Neo-Renaissance Mirror Italy XIX Century - Second half of the 19th century

Interior with Stove 1946

Oil on canvas. Signed and dated lower right. The work belongs to the first period of the Florentine artist, still close to the figurative before dedicating himself definitively to Abstractionism, in particular to classical Abstractionism, of whose Manifesto of 1950 he was one of the signatories. The work is influenced by post-cubism, in the representation of a figurative subject, not broken down as in cubism, but highlighted and emphasized in simple geometric lines, variously composed, in intersection, oriented in various ways, which refer to recognizable objects but depicted not as copies of reality but as formal concepts. The work is presented in a frame.

Tealight Holder Vases

Pair of bas-relief vases for lamps, carved and lacquered in the early 19th century, still in neoclassical style. Electrified in the mid-20th century.

Italy, Early XIX Century

Empire gueridon with walnut veneered pine structure, Italy first quarter of the 19th century. Circular top in gray marble, central column upright. Resting on a shaped base supported by feet. Repaired and non-coeval marble top.

Composition with Bread and Tomatoes

Oil on canvas. Signed lower right. The artist's stamp is on the back of the frame. De Bernardi's painting is part of the Lombard landscape tradition of the 19th and 20th century. He always lived in Besozzo, his hometown in the province of Varese, but he traveled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. His production does not lack some still lifes, dating back mainly to the 1940s, compositions scrupulously drawn and aimed at dealing with the problems of light and atmospheric depth with agility and freshness, as in this presentation of some bread and tomatoes on a rustic table. Restored and relined, the painting is presented in a frame.

Suspension Study 1992

Mixed media on paper. Title but readable at the bottom; on the back the artist's stamp with signature, date and title (Pour poissons - Studio sospeso). Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Italy, Mid XIX Century

Louis Philippe folding table, Italy, mid-19th century. Cherry top with inlaid thread, drawer in the band, turned truncated cone legs in walnut.

Italy, Late XIX - Early XX Century

Antique chair in walnut, carved with neo-Renaissance style motifs, seat and backrest band in leather.

Italy, Late XIX Century

Mirror adorned with a carved and perforated cymatium with a central shell from which leafy spirals branch out; it was subsequently re-gilded and re-lacquered.

Italy, Late XIX Century

Neo-Renaissance throne in walnut, seat lined in leather and embellished with fringes, raised backrest with embossed leather insert with Greek key and central coat of arms, fixed with studs.

Italy, Mid XIX Century

Louis Philippe armchair in cherry wood, Italy, mid-19th century. Wavy armrests ending in a voluminous curl. Front legs moved by the broken line. Removable padded seat.

Vis à Vis 1963

Mixed media (marker, watercolor) on paper. signed and dated lower right. Jean Cocteau was a multifaceted artist: writer, playwright, playwright, he also dabbled in visual arts, loving to experiment with all the avant-gardes of his century. Cocteau published his first book of drawings in 1923, at just 36 years old. In it the poet portrayed his friends Raymond Radiguet, Pablo Picasso, Erik Satie, Francis Poulenc, but also numerous scenes of daily life in Paris, Nijinski's Russian ballets, allegories, caricatures, poetic images. Cocteau revealed himself to be a talented sketcher, but above all an artist capable of capturing the essence of faces, behaviors, human weaknesses. The theme of the face, or rather of faces, often two profiles facing each other, vis à vis, recurs in his pictorial production. In 1962 the artist completed the construction of the open-air theatre in Cap d'Ail, on the French Mediterranean coast, whose flooring is decorated with this subject, two faces with a Greek profile facing each other, with an eye in between; the subject was then re-proposed by him in the following period - moreover the one imminent to his sudden death -, with different variations. In the drawing presented here we find the two Greek profiles, separated by the third eye but also by two twisted snakes, while in the drawing of the theatre we find leaves. The work is presented in a frame.

Italy, Mid XIX Century

Louis Philippe round table in walnut and walnut slab, Italy, mid-19th century. Turned base, culminating with three wavy legs decorated with reserves, curls and carved leaf elements.