{"title":"Home page","description":"","products":[{"product_id":"bracelet-with-micromosaic","title":"Bracelet with micromosaic.","description":"\u003cp\u003eBracelet with an ancient micromosaic. \u003cbr\u003eHandmade canvas bracelet with 2 tassels.\u003c\/p\u003e\n\u003cp\u003eDecorated with a mid-19th century brooch with micromosaic.\u003c\/p\u003e\n\u003cp\u003eMosaic represents Roman ruins in the archaeological style of the mid 19th century. \u003cbr\u003eThe small beads that frame the brooch are made of mother of pearl.\u003c\/p\u003e\n\u003cp\u003eThere are numerous wears and signs of age on the mosaic. But the central part has all the glass paste cards in place.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe brooch can be detached from the bracelet and the bracelet replaced with a new one.\u003c\/p\u003e","brand":"MoAli","offers":[{"title":"Default Title","offer_id":40391916486863,"sku":"","price":185.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/products\/654248E0-DE53-4D15-9537-2C273AD2BEE2.jpg?v=1627368101"},{"product_id":"ancient-baroque-statue-of-saint-lucia-xvii-century","title":"Ancient baroque statue of Saint Lucia. XVII century","description":"\u003cp\u003eStatue of Saint Lucia.\u003c\/p\u003e\n\u003cp\u003eXVII century\u003cbr\u003eVicenza stone.\u003c\/p\u003e\n\u003cp\u003eStatue of Saint Lucia represented as a girl or child.\u003c\/p\u003e\n\u003cp\u003eThe young girl is dressed in a 17th century cloak and dress. In front of her if she holds a backsplash with two eyes: a symbol of her martyrdom.\u003c\/p\u003e\n\u003cp\u003eDelicate hairstyle with a classic flavor gives a touch of elegance to the image.\u003c\/p\u003e\n\u003cp\u003eState of conservation: natural wear of the stone, slight discolouration.\u003cbr\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":40631174856911,"sku":"","price":2800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/products\/0EA486B6-4B07-4743-A845-249F5C6E5399.jpg?v=1630765194"},{"product_id":"unusual-frame-in-various-woods-with-geometric-decorations-early-19-century","title":"Unusual frame in various woods with geometric decorations.  Early 19 century","description":"\u003cp\u003eUnusual frame in various woods with geometric decorations. \u003cbr\u003eLate 18th - early 19th century.\u003c\/p\u003e\n\u003cp\u003eCheckered pattern between dark and light woods, inlaid and sculptured.\u003cbr\u003eInternal part composed of rounded columns. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTotal size 28cm X 26.5cm,\u003c\/p\u003e\n\u003cp\u003eView  15cm x 18cm.\u003c\/p\u003e\n\u003cp\u003eRebate 21cm x 18.5\u003cbr\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":41694677237967,"sku":"","price":430.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/products\/63B699C3-EE06-462F-B61B-CC64FB50921F.jpg?v=1649593809"},{"product_id":"ottoman-empire-slippers-with-gold-thread-padded-embroidery-xix-century","title":"Ottoman empire slippers with gold thread padded embroidery. XIX century.","description":"\u003cp\u003ePurple velvet shoes.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOttoman Empire. Probably produced for the European market.\u003cbr data-mce-fragment=\"1\"\u003eCrown motif embroidery.\u003cbr data-mce-fragment=\"1\"\u003e19th century.\u003cbr data-mce-fragment=\"1\"\u003eEmbroidered with metallic threads like those above may have belonged to a woman of status.\u003cbr data-mce-fragment=\"1\"\u003eDimensions: total length 24.5 cm \u003c\/p\u003e\n\u003cp\u003eEmbroidery threads:\u003cbr data-mce-fragment=\"1\"\u003eThread wrapped in metal, strips of gold metal twisted in Z around a yellow silk thread Rarely worn because so finely worked, she could have worn these slippers during the reception of distinguished guests or on special occasions.\u003cbr data-mce-fragment=\"1\"\u003eSigns of wear. \u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":41844245561551,"sku":"","price":500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/products\/A78772C6-1411-465E-AC5E-A8D352E7608A.jpg?v=1655545055"},{"product_id":"david-and-goliath-painting-of-guido-cagnacci-school-xvii-century","title":"David and Goliath. Painting of Guido Cagnacci school. XVII century","description":"\u003cp\u003e \u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDavid with the Head of Goliath. Guido Cagnacci , school of\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDavid with the head of Goliath (or the triumph of David).\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGuido Cagnacci (1601-1663), school of.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eXVII century\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e carved wood \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eframe\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e with original gilding, with \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003elaurel wreath motif with ribbon.\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDimension without frame h 104 cm x L 87 cm\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis painting is a splendid example of 17th-century Caravaggism.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOur painting is a work of the school or workshop of the painter Guido Cagnacci.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePainter was born in Romagna, in 1601 died in Vienna in 1663.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAn enigmatic painter who began his training in \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBologna\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 1617.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlthough he was not a direct student of \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReni and Ludovico Carracci\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e, he was influenced by the Bolognese artistic current of tempoi.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHe probably moved to Rome with \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGuercino\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e, where he will be in close contact, sharing accommodation and establishing a relationship of friendship with Guercino. In these years the painter had already made talk about whether following a sentimental scandal, trying to kidnap and marry a widow, aristocratic, from the convent.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAmong various \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003ebizarre\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e ways of painter’s life we know that he loved to paint \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003efemale models\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e dressed in male clothes.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis was partly due to the fact that the model named Maddalena with whom Guido lived in Venice was disguised as a man for prudence.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAfter Bologna, who had arrived from Cento the twenty-eight-year-old \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGuercino\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e, Guido moved to Rome for at least two stays, the longest of which the last one in 1621-1622. Perhaps following the Guercino when archbishop of Bologna became Pope Gregory XV Ludovisi for whom the Master of Cento had worked. Guercino and Cagnacci lived in a house on the current Via del Babuino in Rome, inserting themselves into the artistic circle gravitated the Parisian \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSimon Vouet\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e and Serodine.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThus it can be Vouet that influenced a very personal Caravaggism, less tragic and more sensual, with veiled eroticism expressing Cagnacci, taking inspiration from the solutions of theatrical light of the Nordic painter.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGuido Cagnacci’s biography is a field almost all studied due to the absence of documents and paintings in Bologna and Rome and even before.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHowever scholars manage to date the original painting of Davide and Goliath of the \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaul Getty Museum\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e in the years \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1645-1650.\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e Years before painter's stay in \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVenice\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e or at the beginning of the stay in lagoon, where the painter, now known for his non -religious compositions for private clients, with very sensual semi-nude female figures (Lucrezia, Maddalena, Cleopatra etc.)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe painter concludes his career in \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVienna\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e, at the court of the emperor. Guido Cagnacci’s biography is a field almost all studied due to the absence of documents and paintings in Bologna and Rome and even before.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAnyway scholars manage to date the original painting of Davide and Goliath of the \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaul Getty Museum\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e in the years \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1645-1650\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e. Years before the dream of the painter in Venice or at the beginning of the stay lagoon, dove the painter, now known for his compositions \"from chamber\", with very sensual female figures (Lucrezia, Maddalena, Cleopatra etc.)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe painter concludes his career in \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVienna\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e, at the court of the emperor.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":42614964486351,"sku":"","price":7500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/products\/0C46E8BA-19D6-48ED-AA9C-F60FE17F0C64.jpg?v=1671397370"},{"product_id":"a-dome-ring-with-brilliant-flowers-and-blue-enamel","title":"A dome ring with brilliant flowers and blue enamel.","description":"\u003cp\u003eFREE SHIPPING\u003c\/p\u003e\n\u003cp\u003eA large dome ring, created by a stylized rope that forms flowers. At the center of each flower there are brilliant.\u003cbr data-mce-fragment=\"1\"\u003eMaterials: 18K yellow gold, bright, blue enamel.\u003cbr data-mce-fragment=\"1\"\u003eMeasurement: J (Uk) - 4 3\/4 ( US). \u003cbr\u003eInner diameter 15.6mm\u003cbr data-mce-fragment=\"1\"\u003eIn good condition, with tiny imperfections.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":42629724307663,"sku":"","price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/products\/7490BDC0-EC90-4203-8E5D-B07FEA6D7430.jpg?v=1672579667"},{"product_id":"xviii-century-pastoral-landscape-with-shepherds-bridge-and-rocky-lanscape","title":"XVIII century. Pastoral landscape with shepherds, bridge and rocky lanscape.","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePastoral landscape with shepherds, bridge and rocky landscape.\u003c\/p\u003e\n\u003cp\u003eThe shepherd with his wife sitting on a mule lead their cattle home at sunset.\u003c\/p\u003e\n\u003cp\u003eThe rosy reflections of a picturesque sunset recall the light of southern Italy, a place of dreams and travel for many northern European painters.\u003c\/p\u003e\n\u003cp\u003eProbably Lazio region near Roma.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe French XVIII century taste was for idealised scenes foreign to their own experience. There was a demand for enchanted views of bays of Baiae and Naples, mountains, caves, storms, shipwrecks, because town-dwellers were unlikely to ever witness these things in their own lives. In addition, Italianate scenes were popular with aristocratic clientele as they reflected the places they had visited on the Grand Tour. The present painting has a carefully balanced composition in the tradition of Franco-Italian landscape painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn XIX century gilt wooden frame.\u003c\/p\u003e\n\u003cp\u003eH 84cm\u003c\/p\u003e\n\u003cp\u003eL 63cm\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":42668850610383,"sku":"","price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/products\/IMG_0120.jpg?v=1756486273"},{"product_id":"mid-century-italian-lamps-circa-1960","title":"Mid-century Italian Lamps. Circa 1960","description":"\u003cp\u003eTwo italian 1960’s lamps .\u003c\/p\u003e\n\u003cp\u003eAltopascio e Montelupo (Tuscany, Italy)\u003c\/p\u003e\n\u003cp\u003eHand painted ceramic from Mancioli manufactory,  during period when designer Giancarlo Casini* was an artistic director of manufactory.\u003c\/p\u003e\n\u003cp\u003eRecently electrified.\u003c\/p\u003e\n\u003cp\u003eUpon request of customer we can provide shades.\u003c\/p\u003e\n\u003cp\u003eVery good condition \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e*Giancarlo Casini collaborated during the 1950’s and 1960’s with the ceramic factory \"Mancioli \u0026amp; C.\" of Altopascio, in the province of Florence, as a designer.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":42688989692111,"sku":"","price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/products\/678E2268-6A2B-4576-A4AF-CA21F5E84DBE.jpg?v=1674639316"},{"product_id":"large-marine-painting-with-with-ships-in-the-port-late-18th-century","title":"Large Marine painting with Ships in the port.  1690-1720 circa. Cm 110x 118","description":"\u003cp\u003e\u003cspan\u003eLarge Marine Painting with Sailing Ships in a Port\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFranco-Dutch school, circa 1690–1720\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOil on canvas, 100 × 118 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGiltwood frame, early 19th century, with minor imperfections easily restorable\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis impressive marine painting stands as a visual testimony to a pivotal moment in European history — the era of major naval expansion, strategic shipyard construction, and the rise of transoceanic commerce, which also marked the beginning of the Atlantic slave trade from the great French and Dutch ports. Between the late 17th and early 18th centuries, under Louis XIV, vast shipyards and fortified harbors were established at Rochefort, Brest, Amsterdam, and Hamburg, transforming maritime painting into a genre that combined technical precision and state prestige, celebrating the power of northern European seafaring nations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition depicts a bustling harbor animated by three-masted warships and merchant vessels, their massive hulls and richly decorated sterns crowned with carved lion figureheads. The ships are characteristic of the 1690–1720 period, with high vertical sterns, square sails, and heavy proportions, belonging to the transitional stage before the lighter frigates of the later 18th century. The detailed rigging and the accuracy of the naval architecture reveal a painter well acquainted with contemporary shipbuilding in the North Sea region.