Vintage Alarm Clock Imhof Trianon 15 Jewels Switzerland '900 - Switzerland, Mid XX Century

Copy from 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.

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.

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.

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.

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.

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.

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.

Italy Third Quarter XVIII Century

Corner cabinet, Trentino, third quarter of the 18th century. Two doors in the base and a shaped glass door in the upper part. Wavy support legs joined together with feet carved in goat's hoof; The slightly wavy front has large uprights on the sides veneered in walnut with poplar burl reserves that we find in the doors, fillets in various woods with typical C-shaped inlays in maple wood. The upper door is veneered in poplar burl. Interior in fir, replacements in the hardware.