Antique Flap Cabinet Olive Maple Drawers Italy XVIII Century - Central Italy, XVIII Century

Oil on canvas. Central European school of the 18th century. The distinguished lady, who flaunts a dress enriched with bows and lace, is seated at her desk and holds a letter in her hand; at the bottom left an envelope bears traces of a name, unfortunately illegible, a device to make the portrayed character known. Restored and relined, the painting is presented in an early 1900s frame.

Boy with Chickens

Oil on canvas. The painting's pictorial style and subject matter are reminiscent of the circle of Giacomo Francesco Cipper, known as Todeschini, an artist of Austrian origin who established himself in Milan. He specialized in market scenes, open-air concerts, card players, and scenes of humble daily life, rendered with playful caricature and a search for comic effect. This is the case in this work, which portrays a young commoner tending to two chickens placed in a basket on the table, even though the knife lying beside him suggests he's about to sacrifice them! Cipper's characters, though humble, are characterized by an impertinent nature, manifested by their fixed gazes on the viewer, attracting their attention. This is also true in this case: the boy stares ahead, laughing and winking, seeking the viewer's approval or even complicity. The work can therefore be attributed to an artist very close to Cipper. It has been restored and relined in the past. It is presented in an early 20th-century guilloche frame.

Oil on canvas. 18th-century French school. View of a harbor near a white city, with ships anchored offshore and lifeboats with passengers moving toward or away from them. Numerous figures enliven the scene, set at dawn, with the sun still low behind the clouds, its rays filtering through to illuminate the sky. Similar works are known by the painter Charles François Lacroix de Marseille (1700-1779), who worked extensively in Italy, establishing himself with his ideal views of the Mediterranean coast. Port views are a recurring theme, a synthesis of realism and ornamental taste, transcending classical landscapes and anticipating solutions of the Enlightenment and Romantic tastes. The painting has been restored and relined in the past. It is presented in a period frame.

Oil on canvas. The broad landscape frames a glimpse of a lush, green plain at the foot of rocky outcrops; a navigable river flows through it, cascading over it. On the left, a path descends from the arched passage between two buildings on the hill behind; two men in oriental dress are walking along it, carrying a huge berry branch on a stick. The scene is depicted at sunset, with rosy hues of the sky radiating across the mountain peaks. The painting has been restored and relined in the past. It is presented in an early 20th-century gilded frame.

Oil on canvas. In the foreground, the ruins of a large classical-style building with imposing columns occupy the scene. In the background, across a stream, is a small castle with a bridge, shaded in blue-white hues that connect the water with the sky. On the front canvas, the painting shows traces of previous restorations. It is presented in a late 19th-century frame, regilded.

Oil on canvas. Italian school, late 18th century. Portrait of a prelate in his cassock, posing before the curtain that hides the fluted columns of his place of worship. The facial features are well-detailed. The painting has been relined in the past. It has a small loss of paint in the upper right corner. In a late 19th-century frame (requires restoration).

Oil on canvas. 18th-century Italian school. In a lush, hilly landscape, stand the turreted walls of a building overlooking a pond; several women bathe in it, while a young man fishes. The painting was restored and relined in the late 19th century; it currently has some slight paint loss in the upper right corner. Presented in an early 20th-century gilded frame.

Oil on canvas. 18th-century Italian school. The Virgin with clasped hands and bowed face harks back to the 17th-century models of Sassoferrato. With this figure, gathered in a calm and silent devotional pose, presented alone and without a background, he proposed a new devotional model, in keeping with the approach to faith promoted by the reformers of the Roman Catholic Church, who encouraged individual contemplation. The painting has been relined.

Male Figure

Oil on canvas. The painting's pictorial style and subject matter are reminiscent of the work of Giacomo Francesco Cipper, known as Todeschini, an artist of Austrian origins who established himself in Milan. He specialized in market scenes, open-air concerts, card players, and scenes of humble daily life, rendered with playful caricature and a search for comic effect. This work, for example, portrays a commoner biting into a chicken leg: despite the poverty evident in his clothing, the man appears cheerful and cheerful, representing not desolation but the vitality and fun of daily life, albeit in poverty. Cipper's characters, though humble, are characterized by an impertinent nature, manifested by their fixed gazes on the viewer, attracting their attention. The canvas was mounted on cardboard in the late 19th century, restored, and framed in gilded pastiglia. It currently requires cleaning.

Oil on canvas. A large architectural capriccio featuring the remains of a fragment of a classical temple colonnade, rising above the crumbling ruins of a city wall, also in ruins, with two arched gateways. Various folk figures, tiny and insignificant figures, pass along the path beneath the imposing ancient ruins. The background is a hilly landscape, evocative of central Italy, in chromatic harmony with the sky above. The painting has been restored and relined in the past. It is presented in an antique, re-lacquered and re-gilded frame.

Oil on panel. Dutch School, 18th century. The man portrayed is the famous Dutch anatomist, anthropologist, and naturalist Petrus Camper (1722-1789), of whom there is another very similar portrait by Tibout Regters. In this version, however, the attribution to George Van Der Mijn (1727-1763) is noted on the back. The painting is presented in a period frame.