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Click here to subscribeJared FRENCH (1905-1988)Paul Cadmus and Margaret French at the Lido Venezia in 1949Silver print24 x 15,5 cmAmerican painter of the Magic Realism movement, here with his friend and lover Paul Cadmus, one of the other distinguished representatives of this movement. His works are present in the collections of the Whitney Museum of American Art and the Smithsonian American art Museum.
Oil paintings on wood Daughter of the famous painter Giuseppe Ponga who, after learning the rudiments of art from her father, graduated from the Academy of Fine Arts in Venice and was a valid painter as well as a very popular restorer in the first half of the twentieth century. Among his works there are five eighteenth-century-style panels located in the Caffè Quadri in Venice, one of which depicts the bucintoro. ASORstudio 35x25 cm, framed 50x40 cm
Oil on masonite Participation in 1954 at the eighth national exhibition of the Gulf of La Spezia. Giovanni Alicò was born in Catania in 1906. A self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations. Cm 40x50, framed cm 57x67
Oil painting on plywood City of Cantù competition award 1958. Signed lower left. Giovanni Alicò was born in Catania in 1906. A self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations Cm 50x60, framed 74x84
acrylic on masonite Signed lower left and on the back. Maria Leonardi Pennisi was born in 1920 in Acireale; He has always shown aptitudes for the figurative arts. He graduated from the "Ripetta" Art School in Rome and specialized in engraving by attending study of the master Nino Mustica and international courses of "Engraving Technique". Masonite, mastered the woodcut that recall the late nineteenth-century revival of this technique already dear to Durer. The language used by Pennisi is inspired by Northern European Expressionism; The subjects rigorously synthesize emotion and thought. His works are present in various Italian museums including the Museum of Modern Art of Gibellina and the Museum of Villa Croce in Genoa. Personal and Group Exhibitions Milan - November 1971 - Exhibition at the “Filodrammatici” Theater by D'Alma Folco Zambelli. Turin - October 1973 - Exhibition at “Sala Bolaffi” Livorno - 1982 Biennial of engraving and graphics Genoa 1988 - Museum of contemporary art of Villa Croce "First Italian Xilon Triennial" curated by Guido Giubbini and TranquilloMarangoni. Pisa March 1989 - National Triennial of art- PalazzoLanfranchi- FIDAPA Turin May 1989- International Competition and of Ex-Libris, Book Fair, Turin. 1990-91-92 - 1st / 2nd / 3rd Kochi International TriennalExhibition of Prints Kochi, Japan. Trento December 1996 - “Caproni” Aeronautical Museum by M. Fede. in frame h 92.5x76.5 cm; without h 80x63.8 cm
acrylic on masonite Signature on the bottom left and on the back. Maria Leonardi Pennisi was born in 1920 in Acireale; He has always shown aptitudes for the figurative arts. He graduated from the "Ripetta" Art School in Rome and specialized in engraving by attending study of the master Nino Mustica and international courses of "Engraving Technique". Masonite, mastered the woodcut that recall the late nineteenth-century revival of this technique already dear to Durer. The language used by Pennisi is inspired by Northern European Expressionism; The subjects rigorously synthesize emotion and thought. His works are present in various Italian museums including the Museum of Modern Art of Gibellina and the Museum of Villa Croce in Genoa. Personal and Group Exhibitions Milan - November 1971 - Exhibition at the “Filodrammatici” Theater by D'Alma Folco Zambelli. Turin - October 1973 - Exhibition at “Sala Bolaffi” Livorno - 1982 Biennial of engraving and graphics Genoa 1988 - Museum of contemporary art of Villa Croce "First Italian Xilon Triennial" curated by Guido Giubbini and TranquilloMarangoni. Pisa March 1989 - National Triennial of art- PalazzoLanfranchi- FIDAPA Turin May 1989- International Competition and of Ex-Libris, Book Fair, Turin. 1990-91-92 - 1st / 2nd / 3rd Kochi International TriennalExhibition of Prints Kochi, Japan. Trento December 1996 - “Caproni” Aeronautical Museum by M. Fede. in frame h 93x78 cm; without h 80x64.8 cm
acrylic on masonite Signed lower left. Maria Leonardi Pennisi was born in 1920 in Acireale; He has always shown aptitudes for the figurative arts. He graduated from the "Ripetta" Art School in Rome and specialized in engraving by attending study of the master Nino Mustica and international courses of "Engraving Technique". Masonite, mastered the woodcut that recall the late nineteenth-century revival of this technique already dear to Durer. The language used by Pennisi is inspired by Northern European Expressionism; The subjects rigorously synthesize emotion and thought. His works are present in various Italian museums including the Museum of Modern Art of Gibellina and the Museum of Villa Croce in Genoa. Personal and Group Exhibitions Milan - November 1971 - Exhibition at the “Filodrammatici” Theater by D'Alma Folco Zambelli. Turin - October 1973 - Exhibition at “Sala Bolaffi” Livorno - 1982 Biennial of engraving and graphics Genoa 1988 - Museum of contemporary art of Villa Croce "First Italian Xilon Triennial" curated by Guido Giubbini and TranquilloMarangoni. Pisa March 1989 - National Triennial of art- PalazzoLanfranchi- FIDAPA Turin May 1989- International Competition and of Ex-Libris, Book Fair, Turin. 1990-91-92 - 1st / 2nd / 3rd Kochi International TriennalExhibition of Prints Kochi, Japan. Trento December 1996 - “Caproni” Aeronautical Museum by M. Fede. in frame h 83x67 cm: without h 70x55 cm
