Antique Table Clock Bronze Eclectic Style France XIX Century Original  - France, Late XIX Century

Italy, 19th Century

This walnut and stained chestnut corner cabinet is an authentic example of 19th-century Italian craftsmanship, crafted from antique woods that enhance its historic character. The structure features a paneled door front, offering an elegant and functional design. The cantilevered legs add stability and a touch of refinement. Inside, a shelf allows for efficient storage. This piece fits perfectly into classic settings, thanks to its artisanal craftsmanship and the warmth of the wood.

Girl with Flower

Oil on canvas. Signed in the center (along the neckline of the girl's dress). From the Campari company collection. A central figure of the Lombard Scapigliatura movement, Conconi developed a refined and experimental language, taking the research of Cremona and Ranzoni to its extreme, later reinterpreting it in a Symbolist-Divisionist vein. He created several portraits, in which the influence of Tranquillo Cremona is evident, while revealing his originality in genre paintings, landscapes, and fantastical, imaginative constructions. The painting is presented in a frame from the first half of the 20th century.

Oil on canvas. Neapolitan school, late 19th-early 20th century. The scene, set near a well on a terraced square overlooking the Gulf of Naples, with Mount Vesuvius smoking in the background, features a group of women in folk dress enjoying a convivial moment, playing and dancing the tarantella. Lively and colorful, it depicts an episode of Neapolitan folk life, a very popular subject. The painting is presented in a period gilded frame.

Alpine View with Cows

Oil on canvas. Signature and location (Monza) at the bottom left. In 1881, Monza-born painter Eugenio Spreafico became interested in Verismo and the Scapigliatura movement, joining the Monza Realist group, which included Mosè Bianchi, Emilio Borsa, and Pompeo Mariani. His focus shifted to landscape painting, particularly of Monza and the Lombardy countryside, and to social themes such as farm work, portraying male and female workers immersed in nature, in a close relationship between figure and landscape. Presented here is a glimpse of an Alpine peak overlooking a large green meadow.

Mountain Landscape

Oil on canvas. Signature and date (poorly legible, 18...) lower right. Ernst Gustav Doerell devoted himself to landscape painting, particularly favoring glimpses of the Bohemian mountains where he lived. His work features detailed and precise views, realistically capturing the play of light that softens the colors of nature. The work is presented in a period frame.

Female Face

Mixed media on cardboard. Signed lower left. Antonio Mancini was a painter of realist inspiration, trained in the Neapolitan school of Morelli and Palizzi and later in Paris. He devoted himself primarily to portraiture and genre scenes of a popular or anecdotal nature, but while initially he was close to 19th-century naturalism, which led him to portray popular figures imbued with sadness (his street urchins), he later began to experiment with different techniques, using vivid flashes of light, applied to the canvas in clumps of violent color and vibrant drips, even employing non-pictorial materials, such as stained glass, and depicting agitated figures, sometimes in imaginative disguises, an expression of his profound psychological distress. In this drawing, likely a preparatory sketch, the female face is not emphasized in its physiognomic features, but rather in the explosive personality of the woman's body, whose half-bust seems to soar upward in a lateral twist, making it emerge from the blurred and undefined features surrounding it. This work is presented in a frame.

Italy 19th Century

Walnut corner cabinet from the second half of the 19th century, designed to be hung. The structure features a curved front with a pair of doors that provide access to an internal storage space. Above, a curved shelf is supported by molded sides, providing additional display space. The walnut wood lends warmth and refinement, although there are some visible defects that testify to its use and age. This piece reflects the Italian style of the period, combining functionality and elegance, ideal for enhancing a living room or study corner.

Oil on canvas. Second half of the 19th century. On the left side is the monogram GD and the date 1875. On the back is a handwritten note identifying the sitter as Maria Guarnero, wife of Lorenzo Bonisconti (whose portrait is published). The painting is presented in a modified antique frame.

Oil on canvas. Second half of the 19th century. On the right side are the monogram GD and the date '75. On the back is a handwritten note identifying the sitter as Lorenzo Bonisconti, and a further label declaring the work was restored in 1991. The painting is presented in a modified antique frame.

Tempera on panel. This large icon features three figures of saints, perhaps three apostles (unidentifiable because the inscriptions with their names have been almost completely erased), one of whom holds the Holy Book. The panel shows small losses of paint.

Tempera on panel. This large icon depicts Saint Charalampos, bishop of a city in Asia Minor in the 3rd century AD, who died a martyr. Around the figure of the Saint, twelve panels recount episodes from his life, particularly his martyrdom, which, according to legend, was long and repetitive, involving multiple tortures, thanks to God's intervention in saving the Saint each time, and to the conversions he induced in his executioners. The panel features small paint losses and stains of dirt.

Interior scene

Oil painting on canvas. Not signed, but on the back there is a dedication "Alla signora Clelia Mazzioli, con stima Gaetano Bellei 23 gennaio 1909". The big scene, set in a popular kitchen, sees a woman reading cards to two girls, who ask for explanations by pointing to the figures that appear and seem to compare them with a text leaning on the chair. The work recalls the painting of Gaetano Bellei, due to the strong realism with which the painter painted above all scenes of daily peasant life; he is considered a master of the depiction of human affections and of human reactions and sensations. The painting has slight drops of color. It is proposed in a stylish frame.