Antique Baroque Style Chest of Drawers Walnut Italy XX Century - Italy XX Century

The Joys of Mother

Oil on canvas. Early 1900s. The painting reproduces in rather detail the work of the same name painted in 1866 ca. by the Emilian painter Gaetano Chierici, an artist who became famous for a large production of scenes of peasant life, captured in rustic interiors, interpreted through an intimate sentimental adhesion and a clear formal realism, which tell of a small happy and always serene world, often joyful despite poverty, because it is devoid of any intent of social denunciation, but rather representative of the happy conception of family that the artist had. These paintings of his were so successful with the bourgeoisie of the time that they were replicated several times by the artist's own workshop and subsequently also by other painters. Chierici almost always set the scene inside a humble peasant kitchen, full of objects described in minute detail, populated by children intent on their daily activities, by adults who watch them happy and amused: in this scene set in a poor room, a woman sitting spinning, looks smiling tenderly amused at her two little children, the eldest who, standing, steals the pacifier from the little one lying on the floor on a bed of blankets, who stretches out his little hands towards his object of pleasure. The work, in the first canvas, is presented in a carved and gilded wooden frame from the late 19th century.

Italy, XX Century

Pair of lanterns with sheet metal structure and glass sides; they have three lights.

The Mask

Oil on canvas. The painting reproduces in rather detail the work of the same name painted in 1869 by the Emilian painter Gaetano Chierici, an artist who became famous for a large production of scenes of peasant life, captured in rustic interiors, interpreted through an intimate sentimental adhesion and a clear formal realism, which tell of a small happy and always serene world, indeed often joyful despite poverty, because devoid of any intent of social denunciation, but rather representative of the happy conception of family that the artist had. These paintings of his had such success with the bourgeoisie of the time, that they were replicated several times by the artist's own workshop and subsequently also by other painters. Chierici almost always set the scene inside a humble peasant kitchen, full of objects described in minute detail, populated by children intent on their daily activities, by adults who watch them happily and amused: here we see the child who suddenly enters the kitchen, wearing a grotesque mask on his face and thus frightening his little sister, who abandons her food to run and cling to the skirts of her mother, intent on the hearth, who scolds her son brandishing the ladle. The work is presented in a carved and gilded wooden frame from the late 19th century.

Italy, Mid XX Century

Silver sugar bowl with chiseled decoration of leafy scrolls and shells. Handle in the shape of a seated child and lateral spoon holder. Silver marks incised under the base, silversmith unidentified. 245 grams.

Italy, Early XX Century

Group of fourteen neo-Renaissance chairs, two of which are different in carved beech wood, Italy, early 20th century. Padded seats, backrests and seats covered in leather.

118 x 39 In

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

110 x 51 In

Beluchi carpet in cotton and wool; big knot. Manual manufacturing.

Italy, Late XIX Century

Pair of chairs supported by wavy legs ending in a curl, are carved with baroque-style rocaille motifs; partially lacquered and gilded, the seat and the raised and shaped backrest are padded.

Italy, XX Century

Neo-Renaissance style coffee table with padded top covered in skai fabric fixed with studs, 20th century Italy. Lower section with Greek baccellata and carved feral feet. Structure in poplar and fir.

Italy, Late XIX - Early XX Century

Neo-Renaissance desk supported by turned uprights connected by also turned crosspieces, there are two drawers in the under-top band and the same number in the backsplash, framing the central document compartment. Decorated with carvings with neo-Renaissance style motifs.

Italy, Late XIX - Early XX Century

Single bed in blue lacquered wrought iron, Italy, late 19th - early 20th century. Structure composed of turned elements alternating with spheres.

Oil on canvas, applied on panel. Central Italian school of the 18th century. It depicts the evangelical episode in which Jesus welcomes the children to himself, urging his disciples not to push them away: "Let the children come to me, for theirs is the Kingdom of Heaven". The scene is full of figures that overlap and intertwine: in the foreground Jesus seated on the right, opens his arms in a sign of welcoming the children who approach him, urged by their mothers; in the background the disciples, with Peter recognizable in the center who tries to push a boy away, but their gaze is turned to Christ, who looks at them and urges them to welcome them. In the background of the scene some architecture appears, in particular the pyramid stands out which symbolically represents the tension, the ascent towards the top. The painting has an evident lack of canvas in the center, patched with the application of a wooden panel to the back. It has other small traces of widespread restoration. It is presented in a 19th century frame.