Painting fixed under glass is a unique technique because the work is created on the back of the glass. While on a canvas, the composition is sketched in broad strokes, then flat areas of color are applied, gradually finishing with the details, in reverse glass painting, the procedure is reversed. Unlike the normal technique, which involves painting the details (the nose, eyes, flowers) before the background (the face, the landscape), the viewer must view the finished work on the unpainted side of the glass plate.
Pair of large church chandeliers with 8 arms of light in cut glass, patinated metal structure.
Piedmont, Italy
19th century
Charming chandelier with 6 arms of light in blown Murano glass.
Electrification to standards
Venice, Italy
Circa 1900
Portrait of a young diplomat by Agostino Gaetano Ugolini (1755-1824).
Large flat desk, all black lacquered sides opening with three drawers in a row. It rests on nicely curved legs enhanced with a decoration of bronzes with heads of figures and hooves, top covered in old brown leather surrounded by wood and an ingot mold.
Regency period, 18th century
France
Set of four polychrome woodcut silhouettes representing angels carrying the instruments of the Passion.
19th century
Italy
Large painted wooden cutout depicting a Vestal Virgin carrying a yoke and a sacred fire.
Early 19th century
Italy
Articulated workshop mannequin, life size, french manufacture, metal label placed on the back of the mannequin.
“P. BERVILLE PARIS 25 CHAUSSÉE D’ANTIN.”
Large six-leaf screen in painted canvas, panels decorated with a motif inspired by Chinoiserie, as was fashionable in the mid-18th century, reverse decorated with simple trompe l’oeil panels.
Chandelier with six arms of light, central shaft in carved gilded wood, pendants and beads in cut rock crystal.
Genoa, Italy
19th century