A 1930s “Bentima” Westminster chiming English art deco mantle clock in a stylised mahogany case with a square dial, chrome Arabic numerals and corresponding pierced hands within a chrome bezel, three train Perivale movement chiming the quarters on 4 gong rods, strike/silent facility. With pendulum and key. H24Dimensions: Height: 24cm Length/Width: 28cm Depth/Diameter: 14cm
A 1930s French/Belgium Art Deco mantle clock in a black and cream “Sun Ray” marble case with two corresponding garnitures, hexagonal shaped silvered dial with Art Deco Arabic's and corresponding chrome bezel (glass missing), Fleur de Lis chrome hands, dial inscribed “UCRA”, with a timepiece pin pallet movement. Clock H20 W40 D8 Garnitures H14 W12 D7
Silberner Ehrenpokal 1. Weltkrieg, oben graviertes Schriftband: „Gegeben vom Kommandierenden General, General der Kavallerie von Frommel, Gen.Kdo.57, 1. Juli 1917“, Kelch in modernem "Art Deco" Design, innen vergoldet, dt. Silberstempel „800“ (Krone, Halbmond), Höhe 14,4 cm, Gewicht 153,5 Gramm. - Zustand I-II
Hosenband-Orden, "The Most Noble Order of the Garter", Schärpen-Dekoration "Laser George". Rundes durchbrochenes Abzeichen Gold emailliert, im Zentrum der plastische St. Georg zu Pferde mit der Lanze den Drachen tötend. Der blau emaillierte Ring beidseitig mit der Ordensdevise „Honi soit qui mal y pense“, reich verzierte Aufhängung ebenfalls emailliert. Der Bandring Gold mit Schraubverschluß zur Einhängung an die Ordensschärpe. Das Abzeichen beidseitig punziert, dabei Herstellerpunze "WC" für William Cooper, gotischer Buchstabe "B" für 1837. Maße 60x80mm. Im Jahre 1837 erhält Königin Victoria (1819-1901) eine neue Ordenskollane vom Hofjuwelier Rundell Bridge & Rundell, in reduzierte Größe und Gewicht, passend zur zierlichen Statur der Königin. Das hier angebotene Kleinod, ebenfalls aus dem Jahre 1837, wird geziert von Rosen, Diesteln und Kleeblättern, den Symbolen von England, Schottland und Irland. Ein derartiges, hier angebotenes, Kleinod wurde ohne Zweifel ebenfalls für die neue Regentin Queen Victoria gefertigt. Ausgestellt: Royal Goldsmiths "The Art of Rundell & Bridge 1797-1843, Koopman Rare Art, Juni/Juli 2005 und "Gold: Power and Allure, The Goldsmiths' Company, Juni/Juli 2012. Anbei das Verkaufsangebot der Fa. SPINK London, dort ausgepreist mit 175.000,00 GBP. Sensationelle Qualität und beste Erhaltung. - Zustand I-II
Kgl. Sächsischer Militär St. Heinrichs-Orden, Bruststern zum Großkreuz aus der Zeit der Napoleonischen Kriege, ca. 1807 - 1815. Der Sternkörper in vergoldetem Metall in der Art der gestickten Ordenssterne gearbeitet, handgetrieben, 93mm. Das Medaillon in allerfeinster, farbiger Emaillemalerei. Das Schriftband in hochgewölbter blauer Emaille mit goldener Ordensdevise: "VIRTUTI IN BELLO". Die Rückseite mit grünem Maroquin-Leder bezogen. In der Mitte goldgeprägtes Herstelleretikett mit der Bezeichnung innerhalb eines Lorbeerkranzes: "Christian Heinrich Roßbach Joallier de la Cour Royale de Saxe a Dresde" Roßbach war während der Napoleonischen Kriege der offizielle sächsische Hofjuwelier. Der Bruststern an für diese Zeit typischer metallener Doppelnadel mit Resten der Vergoldung. Auf dem Leder alte Inventar- oder Sammlungsnummer. Eindrucksvolles, frühes getragenes Exemplar des Bruststerns dieses höchsten sächsischen Kriegsordens, dessen Entstehungszeit sich aufgrund des Herstelleretiketts in französischer Sprache auf den Zeitraum 1807-1815 eingrenzen lässt. - Zustand II
Schale. JAPAN, um 1900. aus rot lackiertem Metall mit Messingapplikationen von Tieren verziert. Die Montur mit Randeinfassung und auf drei geschwungenen Beinen in der Art von Bambuszweigen gearbeitet ist ebenfals aus Messing, D: 26,5 cm, Alters- und Gebrauchsspuren, besch.| Bowl. JAPAN, around 1900. Made of red painted metal decorated with brass applications of animals. The mount with rim and worked on three curved legs in the style of bamboo branches is also made of brass, d: 26,5 cm, traces due to age and use, dam.
A good 750 white gold Art Deco style tanzanite, sapphire and diamond ring, tanzanite approx 1.9ct, sapphire approx 0.7ct, diamond approx 0.65ct, all the stone weights are marked on inside of ring, head size 26mm x 12mm, size N, approx 7.4 grams, in good condtion, minor scratches to interior shank
Tobacconist shop counter cigar display cabinet 33h x 29 w x 19cm d, and a collection of cigarette lighters, Zippo Ark Royal, Thorens, Halna ship, chrome vesta, Ronson service tin, trench art matchbox cover, shell case etc and an Eric Chevillard wristwatch.Condition ReportLighters used condition, wristwatch unused, no battery, display case good condition.
Five glass items to include an etched jar with screw stopper 18cm h, red christening beaker 'For a good Girl', a painted glass vase, a Swedish clear and green art glass Christmas tree, signed to base 14cm h and a small liqueur glass.Condition ReportWatermark to etched jar,scratches to red beaker, gilt loss to top rim of painted vase. Otherwise good condition. Swedish glass with no issues.
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