Vintage 1960s Cabinet by M. Vender Beech Veneer Italy

China, Shunzhi Era (1644-1661)

Porcelain vase painted with wucai enamels within reserves with decoration of chrysanthemum plants and peonies on a very dense background with a fish scale motif painted in red.

Paris, 1990s

Louis Vuitton Beauty Case (Boîte pharmacie) covered in Monogram canvas. The hardware is brass, the nails are marked. Interior equipped with case with mirror, leather loops for bottles and original label bearing the unique product number (984413). Equipped with dustbag; key missing. The condition is very good, despite some very slight marks. Louis Vuitton products, iconic furnishing and collectible objects, are resistant and waterproof.

Lombardy First Quarter XVIII Century

Group consisting of a high chair and four chairs in carved, lacquered and partially gilded walnut, Lombardy, first quarter of the 18th century. Armrests and under armrests of the high chair moved, legs and front crossbar have the typical volutes of intertwined acanthus leaves of Fantonian origin, feet carved in a curl. Backrests and seats upholstered and covered in finely embossed leather with partially gilded decorative motifs. Small lacks in the carving; deficiencies in the gilding and lacquering. A group of similar seats are included in the collection of the Museum of Applied Arts, in the museum complex of the Castello Sforzesco in Milan.

Cupboard with Showcase

Small sideboard with two doors and two drawers surmounted by a showcase with side shelves supported by thin turned uprights. The panels of the doors like those of the sides of the riser contain floral ceramics, in the center of the door with glass there is a bas-relief ceramic panel with the allegory of painting, this is an indecipherable signature, on the back the "Goldchelder Wien" brand , referable to the well-known Viennese ceramics factory and engraved with the numbers "0764 / 16 / 30&". The wavy feet, the cymatium, like the rest of the piece of furniture, have small "whiplash"carvings and carved florals, defined by gilding and lacquering. Brass-coated frames, hardware, worked in floral style with partly gilded copper sheet flowers and fruits.

Tuscany, England Mid 19th century

Circular top in various essences of marble, with polychrome checkerboard in the center; the marble is framed in a rosewood support, supported by a central turned baluster resting on three shaped and fluted feet.

Round table Charles X

Round center table, Charles X period, made of walnut with maple inlays; three uprights with opposing volutes rest on a base supported by curled feet, reinforced in the center by a baluster, shaped band. The whole surface is inlaid with phytomorphic motifs; white marble top.

England, 1894-1895

Large silver tray engraved and chiseled on the large cable with repeated and vegetal motifs. Perforated and chiseled brim with a repeated vegetal theme. Chiselled side grips. Retailer's and Sheffield manufacturer's mark engraved under the base. 5340 grams.

Untitled, 1971

Acrylic on cardboard. Signed lower right. Accompanied by Authentication on photo signed by the artist, with stamp of the Bolzicco Gallery of Portogruaro (VE). Published in the General Catalog of Electa editions (vol.II, page 535, n. 230). Emilio Scanavino, a painter and sculptor originally from Genoa, after a figurative beginning, gave his painting post-cubist characteristics, with the forms becoming progressively stylized until they dissolved completely in the early 1950s. In '54 the stylized knot began to appear in his canvases, which became his characteristic sign, characterizing all his subsequent production. In the production of the 70s, to which the work presented here belongs, the "knot" becomes perfectly delineated and recognisable, expressed in disturbing shapes, sometimes threatening and stained with blood red. The work is presented in a frame.

France Mid 19th Century

Chiseled and gilded bronze clock. The complex decoration of this clock over the apparent eclecticism of the whole makes the structural typologies and figurative details typical of sixteenth-century architecture prevail, proposing the facade of a building with a central staircase and statues of vestal virgins on the sides. The enamelled metal exhibition has the manufacturer's brand in the center but not very legible. The clock is surmounted by putti holding a wreath. Movement marked Cailly Ainè 1839 on the back of the dial.