Mirror Glass Italy XIX Century - Italy Late 19th century

The bust portrays a noble woman, richly dressed. Certainly a portrait, as can be seen from the detailed physiognomic characteristics of the face; the depicted subject has a stern gaze and attitude, an element that characterizes the portrait sculpures of the time. The hair are tied on the back of her head in an elaborate hairstyle with braids. The neck is adorned with a necklace with a medallion in the centre and multiple strings of pearls. She is wearing an off-the-shoulder dress, refined with a thin lace hem and a bow in the middle of her chest. The sculptor has great skills with the use of a chisel to refine details and the texture of fabrics.

Italy late 19th century

Female bust and liberty column in white statuary marble, Italy, late 19th century. Bust in old-fashioned dress with floral elements placed on the chest; column decorated with ivy that descends transversely from the supporting surface.

Portrait of a young girl in marble placed on a grey marble column, depicting a young girl cloaked in the winter cold. The different processes used give variety in the rendition of the marble. On the back of the bust, “F. Andreini Florence 1894" is engraved.

19th Century marble sculpture representing a roman matron; the figure stands on the left leg and is wearing a long robe that leaves her breast free; the left arm is hidden by the cloth and is folted while in the opposite hand she is holding a corrispondence. Her face is austere with a pointed chin; her hair har divided by a central parting and collected in a bun behind her head.

The Joys of Mother

Oil on canvas. Early 1900s. The painting reproduces in rather detail the work of the same name painted in 1866 ca. by the Emilian painter Gaetano Chierici, an artist who became famous for a large production of scenes of peasant life, captured in rustic interiors, interpreted through an intimate sentimental adhesion and a clear formal realism, which tell of a small happy and always serene world, often joyful despite poverty, because it is devoid of any intent of social denunciation, but rather representative of the happy conception of family that the artist had. These paintings of his were so successful with the bourgeoisie of the time that they were replicated several times by the artist's own workshop and subsequently also by other painters. Chierici almost always set the scene inside a humble peasant kitchen, full of objects described in minute detail, populated by children intent on their daily activities, by adults who watch them happy and amused: in this scene set in a poor room, a woman sitting spinning, looks smiling tenderly amused at her two little children, the eldest who, standing, steals the pacifier from the little one lying on the floor on a bed of blankets, who stretches out his little hands towards his object of pleasure. The work, in the first canvas, is presented in a carved and gilded wooden frame from the late 19th century.

The Mask

Oil on canvas. The painting reproduces in rather detail the work of the same name painted in 1869 by the Emilian painter Gaetano Chierici, an artist who became famous for a large production of scenes of peasant life, captured in rustic interiors, interpreted through an intimate sentimental adhesion and a clear formal realism, which tell of a small happy and always serene world, indeed often joyful despite poverty, because devoid of any intent of social denunciation, but rather representative of the happy conception of family that the artist had. These paintings of his had such success with the bourgeoisie of the time, that they were replicated several times by the artist's own workshop and subsequently also by other painters. Chierici almost always set the scene inside a humble peasant kitchen, full of objects described in minute detail, populated by children intent on their daily activities, by adults who watch them happily and amused: here we see the child who suddenly enters the kitchen, wearing a grotesque mask on his face and thus frightening his little sister, who abandons her food to run and cling to the skirts of her mother, intent on the hearth, who scolds her son brandishing the ladle. The work is presented in a carved and gilded wooden frame from the late 19th century.

Italy, Late XIX Century

Pair of chairs supported by wavy legs ending in a curl, are carved with baroque-style rocaille motifs; partially lacquered and gilded, the seat and the raised and shaped backrest are padded.

Italy, Late XIX - Early XX Century

Neo-Renaissance desk supported by turned uprights connected by also turned crosspieces, there are two drawers in the under-top band and the same number in the backsplash, framing the central document compartment. Decorated with carvings with neo-Renaissance style motifs.

Italy, Late XIX - Early XX Century

Single bed in blue lacquered wrought iron, Italy, late 19th - early 20th century. Structure composed of turned elements alternating with spheres.

Italy, Late XIX - Early XX Century

Pair of single beds in lacquered wrought iron, Italy, late 19th - early 20th century. Structure composed of turned elements alternating with spheres.

Female Portrait 1937

Oil on canvas. Trace of signature lower left, full signature on the back, with the date. Trained at the Tallone school, Moretti Foggia was mainly a landscape painter, who offers veristic views characterized by a very bright and material chromatic palette, mainly reproducing his native Val d'Ossola. But his production also includes several portraits, among which is the successful one of this elegant and smiling lady, portraits in which the influence of Cesare Tallone is evident, in the brush stroke and in the use of color, as well as in the attention to the female world. The painting is presented in a contemporary frame.