Vintage Mirror Brass Profiles Italy 1960s

Antique Painting Religious Subject Oil on Canvas XVIII Century

Oil on canvas. The scene is set inside a marble palace, with arches and vaults; the numerous figures occupy the space in a play of intertwining bodies and glances that meet. In the center the Virgin Mary lifts the Baby Jesus to show him to the visitors; behind her on the right Joseph watches attentively, while above hovers a little angel bearing the scroll with the Gloria. On the left the group of the three kings from the East, paying homage to the Child, and behind them the curious servants who observe and point. The bright and vivid colors stand out. Restored and relined, the painting is presented in a regilded late 19th century frame.

Antique Painting Landscape Oil on Canvas Italy XIX Century

Oil on canvas. Central European School of the 19th century. Unidentified signature lower right. Sweet and serene countryside landscape, with a small stream flowing through the meadows, a small house nearby, popular figures walking on the paths. The painting has several paint losses and slight holes (marked crack). It is presented in a readjusted antique frame.

Painting by Alberto Sughi

Untitled

Oil on canvas. Signed lower right. Additional signature on the back. Alberto Sughi lets his interest in "existential realism" shine through in his works. Without getting involved in the post-war debate between abstraction and figuration, he chooses to portray various aspects and figures of metropolitan life, imbued with a melancholy that the artist narrates without judging, showing what is the harsh reality, namely the solitude of the individual and an intrinsic malaise of humanity. All this can also be read through his colors, darkened in the aftermath of the Second World War, often shaded or undefined so as to give the idea of almost cinematographic sketches, frames of "alienated" figures, between solitude, indifference and incommunicability. Framed work.

Painting Portrait of the Infanta Maria Anna Victoria of Bourbon

Copy by Nicolas De Largillière

Oil on octagonal metal plate. This is a copy of the portrait of the Infanta Maria Anna Vittoria of Bourbon (1718-1781), painted by Nicolas de Largillière in 1724, currently preserved in the Prado Museum in Madrid. The original better highlights the very young age of the princess, first daughter of Philip V of Spain and Elisabeth Farnese, who was engaged to Louis XV in 1722, at the age of just four, and immediately sent to Paris; the young Infanta was nicknamed "l'infante Reine" (the child queen), but did not marry the French king, who in 1725 decided to send her home because she was too young. The child, who in this copy seems a little older, is depicted at the French court, probably in a room of the Louvre Palace where she stayed, in a sumptuous princely dress, with the royal crown resting on the rich console table to her right. The painting is presented in a contemporary gilded frame.

Painting River Landscape with Architecture

Oil on canvas. Large in size and octagonal in shape, the canvas features a landscape inscribed in a frame painted with friezes, falling into the category of eighteenth-century painting conceived for furnishing purposes. The scene is set by a river, on whose bank rise architectural ruins of classical structures, which tower majestically over the figurines of popular characters animating the scene. The painting, already restored and relined, features several small holes, paint losses and widespread stains.

Painting Landscape with Buildings and Figures

Oil on canvas. Large format and octagonal shape, the canvas presents a landscape inscribed in a frame painted with friezes, falling into the category of eighteenth-century painting conceived for furnishing purposes. The landscape sees on the left some bare rocks from which a small waterfall flows, while on the right the ruins of an architectural structure, in front of which two women in traditional popular clothes are conversing. The canvas, already restored and relined in the past, presents widespread small holes, paint losses and stains. The canvas falls into the category of eighteenth-century paintings for furnishing purposes.

Coastal Landscape Painting with Buildings and Figures

Oil on canvas. Large in size and octagonal in shape, the canvas presents a landscape inscribed in a frame painted with friezes, falling into the category of eighteenth-century painting conceived for furnishing purposes. The landscape shows a village near the coast, with fishing boats on the seashore; on the left, the ruins of a colonnade dominate in the foreground, under which two figures converse. The canvas, already restored and relined in the past, presents widespread loss of paint, small holes and stains.

Painting with Storm Scene

Oil on canvas. French school of the second half of the 18th century. Probably the work of a follower of Claude Joseph Vernet (1714 -1789), a French painter specialized in marine scenes and who painted several times glimpses of storms and shipwrecks. The scene is set on a rocky coast, near a village built on the cliff above; a strong storm is underway, which unleashes a lightning bolt, shooting from the top right, above some frightened figures of wayfarers, and directed towards the sailing ship that is sailing at the mercy of the strong waves. The sky is full of black clouds, even if in the distance a patch of blue seems to be already beginning to open up. Restored and relined, the painting is presented in a period frame.

Painting Tavern Scene

Oil on canvas. Inside an inn, which almost seems to be made in a cave, opening onto a rather barren countryside, some men eat, drink and relax at the table next to the fire, while a woman sitting on the floor watches them amused while eating. The figures are grotesque, almost caricatural, the colors earthy, to underline the peasant extraction of the scene. Restored and relined, the painting is presented in an ancient frame.

Painting Scene with Card Players

Oil on canvas. Inside an inn, some customers are playing cards: the man sitting on the left is cheating, hiding a card in the collar of his shabby jacket, under the amused gaze of the innkeeper who arrives. The figures are grotesque, almost caricatural; the colors are predominantly earthy, to emphasize the popular setting. Restored and relined (on the back is a restorer's label dated 1952), the painting is presented in an antique frame.