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn the quay, small groups of workers and merchants in late-17th-century dress — short jackets, knee breeches, capes, and tall two- or three-cornered hats — handle barrels and crates, reflecting the daily labor of port life during the early Atlantic trade. The correlation between the ship types and clothing styles confirms a date around 1700, when maritime construction and trade were at their height in northern Europe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe atmosphere is cool and northern, with diffused daylight and soft tonal transitions, far from the Mediterranean warmth of later French seascapes. The painter combines the analytical precision of the Dutch tradition (inherited from the van de Velde family and Bonaventura Peeters) with the structured and monumental order typical of French compositions under Louis XIV.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis work likely originates from a Franco-Dutch artist active around 1700, within the circle of Jan Karel Donatus van Beecq (1638–1722) or a related follower. It embodies the artistic language of an age that celebrated shipbuilding, commerce, and maritime power at the dawn of Europe’s colonial expansion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLarge in scale and finely executed, the painting is in good condition and retains its early-19th-century giltwood frame, with minor, easily restorable imperfections.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":46363897823560,"sku":"","price":3900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/w_d61ce25b-9586-43c6-ac1a-c54ef8dd472a.jpg?v=1761549643"},{"product_id":"paolo-monaldi-2-paintings-a-stopover-in-the-countryside-and-a-game-of-cards-circa-1740","title":"Paolo Monaldi. 2 paintings. \"A stopover in the countryside\" and \"A game of cards\". Circa 1740","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003ePAOLO MONALDI (post 1710-post 1779) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eStopover in the countryside \u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eA game of cards\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e2 paintings.\u003c\/p\u003e\n\u003cp\u003eCirca 1740\u003c\/p\u003e\n\u003cp\u003eWithout frame: 45 x 31cm each.\u003c\/p\u003e\n\u003cp\u003eWith frame: 61 x 48 cm each\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis pair of paintings depicts two moments in the life of the Lazio countryside, near Rome, just outside the ancient Aurelian Walls.\u003c\/p\u003e\n\u003cp\u003eThe scenes of popular life, typical of 17th century Rome, are known as \u003cstrong\u003ebambocciate\u003c\/strong\u003e. However, some details move our two paintings to a later period, in the 18th century. Unlike the Bamboccianti painters of the 17th century, mainly foreigners, the humble characters are represented without crudeness, without excessive accentuation of their social status.\u003c\/p\u003e\n\u003cp\u003eThe serene blue sky shows clear affinities with other Roman painters: Paolo Anesi and Andrea Locatelli. Monaldi was born into a wealthy and illustrious Roman family. He will work for the Chigi family with Paolo Anesi. He was in close contract with Marco Benefial, one of the leading masters of 18 th century Rome.\u003c\/p\u003e\n\u003cp\u003ePaolo Monaldi can be considered the last of the Bamboccianti, he is inspired by the painting of Michelangelo Cerquozzi, and recovers the humanized and almost psychological way of representing horses, we could call them \"talking horses\". The way of representing them in our paintings can be compared to the painting in the National Museum of Sweden, attributed to Paolo Monaldi.\u003cbr\u003eCompared to Cerquozzi's bambocciate, painted almost a century earlier, Monaldi's interpretation is delicate and pleasant, both in colors, light and shapes.\u003cbr\u003eThe two paintings are made with a very fine and extremely professional pictorial technique, which, 3 centuries after their creation, has allowed the paintings to arrive almost intact today.\u003cbr\u003eCarved and gilded wooden frames of a later period.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":46983958888776,"sku":"","price":5800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/9da88cf9d0915f131578ea39f82c2b3e.jpg?v=1743924988"},{"product_id":"salvino-marsura-treviso-1938-2020-composition-abstract-painting-with-iron-elements","title":"Salvino Marsura (Treviso, 1938- 2020) Composition - abstract painting with iron elements.","description":"\u003cp\u003eSalvino Marsura (Treviso, 1938- 2020) Composition - abstract painting with iron elements. Painting - composition made with mixed techniques: painting, sculpture, “Ready-made rectified” applications, collage and resins. Signed with a paper tag included in the work at the bottom right.\u003c\/p\u003e\n\u003cp\u003eDue to the experimental technique of the work there are some imperfections, highlighted in the photos. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eStarting from a canvas, from painting it, the artist applies the resin and sinks the objects in various materials as in the primordial sea of ​​creation: paper, scrap iron, grains of pigments, even a small stamp. \u003cbr\u003eThe whole takes on the appearance of an exploded \"astronomical\" landscape: a universe that is created, an energy emanating from the stars. The range, predominantly in warm red tones, is suitable for the blacksmith's work: fire, heat, transformation.\u003c\/p\u003e\n\u003cp\u003eUndoubtedly the proximity of the city of Venice, with a contribution of ideas from the Venice Biennales, cannot fail to have influenced Marsura. In particular we can suggest similarities with some works by Edmondo BACCI (beloved by Peggy Guggenheim) and Fontana (for the matter and concepts of overturned space).\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSalvino Marsura possessed the skilled manual skills of a blacksmith, the visionary creative and conceptual exuberance of an artist who confronted himself with the avant-gardes of the 20th century.\u003c\/p\u003e\n\u003cp\u003eHis art gallery in the city of Treviso was famous, one of the invitations to which is included in the inside our composition. A curious detail is the use of a classic canvas, stretched on the wooden frame, but painted on the reverse side, creating a spatial game, reversing the space on the back of the canvas. While on the smooth side small planks of rough wood are applied which gives a material effect, in line with \"Arte Povera\" creations. In pencil we find the title (Homage to Buzzati) and “Salvino Marsura Painting” written.\u003c\/p\u003e\n\u003cp\u003eThe painting, or rather, a multi-material composition comes directly from the artist's studio, which remained there until his death. Salvino Marsura's paintings are particularly rare while his architectural furnishings, tables and chandeliers with metal bases worked as real sculptures in Brutalist style are already highly appreciated on the market.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAt this point he deserves to say something more about who SALVINO MARSURA was. Born in Treviso in 1938, Marsura began to deal with the practice and languages ​​of sculpture and painting from a very young age in the second half of the 1950s. In particular, he was a pupil of the \"iron poet\" Toni Benetton, working for years in his forge, the sculptor Sergio Storel and the master Mario De Tuoni.\u003c\/p\u003e\n\u003cp\u003eA master of iron and metals, active in Treviso for more than 60 years. He began as a student of Toni Benetton. In 1972 he was awarded, in addition to numerous other prizes, the European \"Griffone d'Oro\" prize, while in 1973, the Accademia Tiberina awarded him, for the validity of his artistic form, the \"Gold Medal of 'industriousness-aristocracy of work' of the Union of the Golden Legion. Marsura is well known in the Treviso area also for his activity as a gallery owner based in the city in Piazza San Leonardo and for the gift to his city of a work, entitled \"Skyscrapers of the year 7000\", which is still present in the center today of one of the flowerbeds in Piazzetta Trentin in Treviso.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":47702028190024,"sku":"","price":800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/1891D74D-6744-4091-9404-0B1BD346FC71.jpg?v=1698497159"},{"product_id":"ca-1820-portrait-of-a-woman-leon-cogniet-1794-1880-paris-attributed","title":"Ca. 1820 Portrait of a Woman. Léon Cogniet (1794-1880, Paris), attributed.","description":"\u003cp\u003eFREE SHIPPING IN EUROPE\u003c\/p\u003e\n\u003cp\u003eCa. 1820\u003c\/p\u003e\n\u003cp\u003ePortrait of a Woman.\u003c\/p\u003e\n\u003cp\u003eLéon Cogniet (1794-1880, Paris), attributed.\u003c\/p\u003e\n\u003cp\u003eFrench school of XIX century.\u003c\/p\u003e\n\u003cp\u003eTecnicque: oli on canvas.\u003c\/p\u003e\n\u003cp\u003eDimensions: 70cm x 61cm\u003c\/p\u003e\n\u003cp\u003eXX century wooden frame.\u003c\/p\u003e\n\u003cp\u003eOld attribution to Léon Cogniet (1794-1880, Paris) is inscribed on the wooden frame.\u003c\/p\u003e\n\u003cp\u003ePortrait of the restoration period, post Napoleonic wars. Stylistically the painting is found in the transition period from the late Empire period to the beginning of Romanticism. The new artistic trends can be seen in the increased naturalism, representation of the landscape\/nature, in the contrasts, and in a greater emotionality of the person represented. Detailed but loose is the way to describe the winter dress: high-waisted dress, lace collar, Kashmir shawl, a gold chain with a cross, rings.\u003cbr\u003eThe painting is an excellent example of 1820s portraiture.\u003c\/p\u003e\n\u003cp\u003eLeon Cogniet is a romantic and neoclassical painter, studying in Paris alongside Gericault and Delacroix.\u003cbr\u003eHe is remembered both as a portraitist and as a painter of historical subjects, but also for his splendid lithographs.\u003c\/p\u003e\n\u003cp\u003eA curiosity: he is the author of the portrait of Madame Clicquot. (Madame Clicquot born Barbe-Nicole Ponsardin, Widow Clicquot or Veuve Clicquot (16 December 1777 – 29 July 1866), known as the \"Grande Dame of Champagne\", was a French Champagne producer. The brand and company of Veuve Clicquot Ponsardin still bears her name.)\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":47848778596680,"sku":"","price":1800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/094EAA1C-9936-4293-B655-947E5C134248.jpg?v=1756487516"},{"product_id":"louis-ferdinand-elle-jr-paris-1612-1689-portrait-of-a-woman-around-1680","title":"Louis Ferdinand Elle Jr. (paris, 1612-1689). Portrait Of A Woman. Around 1680","description":"\u003cp\u003e\u003cspan\u003eLouis Ferdinand Elle Jr. (Paris, 1612-1689)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePortrait of a Woman.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eCirca 1680. \u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"_ea633ddf\"\u003e\n\u003cdiv id=\":Rppiha:\" data-tn=\"expanding-area\" data-state=\"collapsed\" class=\"_85f5162c _473e3111\"\u003e\n\u003cdiv data-tn=\"expanding-area-children-wrapper\" class=\"_98acf5a0\"\u003e\n\u003cdiv class=\"_51822ac7 _3681075f\" data-tn=\"pdp-spec-title\"\u003eDimensions:\u003cspan\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"_49da11ae _3681075f\" data-tn=\"pdp-spec-dimensions\"\u003e\n\u003cspan class=\"_fe6d36b6 _cb16180a\" data-tn=\"pdp-spec-detail-height\"\u003e\u003cspan class=\"_57a9be25\"\u003eHeight: 23.23 in (59 cm)\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"_fe6d36b6 _cb16180a\" data-tn=\"pdp-spec-detail-width\"\u003e\u003cspan class=\"_57a9be25\"\u003eWidth: 20.08 in (51 cm)\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"_fe6d36b6\" data-tn=\"pdp-spec-detail-depth\"\u003e\u003cspan class=\"_57a9be25\"\u003eDepth: 2.37 in (6 cm)\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eOil on canvas, supported on cardboard.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIn a gilded wooden frame from XIX century.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecently, a female portrait appeared in our gallery, coming from a private collection; the portrait was conventionally attributed to the Dutch school.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAssessing the artistic merits of the painting was complicated by its condition - the painting was hidden under a very thick layer of old varnish.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSubsequent cleaning of the painting made it possible to discover an original high-class painting by the author. After complex research, the painting was clearly attributed to the French school, and its dating, due to the features of the costume and hairstyle, began to vary between 1670 and 1690.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA stylistic analysis of the portrait allows us to attribute its authorship to the outstanding French portraitist Louis Ferdinand Elle.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHaving received his initial artistic education in the workshop of his father, Ferdinand Elle (1570 in Mechelen - 1637 in Paris), Louis Ferdinand began an independent career quite early.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThanks to his father's clients, the artist quickly strengthened his position at court. Elle's early and mature portraits (for example, the portrait of Louis XIV in armor, Metz, Musée de la Cour d'Or) demonstrate how great the influence of his father's work was on the artist. The artist uses well-established (but somewhat archaic) portraiture from around 1620, which is characterized by a somewhat elongated silhouette of the figure, smooth light and shadow modeling and an extremely generalized interpretation of the face. The artist remained devoted to this scheme for quite a long time, despite the fact that the portrait formula in France was undergoing significant changes.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAll the more unexpected is the radical change in the style of Elle's portraits in the last years of his life, in the 1680s. This was connected with the arrival of the greatest portrait painter Louis Ferdinand Voet in Paris. Voet 's manner, which Pope Innocent XI called \"an instrument of voluptuousness\" (which was the reason that Voet was banned from working in Rome), turned out to be incredibly in tune with the artistic atmosphere of Paris. El's style begins to resemble Foote's work - his painting becomes more transparent, incredible freedom in technique appears, and his images are filled with sensual charm.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA small portrait of an unknown lady from the collection of Alina Malova’s gallery is an excellent example of El’s late work. The painting technique amazes with its virtuosity; it is free and artistic. The modeling of the form is built using several artistic techniques at once. Using light, the artist determines the volume, but completes the form using the non-finito effect. The figurative interpretation of the model is interesting. A characteristic feature of Elle's entire work was his very personal and intimate view of the model. The dialogue between the person depicted and the viewer in El’s work is based on semi-emotions, a technique he inherited from the art of his father.