Antique Wall Lamps Neoclassical Style Gilded Bronze Italy '900 - Italy, Early XX Century

First Half, XIX Century

Statue of a philosopher in white Carrara marble, Italy, first half of the 19th century. The statue depicts a male individual dressed in ancient style, identified as a philosopher due to the large tunic, the stylus placed in the right hand and the tablet in the left hand. Resting on base. Right hand restored.

Tempera and oil on panel. Venetian-Cretan school of the 17th-18th century. The term Venetian-Cretan School (or Creto-Venetian) indicates an important pictorial school, also known as the Post-Byzantine school, a movement that flourished on the island of Crete under the control of the Serenissima of Venice between 1204 and 1669. Thanks to the political situation, particularly after the fall of Constantinople, Crete became the main Christian artistic center of Greek origin from the fifteenth to the seventeenth century. In this environment a particular pictorial style developed which was marked by tradition and movements of both Byzantine and Latin origin. In particular, given the important demand for Byzantine icons in Europe, the island soon became a center of production of these works of art. The style of the Byzantine icon is found in this work, which proposes a subject widely re-proposed in art, namely the Adoration of the Shepherds at the birth of Jesus: the figures of the Holy Family and the Shepherds are strongly attributable to the traditional Byzantine iconographic representation , but they are placed in a more Latin landscape, which opens wide, with a depth of perspective that refers to seventeenth-century European landscape painting, without the traditional gold background but with chromatic choices that still recall the divine golden light, in particular where an angel announcing the Glory of God looks out from the open heavens. The painting has a detachment of the paint in the central part, corresponding to a previous restoration, which requires further recovery. On the back of the plate there is a sealing wax stamp. The painting is presented in an antique wooden frame.

Italy, Early XX Century

Art Nouveau cupboard supported by shelf-shaped feet, on the front it has a pair of doors, a compartment accessible through two sliding doors with blown glass and a pair of drawers in the band; a stand with shelf and mirror rests on the built-in marble top. In mahogany, the sideboard is adorned with characteristic Liberty-style floral carvings; fir interior.

Italy, Early XX Century

Empire style hot air balloon chandelier with central light, Italy, early 20th century. Structure in golden sheet metal decorated with fretwork composed of rosettes. Glass necklaces and pendants.

Italy, XX Century

Bust column in serpentine green marble.

Italy, Early XX Century

Rococo style white ceramic shelf with small flowers in relief, bows and ribbons.

Italy, Early XX Century

Wooden bust stand, with Medici coat of arms on the front.

Italy, XX Century

Twelve-light chandelier in carved, lacquered and gilded wood, Italy, 20th century. Structure decorated with grooves, arms decorated with curls and leaf elements.

Italy, Late XIX - Early XX Century

Console supported by truncated pyramidal legs, partially lacquered, is adorned with gilded tablet carvings, phytomorphic volutes and rosettes in a neoclassical style; the onyx top has a crack.

Italy, Late XIX - Early XX Century

Console supported by truncated pyramidal legs, partially lacquered, is adorned with gilded tablet carvings, phytomorphic volutes and rosettes in a neoclassical style; the onyx top has a crack.

118 x 39 In

Malayer carpet in cotton and wool, large knot. Manual manufacturing.

Scene from Peasant Life 1980

Oil on glass. At the bottom left are the signature and date, accompanied by the artist's symbol, the stylized figurine of a man in a wheelchair. It 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 resulting from a dive into his Taro. He said of himself: "The world, the passage of time, from this point of view (the wheelchair) teach 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 depending 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 saved me, giving me the strength to live." In 1974, three years after the accident, inspired by a television program on Yugoslavian naïve painters, in particular by the works on glass of Mijo Kovacic, Previ began to paint and learn the art of painting on glass as a self-taught, until he to make himself known and appreciated for his paintings. In his naifs Mario Previ tells a reality that has almost disappeared, real stories albeit in a fairy-tale tone, he revives lost traditions, slices of life that belonged to other generations, those of peasant civilization (from which he also comes), but what emerges most from his visions are the "forë", those that could once be heard in the "Firossi", the traditional evenings of the hamlets of Parma dedicated to meeting to tell anecdotes, stories and historical curiosities, often in front of the fireplace fire, when outside it was cold and snowing. The work is presented in a frame.