Antique Clock Tryptich Antimony France XIX-XX Century - France, Late XIX-Early XX Century

The Ancient Baptistery of Gravedona

Pencil and watercolor on paper. Signed lower left. Of the same subject but with characters, there is a version on canvas by the Milanese artist, preserved in the civic Raccolta d'arte Museo dell'Ottocento of Villa Belgioioso Bonaparte, in Milan. Luigi Bisi specialized in interior views of churches in Lombardy, with a predilection for the Milan Cathedral. The work is presented in a frame.

Composition with Bread and Tomatoes

Oil on canvas. Signed lower right. The artist's stamp is on the back of the frame. De Bernardi's painting is part of the Lombard landscape tradition of the 19th and 20th century. He always lived in Besozzo, his hometown in the province of Varese, but he traveled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. His production does not lack some still lifes, dating back mainly to the 1940s, compositions scrupulously drawn and aimed at dealing with the problems of light and atmospheric depth with agility and freshness, as in this presentation of some bread and tomatoes on a rustic table. Restored and relined, the painting is presented in a frame.

Oil on canvas. Northern European school, early 1900s. Unidentified signature on the lower right. The landscape represents a glimpse of uncultivated countryside, with patches of vegetation, meadows full of heather, crossed by a path that leads towards the nearby hills, passing next to a stable. The work has a small cut at the top center. It is presented in a frame.

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.

Boats on the Canal

Oil on canvas. Signed lower right. Title in pencil on the frame. The Hungarian painter Emil Lindenfeld lived in Italy for a long time, before moving to the United States in 1956. His very rich production includes scenes with humble characters, workers, but also landscapes and glimpses of the places he lived, including glimpses of Venice. The work is presented in a frame.

Courtship at the Well 1873

Oil on canvas. Signed and dated lower right. Haier was a Viennese painter and photographer, but lived for a long time in the Czech Republic. His pictorial production includes portraits and many genre scenes, set like this one in the Czech rural environment. We have a seller of jars, transported on the back of his donkey, who entertains himself at a well in amorous conversation with a girl, who in the meantime offers a tuft of grass to the docile beast. The painting is presented in a period frame.

Oil on canvas. Dutch school of the late 18th-early 19th century. On the back of the frame, an early 20th-century inscription reads "The Surgeon, based on a subject by Bega", referring to the Dutch painter Cornelis Bega (1620 - 1664) who stood out for his genre scenes, usually interiors and in a popular style. The interior of a house is shown here, where a woman is treating a man's leg wound, assisted by her little daughter and the curious old woman. The work is presented in an early 20th-century frame.

The Country Road 1905

Oil on canvas. signed and dated lower right. The Hungarian painter Antal Berkes painted landscapes in the early years of his career, but later devoted himself to glimpses and views of cities, Budapest, Paris, Vienna. This painting still belongs to the first production, proposing the view of a country road, which passes through a forest where some farmhouses are located; on the dirt road there is a cart pulled by horses. The painting is presented in a period frame.

Landscape with Figures

Mixed media on cardboard. Signed lower left. Stamp of the artist's studio on the back. The painter of Apulian origins Giuseppe Casciaro, painter and teacher at the Institute of Fine Arts in Naples where he trained, was essentially a landscape painter and produced in particular views of the surroundings of Naples, Irpinia (Nusco) and Puglia. He preferred the pastel painting technique in which he excelled. Here is a glimpse of a Mediterranean countryside, crossed by a path with wayfarers. It is presented in a period frame.

Glimpse of the Village 1923

Oil on panel. Signed lower left. On the back is a further signature and the date (November 1923). De Bernardi's painting fits into the tradition of Lombard landscape painting of the 19th and 20th centuries. He always lived in Besozzo, his hometown in the province of Varese, but he travelled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. Here is a glimpse of a small village, De Bernardi's painting fits into the tradition of Lombard landscape painting of the 19th and 20th centuries. The picturesque. He always lived in Besozzo, his hometown in the province of Varese, but he travelled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. Here is proposed the glimpse of a mountain village. The work is presented in a frame in style.

Tarasp Castle 1960

Oil on cardboard. Signed and dated lower right. The Roman artist Cesare Maggi established himself as a landscape painter of the divisionist style, portraying Alpine landscapes of the Engadine and Aosta Valley, often enlivened by the inclusion of figures and animals. Having become friends with the painter Giacomo Grosso in Turin in 1901, he then successfully turned to the portrait genre, setting aside the divisionist technique. Although he still preferred high mountain views, he expanded his subjects by also working on marine and still life paintings. Shown here is the snow-covered glimpse of Tarasp Castle, an 11th-century fortress in Lower Engadine, Switzerland. This is a late work by the artist, who remained attached to his favorite subject, the Alpine landscape, until the end, despite having now abandoned the divisionist technique of his early period. The work is presented in a period frame.