Antique Table Clock Gilded Bronze France XIX-XX Century - France, XIX-XX Century

Emilia Romagna, XX Century

Directoire cherry corner cabinet from Emilia, dating back to the early 19th century. The structure features a central paneled door, enhanced by a molding under the top, which enhances its geometric elegance. The pair of truncated pyramidal feet lends stability and a touch of classicism to the overall design. Inside, a shelf offers practical storage. Modifications attest to the corner cabinet's functional adaptations over time, while still retaining the original charm of the Directoire design.

Drunk Baccus

Oil on canvas. Signed lower right. The god is depicted standing on the scene, clad only in a cloth around his loins and by ivy leaves placed on his hips and head, while holding a chalice in one hand; his gaze is vacant and dazed. Behind him, a semi-reclining putto plays with ivy. All around are white clouds, just as the ground is white, with flashes of blue sky and a green bush creating the only contrasts. On the back of the work is the label 'Mario Galli Collezione d'Arte', with cataloguing number 64 and the artist's autograph inscription. The work well represents the painting of this artist, who was born in Modena but trained artistically first in Rome and then in Florence, where he spent most of his life. His rich production initially proposed mainly historical subjects, but then turned to portraits and finally to landscapes. His uniqueness can be recognised in his ability to range from historical subjects, often placed in settings taken from ancient Pompeii, to the Macchiaioli-style naturalism of his second period, in which Muzzioli sought a significant perception of atmosphere and light in subjects inspired by the rural Tuscan environment, often set in antiquity. In this work, a portrait of a mythological character, the artist's luministic intent strongly transpires, the search for the effect of light playing on the naked bodies of the god and the putto, then fading into the background. The Art Gallery label leads back to the Florentine Mario Galli (1877 -1946), a sculptor who was also an important collector of works especially by Macchiaioli. The work shows an important crack and has been retouched. It is presented in a stylish frame.

Italy, XX Century

Antique corner cabinet in walnut-stained fir. Glass door with a glass top and lower panel, three internal shelves, and bracket feet. Italy, second half of the 20th century.

Ezekiel's Vision, 1825

Etching by Paolo Caronni depicting the "Vision of Ezekiel" based on the painting of the same name by Raphael, executed between 1516 and 1518. The work depicts the appearance of God in the sky as narrated in the biblical Book of Ezekiel, surrounded by two cherubs and supported by the four figures of the tetramorph, representing the symbols of the four evangelists: the angel of St. Matthew, the lion of St. Mark, the winged ox of St. Luke, and the eagle of St. John. At the bottom, a figure bathed in a ray of light symbolizes Ezekiel. The engraving bears the signature of the engraver Paolo Caronni at the bottom right. At the center is the name of Vincenzo Raggio, a draughtsman known for his skill in chiaroscuro and the detailed reproduction of Renaissance iconography. The etching is presented in a contemporary 19th-century wooden frame, which shows slight loss of gilding.

Female Portrait

Oil on canvas. Signed on the right, halfway up the canvas. It is the portrait of a woman in mourning, a young widow, as can be deduced not only from her black dress, but rather from her headdress and especially from the cameo with a male portrait, which she wears hanging from her neck. Achille Zo was a French artist (from Bayonne, a town in the Pyrenees that was culturally influenced by the Basque Country), who despite having repeatedly stayed in Paris and Bordeaux, where he trained artistically, then made several trips to Spain, both to Madrid (in 1856) and to Andalusia (1860), producing for several years works with historical subjects or Spanish genre scenes. At the end of the 1860s, he turned instead to Orientalism. There are also several portraits in his production. The painting proposed here, on the first canvas, is presented in a beautiful contemporary frame from the second half of the 19th century.

View of Corfu with a Small Church and a Monk

Watercolor on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. The painting has slight scratches. Framed.

Glimpse of Corfu with Monk

Watercolor on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. The painting has slight scratches. Framed.

Oil on canvas. Unidentified signature lower right. This is a copy of the self-portrait painted by the famous Dutch painter around 1639, now held at the Louvre in Paris. It has patches on the back. It is presented in a contemporary gilded frame.

Family Lunch 1802

Oil on canvas. Signed and dated lower left. Genre scene of popular taste, it portrays a bourgeois family preparing to have lunch: the father, already seated at the table, is about to bless the meal, while his wife and son, standing, follow the prayer. Little is known about Charles Christophe Coventry, an English painter of whom we know mainly genre scenes of popular settings, such as this one. Restored and relined, the painting is presented in a period frame.

Mountain Landscape with Cows

Oil on canvas. Signed lower left. Giuseppe Buscaglione's predominantly landscape work is characterized by a focus on light and color, meticulously studied from life, with a particular focus on the atmospheric and temporal variations of nature. Like his teacher, Delleani, he even noted the place, date, and weather conditions in which he created his works on the back of his canvases. This mountain view (likely from the Piedmont Alps, his homeland) depicts a verdant valley with grazing cows and fir trees, beneath a gray, cloud-filled sky. The painting is presented in an early 20th-century plaster frame (slight cracks).

Female Nude

Crayons on cardboard. Signed lower right. Neapolitan painter Vincenzo Caprile, who trained at the School of Fine Arts in Naples, also had the opportunity to explore the School of Resina, an Italian painting movement that developed in the wake of Verism and related to the Macchiaioli movement, where he experimented with realistic renderings of landscapes and nature. Although he also established himself as a portrait painter, becoming the official portraitist of the House of Savoy, Caprile always favored landscapes and portraits of popular figures. His work is characterized by agile brushstrokes and luminous, tender colors, capable of delicate shading, which are also well interpreted through pastel, as seen in this delicate female nude, a less recurrent subject for him but which beautifully demonstrates his mastery of light and color. The work is presented in a late 19th-century frame.

Italy, Early XX Century

Baroque-style walnut corner cabinet. Drawer in the lower section, paneled door, and bracket legs. Italy, early 20th century.