Modern Painting Signed A. Paolo Graziani Still Life XX Century - Still Life with Game

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.

Mixed technique on paper. The work is signed lower right A. Mancini, but cannot be attributed to the master Antonio Mancini, but rather to a contemporary imitator. However of good quality, it presents the face of a young commoner. It is presented in a contemporary frame.

Oil on canvas. Northern European school of the first half of the 20th century. Signed lower right H. Williams. The landscape offers a glimpse of two chalets in the midst of vegetation rich in trees and foliage, with figures on the path; in the background rise sharp, snow-capped peaks. The painting is presented in a period frame.

Oil on canvas. German school of the mid-20th century. At the bottom right is the signature W. Purschke and the location Munchen. The scene is set inside the study of a high prelate: sitting at his desk he listens to two men who show him a route on a map; at the top left is placed on a shelf a model of a ship: perhaps the bishop is also the owner of the ship, who discusses the next trip with its owner. From the window, closed by a worked grille, you can glimpse the village, with houses with a characteristic Nordic appearance. The painting is presented in a period 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.

Oil on cardboard. Suggestive mountain view that frames a rocky and barren peak, surmounted by a few pines towering in the centre; on the rocky spur a very small human figure is outlined, contemplating the landscape; in the background the snow-capped peaks, which fade into the sky. The painting is presented in a contemporary frame.

Oil painting on canvas. The scene is set inside a popular farmhouse: in front of the large fireplace, where a large pot is boiling above the fire, a woman sits with a child in her arms, while two other women wait on the threshold looking out, with the plate in their hands, and another child eats his soup sitting on no stool. The scene is dominated by earthy colours, with a single glimpse of light entering from the threshold, framing a blue-white sky. The painting is presented in a contemporary gilded frame.

Oil on cardboard. Unidentified signature lower right. Landscape glimpse of a peasant countryside, with farmers approaching the wheat field, full of golden ears, while to the left of the path there is a shady spot, which leads to a fence. The painting is presented in a contemporary gilded frame, with small defects.

Mixed media on paper. Delicate oval portrait of a young man, whose face and hair fade into the pastel colors of the background, which seems to be one with his figure. The work is presented in a contemporary frame.

Female Nude

Sanguine on paper. signed lower right. Celada, who loved to paint women both in portraiture and in his figure studies, proposes a female body, firm and classicizing both in forms and in references to the painting of the past. Celada';s painting is capable of blocking in time and space reality, in a way that appears detached, analytical and scientifically exact (colours, reflections, transparencies), but communicating - as opposed to a total unreality - a great narrative pathos. The work is presented in a frame.

Portraits of Children, 1930

Photographs retouched with pastels. Signed bottom right. On the back of three of them is the date 11 November 1930. A photographic sequence of the portrait of three children is shown, who slightly change their pose or expression. They are the work of the British photographer Eva Barrett who, after an initial experience as a painter, decided to dedicate herself to photography, thinking that "it was better to be a first-rate photographer than a second-rate [painter]. Having moved to Rome in 1913, she established her laboratory here. Pictorialist, with a small camera, Eva Barrett created her own photographic method that was reminiscent of drawing sketches: she applied a few very light pencil strokes, managing to create subdued images but with particularly dense blacks, thus maintaining the characteristics of photography and portraits. In this way he was very successful and his career took off. Eva Barrett photographed the Italian royal family, the wives and children of foreign ambassadors, as well as received numerous commissions from European royalty in Belgium, Sweden, Greece. The four portraits are presented in style frames.

Glimpse of the Cloister of the Dome of Monreale

Mixed technique, with canvas, wooden panels, metal threads, small beads, etc. At the bottom center is the artist's name, unidentified. It is a three-dimensional and perspective reconstruction of the cloister of the Monreale Cathedral, with the fountain in the foreground. The work is presented in a display case with a gilded frame from the early 1900s.