Vintage Mirror Wooden Frame Brass Design Italy 1960s

City Glimpse

Oil on cardboard. Signed lower right. Ezelino Briante, a Neapolitan artist, painted landscapes and views of the towns and villages of Campania, as well as places he visited. His painting is distinguished by a full-bodied, almost material brushstroke. This view depicts a small town's dirt market street, bustling with crowds. Framed.

Gouache on cardboard. The view of the Bay of Naples at night, illuminated by the erupting Vesuvius volcano, is part of a large production for tourism, due to the evocative beauty of the location. The work is presented in a period frame.

Tempera on cardboard. The broad view spans a harbor in a large gulf, likely that of Naples; seen from the heights of the hills behind, it features two popular figures ascending a wide path in the foreground. The painting is part of a large series of landscape paintings for tourism. Presented in a contemporary frame.

Gouache on paper. Neapolitan school, late 19th century. Two "postcards" of well-known and renowned tourist destinations, with a view of the island of Capri at night and a glimpse of Amalfi seen from the island's caves. The two paintings are presented in a unique mid-20th-century frame.

Profile face engraved in white stone, applied on an oval black stone and on an additional alabaster base.

Landscape with Rows of Trees 1894

Oil on cardboard. On the back is a dedication from the artist, signed, and dated 1894. Cabutti was a Piedmontese artist who devoted himself primarily to landscape painting, inspired by his homeland, the Alte Langhe, which he depicted extensively and in all its diverse forms. Here, a glimpse of a countryside landscape is depicted, with a stream flowing between rows of tall trees. The work is presented in an early 20th-century frame.

Tempera on panel. The depiction of the Mother of the Burning Bush features Mary and the Baby Jesus at the center of an eight-pointed star composed of two overlapping diamonds: one red (the fire) and one green or dark (the bush). Angels circle around. The burning bush, a symbol of God speaking to Moses in the Book of Exodus, prefigures the Incarnation: just as the bush burned without being consumed, Mary carried God in her womb without being consumed, a symbol of her virginity before, during, and after giving birth. This icon is venerated as a protector from fires. The panel features small losses of paint. It depicts Mary as the bush seen by Moses, burning without being consumed, a symbol of her virginity before, during, and after giving birth.

Gouache on cardboard. The view of the picturesque grotto on the island of Capri is part of a large production for tourism, due to the evocative beauty of the location. The work is presented in a period frame.

Sledding on the Snow

Tempera on cardboard. Signed lower left. Russian artist Egorov has made a name for himself with his views of the Russian winter countryside, blanketed in snow and often animated by horse-drawn sleighs carrying villagers. The work is framed.

Tempera on cardboard. Wide view of a valley crossed by a Roman aqueduct spanning a stream; mountain peaks in the background, while in the foreground a woman and her child walk along the path. The work is part of a large body of Italian landscapes, here likely from central Italy, created for tourism. In a contemporary frame.

Oil on panel. The painting echoes the composition of Titian's masterpiece (dated 1510, currently in the Louvre), but places it in a completely different landscape and develops it on the sides, with the introduction of a goat on the right and a faun playing a flute on the left. Furthermore, the four figures taken from Titian are developed inverted, probably because the artist of our painting was inspired by an engraving. The central scene shows two young men sitting on a meadow making music, flanked by a young woman with her back turned, while a second is drawing water from a marble basin. The two women are both naked, barely covered by slipping cloaks, while the two men, speaking to each other, are dressed in period costumes. The subject is intended to be an allegory of poetry and music, with the two women of ideal beauty, who are like two unreal apparitions generated by the imagination and inspiration of the two young men. The painting presented here shows traces of previous restorations. Currently, there are some paint losses and damage to the panel.