in love with a nymph. To prevent Telemachus from leaving the island and abandoning the girl, the goddess Calypso, who has taken them in, orders her nymphs to burn the ship on which Telemachus and Mentor had arrived. In the painting presented, in the left foreground, Mentor urges the young Telemachus to turn away, while he is still gazing at the girl standing on the path to the right; meanwhile, the other nymphs set fire to the boat, stranded on the shore, with their torches. The canvas, previously relined, has several paint losses. It is presented in a period frame.

UK Size 10

1950s dress in silk shantung with antique pink floral print on an ivory background, tailored creation with attention to detail. It is made up of two items: dress and skirt. The midi dress has a loose fit and can be worn alone up to a size 44 (waistline 88 cm, length 102 cm). The balloon skirt is draped in front to reveal the dress, fits size 40 (waistline 60 cm). The cotton hat and silk belt complete the outfit.

Service trolley in stained beech wood and mahogany veneer. Decent condition.

Bookcase in poplar veneer, the top is made of back-treated glass. Decent condition.

Beige velvet hat with leaf-shaped appliques and a bow on the back, dating back to the 1950s/1960s. Designed by Parisian designer Hubert de Givenchy, it was later sold in a Milan boutique. It's a collector's item.

Walnut veneered wooden bed. In good condition.

Untitled

Oil on canvas. Signed lower right. The work is accompanied by a photo certificate, signed by the artist. The painting of Kodra, an Albanian painter who trained in Italy and worked in Milan, consists of a personal, fantastical interpretation of Cubism, particularly the second phase of the pictorial period, known as Synthetic Cubism. This is characterized by the choice of juxtaposing or superimposing distinct parts of a representation, often using significant techniques such as collage and papier collé. This work depicts a couple holding hands, a subject the artist repeatedly depicted under the titles "The Couple" or "The Spouses." The figures are typically characterized by the breakdown of the human figure and objects into geometric planes and segments of distinct color. Kodra used a simple yet intense palette, often dominated by earthy tones, ochres, reds, and blacks, reminiscent of the colors of the Mediterranean. The back of the canvas bears the stamp of the Galleria d'Arte Contemporanea G. Orio in Milan, Via Brera. Framed.

Oil on canvas. 18th-century Italian school. The Virgin with clasped hands and bowed face harks back to the 17th-century models of Sassoferrato. With this figure, gathered in a calm and silent devotional pose, presented alone and without a background, he proposed a new devotional model, in keeping with the approach to faith promoted by the reformers of the Roman Catholic Church, who encouraged individual contemplation. The painting has been relined.

Set of 5 chairs, stained beech wood and spring padding, fabric upholstery. The seats need to be restored.

A double-door wardrobe with a drawer inside. It features maple veneer, a gilded frame, and fabric. Decent condition.

Oil on canvas. The virgin holds her Child, who is lying on a pillow and he's asleep. Mary looks at the viewer, almost as if showing off her Son, with a serious expression, aware of his destiny, of which the child, however, seems completely unaware, still simply a child, not the Son of God. The physiognomic features of the two figures are also distinctive, particularly Mary's rounded, plump face, snub nose, round eyes, and not slender build, which are far removed from more traditional depictions of the Madonna. At the top left are some letters of an inscription that appear to have been cut off. The painting has been restored and relined in the past. It is presented in a period frame.