Antique Angels Carved Gilded Wood Italy XVIII Century - Italy, Mid XVIII Century

Emilia Romagna, Early XVIII Century

Baroque sideboard in elm, Emilia, early 18th century. Front with three drawers in the band and pair of doors. Decorated with walnut frames and tiles and with metal studs, the latter partly added later. Restorations.

The Morning of the Roses

Oil on canvas. This is a copy, with minor variations, of the famous painting by Giovanni Giani, currently housed at the Quirinale Palace in Rome (purchased in 1906 by Queen Margherita). The work depicts a young woman in white in a moment of suspended expectation, sitting on a windowsill in the garden, surrounded by flowering rose bushes. The figure evokes a delicate and melancholic atmosphere, representing a symbol of expectation, purity, and youth. The work is an example of the Verist-Art Nouveau style of the Piedmontese artist Giani. Our large-scale painting recreates the strong decorative impact of the original. It is presented in an early 20th-century frame.

B&B Production, Italy 1970s

Two "Amanta" armchairs with a plastic frame, foam padding, and leather upholstery, original from the period. They show some signs of wear, as shown in the photographs.

Oil on canvas. Central European School, mid-19th century. In the center of the scene, before a throne surmounted by a red velvet canopy and flanked by royal insignia, a king is settling a dispute between two groups of men, represented by several dignitaries in civilian clothes. Behind them, two different flags rise from the crowd; these are likely two political factions from the same city. The city's skyline in the background places the scene in a Central European context. The painting was applied in the early 20th century to plywood. It is presented in a regilded, late-19th-century frame.

Copy from Francesco Guardi

Oil on canvas. The original painting, created by Francesco Guardi in 1746 and donated to the Venice Civic Museums in 1830 from the collection of Abbot Teodoro Correr, has been on display at Ca' Rezzonico since 1936. The painting is an "interior view" in which the painter carefully and delicately depicts the visiting room of the monastery of San Zaccaria. The daughters of the most important Venetian families were nuns in the convent: in the parlor, relatives and friends could converse with the nuns, and puppet shows were also organized for the little ones during these gatherings, as seen on the right. Guardi's work is characterized by its portrayal of all the familiar elements of eighteenth-century Venice, with its gallant and worldly atmosphere that also permeated convents. The copy presented here is fairly faithful to the original, although it is missing a section on the right, behind the small theater. Having already undergone restoration and relining in the past, the painting currently requires cleaning. It is presented in a period frame.

Italy, Early XIX Century

Directoire walnut wardrobe, lacquered and painted. Front with a pair of glass doors, glass panels replacing the original panels, height-adjustable internal shelves. Paneled sides later embellished with paintings of male figures with amphoras in the center, a face on top, and a helmet on the bottom. Truncated pyramidal feet. Italy, early 19th century.

Portrait of an Officer

Oil on canvas. Signed lower right. Giuseppe Amisani established himself as a portraitist of famous and high-ranking figures. Considered late Impressionist, his painting was influenced by the Belle Époque, which led him to use vibrant colors and rapid brushstrokes, yet always with an eye for elegance. The sitter portrayed here is a high-ranking officer, seated, albeit with a very straight and military stance, in a luxuriously furnished living room. The work is framed in period style.

Oil on canvas. French school, late 17th century. The painting is inspired by the one by Nicolas Poussin, created around 1635 and now on loan to the National Gallery in Edinburgh. However, compared to that work, ours features many variations and is much smaller (the entire right section of Poussin's scene, full of foreground and background figures, has been eliminated). The subject recounts a biblical episode from the Book of Exodus: the people of Egypt were wandering in the Sinai desert, and were without water; God then ordered Moses to take his staff, gather the elders, and strike the rock at Horeb before the people: from it sprang a spring of water, from which all the people could quench their thirst. The painting presented has been restored and relined in the past. It is presented in a late 19th-century frame.

Oil on canvas. A young woman wearing a helmet and chain mail, holding a halberd, is depicted. Above her, her identifying name. The epithet "Amazon" essentially identifies a female warrior, but there is no mention of a character called Leandra. Furthermore, the myth of female warriors, known as Amazons, enjoyed a wide following and fostered a vast artistic and literary production. The painting has been restored and relined in the past. It is presented in a contemporary antique frame.

This vintage freestanding storage unit is made of wood with an exotic wood veneer. The legs are made of stained wood, while the front features shutter doors that conceal internal shelves and drawers.

Oil on canvas. Camilla is a character from Virgil's Aeneid, queen of the Volscians: devoted to Diana, Camilla is both a huntress and a warrior. Fearless and courageous, she displays all her extraordinary beauty. She was considered queen of the Amazons, as these figures were the warrior women par excellence. Virgil's character enjoyed a long literary and artistic success. Here, the woman is depicted in 17th-century armor, intent on unsheathing her sword, while mythologically Camilla fought with a bow and arrow. The character's name is cited at the top. The painting has been restored and relined in the past. It is presented in a contemporary antique frame.

Oil on canvas. 18th-century Venetian school. The traditional Holy Family features Mary occupying the entire central part of the scene, her gaze, illuminated by a smile, directed toward the Baby Jesus lying on her lap, drawing the viewer's gaze to him as well. The good Joseph, as always, is thoughtfully placed in the background, watching over the two sacred figures entrusted to him. On the back of the canvas is an inventory label from the early 1900s. The work is presented in an antique gilded frame.