Antique Baroque Vase Carved Gilded Wood Italy XVIII Century - Italy, Early XVIII Century

Disciple of Carlo Cignani

Oil on canvas. This work is one of several contemporary versions and replicas of a work by Carlo Cignani, testifying to the subject's success. It can be traced back to his workshop or one of his followers. The allegory of Charity was one of Carlo Cignani's favorite themes, and he painted it several times. She is always depicted as a breastfeeding woman, often surrounded by numerous children, a symbol of the unconditional love she gives to others. In this depiction, the woman is breastfeeding two older children while she covers the swaddled newborn sleeping in the crib. The scene is lively and serene, characterized by natural gestures, simple yet full of tenderness; one of the children holds two cherries, a symbol of love and sweetness. The painting shows signs of restoration and relining carried out in the late 19th century. The gilded frame, decorated with friezes, also dates back to this period.

Oil on canvas. Central Italian School, 18th century. An amphora vase contains a composition of variegated flowers, with some fruit (a pomegranate and black grapes) on the surface. A classic decorative composition, often paired with other paintings. The work has been restored and relined in the past. It is presented in a period frame.

Oil on canvas. Dutch School, 18th century. In this dramatic scene, three sailing ships are at the mercy of a stormy sea; two of them fly the Dutch flag, while the third, smaller one, almost a dinghy, flies another flag. The gray, stormy sky and sea create a uniformly dark background, with a sliver of light on the right, through a rift in the clouds. The painting has been restored and relined in the past. It is presented in a contemporary antique frame.

Genoa, Mid XVIII Century

Late Baroque walnut armchair. Leafy and scroll carvings, curved arms and legs, padded and removable back and seat, padded armrest inserts. Genoa, mid-18th century.

Italy, XVIII Century

Small carved and gilded late Baroque mirror. Floral, leafy, and scroll carvings; the carving on the left side is missing. The cymatium consists of three mirrors and leafy carvings, and the mercury mirror. Italy, 18th century.

France, XVIII Century

A group of four carved and gilded wooden mirrors. The cymatium is pierced and carved with scrolls, leaves, and cascading flowers on the sides, and the apron features scrolls and leaves. France, 18th century.

Oil on canvas. Central Italian School, 18th century. An amphora vase contains a composition of variegated flowers, with some fruit (figs and grapes) on the surface. A classic decorative composition, often paired with other paintings. The work has been restored and relined in the past. It is presented in a period frame.

Italy 18th Century

Carved and gilded wooden mantelpiece. The cymatium is pierced and carved with scrolls, leaves, flowers, and curls. The central mirror is composed of three adjacent elements, plus two additional mirrors on the sides, with engraved frames serving as uprights. Some losses and restorations. Italy, 18th century.

Baroque Italy Early 18th century

Baroque-style fan stand in carved, lacquered and gilded wood.

Italy 18th Century

Pair of carved and gilded wooden mirrors. The cymatium is pierced and carved with scrolls, leaves, and cascading flowers on the sides. The apron features scrolls and a central flower (one apron has been remade). Italy, 18th century.

Oil on canvas. The scene is entirely filled with figures, presented half-length in the foreground: the three Magi, who occupy the entire right-hand side, present their gifts to the baby Jesus in Mary's arms, on the left, while the figure of Joseph appears in the background, like a shadow watching over and assisting the family. The painting shows traces of previous restorations. It is presented in a period frame from the early 1900s.

Oil on canvas. This is a copy, with minor modifications, of the painting by Salvator Rosa (1615-1673), housed in the Palatine Gallery of Palazzo Pitti in Florence. Also known as "Seaside at Sunset" for the large sunset radiating light from the background on the right, the painting depicts bustling port activity, with various figures animating the scene, from workers busy building the galleon, propped up on the ground and covered with a white tarpaulin beneath the ruins of a fortress dominated by a tower, to a group of bathers enjoying the last rays of the sun. The work has numerous patches and is in need of restoration. Still on its original canvas, it is presented in a late 19th-century frame.