Modern Painting with Landscapes Oil on Canvas XIX Century

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 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.

Floral Arrangement of Red Roses

Oil on canvas. Signed lower right. Alfio Paolo Graziani chose the faithful transposition of reality on his canvases, creating almost hyper-realistic compositions for the precision in reproducing the various materials and surfaces, as well as the effects of the light incident on them. Nicknamed "Prince of Flowers" for the abundant production of floral compositions, he also created landscapes, portraits and still lifes. Presented here is a bright bouquet of red roses, arranged in a decorated ceramic vase. The work is presented in a period frame.

Floral Composition

Oil on canvas. Signed lower left. Alfio Paolo Graziani chose the faithful transposition of reality on his canvases, creating almost hyper-realistic compositions for the precision in reproducing the various materials and surfaces, as well as the effects of the light incident on them. Nicknamed "Prince of Flowers" for the abundant production of floral compositions, he also created landscapes, portraits and still lifes. Presented here is a bright bunch of small roses arranged in a decorated ceramic vase. The work is presented in a period frame.

Mixed technique on paper. The work is signed lower right A. Mancini, but cannot be attributed to the master Antonio Mancini, but rather to a contemporary imitator. However of good quality, it presents the face of a young commoner. It is presented in a contemporary frame.

Oil on canvas. Northern European school of the first half of the 20th century. Signed lower right H. Williams. The landscape offers a glimpse of two chalets in the midst of vegetation rich in trees and foliage, with figures on the path; in the background rise sharp, snow-capped peaks. The painting is presented in a period frame.

Oil on canvas. The large painting features a golden frame with scrolled friezes in the center of a red background, in which a praying Virgin is painted, looking at the productions of the late 17th-early 18th century; the frame is supported on the sides by two golden cherubs, who rest their feet and hands on decorations that are also golden with scrolls, on which are inserted multi-colored leaves and flowers. The painting is pre-realized on two canvases sewn horizontally. The panel is surrounded by trimmings.

Oil painting on canvas. Unidentified signature lower left. Great landscape of a forest with warm autumn colours, which is reflected in the pond in the foreground, forming a blue counterpoint to the sky above. The canvas has small tears. It is presented in a stylish frame.

Oil on cardboard. Unidentified signature lower right. Landscape glimpse of a peasant countryside, with farmers approaching the wheat field, full of golden ears, while to the left of the path there is a shady spot, which leads to a fence. The painting is presented in a contemporary gilded frame, with small defects.

Mixed media on paper. Delicate oval portrait of a young man, whose face and hair fade into the pastel colors of the background, which seems to be one with his figure. The work is presented in a contemporary frame.

Portraits of Children, 1930

Photographs retouched with pastels. Signed bottom right. On the back of three of them is the date 11 November 1930. A photographic sequence of the portrait of three children is shown, who slightly change their pose or expression. They are the work of the British photographer Eva Barrett who, after an initial experience as a painter, decided to dedicate herself to photography, thinking that "it was better to be a first-rate photographer than a second-rate [painter]. Having moved to Rome in 1913, she established her laboratory here. Pictorialist, with a small camera, Eva Barrett created her own photographic method that was reminiscent of drawing sketches: she applied a few very light pencil strokes, managing to create subdued images but with particularly dense blacks, thus maintaining the characteristics of photography and portraits. In this way he was very successful and his career took off. Eva Barrett photographed the Italian royal family, the wives and children of foreign ambassadors, as well as received numerous commissions from European royalty in Belgium, Sweden, Greece. The four portraits are presented in style frames.

Glimpse of the Cloister of the Dome of Monreale

Mixed technique, with canvas, wooden panels, metal threads, small beads, etc. At the bottom center is the artist's name, unidentified. It is a three-dimensional and perspective reconstruction of the cloister of the Monreale Cathedral, with the fountain in the foreground. The work is presented in a display case with a gilded frame from the early 1900s.