Antique Neoclassical Mirror Gilded Wood Italy XVIII Century - Veneto, Late XVIII Century

Girl with Roses

Oil on cardboard. Signed lower left. Tito Corbella established himself as a painter but above all as a poster artist, creating posters and postcards. In his production, female subjects prevail, elegant and romantic figures, created with delicate colors. The work is presented in a period frame.

Piedmont, Early XVIII Century

Cupboard supported by bracket feet (subsequently replaced), on the front it has two doors surmounted by as many drawers; pair of doors also in the upper body. In walnut, the front and sides are carved with tiles; locks replaced.

Oil on canvas. Roman school of the 17th century. The bloody episode of the sacrifice of Iphigenia, also told in the Iliad, originates from the wrath of Artemis, goddess of the hunt, who, offended by Agamemnon for his boasting as a hunter, prevents the Greek fleet from sailing towards Troy; the soothsayer Calchas then prophesies that the wrath of the goddess can only be appeased by sacrificing the youngest daughter of King Agamemnon himself, Iphigenia, and so it happens. In the centre of the scene the girl is depicted prostrate at the foot of the sacrificial altar, while she is being prepared by the priests according to the rituals; in the left corner we can glimpse her father Agamemnon (with the crown abandoned at his feet) with her mother Clytemnestra who, in despair, do not dare to look. Above, the goddess Artemis watches the scene, recognizable by the moon on her hair, the bow she holds in her hand and a deer, her symbolic animal, at the foot of the canopy: according to a less violent version of the myth, at the moment of the sacrifice Iphigenia is replaced by Artemis with a doe, as the presence of the animal in this representation might indicate. The work presented here derives from the painting by Pietro Testa, published between 1640 and 1642 (now at the Galleria Spada in Rome) and from his engravings: the entire composition of the figures is taken from it, although modified in the clothes, colors and various details. Restored and relined, the painting is presented in an early 20th-century frame, contemporary with the restoration.

Parma, Mid XVIII Century

Walnut chest of drawers, curved front with two drawers, apron and feet carved with leaf motifs. Poplar interior, fir back. Contemporary handles and escutcheons, replaced. Restoration. Parma, mid-18th century.

Emilia Romagna, Early XVIII Century

Baroque Emilian sideboard in walnut from the early 18th century with subsequent reductions and modifications. Top and front decorated with metal studs, two drawers in the band, pair of doors. Sides embellished with reserves. Poplar interior.

Oil on canvas. Roman school of the 17th century. In classical mythology, the goddess Venus, wife of Vulcan, had him forge weapons for her son Aeneas. In the scene, set in the cave where the forge is located, Vulcan is in fact forging a suit of armor on the anvil, with the help of his assistants, while Venus, accompanied by the faithful Cupid, arrives to check the work. Thetis, the sea nymph mother of Achilles, also commissioned the weapons for her son to the same god Vulcan, to protect him during the Trojan War. Restored and relined, the painting has a loss of color at the top right. It is presented in an early 1900s frame, contemporary to the restoration.

Italy, Early XVIII Century

Baroque wardrobe with two paneled and carved doors with frames and tiles, created by re-adapting the top of an ancient sideboard to which the base with drawer was added during the nineteenth century. Lacquered, it is decorated with golden frames.

Piedmont, Late XVIII Century

Neoclassical Piedmontese wardrobe, on the front it has a pair of paneled doors, the shaped cymatium is adorned with a characteristic drip carving. In poplar, it is lacquered; the painted floral motifs were added later.