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis is especially noticeable in the portrait of a lady from the Alina Malova gallery.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA slight tilt of the head, a soft gaze and a slight half-smile create the charm of the image and seem to anticipate the French portrait of the 18th century.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":47962140508488,"sku":"","price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/621B8299-F8E1-4F10-86C8-3213EECB2617.jpg?v=1737621407"},{"product_id":"circle-of-jan-both-utrecht-1618-1652-italianate-landscape-with-sherd-an-d-bridge","title":"Circle of Jan Both  ( Utrecht, 1618-1652).  Italianate landscape with shepherd and a bridge","description":"\u003cdiv data-mce-fragment=\"1\"\u003e\u003cstrong\u003eFREE SHIPPING IN EUROPE\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eItalianate Landscape With A Bridge, A Shepherd. Entourage Of Jan Both (utrecht, 1618-1652)\"\u003c\/div\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eItalianate landscape with a bridge, a tower, shepherd and animals.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEntourage of Jan Both (Utrecht, 1618-1652). The 17th century painting.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDutch school.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe landscape represents the Lazio countryside, probably near Rome, with the bridge over a river. On the shore, to the right of the bridge there is an ancient round tower.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe idealized rocky landscape, with the pink light of the sunset, is animated by the figures of the farmers crossing the bridge.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe cow, the goats, the flock of sheep recall the paintings of Beecham, another Dutchman active in Italy in the 17th century who contributed to the creation of the pictorial movement that blends Nordic naturalism with an idealized vision of the Lazio or Roman countryside. The painting is in a good state of conservation. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt has a carved and gilded wooden  and stucco frame from the early 19th century.\u003c\/span\u003e\u003c\/p\u003e","brand":"Antiques","offers":[{"title":"Default Title","offer_id":47963382677832,"sku":"","price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/IMG_0120_ce0522bb-a666-4b9f-98b8-ecc5bbc8cee2.jpg?v=1705520075"},{"product_id":"portrait-of-gustav-mahler-by-folco-chiti-battelli-florence-1932-2011","title":"Portrait of Gustav Mahler by Folco Chiti Battelli (Florence,  1932-2011)","description":"\u003cp\u003e\u003cstrong\u003eFREE SHIPPING IN EUROPE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePortrait of composer Gustav Mahler by Folco Chiti Battelli (Florence, 1932-2011)\u003cbr\u003eCharcoal on hardcardboard.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e Signed twice and dated 1993.\u003c\/p\u003e\n\u003cp\u003eSome biography notes about painter.\u003c\/p\u003e\n\u003cp\u003eBiography\u003cbr\u003e\u003cbr\u003eIn line with his character, his biography is also sparse with events, if not for the exhibitions – numerous – in which he began to participate from 1963 (the first was at the Saletta del Fiorino in via Tosinghi). The artist was then thirty-one years old (he was born in Florence in 1932) and had a training at the Institute of Art and the Academy of Fine Arts in Florence under the guidance of Gianni Vagnetti.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFrom there on, the exhibition events quickly happened. Some are mentioned in Italy and abroad: in 1970 at the Galleria Inquadrature in Florence, in 1986 at the Galleria Pro Arte in Lugano, in 1988 at the Galleria Pirra in Turin, in 1995 at the Galleria Poggiali e Forconi in Florence, in 1997 at the Galleria dell'Oficina in Brescia.\u003c\/p\u003e\n\u003cp\u003eIn 1977 Chiti Batelli also took part in the Premio del Fiorino, reaching the terna of the finalists. Extremely prolific was also his partnership with the Pananti Gallery, which presented his works on several occasions (1972, 1974, 1979, 1982, 1984, 1991, 2001).\u003c\/p\u003e\n\u003cp\u003eAmong the most recent exhibitions are the 2002 staff at the Accademia delle Arti del Disegno in Florence and the 2005 one at the Archaeological Museum of Fiesole. Since 2007 one of his self-portraits has become part of the Collection of Self-portraits of the Uffizi Gallery. He died in Florence in 2011.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":47994920599880,"sku":"","price":290.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/31360E04-AF06-44A0-A66E-5B0042943E2F.jpg?v=1706276402"},{"product_id":"sketch-by-marco-silombria-for-facis-italian-pret-a-porter","title":"Sketch by Marco Silombria for FACIS, Italian Pret-a-Porter","description":"\u003cp\u003eSketch by Marco Silombria for FACIS, Italian Pret-a-Porter company.\u003c\/p\u003e\n\u003cp\u003eItalian Pop art\u003c\/p\u003e\n\u003cp\u003eWater-colour and ink on paper.\u003c\/p\u003e\n\u003cp\u003eSize H cm 68 x L cm 48\u003c\/p\u003e\n\u003cp\u003eDefects on paper, due to humidity and dust. \u003c\/p\u003e\n\u003cp\u003eIrregular surface of paper.\u003c\/p\u003e\n\u003cp\u003eThis project is created during the collaboration of Marco Silombria with Armando Testa, who was the main advertising graphic designer of FACIS, starting from the 1950s.\u003c\/p\u003e\n\u003cp\u003eWork by Marco Silombria (Savona, 1936 - Albissola, 2014). The history of the Facis brand began in the 1930s in Turin, when the Donato Levi company and the Rivetti wool mills merged into a single company, giving rise to the GFT (Gruppo Finanziario Tessile) and the Facis brand (Fabbrica Abiti Confezionati in Serie).\u003c\/p\u003e\n\u003cp\u003eThus, shops with the Marus and Facis brands began to spring up in Turin. During the post-war period, the Facis brand revolutionized the men's formal clothing market in Italy. Inspired by the American model, they focus entirely on clothing tailored to size. In the early 1950s, the GFT literally took the measurements of more than 25,000 Italians, allowing Facis to dress the whole nation for the first time in non-woven clothes.\u003cbr data-mce-fragment=\"1\"\u003esartorial. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCommunication becomes fundamental for the brand, so much so that the company's first advertising poster was created, designed in 1954 by Armando Testa. In the sixties and seventies Facis turns out to be the largest Italian house of men's clothing.\u003c\/p\u003e\n\u003cp\u003eAbout artist:\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMarco Silombria was a pupil of Emilio Scannavino, collaborator of Armando Testa in Turin, creator of all advertising for Fiat, Facis, Superga, Defonseca and other large Italian companies from the 70s to the 90s; creator of works with a strong Pop Art imprint.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLater he had been one of the founders of the CGSS agency together with other important advertisers such as Silvio Saffirio, Gagliardi and Giorgio Caponetti. He signed several successful campaigns: from the one for Gallo rice to the Fiat 127, to the posters for the Gruppo Finanziario Tessile.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn his turn he became a painter, in the 1980s, and devoted to an openly and decidedly homoerotic art, somewhere between the new Dadaism and pop art.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlways an active gay militant, Silombria had been the 'creative mind' of the first Italian homosexual association, the Fuori!\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHe was among the first to introduce the male nude in a pop-Dada key to Italy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Antiques","offers":[{"title":"Default Title","offer_id":48165420237128,"sku":"","price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/3E2D1211-2B1D-4E90-950D-82B6D8AF2D48.jpg?v=1710257692"},{"product_id":"36-antique-micromosaic-cameo-brooch","title":"Antique micromosaic cameo brooch. Late XIX century. Florence.","description":"\u003cp\u003eAntique micromosaic cameo brooch.\u003c\/p\u003e\n\u003cp\u003eCammeo depicting women's profile. Pale rose colored natural see shell.\u003c\/p\u003e\n\u003cp\u003eHand carved.\u003c\/p\u003e\n\u003cp\u003eFramed in micromosaic decoration.\u003c\/p\u003e\n\u003cp\u003eLate XIX century\u003c\/p\u003e\n\u003cp\u003eBears a \"FAP\" mark on reverse, which stand for \"Fabrica di Angelo Pesaresi\" which was a small but high quality jewellery studio in late XIX early XX century, on Ponte Vecchio bridge in Florence, Italy. \u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48186399424840,"sku":"","price":100.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/IMG_0125_1c8e5015-f9a3-466a-b38f-f64e228f6a0f.jpg?v=1710703324"},{"product_id":"sculpture-bust","title":"An Italian Carved White Marble Male Bust, 19th Century","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eItalian portrait white marbele bust in a heroic attitude.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eCarrara statury Marble.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eTuscan school.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eCirca 1850. \u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eStyle: late Neoclassic, Purist.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eBust depicting a young man with bare shoulders.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eThis model draws inspiration from the neoclassical era, with idealizations and heroic elements, but details such as mustache, beard, and soft curly hair clearly place it in the mid-19th century.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eCurrently lacking a base.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eSculpted in high-quality medium-grain marble, with a beautiful patina.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eCondition: rust stain on the neck and other small spots, less visible on the chest.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eHeight: 52 cm; Width: 42 cm; Depth: 24 cm.\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eFor shipments outside of Italy, we will take care of and cover the preparation of mandatory documents for the export of artworks.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48232420376904,"sku":"","price":2200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/FullSizeRender.jpg?v=1763669696"},{"product_id":"sculpture-of-a-woman-praying-with-joined-hands-17th-century-or-earlier","title":"Sculpture Of A Woman Praying With Joined Hands. 17th Century Or Earlier.","description":"\u003cp\u003eSculpture of a woman praying with her hands joined.\u003cbr\u003e17th century or earlier.\u003c\/p\u003e\n\u003cp\u003eH 42cm x 9cm\u003c\/p\u003e\n\u003cp\u003eGermanic area or Austria.\u003cbr\u003ePolychrome wood.\u003cbr\u003eRefined sculptural workmanship of great expressiveness and charm with some shortcomings due to age. \u003cbr\u003eElongated, Nordic proportions of the figure; the red dress with the belt tied with a bow still has a Renaissance style.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48444434645320,"sku":"","price":900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/fKqInKw3d7bLFOeFnMGnhKmOC-9NR-6bPjlwhLzxQccV9bB_RNoquhD8rt88qBX8vko7xGwiTZ-JXKQG01xaTwHc1niqvlCcYHa_yY-31Dar8npumZHI4midPdWhecNq_1.jpg?v=1715518131"},{"product_id":"secretary-of-pope-pius-v-abbot-of-husillos-and-bishop-of-cordoba-francisci-de-reynoso-early-xvii-century","title":"Spanish school. Secretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisco de Reynoso. Early XVII century","description":"\u003cp\u003e\u003cspan class=\"name-list\"\u003e\u003cspan class=\"link\"\u003ePortrait of \u003cem\u003e\u003cstrong\u003eFrancisco de Reynoso\u003c\/strong\u003e\u003c\/em\u003e y Baeza. \u003c\/span\u003e \u003cspan class=\"bola bola_H\" title=\"Discendente di Ferdinando I di León e Castiglia\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"name-list\"\u003eSecretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisci de Reynoso. \u003cbr\u003eEarly XVII century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSmall-format portrait from the late Renaissance period.\u003c\/p\u003e\n\u003cp\u003eSpanish school.\u003c\/p\u003e\n\u003cp\u003eDim.: Cm 19 x Cm 13,5\u003c\/p\u003e\n\u003cp\u003eOil on wooden panel.\u003c\/p\u003e\n\u003cp\u003eOn the back the fine tablet is strengthened (already in ancient times) by a sheet of parchment.\u003c\/p\u003e\n\u003cp\u003eCirca 1600-1610.\u003c\/p\u003e\n\u003cp\u003eAs often in Mannerist \/ Late Renaissance portraits, the image of the character is accompanied by the writing that runs at the top, adding a celebratory, historicising touch to the effigy. Let's bring back the sentence here:\u003c\/p\u003e\n\u003cp\u003eDON FRANCISCO DE REINOSO. CAMARERO SECRETO IESCALCO PIO QUINTO OBISCOPO CORDOBA. 68 (? O 7?)\u003c\/p\u003e\n\u003cp\u003e(1534, Autillo de Campos, Spain - 1601, Córdoba)\u003c\/p\u003e\n\u003cp\u003eFrancisco de Reynoso was a Spanish cleric, chief chamberlain, and secretary to Pope Pius V, abbot of Husillos, and bishop of Córdoba.\u003c\/p\u003e\n\u003cp\u003eHe was the fourth of eleven children. His father was the seventh Lord of Autillo de Campos, and his mother was Juana de Baeza y de las Casas, daughter of Manuel de Baeza, a lawyer of the Royal Council and at the Court of Valladolid.\u003c\/p\u003e\n\u003cp\u003eFrancisco de Reynoso was deeply devoted to the Virgin Mary and showed a strong inclination towards religion and piety from an early age.\u003c\/p\u003e\n\u003cp\u003eHe studied Latin, arts, and theology at the University of Salamanca.\u003c\/p\u003e\n\u003cp\u003eIn 1562, he traveled to Rome with his brothers Pedro and Luis.\u003c\/p\u003e\n\u003cp\u003eIn January 1566, following the death of Pope Pius IV, Cardinal Antonio Michele Ghislieri was elected pope, becoming Pius V. From this period until Ghislieri's death in 1572, Francisco de Reynoso served as his chief chamberlain and secretary.\u003c\/p\u003e\n\u003cp\u003eAfter Pope Pius V died, Francisco de Reynoso returned to Spain and lived for several years in the city of Palencia, where his brother Manuele was a canon.\u003c\/p\u003e\n\u003cp\u003eHe supported the Society of Jesus when it was established in Palencia, providing alms to the school's clergy and funding chairs of Letters and Theology at his own expense, as well as donating a significant number of books.\u003c\/p\u003e\n\u003cp\u003eDuring the brief outbreak of the Black Plague in 1580, he personally tended to the poor and sick in the city, bringing them food and making their beds. He also contributed to the establishment of the school for English seminarians in Valladolid.\u003c\/p\u003e\n\u003cp\u003eAs abbot of Husillos, he sold tapestries, silverware, carpets, and other household items to give alms, according to a 1591 report by the archdeacon of Toledo, Francisco de Ávila, to King Philip II.