Roma XVII century – cm 67X62 – light 29×23
In ebony,hard stone, red marble ,
Lapislazzuli and applications In gilded bronze.
Comparative bibliography
T.J. Newbery, G. Bisacca, L. B. Kanter, Italian Renaissance Frames, The Metropolitan Museum of Art, New York 1990, pp. 98-99, n. 80
“BLACK AND WHITE”
Pair of Scagliole
XVIII century
Fra Silvestro da Bologna( Attr)
Depicting Allegories of Cherubs in gilded and carved
Piedmontese Frames .
Cm 56×62
“MUSSEL WITH LEMON”
Joannes, or Giovanni van Houbraken
( fiandre 1612-1676)
Oli on Canvas h120x154 with frame h143x160
was a Flemish painter and art dealer,
He painted religious compositions and allegorical genre scenes. He lived and worked for a while in Italy, first in Rome, later in Naples and finally in Messina.
He became familiar with the work of the Caravaggisti, whose style influenced him. After his return to Antwerp he engaged in trade with Italy and sent his works and other items produced by Antwerp craftsmen to patrons in Italy.
“NINFEE”
Angelo Biancini
( castel bolognese 1911-1988)
IL RATTO DELLE NINFEE
Painted ceramic bas-relief
50x80cm
Signed e dated
Faenza 28.07.1973
His first training took place at the Art Institute of Florence with Libero Andreotti. He began to exhibit in the 1930s at trade union exhibitions, at the Venice Biennials (from 1934 to 1958), at the Quadrennials (1935-39) and at the Seventh Triennale in Milan. He teaches at the Institute of Ceramic Art in Faenza, but his works, although predominantly made of ceramic, make use of various materials, stone, bronze, concrete. The friendship with Paul VI leads to a series of commissions of varying importance and monumentality, works that often appear as wall sculptures, always in close connection with architecture. At the end of the 1960s he obtained important foreign commissions and his works are present in museums in many European, American and Asian capitals. The collaboration with the Italian Ceramic Society of Laveno initiates the comparison of art with industry, questioning the uniqueness of the work.
painted pietra paesina
with ebony and porphyry frame
depicting a maritime landscape
Tuscany 17th century
Cm 30×30
The art of painting on stone saw its peak above all in Florence, Rome and Verona between the 16th and 17th centuries: that village or Arno stone was also widely used by the Opificio delle Pietre Dure as early as 1588 and it could be used to embellish and decorate furniture, cabinets and other objects of pure
Félix Delamarche
Paris, 1827
Wood, printed, papier-mâché and metal
It rests on its original turned wood column base
H 56 cm L 18 cm
CESARE FANTACCHIOTTI
(Florence 1844 – 1922)
Pandora
Florence – Circa 1900
Carrara Marble
Size: H 232 cm
On its original
Statuary marble base
Signed
Provenance:
Private Collection Cuneo Italy
Allemandi fine art
Via Pisacane, 44
20129 Milano MI (Milano)
Renato Allemandi | +39 335 387686
Matteo Allemandi | +39 340819722
Phone : +39 02 29408818
Email: info@allemandifineart.com
