Antique Wall Lamp Gilded Bronze Decorations Italy XIX Century - Italy, XIX Century

Limoges Enamels on Copper

Limoges enamels on a copper plate. The enamels highlight the elegant female figure, possibly Marie Antoinette, Queen of France (1755-1793), of whom there are numerous portraits. This small portrait shows her in informal, non-ceremonial attire, yet elegant and refined. Minor damage and paint loss. The painting is presented in a late 19th-century black frame.

Limoges enamels on a copper plate. The enamels highlight the female figure in an elegant gold dress with a fur collar secured by a rose, and the typical hairstyle of late 18th-century ladies. Minor paint loss. The painting is presented in a late 19th-century black frame.

The Announcement of Defeat at Waterloo

Oil painting on canvas. French school of the 19th century. The scene, set in the poor bedroom of an elderly war veteran, who is crying in his bed, sees his family telling him the sad news of the defeat at Waterloo, as can be deduced from the sheet of newspaper in the woman's hands, on which the name of the historic location where Napoleon Bonaparte was definitively defeated. The canvas shows signs of previous restorations, in particular the patch corresponding to the female figure is clearly visible. It is presented in an early 20th century setting.

Oil on canvas. 19th-century Northern European School. The painting is a reproduction of a 1662 work by Jan Siberechts (1627–1703), currently housed in the Royal Museums of Fine Arts in Brussels. The Flemish painter made a name for himself with his scenes of country and rural life, enlivened by peasant figures going about their daily activities, particularly robust female figures dressed in bright colors. These characteristics are also evident in this reproduction, where, in the farmyard of a farmhouse in the middle of the countryside, the entire family is busy with various activities: on the left, the man unloads bundles of wood from the cart, which a woman is carrying toward the house; on the right, the boy opens the stable to lead the flock of goats and sheep to pasture; in the center are three robust female figures, namely two women observing the third, who is busy... delousing a little girl! The colors of the figures' clothes stand out vividly and brightly against the brown and dark colors of the background elements (the house and the countryside), which are dominated by a sky that is also dark and thick with gray clouds. The painting is presented in a period gold frame.

Oil on canvas. 19th-century Northern European school. Evocative and choreographic view of a forest with a stream flowing through it in the autumn colors. The painting was relined in the late 19th century; it still has several paint losses. It is presented in a frame contemporary with the relining.

Male Face

Oil on panel. Signed lower right. Pietro Scoppetta, an exponent of late 19th-century Neapolitan painting, was deeply influenced by Impressionism, as is evident in this portrait, which focuses entirely on nuanced colors, in the range of browns and contrasting light. The work is presented in an adapted and regilded early 20th-century frame.

Tempera on panel. Transylvanian school, early 19th century. Saint Nicholas, identified by his abbreviated name on the sides, is accompanied by Mary and Jesus in glory. The Romanian iconographic school has more popular connotations than the Byzantine or Greek Orthodox, particularly in the less severe and more human, less aloof faces and in the more earthy color choices. The panel features several paint losses.

Male Portrait 1848

Oil on canvas. Signed and dated lower right. A work by the French artist Germain Paget, who created several portraits, mostly of gentlemen from his hometown. The painting has slight paint loss; there are some patches on the back. It is presented in a period frame.

Ganymede Offers the Cup to Jupiter

Bas-relief on a metal plaque. It depicts a scene from the mythological tale of Ganymede, the handsome Trojan prince abducted by Zeus (in the form of an eagle) to become cupbearer to the gods on Olympus. It is the work of the Turin engraver and medallist Giuseppe Ferraris, who worked at the Turin Mint, producing the coins of several rulers of the House of Savoy. The work is presented in a period frame.

Landscape with River and Figures

Oil on canvas. Signed lower right. Emilio Donnini, a Florentine artist, established himself as a landscape painter from life and marked the transition from a purely romantic interpretation to Macchiaioli realism. He loved to portray especially seascapes rich in romanticism, painting the scenes from life, mostly on his beloved island of Elba. His works are rich in chromaticism with very delicate tones, from a diffuse luminosity that extends from the sky to the surfaces, often water, below with particular brilliance, while the figures that animate the scene are described with rapid brush strokes but at the same time with orderly precision. This landscape view portrays a watercourse in the countryside, crossed by the stump of an ancient bridge; washerwomen are busy with their work on the stony shore. The painting shows traces of restoration. It is presented in a golden frame from the mid-1900s.

High relief carved in meerschaum (petrified limestone, also known as calcite). The scene of the Marriage of Mary and Joseph, also called the Marriage of the Virgin, has been widely depicted, traditionally against the backdrop of a temple, with the priest presiding and, in this case, the Holy Spirit and angels who, from above, testify to the presence and divine approval of the event. The work is presented in a period frame.

Oil on canvas. On the back is a description with an earlier date, though not plausible. The material analysis also suggests a later work. It depicts an elderly lady, with a stern gaze, composed and haughty in her pose, dressed in refined yet understated clothing. The painting shows signs of restoration and relining.