Countertop Clock Marble France XIX-XX Century - France, Late XIX-Early XX Century

Oil on canvas. Dutch school of the late 18th-early 19th century. On the back of the frame, an early 20th-century inscription reads "The Surgeon, based on a subject by Bega", referring to the Dutch painter Cornelis Bega (1620 - 1664) who stood out for his genre scenes, usually interiors and in a popular style. The interior of a house is shown here, where a woman is treating a man's leg wound, assisted by her little daughter and the curious old woman. The work is presented in an early 20th-century 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.

Tarasp Castle 1960

Oil on cardboard. Signed and dated lower right. The Roman artist Cesare Maggi established himself as a landscape painter of the divisionist style, portraying Alpine landscapes of the Engadine and Aosta Valley, often enlivened by the inclusion of figures and animals. Having become friends with the painter Giacomo Grosso in Turin in 1901, he then successfully turned to the portrait genre, setting aside the divisionist technique. Although he still preferred high mountain views, he expanded his subjects by also working on marine and still life paintings. Shown here is the snow-covered glimpse of Tarasp Castle, an 11th-century fortress in Lower Engadine, Switzerland. This is a late work by the artist, who remained attached to his favorite subject, the Alpine landscape, until the end, despite having now abandoned the divisionist technique of his early period. The work is presented in a period frame.

The Angel of Death 1979

Oil on hardboard. Signed and dated lower left. Further signature, date and title on the back. Angelo Peratici's artistic production is characterized by a desire for expressive freedom that draws on his fervent imagination to represent reality. Starting from this innate impulse to transfigure reality, his art has transformed into a laborious research process, fertile with metaphorical and visionary images, sometimes grotesque, eccentric, which we see realized in particular in the production of the early 80s.

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.

Oil on canvas. The large scene, set in a hilly countryside, with a village and ruins in the background on the left, is completely occupied by the compact group of numerous living figures: the shepherd's family is seated in the center, watching his companion who is holding the swaddled baby in her arms; all around, the animals, from the faithful sheepdog to the animals of the flock, sheep, goats and cows, also resting. The great naturalism of the animal figures stands out, which harks back in pictorial style to the works of the school of Philipp Peter Roos, known as Rosa da Tivoli (1657-1706), the German painter considered one of the best animal painters active in Italy in the 17th century, characterized by the peculiar ability to evoke the fleece and the looks of the animals. The work, restored and relined, is presented in a gilded frame in style.

Love and Wine

Oil on metal plate, with a trapezoidal shape and a concave center, in which the pictorial scene is inscribed, while the four corners are embossed with decorations. The painting presents a cheerful and gallant scene between a young and attractive innkeeper, who is pouring wine from the barrel into the flasks, and a customer who approaches her to have his glass filled. The painting has slight color losses. It is presented in a glass case frame, in style.

Soap Bubbles

Oil on metal plate, with a trapezoidal shape and a concave center, in which the pictorial scene is inscribed, while the four corners are embossed with decorations. The painting offers a joyful scene: a group of children play with soap bubbles that one of them is blowing, while the others watch them amused and the older girl lifts the little one up so he can catch them! There are slight color losses. It is presented in a style display frame.

Oil on canvas. Mary is depicted here in an attitude of suffering inner concentration, her gaze turned downwards, her head resting on her hand, her expression sad; even though she is haloed, the human dimension prevails in this painting, the suffering mother. Behind her is a deserted and barren landscape, accentuating her solitude and suffering. Restored and relined, the painting is presented in a period frame.

Gouache on cardboard. Accompanied by a Finarte authentication from 1982, which defines it as "Marco Ricci school". The landscape features a wide valley nestled between mountain peaks and inhabited by a village, with the river in the foreground, on whose bank some characters are engaged in conversation. The colors are soft and bright. The work is presented in a period frame.

Oil on canvas, applied to panel. A very human newborn Jesus lies abandoned in his sleep, while little John venerates him by kissing his chubby little hand; resting on the white sheets of the cradle, the pastoral staff in the shape of a cross, with the band bearing the writing "Ecce Homo": the only iconographic symbol of spiritual content, it is however also proposed in smaller dimensions, appropriate to the age of the two children. The work presents some small losses of paint. Strip frame.

Untitled

Oil on linoleum, with applications in polystyrene covered with foil. Signed on the back. Accompanied by authentication from the Aldo Mondino Archive. The eclectic Turin artist Aldo Mondino has articulated his artistic research through continuous metamorphoses that have made his production polymorphic: an incessant attempt to find a personal response to the transformations that were taking place in the Seventies, trying to make the history of art coexist with images of mass consumption, personal fantasies, religion, classicism, mysticism, travels to the East, friends and kitsch. His obstinate need to experiment with materials – such as coffee, sweets, sugar, chocolate castings from his beloved Piedmont, marshmallows imported from America, bronze, flowers, strictly blue Bic pens, ceramics and Heraclite carpets – demonstrates his ability to make art, craftsmanship, common life, nature and religion dialogue. All seasoned with the use of irony, to unmask conventions with grace. In the 1980s Aldo Mondino undertook a journey between Morocco and Palestine that left a real mark on him, so much so that it generated the series of works of the Dervishes, dancing subjects painted on linoleum, who practice the ritual dance characteristic of the Turkish tradition by performing fluid and circular movements. The work is presented in a frame.