Vintage Mirror Exotic Wood Italy 1960s

Modern Painting Signed Luigi Brignoli Oil on Canvas 1935

The Birth of Venus, 1935

Oil on canvas. Signed and dated lower left on the left lateral canvas. The large composition is made up of three separate canvases, the central one developed vertically (dimensions 220 x 128 cm) and rounded on the upper margin, the two lateral ones developed horizontally and shaped at the corners (dimensions 150 x 328 cm). The central canvas is dominated by the figure of Venus, who emerges naked from the sea foam, with one arm raised to cover her eyes to protect herself from the light of dawn; on the two lateral canvases, a group of tritons, sirens, sea nymphs, sea monsters, led by the god Poseidon, recognizable on the left by the trident he holds, witness the event with amazement and joyful exultation. The figures stand out against the background of sea and sky, fused in a luminous continuum of shades of blue, into which the pink light of dawn insinuates itself, illuminating the scene. Trained at the school of Cesare Tallone, Brignoli learned from him the naturalism deriving from the Venetian tradition, the observation of nature, the decisive brush stroke, the strong contrasts of light. Moreover, after several trips to Africa, begun in 1922, Brignoli approached orientalist painting, but he shunned forms of exotic rhetoric, to instead relive the new subject with a careful research of colors and the effects of light on the landscape. This work, belonging to the artist's already "African" period, is influenced by this imprint, in the bright and clear chromatic choices. Due to its size and the composition of the three canvases, it has a great scenographic impact: coming from a large villa in Brescia, where it was displayed on the imposing staircase, it was probably conceived and created specifically as a custom-made decorative element. The canvases are presented in contemporary gilded frames, missing some parts.

Contemporary Painting Signed Luca Caccioni Mixed Technique 1992

Studio Still life 1992

Mixed media on paper. Title at the bottom. On the back the artist's stamp with signature, title and date. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent place within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Framed work

Antique Etching from from Basilius Besler's Herbarium XVII Century

Color etching. Certificate of authenticity on the back. The plate is part of the important work "Hortus Eystettensis", a herbal created by Basilius Besler for Johann Konrad von Gemmingen, the prince-bishop of Eichstätt, in Bavaria, a passionate botanist. The work was published for the first time in 1613 and consisted of 367 copper engravings, with an average of three plants per page, depicting a total of 1084 species. The first printed edition was printed in 300 copies, which were sold in four years. The book was printed on large sheets, measuring 57 x 45 x 13 cm and weighing 14 kg. Two versions were made, an economical one in black and white for use as a manual, the other, a luxury one: without text, printed on quality paper and richly hand-colored. The work was republished twice more in Nuremberg, in 1640 and 1713, using the same plates, the matrices of which were destroyed by the Royal Mint in Munich in 1817. The etching is presented in a period frame.

Contemporary Painting Signed Luca Caccioni Italy 1990s

Studio

Mixed media on paper. Signature and title at the bottom. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent place within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops from 19th-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Painting Jesus stripped of his clothes

17th Century

Oil on canvas. The scene depicts a moment of the Passion of Christ, which coincides with the Xth station of the Via Crucis: having arrived on Golgotha, Jesus is stripped of his clothes, while a soldier prepares the irons to nail him to the cross, another prepares the sign to be displayed on the cross, a third squeezes a sponge soaked in gall to give him water. Restored and relined in the early 1900s, the painting has some paint loss and a scratch at the top. It is presented in a period frame.

Painting Landscape with Figures

Oil on canvas. In the large classical landscape of Nordic style, with thick vegetation and a torrential river, three figures are depicted on the path on the left that evoke the biblical characters of the Flight into Egypt: a man leads a donkey, on which sits a woman, wrapped in a blue cloak, holding her little son in her arms. Restored and relined, the painting is presented in an early 1900s frame.

Antique Painting Signed Charles Christophe Coventry 1802

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.

Fake Author's Painting signed Rognoni

Fantastic Vision with Figures

Oil on canvas. The signature of the painter Franco Rognoni appears at the bottom right, but the work has not been recognized as authentic by the artist's archive. It also well reflects Rognoni's pictorial style, characterized by figures, both men and houses drawn in black with a few precise strokes, and then filled with color that fades into the background. In the canvas, an elegant male figure appears, leaning impassively and indifferently on the flowered railing of a terrace overlooking a city; below him, at the bottom left, another face emerges (the same man?) wearing a military helmet and placed on a darker, less sunny city background: whether it is the man at war who recalls the time of peace or vice versa, the reference to the alternation in life of peace and war, of serenity and drama is evident. The work is presented in a frame.

Painting Portrait of a Priest

Oil on canvas. Portrait of a prelate, severely intent on reading the breviary: the white fur cape worn by the priest over his cassock stands out, while on his head he wears the traditional biretta. The painting has a small cut in the lower left, and some paint loss. It is presented in a contemporary gilded frame.

Painting Courtship Scene

Oil on canvas. The protagonists of the scene are a girl and a boy dressed in traditional Tyrolean clothes, a region to which the setting also refers, with its characteristic mountain chalets with flower-filled balconies; the girl, sitting knitting, joyfully receives the embrace of the boy, who takes her by surprise from behind. The pictorial style and subject matter refer to the production of some Tyrolean artists who tried their hand at popular and traditional genre scenes, including for example Hugo Kauffmann, specialized in popular interior scenes in costume. The painting, on the first canvas, shows traces of patches. It is presented in a gilded frame in style.

Antique Painting Female Face Oil on Canvas XIX Century

Oil on canvas. Face of a lady, depicted in profile, with a dangling earring and a charming hairstyle adorned with a large pink bow, which softens the severity of the dark dress and serious expression. The painting is presented in a period frame.

Antique Painting Female Portrait Oil on Canvas XVIII Century

Oil on canvas. Central European school of the 18th century. The distinguished lady, who flaunts a dress enriched with bows and lace, is seated at her desk and holds a letter in her hand; at the bottom left an envelope bears traces of a name, unfortunately illegible, a device to make the portrayed character known. Restored and relined, the painting is presented in an early 1900s frame.