Pair of Antique Persian Tiles Terracotta XIX Century - Persia, Mid XIX Century

Le Bionnay 1892

Oil painting on canvas. Signed, dated and located lower right. This is a small glimpse of the town of Le Bionnay, located in Haute-Savoie: the damage caused by an avalanche which destroyed one of the village's huts is depicted. The work is presented in a mid-20th century gilded frame (small defects).

In the Sheepfold, 1857

Oil on wooden board. Signed and dated in the center of the left margin. On the back there is a label from an art exhibition held in Sondrio in 1966 and one from the Martina art gallery in Turin. Eugène Verboeckhoven, a Belgian artist, distinguished himself for his paintings of animals, inserted into landscapes or placed in the interiors of stables. He belonged to that school of artists who, starting from the observation of nature, created compositions studied in detail, idealized reproductions of reality. Thanks to his dexterity in depicting animals, many artists called on him to enrich their works with some of his animals and figures. Between 1841 and 1842 he visited Italy, Switzerland and Scotland. The work presented here, an interior of a sheepfold with sheep and chickens scratching around, is presented in a period frame.

Mixed technique (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. The scene represents the meeting between a high priest and a leader: if he is followed by his entire army, with grim and armed soldiers of different ranks, the priest is followed by all the people who praise the winner, while two young women on their knees they offer wreaths of flowers. Behind the scene, the mighty walls with the entrance door to a city, towards which the priest points, almost as if handing it over to the leader. The priest's clothing, in particular the presence of the so-called "Decision" breastplate that he wears, refers to an Israelite priest, and therefore the city could be Jerusalem; instead the clothing of the victorious leader, with the helmet surmounted by two horses, refers to Alexander the Great, who actually conquered the city in 332 BC. The drawing is presented in a carved wooden frame from the late 19th century.

Italy, Mid XIX Century

Carved and gilded wooden torch holders with leaf scroll decorations and festoons.

Ludovico il Moro's farewell to his wife..

Mixed media (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. Ludovico Maria Sforza cries at the tomb of his young wife Beatrice d'Este (1475 -1497); around him the friars of Santa Maria delle Grazie and on his left Bramante and Leonardo. On the short side of the marble canopy of the tomb there is the Sforza coat of arms, with two snakes and two eagles. Il Moro was profoundly shaken by the early death in childbirth of his very young wife Beatrice, his companion in his private but also political life, as well as his husband's, a patron of the artistic geniuses of their court, such as Leonardo da Vinci. and Bramante, authors of many pictorial and architectural works of the Visconti-Sforza court. Various versions of this episode are known, especially from the nineteenth century, from that of 1815 by Giovanni Battista Cigola at the Pinacoteca Ambrosiana, to that of Alessandro Reati of around 1850. The painting is presented in a carved wooden frame from the late 19th century.

Early XX Century

Art Nouveau chandelier with six lights, Italy, early 20th century. Bronze structure, decorated with leaf elements and neoclassical motifs, including festoons, ribbons and love knots. Lower part in ground glass.

Italy, Late XIX - Early XX Century

Pair of carved alabaster candlesticks decorated with flowers, leaves and grape shoots.

Mixed media on paper. Delicate oval portrait of a young man, whose face and hair fade into the pastel colors of the background, which seems to be one with his figure. The work is presented in a contemporary frame.

Europe, Early XIX Century

Pair of carved and gilded wooden candelabra with repeated motif decorations, flowered festoons, pods and grooves.

Interior of Stable, 1889

Oil on hardboard. Signed and dated 11-30-1889 lower left. Delleani, who initially painted mainly historical subjects, progressively approached landscape painting "en plein air", especially of the places of his origins, the Piedmontese valleys, characterizing his views with chromatic vibrations and warm brightness. In the last decades of his life, however, he also allowed himself to be involved in the orientalist trend, but then returned to his landscape views, creating above all panels rich in warm colors and suggestive atmospheres. Rarer but equally evocative is his production of interiors, such as this one of a stable, where the animated figures, the sheep, appear as almost indistinct spots of color within an environment played entirely on the luminous effects of a single chromatic range. Restored and protected, the painting is presented in a gilded frame from the early 1900s.

Ballerina 1896

Mixed media on cardboard. Signed dated lower right. Adolfo Magrini was a multifaceted artist: painter, illustrator, engraver, set designer, after an initial production influenced by the romantic painting of Palizzi and Morelli, he was contaminated by Central European influences, becoming more angular. This youthful work is still influenced by the Neapolitan artists with whom he trained. The painting is presented in a frame from the first half of the 20th century. Has some color damage.