Antique Wall Lamps Gilded Bronze 3 Lighst Italy XX Century - Italy, Early XX Century

In front of the Fireplace, 1940

Chalk and pastel on paper. Signed and dated lower left. Giuseppe Siccardi established himself as a sculptor, but he also created several graphic works, mostly on paper, in red chalk or black and white. Recurring themes in these drawings are family life, scenes of tender intimacy, as in this drawing featuring three family figures—the grandfather, the young mother, and the child—preparing the fireplace for cooking. Framed in period style.

Mother with Child

Chalk and pastel on paper. Signed lower right. Giuseppe Siccardi established himself as a sculptor, but he also created several graphic works, primarily on paper, in red chalk or black and white. Recurring themes in these drawings are family life and scenes of tender intimacy, as in this drawing depicting a tender motherhood. The drawing is presented in a late 19th-century frame (slight damage to the gilding).

Copy from G. Antonio Canal

Oil on canvas. A beautiful twentieth-century copy of Canaletto's work, created around 1736. The painting is in a private collection but is known for its printed reproductions, particularly in Visentini's series of etchings from 1742. The view depicts the Venetian town of the same name, with the church of San Salvador on the left and the Scuola Grande di San Teodoro in the center. Numerous figures, elegant gentlemen strolling, commoners, and artisans intent on their work, enliven the scene. The work, much larger than the original, has a striking decorative and scenographic impact. It is presented in a period frame.

Composition with Potted Plants

Oil on canvas. Signed lower right. The French painter Le Monnier had a very varied artistic output, including several Orientalist subjects linked to his time in Tunisia. This composition also features a terracotta vase, whose shape and decoration are reminiscent of North Africa. The painting has a slight tear in the lower right. Period frame.

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 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.

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.

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.

View of the Village at Sunset

Oil on cardboard. Signed lower right. Gheduzzi was best known for his work as a set designer at the Teatro Regio in Turin, but he also established himself as a landscape painter, painting en plein air in the style of the Rivara school, a Piedmontese imitator of the more famous Barbizon landscape school. This glimpse of a country village, illuminated by the rosy reflections of the sunset sky, exudes a captivating atmosphere. The work is presented in a carved and gilded wooden frame, with some minor losses.