Vintage Mirror Carrara & Matta America Plastic Design 1970s

Architectural Capriccio with Figures

Tempera on canvas. This work harks back to the work of Pietro Paltronieri, known as Mirandolese (a native of Mirandola in Emilia Romagna). In 18th-century Bologna, a taste for landscapes featuring ruins was widespread: there was a large production of canvases in which architectural capriccios, manipulated in classical styles, were inserted into landscapes and rural or coastal views, expressing a unique decorative sensibility inspired by the theatre. Collaboration between figure painters and set designers was also common. Among these was Pietro Paltronieri, known as Mirandolese, who assumed a sort of dominance over his colleagues. Paltronieri worked in Bologna, and this work comes from a private collection there. It depicts a large architectural complex in ruins with a crenellated and turreted palace and, in the foreground, a large loggia above a funerary monument, at the base of which a kneeling figure can be glimpsed. Other figures can be glimpsed in the background, but are not currently visible. It is ideal for a backdrop for a theatrical performance or, at the very least, as a wall decoration in a private setting used for public relations. The work, previously restored and relined, unfortunately currently exhibits several widespread paint losses. It is presented in an antique frame.

B&B Production

Vintage armchair with foam padding and brown leather upholstery. In good overall condition, with the manufacturer's mark.

Vintage coffee table with chromed metal legs and a square top with rounded corners in smoked glass. In good condition.

A 1970s-era mesh-worked rope bag with a fabric interior and two small pockets. It can be worn as a handbag or over the shoulder thanks to the adjustable handles.

Oil on canvas. Lombard-Venetian School, late 17th-early 18th century. A farmer is depicted in the foreground, half-length, carrying a hoe on his shoulder. The figure is characterized by meticulous detail, from the wrinkles on the face to the dirt on the hands, from the tattered clothes to the roughness of the hoe. The painting's style recalls the work of Pietro Bellotti, who introduced figures of a similar nature into his portraiture. The painting has been restored and relined in the past. Framed in period style.

Oil on canvas. 19th-century French school. Portrait of a young woman, likely in mourning, given her black dress and serious, melancholic expression. The dark colors of her dress and hair blend into the background, from which her face, neck, and white lace shawl collar emerge, illuminating the portrait. The canvas has slight paint loss. It is presented in an early 20th-century frame.

Mixed media on canvas, using the "strappo" fresco method. The work, executed by hand on a canvas laid over plaster, is then peeled off and mounted on a stretcher. This technique allows the same subject to be reproduced, but with slight differences each time, depending on the artist. The painting has a strong decorative impact, almost a trompe l'oeil due to its size and texture.

Biblical Scenes

Bronze and enamel. The icon is composed of four sections, which can be folded into a single layer using hinges. Each section is divided into four panels surmounted by a dome, and each section depicts an episode from the New or Old Testament, as well as scenes of Marian devotion. The front of the closed icon is also embossed with a sacred decoration (the Cross surrounded by floral decorations and Cyrillic script). The work is a travel icon, easily transportable due to its small size. The enamel paint has partially faded.

Vintage metal serving trolley, smoked glass shelves with bottle holder structure. Good condition.

Architectural Capriccio with Figures

Tempera on canvas. This work harks back to the work of Pietro Paltronieri, known as Mirandolese (a native of Mirandola in Emilia Romagna). In 18th-century Bologna, a taste for landscapes featuring ruins was widespread: there was a large production of canvases in which architectural capriccios, manipulated in classical styles, were inserted into landscapes and rural or coastal views, expressing a unique decorative sensibility inspired by the theatre. Collaboration between figure painters and set designers was also common. Among these was Pietro Paltronieri, known as Mirandolese, who assumed a sort of dominance over his colleagues. Paltronieri worked in Bologna, and this work comes from a private collection there. It depicts a complex of ruins, with the remains of a colonnade and an apse looming in the center foreground, perhaps the ruins of a church. Among these ruins are several figures: in the foreground, a woman with a child, other commoners, and a handful of soldiers in the background. It would be ideal as a backdrop for a theatrical performance or, at the very least, as a wall decoration in a private setting used for public relations. The canvas, previously restored and relined, has several paint losses. It is presented in an antique frame.

Oil on panel. Portrait of the great saint Ignatius of Loyola (1491-1556), founder of the Society of Jesus, wearing the traditional black habit of his order and holding the book of the Constitutions or Spiritual Exercises, his spiritual work. The panel features parquetry on the back; there are several paint losses.

Design by Pierangelo Gallotti

Kitchen trolley that can also be used as a coffee table, made of glass with chromed steel profiles and wheels.