Renaissance Cabinet Wood Italy XVII Century - Early 17th century

Central Italy First Quarter XVIII Century

Baroque chest of drawers in walnut, central Italy, first quarter of the 18th century. Front with 3 drawers veneered in walnut pedule, shelf feet that also continue on the sides, interior in poplar. Restorations and modification of the uprights to make them at 45 °.

XIX Century - from 1801 to 1900, 17th century - from 1601 to 1700

Brass and steel iron scale with spring system; it comes with 3 sets of cup weights; one consisting of six elements, two with houses (the outermost weight in the form of a case with a lid) and with six and five weights respectively. The latter, which is older than the rest of the lot and dates back to the 17th century, is stamped with a chalice on the outer part, while each of the inner weights has a triangle within which a six-pointed star is inscribed.

XVIII Century - from 1701 to 1800, 17th century - from 1601 to 1700

Two-body sideboard made by re-adapting an antique piece of furniture; in the lower part it has three paneled doors alternating with false pilasters; movement also proposed in the upper body, with the addition of drawers. Walnut.

Italy, first half of the 18th century

Baroque walnut sideboard, Italy, first half of the 18th century. Openable top from which you enter the compartment, front carved in tiles with 3 drawers, shaped apron and wavy legs. Interior in poplar and oak. Knobs replaced.

Oil painting on canvas. It is a vintage copy of the engraving of the same name made by Annibale Carracci (1560-1609), which had immediate success and gave rise to a series of printed replicas and painted copies. It presents the moment of the Passion in which Christ is crowned with the crown of thorns, the object of torture, the disparaging symbol of his proclamation as King of Kings. The act is performed by two figures, the Roman soldier and the Jew, representing the two people who they took part in Christ's death sentence. The figures, vigorous and sanguine, those of the two tormentors paler and more inert than the victim, create an intertwined composition of bodies, with that of the central Jesus joining the other two, uniting them in the shared responsibility of what they are doing; placed sideways, Jesus has his head bent forcibly to the left by the soldier who imposes the crown of thorns on him, while the Jew on the right places the bamboo cane in his hand, replacing the scepter. The scene is dominated by gloomy and dark colors, among which only the bright red of Christ's robe stands out, a symbol of his suffering humanity. The painting has been restored and relined. It is presented in a beautiful coeval frame, with shortcomings.

Oil on the table. Spanish school of the seventeenth century. The gaze of this little girl is intense and penetrating, portrayed half-length in a delicate pink dress embellished with a lace collar, but with her hair held back in a lively and fluffy red cap, which gives a mischievous touch to the portrait. On the back there is an old attribution in pencil to Jacopo Chimenti known as Empoli. The painting is presented in an antique, gilded frame.

Oil on slate. Painted on a thick slab of slate, the scene presents the dramatic moment in which Mary, surrounded by a group of pious women, weeps over the body of her Son taken down from the Cross: she abandons herself dramatically in the arms of the two women behind her, while at the her womb rests the inert body of the Son, on whose hand a third woman weeps; above, a group of angels who look out from the open skies, from which the divine Light springs, participate in the lamentation. Mary is the only figure who wears brightly colored clothes, which contrast with the waxy color of the body of Christ resting on her lap, while the other women wear clothes in dull colors, just as neutral are the bodies of the little angels. The figures are placed on a dark background, in which the opening of the sepulcher can hardly be seen: the chromatic effect is rendered thanks also to the pictorial base used, the slate, a stone also known as the "blackboard", as the most important slate quarries are located near the town of Lavagna in Liguria. The pictorial modality recalls the works of Pietro Mera known as the Flemish, a painter originally from Brussels who lived between the 16th and 17th centuries: active for a long time in Venice, working from 1570 to 1603 in the service of Cardinal d'Este, Mera made extensive use slate as a pictorial support for some of his works. The material with its characteristic dark color allowed the artist to create intense luministic contrasts and to emphasize the figures, depicted with a bright chromatic range and illuminated by brilliant touches of light. In good condition, the painting is presented in an antique frame.

Italy Late 19th century

Chest made with ancient woods, Italy late 19th century. Notched undertop band, decorated with Renaissance-style motifs and a typical Umbertine medallion on the front. Feet wavy.

17th century - from 1601 to 1700

Bolognese baroque sideboard supported by shelf feet (redone in the front part), on the front it has two doors surmounted by five drawers placed in the undertop band and alternated with wavy shelves; decorated with carved tiles, while the undertop band is indented. In walnut, the sides are in elm, top in pear; interior in fir and poplar.

Italy Early 18th century

Small walnut coffee table, Italy, early 18th century. Drawer in the band with front in carved tiles, turned legs ending with a plinth foot and connected by crosspieces. Modifications, restorations and replacements.

Veneto Early 18th century

Baroque chest of drawers veneered on the front in olive with reserves inlaid in boxwood and maple with floral motifs, Veneto early 18th century. Top with 6-drawer shelf, 3-drawer front, paneled sides, carved front feet. Equipped with maple threads, ebonized frames to frame the drawers and antique bronze handles depicting facing tritons. Spruce interior. Modified by removing the front of the first drawer in correspondence with the current riser.