\u003c\/p\u003e\n\u003cp\u003eIn 1597, he was appointed bishop of Córdoba, on the recommendation of Philip II. During his episcopate, he completed the vault of the choir in the Cathedral of Córdoba and was known for his austerity and charity towards the poor, the sick, and prisoners.\u003c\/p\u003e\n\u003cp\u003eBishop Reynoso's family held various important positions: his brother Pedro succeeded as the eighth Lord of Autillo de Campos, his brother Manuel was a canon of the Cathedral of Palencia, his brother Miguel was governor of the city of L'Aquila in the Kingdom of Naples, and his brother Luis de Reynoso was a captain of the Tercio in Maastricht. Luis also served as a captain of one of the five companies that belonged to the flags of Naples in the Battle of Lepanto under the Tercio Costa de Granada.\u003c\/p\u003e\n\u003cp\u003eAdditionally, in 1559, two of his sisters were condemned by the Inquisition in a unique case: his sister Catalina de Reynoso y Baeza, a nun of the convent of Belén in Valladolid, was accused of Lutheranism. In controversial statements made by other nuns of the same convent, it was claimed that she sang verses to the god Baal while they sang in the choir. Besides the accusation of Lutheranism, it was mentioned that their mother, Doña Juana de Baeza, descended from converted Jews. Catalina was sentenced to house arrest for being a fictitious confessor, confessed, and died in 1559 at the age of 21 by garrote vil before being burned. His other sister, Francisca de Reynoso (also known as Francisca de Zúñiga), was convicted of Lutheranism and burned in an auto-da-fé, permanently deprived of her active and passive vote, and confined to her convent.\u003c\/p\u003e\n\u003cp\u003eMost likely, these actions were taken to eliminate the center of Lutheranism in Valladolid, led by the \"Alumbrados,\" a Protestant group to which the family of Gonzalo Pérez de Cazalla y Vivero, husband of Inés de Reynoso y Baeza, belonged.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48493669744968,"sku":"","price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/0AB95B1A-B3FA-4C9A-BC4C-8F31ED2C314A.jpg?v=1716485710"},{"product_id":"military-camp-scene-and-battle-pietro-graziani-xvii-xviii-century-entourage","title":"🎈SOLD Military Camp Scene and Battle. Pietro Graziani (XVII\/XVIII century), entourage.","description":"\u003cp\u003e2 paintings : Military Camp Scene and Battle.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePietro Graziani\u003c\/strong\u003e (XVII\/XVIII century), entourage.\u003c\/p\u003e\n\u003cp\u003eA pair ( two) of small paintings. \u003cbr\u003eAntique XIX century frames in gilt wood. \u003c\/p\u003e\n\u003cp\u003eIn good condition.\u003c\/p\u003e\n\u003cp\u003eOil on canvas.\u003c\/p\u003e\n\u003cp\u003eCanvas relined \u003c\/p\u003e\n\u003cp\u003eDimensions with frame each H 34cm x L 26cm\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions without frame each H 26cm x L 17 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth paintings have the same size, and are painted by the same artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn one of the paintings we see a messenger pointing to a \u003cstrong\u003ehorseman\u003c\/strong\u003e with his hand at some movements he has just seen, or bringing news of losses. The scene conveys a sense of the speed of what is happening; in the distance, we can see clouds of smoke, the outlines of banners against the background of blue distances, a city in the distance, a hilly landscape. The horseman is dressed in armor, his \u003cstrong\u003ehelmet\u003c\/strong\u003e has feathers, as does the horse's uniform. In the background, we can see a recently overturned cart, traces of violent and brutal battles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eIn the second work, the scene unfolds in a \u003cstrong\u003emilitary camp\u003c\/strong\u003e, with \u003cstrong\u003etents\u003c\/strong\u003e, where an escape and pursuit of a man in a \u003cstrong\u003eturban\u003c\/strong\u003e and colorful clothes of the Eastern style takes place, possibly a\u003cstrong\u003e Turk \u003c\/strong\u003etrying to steal the banners. Behind him, a warrior on a horse has already raised his sword to stop the fugitive.\u003cbr\u003eIn both compositions there is a sense of speed, time, speed are felt very sharply. The intensity and lightning speed of what is happening are masterfully embodied in the painting technique: before us is almost a sketch in technique, each of the brush strokes is a bundle of emotion and movement. These painting techniques are very bold and foreshadow the painting of a later period. But they certainly draw on the traditions of Neapolitan painting, especially Salvator Rosa, an extraordinary artist, as well as a poet and philosopher.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFRANCESCO AND PIETRO GRAZIANI\u003c\/p\u003e\n\u003cp\u003eThere were 2 painters active in Naples and Rome between the end of the seventeenth century and the beginning of the eighteenth century.\u003c\/p\u003e\n\u003cp\u003eUnder the appellation of \"Ciccio Graziani\", or more simply \"Ciccio Napoletano\", some small-format battles have been listed, since the eighteenth century in the inventories of famous private collections, then partly became public, some battles of small format, characterized by an unmistakable stylistic and executive imprint. There are examples preserved in the Florentine museums, the couple of the Galleria Pallavicini in Rome, many others in the well-known museums, Italian, from the Capitolina and the Corsini of Rome, the Bardini in Florence, the Civico di Deruta, to the art galleries of Naples and Prato, as well as many foreigners (Geneva, Grenoble, Nantes, Schleissheim, etc.), up to the Waltes Art Gallery in Baltimore.\u003c\/p\u003e\n\u003cp\u003eGraziani, cited in ancient sources with their specific qualification as \"Battaglista\", are clearly two: one of these sources briefly by Pietro, saying he does not know if he was a spouse or son of Ciccio Graziano who left works in churches in Rome. This in fact is also remembered by E: Titi, as famous for battles.\u003c\/p\u003e\n\u003cp\u003eWhile therefore having to recognize with confidence the activity of two battaglists Graziani, only homonymous or more likely close relatives, both Neapolitans, if not born at least from school, remains the incontrovertible finding that most of the paintings, today gathered under the name of Ciccio Graziani (or, Neapolitan), denounce a late-sixteenth-century matrix, already inclined to eighteenth-century solutions, making use of Neapolitan inventiveness, from the Falcone to Rosa, decidedly reinforced by the direct knowledge of the Borgognone.\u003c\/p\u003e\n\u003cp\u003ePresentations on clear landscaped backgrounds with eventful and crowded scenes of chivalry, whose characters, outlined with a quick and nervous, almost artificial stroke, anticipate the painting of the eighteenth century,\u003c\/p\u003e\n\u003cp\u003eBoth in the smaller format with early anticipation of the rococo taste and in the rapid executive way, which draws inspiration from Neapolitan inventiveness, from the Falcone to Salvator Rosa, reinforced by direct knowledge of the battles of the Borgonone.\u003c\/p\u003e\n\u003cp\u003eEven today, it is often problematic to attempt a distinction between a senior Graziani (Francesco) and a junior (Pietro) on the basis of style and above all more elaborate settings and executions, compared to the others more rapid and concise. As mentioned, the appellation of \"Ciccio Napoletano\" was probably used since the eighteenth century, by the will of Pietro himself, or for an exquisite practice in the same specific collecting (it usually appears in the Corsini inventories).\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48559722496328,"sku":"","price":2000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/12D126A7-553F-44CE-888A-D960F660E4CF.jpg?v=1766283368"},{"product_id":"senza-titolo-25lug_13-32","title":"Eros flying on dolfin by M. Silombria","description":"\u003cp\u003eEros on the dolphin. M. Silombria. 1980 ca\u003c\/p\u003e\n\u003cp\u003eMixed technique on drawing card.\u003c\/p\u003e\n\u003cp\u003e100 cm x 70 cm\u003c\/p\u003e\n\u003cp\u003eSome stains on the unpainted part of the sheet.\u003c\/p\u003e\n\u003cp\u003eFrom the Donisiaca series in which the painter exalts the beauty of the classical world, of idealized Greece, mixing sensuality of the young male body with the idea of happy life in Arcadia.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe artwork in question, depicting Eros on a dolphin and signed \"Silombria\" in pencil, falls within the contemporary art movement that explores and reinterprets ancient myths. Eros, the Greek god of love and desire, is depicted riding a dolphin, a symbol often representing guidance, salvation, and transition between different realms in Greek mythology. This depiction may suggest a theme of spiritual journey or connection between contrasting elements, such as the celestial (Eros's wings) and the aquatic (the dolphin).\u003c\/p\u003e\n\u003cp\u003eIn this painting, Eros is portrayed with a red body, evoking the element of fire, symbolizing passion, energy, and transformation. This detail accentuates the dynamic nature of the character, highlighting the transformative power of love and desire that Eros embodies.\u003c\/p\u003e\n\u003cp\u003eThe artist Marco Silombria is known for his ability to blend mythological elements with a modern aesthetic, creating works that serve as visual meditations on myths and their deep and often complex meanings. By using mixed techniques and diverse materials, Silombria manages to give a contemporary dimension to ancient themes, resonating with modern existential issues.\u003c\/p\u003e\n\u003cp\u003eThe painting is likely dated to the recent decades, a period during which Silombria has intensely explored mythological themes, often drawing inspiration from ancient sources like Greek vases and kraters. These ancient artifacts, dedicated to mythological figures such as Dionysus and his followers, become tools in Silombria's hands for broader reflection on identity and transformation. The use of specific colors and techniques, such as black, gold, or blue, in contrast or dialogue with different materials, is typical of his works, which aim to explore the duality and complexity of human and divine nature.\u003c\/p\u003e\n\u003cp\u003eIn this context, the painting is not just a representation of Eros and the dolphin, but an invitation to reflect on how myths can still speak to our contemporary experiences and sensitivities.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAbout artist: \u003c\/p\u003e\n\u003cp\u003eMarco Silombria, an influential figure in Italian Pop Art, was born in Savona in 1936 and passed away in Albissola in 2017. His career spanned several decades and was marked by a remarkable versatility, making significant contributions to painting, sculpture, and advertising. Silombria began his artistic journey under the tutelage of renowned artists Emilio Scannavino and Lucio Fontana, whose guidance helped shape his early style and approach to art.\u003c\/p\u003e\n\u003cp\u003eIn the late 1960s, Silombria established himself in Turin, a city that became the backdrop for his dynamic career in both art and advertising. He worked with prominent figures like Armando Testa, creating iconic campaigns for major Italian brands such as Fiat, Gallo Rice, and Facis. His work for these companies not only showcased his innovative graphic design skills but also played a pivotal role in defining the visual identity of these brands during a transformative era in Italian marketing.\u003c\/p\u003e\n\u003cp\u003eTransitioning to fine art in the 1980s, Silombria embraced a distinctive style that blended elements of Pop Art and Neo-Dadaism. His paintings often featured openly homoerotic themes, making bold statements through vibrant colors and reinterpretations of classical subjects. This period saw him exploring the rich mythological traditions of Greek and Roman art, reimagining figures like Eros, Dionysus, and Saint Sebastian with a modern, provocative twist.\u003c\/p\u003e\n\u003cp\u003eSilombria's commitment to social and cultural causes was equally notable. He was a key figure in the F.U.O.R.I. (Fronte Unitario Omosessuale Rivoluzionario Italiano), Italy's first gay rights movement founded by Angelo Pezzana. He contributed significantly to the movement's visual identity, creating iconic graphics and donating artworks that celebrated LGBTQ+ themes. His involvement with the Turin Radical Party and initiatives like the first homosexual cinema review, \"From Sodom to Hollywood,\" highlighted his role as a pioneer in advocating for gay rights and visibility.\u003c\/p\u003e\n\u003cp\u003eCollectors and art enthusiasts are drawn to Silombria's work for its historical significance and bold artistic expression. His pieces, which range from playful advertising graphics to profound and introspective paintings, offer a unique insight into the cultural and social shifts of 20th-century Italy. Silombria's art is not only a reflection of his times but also a celebration of individuality and freedom, making it a valuable addition to any collection that seeks to capture the essence of modern Italian art and history.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48824695849288,"sku":"","price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/E909DA3D-F527-4F59-B3A2-E36CD54275FA.jpg?v=1721908168"},{"product_id":"kpm-berlin-porcelain-figurine-beggar-woman-with-children","title":"KPM Berlin Porcelain Figurine: \"Beggar Woman with Children\"","description":"\u003cp\u003eKPM Berlin Porcelain Figurine: \"Beggar Woman with Children\"\u003c\/p\u003e\n\u003cp\u003eProduction: 19th century, modeled around 1775, during the reign of Frederick the Great.\u003c\/p\u003e\n\u003cp\u003eMark: cobalt blue scepter under glaze, used until 1837.\u003c\/p\u003e\n\u003cp\u003eManufacturer: KPM Berlin.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn good condition, but with a missing detail: the thumb of the hand is missing.  \u003c\/p\u003e\n\u003cp\u003ePorcelain, hard paste, hand-painted. \u003cbr\u003eHeight: 18.5 cm, width: 8.5 cm.\u003c\/p\u003e\n\u003cp\u003eThe figurine depicts a beggar woman with two children. The woman is dressed in a brown mantle and a white headscarf with red spots.\u003c\/p\u003e\n\u003cp\u003eShe holds a milk jug, while a child of about 2 to 3 years old clutches a surprisingly refined vase, styled in the fashionable 18th-century Chinese or Oriental manner. This may be an ironic touch by the sculptor.\u003c\/p\u003e\n\u003cp\u003eThe scene may also reflect historical themes, perhaps portraying a widow or a woman left destitute after the Seven Years' War. The brown mantle and the details of the milk jug and the refined vase add depth and realism to the composition. Despite the small defect, the figurine is in overall good condition and represents a notable example of 18th and 19th-century porcelain art. Ideal for collectors and enthusiasts.