Louis VIDAL 1754-1805 "still life fruits and flowers on landscape background" oil on oak parquet panel signed lower right L.Vidal, gilt wood frame and carved period.

Giovanni CRIVELLI 1680-1760 attributed to "Low School Scene" oil on canvas (relocation and frame XIX) modern baguettedoree frame (149x125)

French School of the XVIII "Young child and bird" oil on canvas (re-frame and new chassis) frame gilded wood and carved of time.

Jacob Balthasar PEETERS, attributed to, Antwerp at the end of the XVII "Character in oriental costumes in the middle of architectural elements" oil on canvas (poncho and modern chassis) frame molded and gilded wood stick.

French School of the XVIII "royal portraits: Louis XV and Marie Leszczynska" oil on canvas (relining) frames L XV style (49x57cm)

Charles François 1739-1821 NIVARD attributed to "View villages in the countryside" pair of oil paintings on canvas, wood frame moldings gilded XIX.

French School of the eighteenth, "portrait of young woman with a Pearl Necklace" oil on canvas, relining, under Louis XV carved and gilded wood.

Philipp Peter ROOS 1657-1706 attributed to "rest near the fountain" oil on canvas

Neapolitan School circa 1760 "parade the night before the Vesuvius eruption" and "Ships in the Bay of Naples" pair of oils on canvas, wood frame and stucco gilded Louis XVI style (modern)

SEYTER Amadeus Rome 1720 drawing blood "animated landscape" trompe l'oeil on a marble top, scagliole, signed lower left. The Scagliola paintings were highly prized by aristocratic travelers who have acquired during their Grand Tour in the 18th and early 19th century.
The Seyter family had German origins and the first artist in the family was Seyter Daniele, born in Vienna in 1649 who died in Turin in 1705. He had three parents working in the middle of scagliola: Pietro Amedeo Tarsilla and Vittoria who Seyter were active in Rome in the 18th century.
Their work is characterized by scagliola simulation prints. As with scagliola panels that were made in Carpi, the brothers Seyter used only two colors, usually red with cross hatching on a white background. Their work has also simulated marble paper and through effective use of sham. Amedeo was active between 1712 and 1734 in Turin and Rome, he preferred views of landscapes with rivers and also "Capricci" with Roman ruins.

The scagliola technique has been used since Roman times to imitate marble is composed of pulverized selenite Apennine in Emilia and Tuscany called lazuli or specularis Pierre di luna which is then ground and mixed with lime. This mixture is then placed on a stone support and inlaid with a composition of scagliola colored and graphite.












SEYTER Amadeus Rome 1720 drawing blood "animated landscape" trompe l'oeil on a marble top, scagliole, signed lower left. The Scagliola paintings were highly prized by aristocratic travelers who have acquired during their Grand Tour in the 18th and early 19th century.
The Seyter family had German origins and the first artist in the family was Seyter Daniele, born in Vienna in 1649 who died in Turin in 1705. He had three parents working in the middle of scagliola: Pietro Amedeo Tarsilla and Vittoria who Seyter were active in Rome in the 18th century.
Their work is characterized by scagliola simulation prints. As with scagliola panels that were made in Carpi, the brothers Seyter used only two colors, usually red with cross hatching on a white background. Their work has also simulated marble paper and through effective use of sham. Amedeo was active between 1712 and 1734 in Turin and Rome, he preferred views of landscapes with rivers and also "Capricci" with Roman ruins.

The scagliola technique has been used since Roman times to imitate marble is composed of pulverized selenite Apennine in Emilia and Tuscany called lazuli or specularis Pierre di luna which is then ground and mixed with lime. This mixture is then placed on a stone support and inlaid with a composition of scagliola colored and graphite.

Italian School XVIII "landscape background Garlands of flowers" oil on canvas (relining, new chassis) in carved gilt wood frame.

Pair of screens to 3 leaves, painted canvas decorated with scenes of the theater period late XVIII (enlarged in their lower part)