Antique Countertop Clock Wood Inlays Europe XIX Century - Europe, Late XIX Century

Woodland Landscape

Oil on canvas, applied on board. Signed lower right. On the back there is an autographed stamp of the Neapolitan art critic Alfredo Schettini. Painter born in Catanzaro but trained in Naples, which became his adoptive city, Salvatore Petruolo was skilled in watercolor and in the use of oil colors, he made many landscapes similar to the School of Posillipo and many still lifes and flowers. The painting is presented in a period frame.

Courtship Scene 1887

Oil on canvas. Signed and dated lower right, with additional inscription "Baden" (place?). The scene shows a young couple in 18th-century folk clothes, sitting on a bench under a flowering tree, along a country path: the boy is making the girl try playing the recorder, a nice courtship device. There are no biographical information about the artist, who is of German origin by name and place indicated. The painting is presented in a period frame.

Oil on canvas. Portrait of a gentleman proudly displaying an important medallion, perhaps an award, an award he has been awarded, and his rings. The painting has slight damage to the lower parts. It is presented in an early 1900s frame, repainted and with small scattered losses of color (to be restored).

Tempera on canvas. Framed in a painted, scroll-carved and gilded frame, a mother and daughter are portrayed: the young woman is languidly stretched out on an Ottoman sofa, and caresses the little girl kneeling next to her, holding a lunch basket in one hand. On the back there is a restoration, with a patch in the central part. The work is presented in a period frame.

Oil on canvas. Portrait on a monochrome background of a young lady, in mourning with a strictly black dress, although enriched by a gold pendant earring. The painting has some paint loss, with a rather marked crack. It is presented in a contemporary regilded frame.

Oil on canvas. English school of the late 19th-early 20th century. Signed Drummonds lower left. The scene, set in the countryside, features an elderly farmer who, having stopped working in the fields, as indicated by the two draft horses harnessed to the plow behind him, reads a letter with the help of a young woman, while a small girl offers wild flowers to her mother. The letterhead reads the incipit "Dear father"; on the ground is the envelope with an address to England. The familiar scene evokes the tenderness of the young woman towards the elderly man, probably her father-in-law, with whom she shares the joy of the news received from the dear distant one. The work is presented in a golden frame from the mid-20th century.

Oil on canvas. Central European school of the late 19th-early 20th century. Unidentified signature lower right. Green countryside landscape with leafy trees in autumn colors and a chalet in the center; on the wide path on the right, which leads to a lake, the figures of a woman and a child pass. The light of the blue sky, but already veiled on the horizon by the first crepuscular colors, creates a relaxed and serene atmosphere. The painting is presented in a period frame.

Alpine Pasture with Cows

Oil on canvas. Signed lower right. On the frame a label with the name and dates of birth and death of the artist, of whom there is no further biographical information. The painting offers a glimpse of a wide, green Alpine valley, where a herd of cows grazes, near the watercourse. Realist in style, and with impressionist suggestions, in the dims of light and shadow, of reflections in the water, of shaded colors. It is presented in a period frame.

Oil on hardboard. Venetian school of the late 19th century. Signed Carlini on the lower left. Moving family scene, with the fisherman just landed embracing his family - wife, mother, children and dog! - who have come to welcome him, while his colleagues unload the catch and arrange the nets. The colors are intense, especially the earthy ones of the figures, the sand and the boat, which contrast with the blue of the sky and the sea. The painting is presented in a period frame.

Oil painting on canvas. Large scene of the Nativity, which develops on two crossed lines: a vertical dimension centered on the architectural structure in bricks and straw, the stable that gave shelter to the family of Nazareth, over which the angels hover announcing the divine glory; horizontal dimension in the lower half, composed of a multitude of figures: in the center the Holy Family, on the two sides the shepherds who go to honor the Child, bringing their simple gifts in nature. Of simple and popular taste, the scene is placed on a poorly defined background. The painting has been restored and relined, but still has large losses of colour. In frame.

Oil painting on canvas. Central European school. Signed H. Church lower left. Developed vertically, the landscape offers a green countryside, with trees and undergrowth; in the center a path that leads to some farmhouses. The painting is presented in a period frame.

Gallant Scene 1885

Lithography. Signed lower left. Published by Arthur Tooth in London. The scene is typical of the painter of Italian-Austrian origins: Eugene de Blaas favored cute and often mischievous genre scenes, with girls and young men (often placed in Venetian streets but not only) intent on chatting, gossiping and courtship games. His favorite subject was the common female figure, depicted with an angelic face with diaphanous skin and a mischievous and romantic look, described with bright colors and with excellent technique in her daily environment. The lithograph has widespread humidity stains. In a mid-20th century frame.