\u003c\/p\u003e\n\u003cp\u003eThe Königliche Porzellan-Manufaktur Berlin (KPM) was founded on September 19, 1763, by Frederick the Great, King of Prussia. Frederick II, also known as Frederick the Great, was an enlightened monarch who supported and promoted the arts and sciences during his reign. The origins of the manufactory trace back to three private ventures of the 18th century that, under royal promotion, aimed to establish porcelain production in Berlin. The manufactory became known for its high-quality porcelain and artistic innovation. The cobalt blue scepter mark, used until 1837, signifies the authenticity of KPM production. After this date, the mark was updated to include the letters \"KPM.\"\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48842803020104,"sku":"","price":300.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/C99A2090-7970-4F74-AC75-AD73D6875D0E.jpg?v=1722336372"},{"product_id":"art-nouveau-bronze-candelabras-with-herons-and-masks-eclectic-style-with-french-influence-1880-1890","title":"Art Nouveau Bronze Candelabras with Herons and Masks - Eclectic Style with French Influence (1880-1890)","description":"\u003cp\u003eArt Nouveau Bronze Candelabras with Herons and Masks - Eclectic Style with French Influence (1880-1890)\u003c\/p\u003e\n\u003cp\u003eDimensions: h 61cm L 26cm\u003c\/p\u003e\n\u003cp\u003eThese exquisite bronze candelabras, dating from the late 19th century (circa 1880-1890), showcase the transition from the eclectic style of the Napoleonic era to the elegance of Art Nouveau, enriched by French influences and touches of Orientalism.\u003c\/p\u003e\n\u003cp\u003eAdorned with herons and masks, the candelabras feature feet supported by three feline legs, each decorated with masks and foliage. The central stem is embellished with climbing ivy, a distinctive element of Art Nouveau that highlights the fluidity of natural forms.\u003c\/p\u003e\n\u003cp\u003eThe candelabras are in good general condition. Please note that one candle holder is missing from each candelabra—each should have six—but this does not detract from their beauty or functionality. This detail is reflected in the price. The elegant stem and stable base, along with the beautiful patina, will add sophistication and a touch of late 19th-century bohemian atmosphere to any set table.\u003c\/p\u003e\n\u003cp\u003eThese candelabras reflect a blend of the opulence of the Napoleonic era with the fluid elegance of Art Nouveau. The Oriental influence adds an extra layer of sophistication to the design.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eDating between 1880 and 1890, these candelabras offer a significant testament to the stylistic transition and artistic innovation of the period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eShipping within France is available at a cost of 80 euros, including a tracking number to ensure the safe delivery of the items.\u003c\/p\u003e\n\u003c!----\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48897313898824,"sku":"","price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/9B5C3CC2-F04D-4F0A-9108-9A1920A92116.jpg?v=1723474960"},{"product_id":"madonna-and-child-with-saints-sebastian-and-roch-attributed-to-francesco-rizzo-da-santacroce-active-between-1507-and-1545-venice","title":"Madonna and Child with Saints Sebastian and Roch Attributed to Francesco Rizzo da Santacroce (active between 1507 and 1545), Venice","description":"\u003cp\u003eSold 🎈\u003c\/p\u003e\n\u003cp\u003eMadonna and Child with Saints Sebastian and Roch\u003cbr\u003eAttributed to Francesco Rizzo da Santacroce (active between 1507 and 1545), Venice, first half of the 16th century. Technique: oil on wooden panel.\u003c\/p\u003e\n\u003cp\u003eThe painting depicts the Madonna at the center, holding the Christ Child in her arms, with Saint Sebastian to her left and Saint Roch to her right. Both saints, traditionally considered protectors against the plague, suggest a devotional intent connected to a prayer for protection from illness, especially relevant during the frequent outbreaks of the 16th century.\u003c\/p\u003e\n\u003cp\u003eThe scene is bathed in a very clear light, typical of Venetian Renaissance painting, with a skillful use of colors, particularly in the red of the Madonna’s mantle, which stands out against the natural landscape in the background. The Virgin’s face is characterized by an expression of tenderness and spiritual contemplation, while the Child is portrayed in a lively and dynamic pose.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe panel is particularly noteworthy for its solidity: it has not suffered any deformations, a sign of the careful craftsmanship. This is rare, as many wooden paintings of the time suffer from cracks or warping. The ultraviolet analysis revealed very few restorations, confirming an exceptional state of preservation, superior to the average for paintings of this era and school.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eOn the reverse, a cursive inscription mentions a nun, likely Franciscan.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eFrancesco Rizzo da Santacroce belonged to the Santacroce dynasty, a family of artists active in Renaissance Venice, whose patriarch, Girolamo da Santacroce, inherited the workshop of Giovanni Bellini, master of the Venetian school. Francesco is distinguished by his adherence to the style of Bellini’s followers, marked by compositional sweetness and a masterful use of chromatic tones. The influence of Bellini’s workshop is evident in the harmonious construction of the figures and the luminous, serene landscape in the background.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49170104156488,"sku":"","price":7500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/IMG_6607.jpg?v=1728195564"},{"product_id":"portrait-of-a-whitaker-family-girl-with-a-king-charles-spaniel-giuseppe-patania-1845","title":"Portrait of a Whitaker Family Girl with a King Charles Spaniel – Giuseppe Patania, 1845","description":"\u003ch3\u003ePortrait of a Whitaker Family Girl with a King Charles Spaniel – Giuseppe Patania, 1845\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1845\u003cbr\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Giuseppe Patania (1798-1852)\u003cbr\u003e\u003cstrong\u003ePictorial School:\u003c\/strong\u003e Sicilian, 19th century\u003cbr\u003e\u003cstrong\u003eFrame:\u003c\/strong\u003e Gilded wood frame, Empire style, contemporary to the painting\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Oil on canvas\u003cbr\u003e\u003cstrong\u003eDimensions without frame:\u003c\/strong\u003e L 118 cm x H 91 cm\u003cbr\u003e\u003cstrong\u003eDimensions with frame:\u003c\/strong\u003e H 77 cm x L 105 cm\u003cbr\u003e\u003cstrong\u003eSignature and date:\u003c\/strong\u003e Signed lower right “G. Patania,” dated 1845\u003c\/p\u003e\n\u003cp\u003eThe painting is in excellent condition, with no visible signs of oxidation or heavy restoration. The colors remain vivid, and the canvas maintains its original tension. The gilded frame, though showing normal signs of wear, is stable and complete.\u003c\/p\u003e\n\u003cp\u003eThis painting by \u003cstrong\u003eGiuseppe Patania\u003c\/strong\u003e depicts a young girl seated on a leopard skin, accompanied by a \u003cstrong\u003eKing Charles Spaniel\u003c\/strong\u003e. The background features a coastal landscape with a gulf and promontory, likely representing the \u003cstrong\u003eGulf of Palermo\u003c\/strong\u003e, with a small village visible in the distance. The girl, dressed in a soft pink gown, gazes serenely at the viewer, while the dog affectionately rests a paw on her shoulder.\u003c\/p\u003e\n\u003cp\u003eThe delicate portrayal of the girl and the refined details of her attire give the work an emotive character. The leopard skin beneath her adds an element of luxury and hints at the elevated social status of the family.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGiuseppe Patania, a renowned Sicilian portraitist, was highly sought after by the bourgeois and noble families of Palermo. This work exemplifies his ability to combine naturalism with a sentimental approach, particularly in his portraits of children. The presence of the dog, symbolizing loyalty and affection, further enhances the emotional dimension of the composition.\u003c\/p\u003e\n\u003cp\u003eThe landscape in the background, with its gulf and promontory, may refer to locations familiar to the Whitaker family, who owned vast estates in the Palermo area.\u003c\/p\u003e\n\u003cp\u003eThe girl depicted is identified as a daughter of the \u003cstrong\u003eWhitaker family\u003c\/strong\u003e, English entrepreneurs who settled in Palermo in the 19th century and became famous for their production of \u003cstrong\u003eMarsala wine\u003c\/strong\u003e. 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Nature reigns supreme as vegetation starts to envelop the Gothic ruins on the promontory, symbolizing the triumph of nature over human constructions. The tiny figures, dwarfed by the vast landscape, emphasize the contrast between human fragility and the unstoppable power of the elements.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe stormy sky is illuminated by a dusky pink light, heightening the unsettling atmosphere of the scene. This dramatic lighting enhances the contrast between the violence of the storm and the delicate hues.\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eFrame:\u003c\/strong\u003e\u003cspan\u003e Modern frame with green velvet passe-partout, enhancing the chromatic contrasts of the painting.\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eDimensions with frame:\u003c\/strong\u003e\u003cspan\u003e L 57 cm x H 46 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eDimensions without frame:\u003c\/strong\u003e\u003cspan\u003e L 43 cm x H 32 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003cspan\u003e Excellent. The patina of time enriches the atmosphere without compromising the readability of the artwork.\u003c\/span\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e\u003cspan\u003e Gouache on paper\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49265773609288,"sku":null,"price":1500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/CA4CBB11-33EA-4150-90F1-98B09719F472.jpg?v=1729754151"},{"product_id":"donna-seduta-con-drappo-non-datata-terracotta-h-36-cm-giorgio-rossi","title":"Seated Female Nude, circa 1930-1940, Giorgio Rossi (1894–1981), Tuscan sculptor","description":"\u003cp\u003eSOLD\u003c\/p\u003e\n\u003cp\u003eSeated Female Nude, circa 1930-1940, Giorgio Rossi (1894–1981), Tuscan sculptor\u003c\/p\u003e\n\u003cp\u003ePeriod: circa 1930-1940\u003c\/p\u003e\n\u003cp\u003eArtist: Giorgio Rossi (1894–1981)\u003c\/p\u003e\n\u003cp\u003eThis sculpture was exhibited at the artist’s monographic exhibition in Florence at Palazzo Medici Riccardi and is published in the exhibition catalog.\u003c\/p\u003e\n\u003cp\u003eMaterial: Terracotta\u003c\/p\u003e\n\u003cp\u003eDimensions: Height 38 cm Width:\u003cspan class=\"Apple-converted-space\"\u003e 45 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSchool: Tuscan school of the early 20th century, with affinities to the poetics of Libero Andreotti (Pescia, 1875 – Florence, 1933)\u003c\/p\u003e\n\u003cp\u003eDescription: The sculpture Seated Female Nude by Giorgio Rossi depicts a nude woman in a pose of serene introspection. The figure is modeled with great attention to proportions and a natural rendering of the body, evoking a sense of quiet dignity. Although rooted in the Tuscan tradition, Rossi seems to draw poetic inspiration from suggestions of the Etruscan era, infusing the figure with an archaic composure that recalls archetypal memories. The artist combines realism with delicate stylization, achieving a work that conveys balance and harmony.\u003c\/p\u003e\n\u003cp\u003eSignature: Signed at the base\u003c\/p\u003e\n\u003cp\u003eProvenance: The work comes directly from the artist’s family, where it remained in the private collection until recently.\u003c\/p\u003e\n\u003cp\u003eCondition: Excellent condition, with details still clearly visible that highlight the quality of the original modeling.\u003c\/p\u003e\n\u003cp\u003eUniqueness: Unique piece, a testament to Rossi’s artistic maturity and his ability to interpret the female nude with originality and expressive power.\u003c\/p\u003e\n\u003cp\u003eBiography of Giorgio Rossi\u003c\/p\u003e\n\u003cp\u003eGiorgio Rossi (1894–1981) was an Italian sculptor whose work combines meditative realism with archaic influences, fitting into the Tuscan figurative tradition of the early 20th century. His training at the Academy of Fine Arts in Florence under the guidance of master Antonio Bortone allowed him to develop a style characterized by intense formal research and a modern sensibility, where affinities with the poetics of Libero Andreotti (Pescia, 1875 – Florence, 1933) can be recognized. Rossi’s works, often created in terracotta and alabaster, express a strong expressive charge, accentuated by a sober and essential language.\u003c\/p\u003e\n\u003cp\u003eRossi participated in important national exhibitions, including the Venice Biennale, where he was invited in 1930 (XVII edition) and 1936 (XX edition), presenting works such as Head of a Fat Man and Young Woman. These works marked the public recognition of his career, distinguished by the vigorous and courageous representation of human subjects.\u003c\/p\u003e\n\u003cp\u003eIn addition to the Venice Biennale, he regularly exhibited in various artistic exhibitions in Tuscany and other Italian institutions, including the Sacred Art Exhibition and the Tuscan Syndicate Exhibitions from 1928 to 1932, demonstrating a strong connection to his homeland. For nearly thirty years, he worked as a drawing and sculpture teacher at the Artistic and Industrial School of Volterra, influencing generations of artists and contributing to the city’s cultural scene. Rossi’s teaching commitment and artistic production fit within a context of artistic renewal, where he experimented with new techniques and materials, including alabaster.\u003c\/p\u003e\n\u003cp\u003eHis works, preserved by his descendants, bear witness to the complexity and depth of an artistic journey rooted in a human and intimate vision of art.\u003c\/p\u003e\n\u003cp\u003eIn this version, the requested information about the exhibition at Palazzo Medici Riccardi and the catalog publication has been added.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49284340744520,"sku":"","price":1790.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/DSCF1069.jpg?v=1730021798"},{"product_id":"two-portrait-busts-of-19th-century-neapolitan-aristocrats-charles-x-era-circa-1820","title":"Two Portrait Busts Of 19th Century Neapolitan Aristocrats. Charles X Era, Circa 1820.","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eRESERVED \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo portrait busts of 19th century Neapolitan aristocrats.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eCharles X era, circa 1820. Material: plaster.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMaximum height 67cm\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt depicts two portraits, modeled by a sculptor in the late Empire era, which depict two aristocrats from Southern Italy.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe Neapolitan origin of the two sculptures suggests the probable proximity of the figures to Bourbon environments. Sophisticated lady's hairstyle with double braid, attention to the costume, gives a strict look, but with luxury elements of clothing.