Antique Mirror Umbertino Gilded Wood Italy XIX Century - Italy, Late XIX Century

Italy, Mid XIX Century

Pair of eclectic armchairs in carved, lacquered and gilded wood, Italy, mid-19th century. Wavy armrests ending in a curl, wavy legs; decorated with leaf and golden scroll carvings. Padded backs and seats.

Italy, Mid XIX Century

Pair of Louis Philippe reclining armchairs in walnut and beech, Italy, mid-19th century. Wavy legs and armrests, padded backrests and seats. Under the armrests there is a metal mechanism that allows you to adjust the inclination of the backrests.

France, Mid XX Century

Antique game table, supported by a central turned baluster resting on four wavy feet carved with leaf motifs and equipped with wheels, the under-top band features characteristic curled carvings; mahogany veneer, missing parts present.

Italy, Late XIX-Early XX Century

Neo-Renaissance cabinet supported by bracket feet, on the front it has two paneled doors and a drawer, raised with flap door carved with central coat of arms, two drawers in the band; wavy uprights. In walnut.

Eastern Europe, Early XIX Century

Sideboard of Eastern European production, supported by plinth feet supporting uprights in the shape of tapered pilasters to frame a pair of retractable doors, the internal chest of drawers is missing; in the undercounter band there is a central drawer flanked by two pairs of overlapping drawers. In walnut, it is decorated with threads and inlays in maple and various essences, marble top; pine interior.

Italy, Mid XIX Century

Louis Philippe étagère supported by turned uprights, while the upper shelves rest on wavy uprights carved with leaf motifs; gilded, the upper part of the shaped shelves is lacquered.

England, Late XIX Century

English table resting on curved feet and supported by five turned legs, in elm; the top is veneered in walnut with maple inlays.

Tuscany, Late XIX Century

Restoration chest of drawers in mahogany veneer, Tuscany, second quarter of the 19th century. Top in white marble, front veneered in mahogany with three drawers, the first of which juts out, uprights with ebonized round columns resting on a plinth and decorated with carved and gilded capitals; turned front feet also ebonized and embellished with golden leaf carving. Poplar and fir interior.

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.

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.