Modern Painting Interior Scene Oil on Canvas Germany XX Century

Woodland Landscape

Oil on canvas, applied on board. Signed lower right. On the back there is an autographed stamp of the Neapolitan art critic Alfredo Schettini. Painter born in Catanzaro but trained in Naples, which became his adoptive city, Salvatore Petruolo was skilled in watercolor and in the use of oil colors, he made many landscapes similar to the School of Posillipo and many still lifes and flowers. The painting is presented in a period 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. Signed H.Cooper lower left and dated 1909. On the back an inscription indicates the location of Bishops'; Stortford, in the English county of Hertfordshire. It actually depicts a glimpse of the English countryside, with a rural house on the bank of the river, on which stands a fisherman. The painting is presented in a period frame.

Oil painting on canvas. Unidentified signature lower left. Pleasant genre scene depicting a snack between acquaintances in the garden, where a table for tea has been elegantly set under shady trees. The social occasion is characterized by a certain formality of people's ways, perhaps acquaintances rather than friends! The painting has a small patch visible on the back. It is presented in a stylish frame.

Oil painting on canvas. Central European school. Signed H. Church lower left. Developed vertically, the landscape offers a green countryside, with trees and undergrowth; in the center a path that leads to some farmhouses. The painting is presented in a period frame.

Oil on cardboard. Suggestive mountain view that frames a rocky and barren peak, surmounted by a few pines towering in the centre; on the rocky spur a very small human figure is outlined, contemplating the landscape; in the background the snow-capped peaks, which fade into the sky. The painting is presented in a contemporary frame.

Oil painting on canvas. The scene is set inside a popular farmhouse: in front of the large fireplace, where a large pot is boiling above the fire, a woman sits with a child in her arms, while two other women wait on the threshold looking out, with the plate in their hands, and another child eats his soup sitting on no stool. The scene is dominated by earthy colours, with a single glimpse of light entering from the threshold, framing a blue-white sky. The painting is presented in a contemporary gilded frame.

Female Nude

Sanguine on paper. signed lower right. Celada, who loved to paint women both in portraiture and in his figure studies, proposes a female body, firm and classicizing both in forms and in references to the painting of the past. Celada';s painting is capable of blocking in time and space reality, in a way that appears detached, analytical and scientifically exact (colours, reflections, transparencies), but communicating - as opposed to a total unreality - a great narrative pathos. The work is presented in a 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.

Bronze plaque with bas-relief figure. The figure of a naked man is depicted, holding an arrow and aiming it at the center of a target: the symbolism is evident, that is, the exaltation of the determination of the man who must go straight to the target; this meaning is well suited to the fascist period to which the plaque dates back, as is the reference to classicism. The plaque is inserted and presented in a contemporary wooden frame.

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.

Rovereto, 1920

Oil on the table. Signed lower left. The title and date on the back in pencil. Riccardo Viriglio, a landscape painter from Pavia, portrayed urban views mainly of his city and landscape views especially of Lombardy. Here is a glimpse of the village of Roveleto, a small village in the Piacenza countryside at the foot of the pre-Apennine hills. The work is presented in a frame.