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWhile the male bust, perhaps still under the influence of the more purely neoclassical style, has a more \"heroic\" appearance, invested with more civic virtues, with a proud, decisive appearance and of great character.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe two busts have certainly had many vicissitudes: there are traces of old restorations on the woman's neck, remnants of old dark colour, grease in the depressions and wounds, we can imagine that according to fashion they were painted in fake bronze at the end of the 19th century.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAll this overlapping of layers gives a charm and patina of an ancient object, not excessively and not obsessively restored.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49735035388232,"sku":"","price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/1461543-main-67692e7fd43b7_ec99efd8-4bda-4502-b118-09b9d122cfc3.jpg?v=1737711080"},{"product_id":"portrait-of-a-noble-lady-in-a-silk-dress-with-bamberg-seal-german-school-1820s-height-220-cm","title":"Portrait of a Noble Lady in a Silk Dress, with Bamberg Seal. German School, 1820s. Height 220 cm.","description":"\u003cp\u003e🟡 RESERVED Portrait of a Noble Lady in a Silk Dress, with Bamberg Seal. German School, 1820s. Height 220 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeriod\u003c\/strong\u003e: 1820s\u003c\/p\u003e\n\u003cp\u003eGerman School\u003c\/p\u003e\n\u003cp\u003eLarge oil on canvas depicting a noble lady seated, dressed in a \u003cstrong\u003ewhite silk gown\u003c\/strong\u003e with puffed sleeves, characteristic of early 1820s fashion. The luxurious fabric and flowing silhouette emphasize her high social status. A \u003cstrong\u003eKashmir shawl\u003c\/strong\u003e draped over her shoulder adds refinement, while the detail of \u003cstrong\u003edouble bracelets\u003c\/strong\u003e on both wrists confirms a style that faded away by the late 1820s. Her \u003cstrong\u003ecenter-parted hairstyle with defined curls\u003c\/strong\u003e follows the aesthetic conventions of the period.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe lady is portrayed in an open architectural space featuring a \u003cstrong\u003eclassical column\u003c\/strong\u003e, reflecting the lingering influence of Neoclassicism in the early 19th century. To the left, the background opens onto a \u003cstrong\u003esmall lake with trees and hills\u003c\/strong\u003e, evoking the Romantic appreciation for nature.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrame\u003c\/strong\u003e:\u003cbr\u003eOriginal giltwood frame, consistent with the period.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eA \u003cstrong\u003ered wax seal with a crown and interlaced letters\u003c\/strong\u003e is present on the back, indicating a connection to the city of \u003cstrong\u003eBamberg\u003c\/strong\u003e, possibly suggesting a noble or institutional origin.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eGood overall condition, with well-preserved colors and details. The frame exhibits minor wear consistent with its age.\u003c\/p\u003e\n\u003cp\u003eThe painting has already obtained a regular \u003cstrong\u003eCertificate of Free Circulation\u003c\/strong\u003e issued by the Ministry.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight 220 cm.\u003c\/p\u003e\n\u003cp\u003eDimensions witout frame cm 178 x cm 110\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThis portrait, executed within the German school, accurately captures the elegance of aristocratic fashion in the 1820s. The painterly quality, the luxurious textiles, and the presence of the Bamberg seal enhance its historical and collectible value.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49772469682504,"sku":"","price":9500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/telo.jpg?v=1741100414"},{"product_id":"self-portrait-of-the-painter-with-beret-and-brush-in-hand-1930s","title":"Self-portrait of the painter with beret and brush in hand, 1930s","description":"\u003cp\u003e\u003cspan\u003eSelf-portrait of the painter with beret and brush in hand\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePeriod: Circa 1930s\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eItalian school \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTechnique: Oil on wooden panel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainted wooden frame, coeval\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWithout frame: H 45 cm x W 41 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith frame: H 55 cm x W 50 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe painting depicts a sober self-portrait of the artist. The painter is shown frontally, with a direct and questioning gaze. He wears a dark beret and holds a brush in his right hand. The chromatic palette, mainly composed of neutral and earthy tones, reflects an essential style typical of the 1930s.\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting is legible and in good condition, with minor signs of age on the painted surface. The wooden frame is original, featuring an authentic patina with wear consistent with its age.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49802456039752,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/C86FE239-4DFB-44A5-B038-1ABF05DE6647.jpg?v=1741101353"},{"product_id":"antonio-monasterio-four-naked-muses-in-the-blue-forest-nr-4","title":"Antonio Monasterio. Four naked muses in the Blue Forest. Nr.4","description":"\u003cp\u003e\u003cspan\u003eAntonio Monasterio ( \u003cem\u003e\u003cstrong\u003e1915-1983). \u003c\/strong\u003e\u003c\/em\u003eThe Muses in the Blue Forest\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTechnique: Mixed media on paper (pastels, wax, and red pen)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions: 56 x 44 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSignature: Lower right, in cursive\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSupport: Watermarked paper OCF SAVOUEUX\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePeriod: 1970s\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDescription:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNude female figures emerge from a forest bathed in shades of blue and green, enveloped in an atmosphere suspended between dream and vision. Their delicate expressions and ethereal bodies seem to merge with the surrounding environment, creating a surreal and dreamlike scene.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMonasterio’s characteristic soft and diffuse lines enhance the sense of fluidity and movement. The use of red pen in details, particularly on the nipples and facial features, introduces a striking contrast that disrupts the overall softness, adding a subtle yet vivid visual tension.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis work is \u003cem\u003e\u003cstrong\u003epart of a collection\u003c\/strong\u003e \u003c\/em\u003eof over one hundred drawings by the artist, divided into two main series: one dedicated to female figures and another focused on geometric and futuristic forms, reflecting his artistic and intellectual explorations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAbout the Artist:\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAntonio Monasterio (1915-1983), born in Tenerife\u003c\/strong\u003e\u003c\/em\u003e and primarily active in southern France, developed a visual language that blends surreal and symbolic elements with reflections on science and mathematics. His work alternates between representations of femininity and explorations of space and the fourth dimension, creating images that fluctuate between reality and imagination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFranco-Spanish Surrealism and Pictorial Reminiscences\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAntonio Monasterio’s work reflects the Franco-Spanish translation of Surrealism, incorporating an oneiric and sensual dimension. His vision carries echoes of Goya’s style: softened contours, doll-like faces, and an almost unreal fluidity of form. This distinctly Spanish approach to shading imbues his figures with a mysterious, at times unsettling, yet inherently sensual and occasionally erotic aura.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCondition:\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49869319110984,"sku":null,"price":100.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/7FB226AC-D3A7-44E5-9313-EC620C175762.jpg?v=1739864375"},{"product_id":"womans-face-terracotta-1930s-40s-giorgio-rossi-1894-1981-tuscan-sculptor-copia","title":"Diogenes, terracotta, 1939, Giorgio Rossi (1894-1981), Tuscan Sculptor.","description":"\u003cp\u003e\u003cstrong\u003eDiogenes.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTerracotta sculpture, 1939, Giorgio Rossi (1894-1981): Tuscan Sculptor.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaterial:\u003c\/strong\u003e Hand-modeled terracotta by the artist.\u003cbr\u003e\u003cstrong\u003eUnique piece.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Height 37 cm, Width 32 cm, Depth 23 cm.\u003c\/p\u003e\n\u003cp\u003eDiogenes, the Greek philosopher known for his rejection of material wealth and his pursuit of wisdom through simplicity, embodies a subject that deeply resonates with Giorgio Rossi’s artistic sensibility. The choice of this theme in 1939—a period marked by political tensions and ideological struggles—suggests an introspective reflection on human freedom and detachment from social conventions. Diogenes' disdain for power and his provocative attitude toward established norms made him a timeless symbol of independence and philosophical resistance, themes that may have held particular significance for Rossi in the context of the time.\u003c\/p\u003e\n\u003cp\u003eRossi interprets this figure with a synthesis of form typical of late Art Deco, where expressive intensity is conveyed through a balance between stylization and realism. The sculptor captures the philosopher in a moment of deep contemplation, emphasizing essential forms and a strong sculptural presence that highlights his mastery of the medium.\u003c\/p\u003e\n\u003cp\u003eThe use of terracotta aligns with the Tuscan artistic tradition, which, from the Etruscan era to the Renaissance, reflects a strong connection with the land and its rich clay resources in the Florentine and Sienese territories. This bond with the past is fused with the modernity of form, making this sculpture a unique testimony to Rossi’s mature artistic language.\u003c\/p\u003e\n\u003cp\u003eThe sculpture is documented in the catalogues of Giorgio Rossi's collections.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e\u003cbr\u003eComing directly from the master's legacy to his family, the work has remained in the collection of his heirs, preserved as a testament to Rossi's artistic maturity. The work reflects the balance between tradition and innovation typical of the late Art Deco period, underlining the artist's ability to blend expressive force and formal refinement.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003cbr\u003eExcellent state of preservation.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExhibitions:\u003c\/strong\u003e\u003cbr\u003eThis work belongs to the period in which Rossi participated in prestigious national exhibitions, such as the Venice Biennale (1930, 1936), where his works were praised for their technical quality and ability to interpret modernity without betraying tradition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist Biography:\u003c\/strong\u003e\u003cbr\u003eGiorgio Rossi (1894–1981) was a Tuscan sculptor known for his ability to interpret realism and figurative tradition with a modern sensibility. Born in Florence, he trained at the Academy of Fine Arts under the guidance of Antonio Bortone. His works, often made of terracotta and alabaster, are characterized by a synthesis of form that highlights the expressive power of the subject through a refined and modern language.\u003c\/p\u003e\n\u003cp\u003eHe participated in prestigious exhibitions, including the Venice Biennale (1930, 1936), receiving praise for the technical quality and originality of his works. For over thirty years, he taught at the Artistic and Industrial School of Volterra, influencing generations of artists and contributing to the artistic renewal of Tuscany. Rossi's works, often from the family legacy, testify to his contribution to 20th-century Italian sculpture, with a vision that combines tradition and innovation, Etruscan roots, and modern sensibility.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":50024006222152,"sku":null,"price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/IMG_6417_f92f3f80-6c4a-4401-8b21-679c02bf9342.jpg?v=1741943137"},{"product_id":"womans-face-terracotta-1930s-40s-giorgio-rossi-1894-1981-tuscan-sculptor-copia-2","title":"Entangled bodies, terracotta, 1942, Giorgio Rossi (1894-1981), Tuscan Sculptor.","description":"\u003cp\u003eEntangled bodies.\u003cbr\u003eTerracotta sculpture by  Giorgio Rossi (1894-1981).\u003cbr\u003eTuscan Sculptor.\u003c\/p\u003e\n\u003cp\u003eMaterial: Hand-modeled terracotta by the artist.  \u003cbr\u003eUnique piece.\u003cbr\u003eDimensions: Height 23 cm.\u003c\/p\u003e\n\u003cp\u003eRossi interprets Woman figure with a synthesis of form typical of late Art Deco, where expressive intensity is conveyed through a balance between stylization and realism. \u003c\/p\u003e\n\u003cp\u003eThe use of terracotta aligns with the Tuscan artistic tradition, which, from the Etruscan era to the Renaissance, reflects a strong connection with the land and its rich clay resources in the Florentine and Sienese territories. This bond with the past is fused with the modernity of form, making this sculpture a unique testimony to Rossi’s mature artistic language.  \u003c\/p\u003e\n\u003cp\u003eThe sculpture is documented in the catalogues of Giorgio Rossi's collections.  \u003c\/p\u003e\n\u003cp\u003eProvenance:\u003cbr\u003eComing directly from the master's legacy to his family, the work has remained in the collection of his heirs, preserved as a testament to Rossi's artistic maturity. \u003c\/p\u003e\n\u003cp\u003eThe work reflects the balance between tradition and innovation typical of the late Art Deco period, underlining the artist's ability to blend expressive force and formal refinement.  \u003c\/p\u003e\n\u003cp\u003eCondition:\u003cbr\u003eExcellent state of conservation.  \u003c\/p\u003e\n\u003cp\u003eExhibitions:\u003cbr\u003eThis work belongs to the period in which Rossi participated in prestigious national exhibitions, such as the Venice Biennale (1930, 1936), where his works were praised for their technical quality and ability to interpret modernity without betraying tradition.  \u003c\/p\u003e\n\u003cp\u003eArtist Biography:\u003cbr\u003eGiorgio Rossi (1894–1981) was a Tuscan sculptor known for his ability to interpret realism and figurative tradition with a modern sensibility. Born in Florence, he trained at the Academy of Fine Arts under the guidance of Antonio Bortone. His works, often made of terracotta and alabaster, are characterized by a synthesis of form that highlights the expressive power of the subject through a refined and modern language.  \u003c\/p\u003e\n\u003cp\u003eHe participated in prestigious exhibitions, including the Venice Biennale (1930, 1936), receiving praise for the technical quality and originality of his works. For over thirty years, he taught at the Artistic and Industrial School of Volterra, influencing generations of artists and contributing to the artistic renewal of Tuscany. Rossi's works, often from the family legacy, testify to his contribution to 20th-century Italian sculpture, with a vision that combines tradition and innovation, Etruscan roots, and modern sensibility.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":50515504464200,"sku":null,"price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/DSCF1184.jpg?v=1747850491"},{"product_id":"dutch-golden-age-scene-soldiers-sharing-spoils-circle-of-duyster-17th-c-panel","title":"Dutch Golden Age Scene – Soldiers Sharing Spoils, Circle of Duyster, 17th c. Panel","description":"\u003cp\u003e\u003cspan\u003eDivision of the Spoils in a Military Encampment\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCircle of Willem Cornelisz. Duyster (Amsterdam 1599 – 1635)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDutch school, late 17th – early 18th century\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOil on oak panel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions: H 37.5 cm × W 63 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrigands or soldiers? The uniforms suggest military order, the gestures evoke looting. In a makeshift camp, armed men divide a luxurious spoils – silverware, embroidered fabrics, jewels – examining each item one by one, like animated still-life objects. A standing officer oversees the scene, while those around him move quickly, silently, caught between discipline and desire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis subject belongs to the Dutch tradition of military scenes, particularly those associated with Willem Cornelisz. Duyster. The composition echoes a well-known prototype, Interior with Soldiers Dividing the Spoils (c. 1625–30), which was widely reproduced in later decades. Known versions are held at Luton Hoo (Wernher Collection, RKD), the William Benton Museum of Art (signed “WD”), the former Koenigs Collection (as noted by Hofstede de Groot), and appeared in sales at Christie’s (1969, Van Alen Collection) and Sotheby’s New York (1979).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe horizontal format is used to full narrative effect, guiding the viewer’s eye through a scene structured like a silent drama. The rendering of materials – metal, textiles, weapons – reflects the refined detail typical of Dutch painting from the late 17th century. The painting has not been recorded in public collections or auction records and likely remained for a long time in a private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal oak panel, horizontal format, uncradled. The painted surface shows a stable and consistent craquelure, light abrasions at the edges, and some old retouching. Structurally sound and visually well preserved.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":50997807907144,"sku":null,"price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/8A575340-A932-4ADF-AB8A-284E8DC423F9.jpg?v=1753464749"},{"product_id":"dive-with-cat-swimmer-marco-silombria-savona-1936-albissola-2017-1980s","title":"Dive with Cat. Swimmer. Marco Silombria (Savona, 1936 – Albissola, 2017) 1980s","description":"\u003cdiv class=\"relative flex basis-auto flex-col -mb-(--composer-overlap-px) [--composer-overlap-px:55px] grow overflow-hidden\"\u003e\n\u003cdiv class=\"relative h-full\"\u003e\n\u003cdiv class=\"flex h-full flex-col overflow-y-auto [scrollbar-gutter:stable_both-edges] @[84rem]\/thread:pt-(--header-height)\"\u003e\n\u003cdiv class=\"@thread-xl\/thread:pt-header-height flex flex-col text-sm pb-25\"\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-9554e966-fe0f-4817-af1e-7edbd0d3cb23-47\" data-testid=\"conversation-turn-173\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @[37rem]:[--thread-content-margin:--spacing(6)] @[72rem]:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:32rem] @[34rem]:[--thread-content-max-width:40rem] @[64rem]:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"6f582282-20c9-4f35-a1f4-8775a4e91060\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-5\" data-message-model-slug=\"gpt-5\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[3px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full break-words light markdown-new-styling\"\u003e\n\u003cp data-start=\"0\" data-end=\"165\"\u003eDive with Cat. Swimmer. Marco Silombria (Savona, 1936 – Albissola, 2017) 1980s\u003cbr data-start=\"78\" data-end=\"81\"\u003ePaper, acrylic, glitter, mixed media\u003cbr data-start=\"117\" data-end=\"120\"\u003eSigned lower edge\u003cbr data-start=\"137\" data-end=\"140\"\u003eDimensions: 100 × 72 cm\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-9554e966-fe0f-4817-af1e-7edbd0d3cb23-48\" data-testid=\"conversation-turn-175\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @[37rem]:[--thread-content-margin:--spacing(6)] @[72rem]:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:32rem] @[34rem]:[--thread-content-max-width:40rem] @[64rem]:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"7f390efa-f75c-4ab5-a816-d2044106a2c7\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-5\" data-message-model-slug=\"gpt-5\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[3px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full break-words light markdown-new-styling\"\u003e\n\u003cp data-start=\"174\" data-end=\"683\"\u003eA swimmer, body leaning forward as in a dive from a springboard, blends with the shape of a cat. The dark background makes the fluorescent colours and glitter shine, creating a strong visual impact. Silombria’s pop style is linked to his work as an advertising graphic designer for big brands like Fiat, which gave him the skill to create iconic, clear and powerful images. The composition speaks a simple and direct visual language, where movement, colour and a playful atmosphere meet a queer sensibility.\u003c\/p\u003e\n\u003cp data-start=\"685\" data-end=\"822\"\u003eProvenance: from the artist’s studio, through family members.\u003cbr data-start=\"746\" data-end=\"749\"\u003eCondition: good, with minor losses and small age marks along the edges.\u003c\/p\u003e\n\u003cp data-start=\"824\" data-end=\"1261\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eMarco Silombria was a painter, sculptor, ceramist and advertising graphic designer. He was a student of Emilio Scanavino, worked with Armando Testa, and created campaigns for Fiat, Facis, Superga and other Italian companies from the 1970s to the 1990s. Active in Albissola and Turin, he mixed pop culture with classical myths and introduced the male nude in Italy with a pop-dada approach, creating an iconic and visually strong style.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":51122126618952,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/IMG_12591.jpg?v=1754737394"},{"product_id":"ernest-rouart-1874-1942-girl-with-a-dog-60x50-cm-french-impressionist-in-the-degas-manet-circle","title":"Ernest Rouart (1874–1942), Girl with a dog 60x50 cm, French Impressionist in the Degas–Manet circle","description":"\u003cp\u003e\u003cspan\u003eErnest Rouart (1874–1942) was a French Impressionist painter who grew up in a unique artistic environment. His father Henri Rouart, a close friend of Degas, collected works by Corot, Courbet, Manet, Morisot and Gauguin. Surrounded from childhood by these masterpieces, Ernest developed his eye in direct contact with the Impressionist world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDegas, who almost never accepted pupils, made an exception for Rouart and guided him through drawing and the study of the Old Masters. In 1900, Rouart married Julie Manet, daughter of Berthe Morisot and niece of Édouard Manet, thus joining one of the most emblematic families of French painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis painting style reflects intimacy and delicacy. Although he painted in oil, his surfaces often recall the soft pastel effects of Degas, with softened contours and luminous tones. Rouart preferred family scenes, gardens and portraits, expressed with a bright palette and joyful colors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRouart was not only a painter but also a custodian of Impressionism. He preserved part of his father’s collection, organized major retrospectives on Degas, Manet and Morisot, and together with Julie Manet enriched French museums with important donations to the Louvre and the Musée de l’Orangerie.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis painting, signed lower right in red, shows a girl with a straw hat and a dog in a flowering garden. Red and yellow tones of the flowerbeds contrast vividly with the darker background. Some minor paint liftings, probably due to experimental techniques, were stabilized by a professional restorer, ensuring the good conservation of the work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented in a Florentine carved and gilded frame. Dimensions: 60 x 50 cm without frame, 71 x 61 cm with frame.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":51365614453064,"sku":null,"price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/B98796D7-C7B5-426C-87D6-39288ABCBB78.jpg?v=1757574532"},{"product_id":"pietro-bardellino-pastoral-scene-with-a-figure-in-oriental-costume","title":"Pietro Bardellino. Pastoral Scene with a Figure in Oriental Costume","description":"\u003ch3 data-start=\"2039\" data-end=\"2097\"\u003e\u003cstrong data-start=\"2043\" data-end=\"2095\"\u003ePastoral Scene with a Figure in Oriental Costume\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"2098\" data-end=\"2208\"\u003eOil on canvas, 62 × 136.5 cm\u003cbr data-start=\"2126\" data-end=\"2129\"\u003eAttributed to Pietro Bardellino (Naples, 1728–1819)\u003cbr data-start=\"2180\" data-end=\"2183\"\u003eNaples, circa 1755–1760\u003c\/p\u003e\n\u003cp data-start=\"2210\" data-end=\"2641\"\u003eThis refined painting belongs to the Neapolitan Rococo period, when court painting turned toward lighter, more worldly themes. The bucolic scene depicts three young figures in a theatrical attitude: at the center a woman receives a basket of fruit, while on the right a youth dressed in white with a red turban introduces an exotic and playful note, inspired by the contemporary taste for \u003cem data-start=\"2599\" data-end=\"2611\"\u003eturqueries\u003c\/em\u003e and theatrical masquerades.\u003c\/p\u003e\n\u003cp data-start=\"2643\" data-end=\"3148\"\u003ePietro Bardellino worked in Naples under the \u003cstrong data-start=\"2688\" data-end=\"2707\"\u003eBourbon dynasty\u003c\/strong\u003e, which ruled the Kingdom of Naples and Sicily from 1734 to 1860. His style combined the graceful Neapolitan tradition with northern European influences introduced at the court of \u003cstrong data-start=\"2887\" data-end=\"2915\"\u003eMaria Carolina of Saxony\u003c\/strong\u003e, wife of \u003cstrong data-start=\"2925\" data-end=\"2957\"\u003eKing Ferdinand IV of Bourbon\u003c\/strong\u003e (later Ferdinand I of the Two Sicilies). His softly contoured figures and delicate pastel tones reveal a luminous, decorative sensibility reflecting the cosmopolitan refinement of the age.\u003c\/p\u003e\n\u003cp data-start=\"3150\" data-end=\"3340\"\u003eBy its format and subject, the painting was likely part of a decorative ensemble for a \u003cstrong data-start=\"3237\" data-end=\"3275\"\u003evilla or musical salon near Naples\u003c\/strong\u003e, where art, theater, and nature were harmoniously intertwined.\u003c\/p\u003e\n\u003cp data-start=\"3342\" data-end=\"3726\"\u003e\u003cstrong data-start=\"3342\" data-end=\"3375\"\u003ePietro Bardellino (1728–1819)\u003c\/strong\u003e was among the leading painters of the Neapolitan Rococo. A pupil of \u003cstrong data-start=\"3444\" data-end=\"3465\"\u003eFrancesco De Mura\u003c\/strong\u003e, he decorated Bourbon churches and royal residences, distinguished by his elegant frescoes and airy palette. His work transformed the Baroque heritage into a lighter, ornamental language akin to the refined taste of European courts of the eighteenth century.\u003c\/p\u003e\n\u003cp data-start=\"3342\" data-end=\"3726\"\u003eDimensions with frame : 148cm x 72cm\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":51860449132872,"sku":null,"price":9000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/bardellinoIMG_5830.png?v=1761572165"},{"product_id":"giorgio-rossi-1892-1963-terracotta-female-figure-1930s-height-78-cm","title":"Giorgio Rossi (1892–1963), Terracotta Female Figure, 1930s, Height 78 cm","description":"\u003cp\u003e\u003cspan\u003eGiorgio Rossi (1892–1963)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWoman with Crossed Hands, circa 1930\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTerracotta, unique piece\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHeight: 78 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis sculpture is the work of the Tuscan sculptor Giorgio Rossi, active between Florence and Volterra. The female figure is modeled through a deliberate simplification of form, reflecting the direction taken by Rossi in the 1930s, when he moved away from the fluid lines of Italian Art Nouveau and embraced a language closer to the Novecento (Italian 20th-century art). The solid masses and frontal stance suggest an intentional archaising approach, while the softened facial features introduce a poetic, almost childlike innocence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe figure no longer derives from naturalistic observation but from an imagined, idealised image, where archaic echoes and modern sensibility coexist. This shift from realism to a timeless synthesis is one of Rossi’s most distinctive traits of the period. The choice of terracotta—deeply rooted in Tuscan tradition, from Etruscan heritage to early Renaissance sculpture—establishes a continuity between the past and his modern reinterpretation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: kept within the artist’s family after his death.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition: very good.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExhibitions (selection – documented participations of the artist)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1906, 1912–13, 1916–18: Società di Belle Arti, Florence\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1920: Mostra d’Arte Sacra, Venice\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1925: Premio Principe Umberto, La Permanente, Milan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1930, 1936: Venice Biennale\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2007: Giorgio Rossi. Scultore nel secolo breve, Palazzo Panciatichi, Florence\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2010: Le voci di dentro. La scultura di Giorgio Rossi, Sala delle Colonne, Ente Cassa di Risparmio di Firenze\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2011: Nel segno della Sieve, Pontassieve\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2013: Volti dal passato, Palazzo Medici Riccardi, Florence\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":52009777365320,"sku":null,"price":3500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/F6309546-700E-4597-948D-654A06AE7F40.jpg?v=1763275393"},{"product_id":"ritratto-di-scuola-olandese-circa-1670-giovane-dama-nel-giardino-davanti-a-balaustra","title":"Ritratto di scuola olandese, circa 1670, giovane dama nel giardino davanti a balaustra","description":"\u003cp\u003eScuola olandese, circa 1670.