Mirror Wood Mirror Opaline Glass Italy 1940s 1950s

Furniture characterized by an articulated play of edges, strong asymmetries and misalignments. The storage unit with shapes derived from modern architecture. The three wooden elements in teak from the 1960s have been restored and have different types of openings. The presence of the open compartment in the center of the cabinet generates a strong shadow that dialogues with those of the compartments placed on the inclined sides.

Oil on canvas. Mid 19th century. The large scene tells an unidentified historical episode, set in the Renaissance period, in which an archbishop listens to the plea of a young man in arms, accompanied by his mother, who supports his plea. The setting is inside the reception hall of the high prelate, presumably in the bishop's palace, which from the loggia in the background overlooks the Cathedral, whose dome can be glimpsed; the bishop is surrounded by his subordinates and guards, while different people of the people attend. Particular is the presence of the man sitting in the foreground on the left, who looks towards the viewer and points to the scene, as if he were telling it. The atmosphere is played on the contrasts between lights and shadows, between the bright colors of the dominant characters compared to the dull and suffused tones of the surrounding figures, who literally tend to disappear into the shadows at the limits of the scene. The work is part of that large nineteenth-century production that drew on the historical or literary subject, re-proposing it in a romantic key. The painting, restored and relined, is presented in an important frame from the second half of the 19th century, with some shortcomings.

18th Century / 1701 - 1800

Pair of big corner cabinets with rudentate pillars that end with pyramidal truncated feet and with a two-panels door. In the middle of the panels there are medaillons painted with landscapes of buildings and hills in the backbround; the rose windows are hels by pink ribbons and sourmounted by a basket of flowers in the middle. Coeval iron keyholes. Original lacquering.

18th Century / 1701 - 1800

Marie Theresa chandelier with 12 lights, dating back to the end of the 18th century. Iron branches, the supporting ones are covered in glass, the bobeches are in cast bronze. The chandelier is adorned with bevelled glass pendants and adorned with different motifs, alternating between them on the different floors. The central column was probably added in the 19th century.

Landscape with Architecture and Figures

Oil on canvas. The large landscape is dominated by an imposing architectural structure with columns overlooking the sea, which occupies the entire central part of the canvas, while a fortress is outlined on the right. The scene is then animated by numerous figures of commoners intent on daily activities: in the foreground on the left, on the quay, a group of men awaits the load of numerous crates and trunks. The monogram D.G. This abbreviation, together with the baroque stylistic modality, refers to the attribution to Domenico Gargiulo, stage name of the Neapolitan painter Micco Spadaro (1609/1612 - 1675). Active mainly in Naples, especially in the two decades between the mid-seventeenth century, the Gargiulo established itself mainly as a landscape painter and above all for having documented the tumultuous events of Naples in the seventeenth century (eruptions, epidemics, the revolt of Masaniello). The progressive specialization in the representation of landscapes or city scenes, crowded with figurines presented with minute descriptions and with attention to popular social reality, meant that his commission was mainly of a private nature, receiving commissions from numerous Neapolitan notables, regents, knights and finding his works in all the most important Neapolitan collections of the time. Among its major clients there was also the great Flemish collector Gaspare Roomer, to whom the Gargiulo owed its fortune. Gargiulo often inserted his abbreviations in his works, but rarely dated them; it was possible to establish the dating of his production only thanks to the realization of a series of works for the monks of the Certosa di S. Martino, which took place between 1638 and 1646, among the few religious works he made but the only ones in be documented with some accuracy. The large canvas proposed here is presented in a stylish frame.

Furniture characterized by a massive and monolithic body, inspired by Renaissance wall decorations. The original wooden drawers, obtained from a 1960s sideboard, have a diamond shape and are contained by a satin pink metallic ? nish. On the sides there are two niches closed by doors, one flap and the other hinged, which take up the diamond shape.

Semi-gloss black sideboard characterized by simple shapes and a subtle play of overhangs and recesses. The three wooden boxes, obtained from a 60's furniture, are slightly offset in their positioning and generate a play of shadows and an intermediate support surface. The sides have open compartments, whose backdrops show the sides of the original wooden boxes. The brushed brass details of the handles, of the circular rings in the central niche and of the feet give the whole piece of furniture sober strokes of light: a piece of furniture that combines elegance and functionality.

Oil on canvas. The large scene is set at the entrance of a village near a stop for horses: numerous horsemen are standing with their animals, which are looked after by the servants and the peasants who fill the manger with hay; one of the servants, on the right, lets the animals drink in the nearby stream. In the background, the houses of the village arranged along the river, which then flows into the hilly landscape on the right. It probably is a piece by a Flemish author working in Lombardy. Some references to clothing and construction certainly indicate the Northern European contamination, while other details indicate it was realized in a Lombard location. The painting comes from a prestigious historical residence of a Lombard noble family Still on the first canvas, it has some cuts in the lower band. It is presented in a thin coeval frame.

Oil on canvas. In the large scene set outside, the laboratory of a blacksmith stands out on the left side, who is intent to work on horseshoes with his helpers while the owner of the horse attends; in the centre, other knights arrive with their servants who are headed to the craftsman; on the right some popular figures are resting on the roadside. In the background, a large river landscape opens up on the right, while on the left there is the access to the village, dominated by a dilapidated building, with various popular figures intent on their activities: the woman who is about to breastfeed a child, while the other son runs away up the staircase, another woman hanging the clothes on the balcony of the house built on stilts on the rock, while a man climbs the ladder. It probably is a piece by a Flemish author working in Lombardy. Some references to clothing and construction certainly indicate the Northern European contamination, while other details indicate it was realized in a Lombard location. The painting comes from a prestigious historical residence of a Lombard noble family Still on the first canvas, it has some cuts and a hole in the lower band; some patches on the back from an old restoration. It is presented in a thin coeval frame.