Novara Late XIX - Early XX Century

Hand-cranked piano in lacquered and painted wood, attributable to the Piedmontese production Ottina and Pellandi, Novara late 19th - early 20th century. The decorations and colors make it hypothesized a destination for Sicilian public places, where in this period dance parties, theatrical and cinematographic performances were held. The Ottina e Pellandi company was active in Novara between the end of the 19th and the beginning of the 20th century. Mechanism not tested.

Oil on canvas. Central European School. The scene is set in the shop of a barber, who is intent on cutting a man's hair under the watchful eye of other customers and, above all, of some women with children, one of whom even observes the result of his work with glasses. Glasses were introduced in art first as a sign of distinction, and later also as a sign of scientific attention, progressively delineating the figure of the scholar, doctor and surgeon: in this painting, they actually underline the irony of the scene, and they are used as a tool for a close female examination of the spouse's haircut! The whole scene is filled with figures, painted in a crude and almost grotesque way, with very marked, almost theatrical expressions and poses, underlined as well by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which originated in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in an antique frame.

Last quarter of the 18th century

Neoclassical Piedmontese chest of drawers, last quarter of the 18th century, with top in Piedmontese Bardiglio gray marble, wavy front with 3 drawers veneered in striped walnut, uprights and feet at forty-five. Poplar interior.

Italy First Quarter XVIII Century

Bergamasque baroque chest of drawers in walnut extensively modified and restored in the interior. Italy, first quarter of the 18th century. Front with 3 drawers with tiles carved in walnut, threaded in maple and veneered in briar walnut. Spruce interior.

Italy, first quarter of the nineteenth century

Empire psyche in walnut, Italy, first quarter of the 19th century. Tilting mercury mirror framed by semi-columns with gilded and chiseled bronze applications. Equipped with 1 drawer. Walnut interior.

Europe 1920s-1930s

Pocket watch with visible movement. Spring loaded 8 days. Shows slightly worn.

Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book in his hand, identify him as a prelate. The surname Albertoni is widely spread in Italy, in various families that started from Lombardy to extend to Parma and then to Rome. The painting, restored and relined, is presented in a period frame.

Oil painting on canvas. It is a vintage copy of the engraving of the same name made by Annibale Carracci (1560-1609), which had immediate success and gave rise to a series of printed replicas and painted copies. It presents the moment of the Passion in which Christ is crowned with the crown of thorns, the object of torture, the disparaging symbol of his proclamation as King of Kings. The act is performed by two figures, the Roman soldier and the Jew, representing the two people who they took part in Christ's death sentence. The figures, vigorous and sanguine, those of the two tormentors paler and more inert than the victim, create an intertwined composition of bodies, with that of the central Jesus joining the other two, uniting them in the shared responsibility of what they are doing; placed sideways, Jesus has his head bent forcibly to the left by the soldier who imposes the crown of thorns on him, while the Jew on the right places the bamboo cane in his hand, replacing the scepter. The scene is dominated by gloomy and dark colors, among which only the bright red of Christ's robe stands out, a symbol of his suffering humanity. The painting has been restored and relined. It is presented in a beautiful coeval frame, with shortcomings.

Oil on canvas. French school of the late 19th century. Trace of unidentified signature at the top right. In the foreground, the faces of two popular characters who seem caricatured, perhaps characters in a theatrical performance: it seems the scene of a satirical courtship, with the man who looks lasciviously at the woman, certainly not young and attractive, who is holding a bunch of flowers with an expression between resigned and confused. The painting is presented in a frame from the early 1900s.

Tableau doré

Mixed technique on plywood (painting and silver paper sheets). On the back, authentic with stamp and signature of the artist's sister. The work belongs to the series of Tableaux dorés, works created by the Milanese artist Remo Bianco starting from the 1950s. Born and educated in Milan, Remo Bianco was a pupil of De Pisis, in whose studio he frequented the great Italian artists of the twentieth century (Carrà, Sironi, Savinio, Soffici, Soldati, Marini, Cantatore). After the interlude of the war (enlisted, sank with his ship and was taken prisoner in Tunis), he resumed his artistic activity in Milan, participating in the Nuclear Movement and Spatialism, coming to completely detach himself from figurative painting to create works made of brushstrokes mashed potato. At the beginning of the fifties he began to create works, pictorial and sculptural, with different materials and to experiment with different themes and techniques; to this production belong the Tableaux dorés, composed of silvered or gilded aluminum foils on painted bases. The work is presented in a frame.

Shop counter with enamelled metal base, wooden slats and adjustable brass feet, top with open compartment and drawer on one side, Walnut veneered wood, reserves and top in birch-effect Formica, ebonized wood profiles. (also available with other sizes).

Shop counter with enamelled metal base, wooden slats and adjustable brass feet, top with open compartment and drawer on one side, Walnut veneered wood, reserves and top in birch-effect Formica, ebonized wood profiles. (also available with other sizes).

Marble sculpture depicting the bust of a man. Signature of the author "F. Parisi" engraved at the base.