\u003cbr\u003eGouache su pergamena applicata su supporto ligneo in rovere.\u003cbr\u003eMisure: 17 × 14 cm (senza cornice); 19 × 21 cm (con cornice).\u003c\/p\u003e\n\u003cp\u003eIl dipinto raffigura una giovane dama a mezzo busto, collocata davanti a una balaustra affiancata da una colonna architettonica. Con una mano la figura trattiene il lembo del vestito, gesto misurato tipico della ritrattistica femminile intorno al 1670. La pettinatura, con scriminatura centrale e morbide ciocche laterali, riflette la moda del periodo e contribuisce a definire la datazione.\u003c\/p\u003e\n\u003cp\u003eLa composizione con colonna, balaustra e giardino rimanda al ritratto di rappresentanza in formato ridotto diffuso nei Paesi Bassi intorno al 1670. La scelta della pergamena rientra in una produzione di piccolo formato; la tecnica a gouache consente una resa precisa dell’incarnato e dei tessuti.\u003c\/p\u003e\n\u003cp\u003eSul retro sono presenti numerose impronte di ceralacca rossa con stemmi nobiliari parzialmente leggibili, insieme a tracce di antichi montaggi, che testimoniano una provenienza collezionistica e il passaggio dell’opera attraverso collezioni precedenti.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":52345753993544,"sku":"PAINTING-1670-LADY","price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/19537987-5909-4267-95CB-3BF149BE3587.jpg?v=1774289076"},{"product_id":"veduta-di-toledo-spagna-ponte-sul-tago-puente-de-san-martin-circa-1935-1936","title":"Veduta di Toledo, Spagna – Ponte sul Tago (Puente de San Martín), circa 1935–1936","description":"\u003cp\u003eVeduta di Toledo, Spagna – Ponte sul Tago (Puente de San Martín), circa 1935–1936\u003c\/p\u003e\n\u003cp\u003eh 54 cm x l 66 cm\u003cbr\u003eolio su tela\u003cbr\u003etela e telaio originali\u003c\/p\u003e\n\u003cp\u003eVeduta della città storica di Toledo, in Spagna, con il celebre ponte sul fiume Tago, identificabile con il Puente de San Martín, uno degli accessi monumentali più rappresentativi della città. La composizione restituisce l’atmosfera luminosa e asciutta del paesaggio castigliano attraverso una pittura sintetica, costruita per campiture e tonalità calde, tipica della produzione europea tra le due guerre.\u003c\/p\u003e\n\u003cp\u003eFirmato in basso a destra, firma parzialmente leggibile.\u003c\/p\u003e\n\u003cp\u003eSul retro è presente una vecchia etichetta manoscritta in lingua francese che indica: “Tolède – Pont sur le Tage”, con datazione “1935\/1936” e il nome di un pittore citato come Jacques (Paul) Fourestier; compare inoltre un’ulteriore nota attributiva a “Jacques Fabrege”. Indicazioni da considerarsi come annotazioni di provenienza e catalogazione precedente.\u003c\/p\u003e\n\u003cp\u003eBuone condizioni complessive, con una piccola caduta di colore nella parte bassa del ponte.\u003cbr\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":52433396957512,"sku":null,"price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/IMG_7941.jpg?v=1770450455"},{"product_id":"cartella-portalettere-intarsiata-tamburiata-sorrento-seconda-meta-xix-secolo-cm-26-x-20-chiusa-cm-26-x-41-aperta","title":"Cartella portalettere intarsiata “Tamburiata”, Sorrento, seconda metà XIX secolo, cm 26 x 20 (chiusa), cm 26 x 41 (aperta)","description":"\u003cp\u003e\u003cspan\u003eCartella portalettere intarsiata “Tamburiata”, Sorrento, seconda metà XIX secolo, cm 26 x 20 (chiusa), cm 26 x 41 (aperta)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSous-main porte-lettres en bois d’olivier marqueté, Sorrente – Naples, seconde moitié du XIXᵉ siècle\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCe sous-main porte-correspondance reflète il savoir-faire tradizionale di Sorrento, centro rinomato per le sue marqueteries fini particolarmente ricercate dai viaggiatori stranieri nel XIX secolo. Nell’epoca del Grand Tour e dei soggiorni nel golfo di Napoli, questi oggetti rappresentavano un ricordo elegante, legato alla cultura e all’artigianato locale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLa façade è arricchita da una cornice traforata a motivi vegetali e volute; al centro, un medaglione ovale raffigura una scena di danza popolare con tamburello (“tamburiata”), dai toni caldi su fondo scuro, tipica della produzione sorrentina destinata al mercato turistico colto dell’epoca.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eL’interno, rivestito in seta rossa, è suddiviso per lettere lette e non lette, secondo un uso domestico diffuso nella seconda metà dell’Ottocento.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLavorazione napoletana, in buono stato coerente con l’epoca, con lievi segni del tempo.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":52551984218440,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/45E2FE9D-E17F-41B9-A848-A55272F11CB7.jpg?v=1772086862"},{"product_id":"coppia-di-busti-in-bronzo-antiche-maniglie-da-mobile-xviii-xix-secolo","title":"Coppia di busti in bronzo, antiche maniglie da mobile, XVIII \/ XIX secolo","description":"\u003cp\u003e\u003cspan\u003eCoppia di busti in bronzo, antiche maniglie da mobile, XVIII \/ XIX secolo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCoppia di piccoli busti in bronzo, antichi elementi di presa o maniglie decorative provenienti probabilmente da cabinet, monetiere o mobile di pregio.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDecoro di gusto classicista, con alte acconciature e panneggi all’antica. Il busto femminile presenta il seno scoperto e un fiore tra i capelli; l’altro porta una corona d’alloro, richiamando modelli decorativi del Settecento.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRetro cavo che conferma l’originario uso applicato su mobile. Basi posteriori aggiunte in epoca successiva per presentazione.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBella patina antica. Oggetto non comune per amatori di bronzi da arredo e ferramenta storica.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53008092365128,"sku":null,"price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/23B2257E-50EC-484C-94D2-D6DBC1CCA447.jpg?v=1777479860"},{"product_id":"piatto-in-porcellana-di-frankenthal-xviii-secolo-decoro-floreale-cm-34-5","title":"Piatto in porcellana di Frankenthal XVIII secolo , decoro floreale , cm 34,5","description":"\u003cp\u003e\u003cspan\u003eGrande piatto in porcellana dura di Frankenthal con bordo sagomato a rilievo imitante l’intreccio del vimini, modello noto nelle manifatture tedesche del XVIII secolo come “Neuosier”. Decoro floreale policromo con bouquet centrale nei toni del viola, azzurro, verde e arancio, accompagnato da piccoli mazzetti sparsi lungo la tesa. Diametro cm 34,5.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMarca blu coronata al verso riferibile alla manifattura di Frankenthal nel periodo elettorale del Palatinato. Numero “5” dipinto in blu e sigla incisa “C2” sotto vetrina, probabilmente legati ai controlli interni di produzione. Una vecchia etichetta antiquaria applicata al retro descrive il piatto come “decoro fiori policromi, con il caratteristico violetto della fabbrica”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFondata nel 1755 nel Palatinato del Reno da Paul Hannong, già attivo nell’ambiente ceramico di Strasburgo, la manifattura di Frankenthal fu una delle principali fabbriche di porcellana della Germania del XVIII secolo e rimase attiva esclusivamente fino al 1799, sotto la protezione dell’Elettore Carl Theodor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIl rilievo del bordo, derivato dai modelli di Meissen, imita il vimini intrecciato delle ceste e fu largamente utilizzato nei grandi servizi aristocratici della seconda metà del Settecento.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBuono stato generale con usure, minute impurità e piccole puntinature di cottura nella pasta e nella vetrina, caratteristiche coerenti con la produzione tarda della manifattura nella seconda metà del XVIII secolo.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53185839825224,"sku":null,"price":420.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/7AECD3D1-B249-478D-9C19-4F5C17059822.jpg?v=1779866724"},{"product_id":"studio-accademico-di-testa-di-monaca-scuola-fiorentina-fine-xviii-inizio-xix-secolo","title":"Studio accademico di testa di monaca. Scuola fiorentina, fine XVIII – inizio XIX secolo.","description":"\u003cp\u003e\u003cspan\u003eStudio accademico di testa di monaca.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eScuola fiorentina, fine XVIII – inizio XIX secolo.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMatita su carta di cotone fatta a mano.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eDimensioni: 38,5 × 53,5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrande studio raffigurante la testa di una monaca con velo. Il volto abbassato e l’espressione raccolta conferiscono alla figura un carattere meditativo, mentre l’ampio panneggio che avvolge il capo occupa gran parte della composizione.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIl disegno proviene da una raccolta fiorentina comprendente studi anatomici, appunti e disegni di architettura, appartenuta a un’antica famiglia legata agli ambienti culturali della città.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrande foglio su carta di cotone fatta a mano, conservato nel suo formato originale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBuono stato di conservazione.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53227630723400,"sku":null,"price":220.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/45D6DBA4-4849-4B73-963E-2B83E11AA4DF.jpg?v=1780501805"},{"product_id":"senza-titolo-9giu_22-53-46","title":"Ritratto a carboncino di dama con la cuffia . Circa 1830","description":"","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53257550889288,"sku":null,"price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/3D73CE18-67DA-4681-A59D-C84B34A9503B.jpg?v=1781038638"},{"product_id":"jean-baptiste-mallet-1759-1835-attribuito-interno-seicentesco-con-madre-bambini-e-musico-con-liuto","title":"Jean-Baptiste Mallet (1759–1835), attribuito – Interno seicentesco con madre, bambini e musico con liuto","description":"\u003cp\u003e\u003cspan\u003eJean-Baptiste Mallet, attribuito – Interno seicentesco con madre, bambini e musico con liuto\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJean-Baptiste Mallet\u003c\/span\u003e\u003cspan\u003e (Grasse, 1759 – Parigi, 1835), attribuito.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOlio su tavola.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMisure tavola: \u003c\/span\u003e\u003cspan\u003e36 × 24 cm\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eMisure con cornice: \u003c\/span\u003e\u003cspan\u003e47 × 36,5 cm\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLa composizione raffigura una giovane madre con i suoi due bambini, mentre una servente entra nella stanza recando un vassoio. Sullo sfondo compare un giovane musico con il liuto. Sebbene eseguita nei primi decenni del XIX secolo, l’opera è volutamente ambientata nel Seicento, come rivelano gli abiti delle figure, il monumentale camino di gusto tardo-manierista e gli elementi d’arredo. Questa raffinata rievocazione storica, tipica del gusto \u003c\/span\u003e\u003cspan\u003etroubadour\u003c\/span\u003e\u003cspan\u003e, costituisce uno degli aspetti più caratteristici della produzione di Jean-Baptiste Mallet. Anche la scelta dell’olio su tavola, supporto ormai meno frequente all’epoca, richiama consapevolmente la tradizione pittorica dei secoli precedenti.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNato a Grasse nel 1759, Jean-Baptiste Mallet fu uno dei principali interpreti della pittura di genere francese tra la fine del XVIII e l’inizio del XIX secolo. Le sue opere, spesso ambientate in un passato idealizzato, uniscono la narrazione della vita quotidiana a una colta ricostruzione storica. Significativi confronti possono essere stabiliti con opere conservate al Bowes Museum e con i dipinti presentati nella mostra dedicata all’artista presso il Museo Fragonard di Grasse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eL’attribuzione si fonda sulle strette affinità stilistiche e iconografiche con la produzione nota dell’artista.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBuono stato di conservazione. Presentato nella sua cornice in legno dorato.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53659913290056,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/45C3F428-DC2D-46BD-B7C2-B9779EC01ECD.jpg?v=1786031552"},{"product_id":"interno-di-appartamento-francese-con-grandi-finestre-mobile-rosso-e-mimose-ca-1930","title":"Interno di appartamento francese con grandi finestre, mobile rosso e mimose, ca. 1930","description":"\u003cp\u003e\u003cspan\u003eInterno di appartamento francese con grandi finestre, mobile rosso e mimose, ca. 1930\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eScuola francese\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eOlio su tela\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e81 × 60 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInterno di appartamento dall’atmosfera nostalgica, probabilmente parigino, dove arredi e oggetti di epoche diverse convivono in un ambiente luminoso e vissuto. Un grande vaso cinese con mimose occupa il primo piano, accanto a un tavolo nero in stile Napoleone III; sulla sinistra, un mobile rosso con piano ribaltabile e una lampada dal gusto Art Nouveau.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eQuadri alle pareti, boiseries di gusto tardo ottocentesco e grandi porte-finestre definiscono un interno raffinato senza rigidità. La luce, insieme ai rosa, agli aranci e ai gialli, è il vero elemento dominante della composizione e ne accentua il carattere intimista.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSul retro sono presenti timbri e numerazioni sulla tela e sul telaio, riconducibili a materiale per artisti di produzione francese della prima metà del XX secolo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn buone condizioni, con patina coerente con l’epoca.\u003c\/span\u003e\u003c\/p\u003e","brand":"Antichità di Alina","offers":[{"title":"Default Title","offer_id":54001087447368,"sku":null,"price":750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/BA2D9075-2B72-4FC6-BC1C-D6B7985DF249.jpg?v=1788583910"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/collections\/front_image.jpg?v=1622630697","url":"https:\/\/shop.tuttoantico.it\/en\/collections\/frontpage.oembed","provider":"@alina.malova","version":"1.0","type":"link"}