Vintage Mirror from the 50s-60s Glass Bamboo Furnishing

Oil painting on canvas. Central European school of the 18th century. A river landscape is proposed near a village, with a small bridge in the center that crosses the watercourse, and populated by numerous popular figures, with typically Northern European characteristics due to their fleshy features and cunning and curious expressions. They are engaged in everyday activities related to fishing: in the center a man exposes his catch to a couple, guaranteeing, through the gesture of his arm, its fresh origin; in front of him a child overturns a tub of fish and water snakes while another fisherman, further back, also sells his goods. Two other men, standing in the water, haul in their nets; A shepherdess passes over the bridge with her child and goat. w sitting in the foreground on the right, a woman observes the scene. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Unsigned, there is a label on the back with attribution to Ferdinand II Wagner (1847 -1927), a German painter appreciated for his decorative painting. The large painting offers, according to an ancient taste, a glimpse of a city market in a Nordic village, with figures in 17th century Flemish clothes. The central part is occupied by a stall full of fruit and vegetables: on the left the seller, sitting with the steelyard hanging above her, is bargaining with the couple of buyers on the right, intent on testing the quality of the products. The painting is presented in a period frame.

The Woodcutter 1980

Oil on glass. On the lower left are the signature and date, accompanied by the artist's symbol, the stylised figurine of a man in a wheelchair. This is a work on glass by the painter Mario Previ, who has lived and painted in a wheelchair since the age of eighteen, due to quadriplegia following a plunge into his Taro river. He said of himself: ‘The world, the passage of time, from this point of view (the wheelchair) teaches you many things. You learn to wake up every morning with a purpose, even if your body is in pain, if every gesture generates suffering and you depend on others, and giving up could be an easy solution. And instead, art, painting, together with the serenity of my world, of friends, give me incredible energy. They have saved me, giving me the strength to live'. In 1974, three years after the accident, inspired by a television programme on Yugoslavian naïve painters, in particular by the works on glass by Mijo Kovacic, Previ began painting and learning the art of glass painting as a self-taught artist, until he became known and appreciated for his paintings. In his naifs, Mario Previ recounts a reality that has almost disappeared, real stories albeit in a fairy-tale tone, revives lost traditions, glimpses of life that belonged to other generations, those of the peasant civilisation (from which he comes), but what emerges most from his visions are the ‘forë’, those that could once be heard in the ‘firossi’, the traditional evenings in the hamlets of Parma dedicated to getting together to tell anecdotes, stories and historical curiosities, often in front of the fireplace, when it was cold and snowing outside. The work is presented in the frame.

Man's Face

Mixed media on cardboard. Signed lower right. On the back there is a cartouche with the title. An original exponent of European Expressionism, Lorenzo Viani was always attracted to the poorest and most derelict, both in his childhood and in his maturity, going so far as to transfer their lives and their human experiences onto the canvas. There are numerous faces of these characters who are rendered with strong chromatic impressions and with a decisive and fast brushstroke, an intense, expressive and at times extremely melancholic painting. The work is presented in a frame.

Oil painting on canvas. Bottom right signed Borella and dated 1894. It is probably Rafael Borella (1874 -1953), a painter born and trained in Milan but then moved to Uruguay. His first Italian production includes Venetian and Val d'Aosta landscapes. This painting, which offers a mountain view, with meadows crossed by a stream near which a fisherman sits. The scene could therefore be a youthful production by Borella, suited to him in terms of subject and style. The work is presented in a contemporary frame.

Watercolor on paper. Signature L. Rossi at the bottom left. It is a quick portrait, in pencil and then watercoloured, of two young ladies in winter walking clothes, shot in almost full length. The drawing is presented in a gilded and carved frame from the late 19th century, which has several defects.

Watercolor on paper. Signature L. Rossi at the bottom left. They are two young ladies in winter walking clothes, shot in almost full length. The drawing is presented in a gilded and carved frame from the late 19th century, which has several defects and traces of previous restoration

Oil on walnut board. Flemish school of the 16th century. The painting presents a landscape characterized by a tall leafy plant in the centre, which vertically divides the scene into two parts, rising from the brown and dark earth in the foreground, towards the horizon of wooded blue hills, which then fade into a chromatic continuum in the sky above, interrupted by the thick foliage of the tree. The scene in the foreground is animated by various figurines of walking characters, scattered across the countryside. The chromatic choices are peculiar, the browns and blues, which together with the type of landscape and the figures refer to Flemish painting; moreover, the use of a walnut panel testifies to a Flemish artist working in Italy, where this pictorial support, unusual in Northern Europe, was used. The painting is presented in a contemporary frame.

Oil painting on canvas. Venetian school of the late 18th century. The large painting tells the evangelical episode of the meeting between Saint Elizabeth, pregnant with John the Baptist, and Mary, waiting for Jesus, but inserted in a larger choral scene: it is placed on a large staircase, probably that of the temple in where Zechariah, Elizabeth's husband, was a priest, and a crowd of figures, and is animated by a crowd of figures, among which several women with children and families stand out. Detail in the foreground on the left is the figure with a little boy attached to his legs, who looks towards the viewer, indicating with a broad gesture of his arm the central event, the meeting between the two holy women. The colors stand out, which according to the Venetian pictorial tradition, are founding elements of the scenes, which underline the figures and fade into the different three-dimensional planes. Relined and restored, the canvas has a slight crack on the left. It is presented in a gilded frame from the late 19th century.

Oil painting on canvas. The large landscape presents a view of a mountain lake, on the shore of which there are some huts; coniferous forests form the backdrop, creating the chromatic contrast between the blue of the sky and that of the water. The painting has a small tear in the canvas in the center. It is in a style frame.

Oil painting on canvas. The large painting recalls the pictorial methods of the 17th century but is from a later period, and was created on a canvas applied to an older one. The scene tells the biblical episode (taken from the Book of Kings) widely narrated pictorially, depicting the bath of Bathsheba, the wife of General Uriah, in the service of King David. According to the biblical story, David is on the terrace of his palace when he notices the woman bathing in the garden of her home, surrounded by her handmaids. Davide falls in love with her and seduces her, making her pregnant. To hide the crime, he recalls General Uriah from the front, to make him lie down with his wife, but Uriah does not want to leave his soldiers; then David sends him to fight on the front line hoping that he will be killed: this happens and David can marry Bathsheba, but he will be punished by God for the adultery and impiety committed. The painting shows the moment in which Bathsheba, having just come out of the bathroom, while she is reflected in the mirror held by a slave girl, and surrounded by other servants, reads the note that King David sent her; the latter appears at the top right, overlooking the terrace. The scene is dominated by female figures intertwined with each other, in a tangle of clothes and fabrics, and surrounded by flowers from the garden; in the center stands the mirror in a rich golden frame. The painting has a patch at the bottom right. It is presented in an antique gilded frame.