Ancient Neo-Classical Flap Cabinet Walnut Piacenza '700 Writing Desk - Piacenza Last Fourth XVIII Century

Oil painting on canvas. The biblical scene depicts the Holy Family with Mary sitting on the donkey, newborn Jesus in her arms and Joseph pulling the animal, as they flee from Nazareth, headed for Egypt, to escape Herod's persecution. Some little angels hover above them. The gazes of the angels, Joseph and Mary tenderly converge on the Child. In the background a Nordic landscape. Restored and relined, the painting is presented in a period frame.

Italy, Late XVIII Century

Plate in polychrome majolica, podded body and lobed edge. Architectures in manganese cable, surrounded by foliage in shades of ocher, cobalt and ramin.

Oil painting on canvas. Central European school of the 18th century. A river landscape is proposed near a village, with a small bridge in the center that crosses the watercourse, and populated by numerous popular figures, with typically Northern European characteristics due to their fleshy features and cunning and curious expressions. They are engaged in everyday activities related to fishing: in the center a man exposes his catch to a couple, guaranteeing, through the gesture of his arm, its fresh origin; in front of him a child overturns a tub of fish and water snakes while another fisherman, further back, also sells his goods. Two other men, standing in the water, haul in their nets; A shepherdess passes over the bridge with her child and goat. w sitting in the foreground on the right, a woman observes the scene. Restored and relined, the painting is presented in a period frame.

Italy First Half of the 18th Century

Marble bowl.

Murano XVIII Century

Pair of Murano glass sugar bowls, Murano 18th century. Fruits in colored glass placed at the top of the lid, applied handles. Smaller spun glass sugar bowl.

Murano, Late XVIII Century

Group of 4 Murano glass goblets of different sizes, Murano late 18th century. Colorless glass decorated with white and colored spyrals filigree bands placed on the stem.

Oil painting on canvas. Venetian school of the late 18th century. The large painting tells the evangelical episode of the meeting between Saint Elizabeth, pregnant with John the Baptist, and Mary, waiting for Jesus, but inserted in a larger choral scene: it is placed on a large staircase, probably that of the temple in where Zechariah, Elizabeth's husband, was a priest, and a crowd of figures, and is animated by a crowd of figures, among which several women with children and families stand out. Detail in the foreground on the left is the figure with a little boy attached to his legs, who looks towards the viewer, indicating with a broad gesture of his arm the central event, the meeting between the two holy women. The colors stand out, which according to the Venetian pictorial tradition, are founding elements of the scenes, which underline the figures and fade into the different three-dimensional planes. Relined and restored, the canvas has a slight crack on the left. It is presented in a gilded frame from the late 19th century.

Murano XVIII Century

Cup and small vase in cut Murano glass, Murano 18th century. Both made of colorless glass, although of different shapes, have applied handles and beveled decorations. The cup has a ground flower decoration.

Murano Late XVIII Century

Group of 6 Murano glass goblets of different sizes, shapes and manufacture, Murano late 18th century. Made of colorless glass, two of the same type have colored glass profiles.

Oil painting on canvas. The large painting recalls the pictorial methods of the 17th century but is from a later period, and was created on a canvas applied to an older one. The scene tells the biblical episode (taken from the Book of Kings) widely narrated pictorially, depicting the bath of Bathsheba, the wife of General Uriah, in the service of King David. According to the biblical story, David is on the terrace of his palace when he notices the woman bathing in the garden of her home, surrounded by her handmaids. Davide falls in love with her and seduces her, making her pregnant. To hide the crime, he recalls General Uriah from the front, to make him lie down with his wife, but Uriah does not want to leave his soldiers; then David sends him to fight on the front line hoping that he will be killed: this happens and David can marry Bathsheba, but he will be punished by God for the adultery and impiety committed. The painting shows the moment in which Bathsheba, having just come out of the bathroom, while she is reflected in the mirror held by a slave girl, and surrounded by other servants, reads the note that King David sent her; the latter appears at the top right, overlooking the terrace. The scene is dominated by female figures intertwined with each other, in a tangle of clothes and fabrics, and surrounded by flowers from the garden; in the center stands the mirror in a rich golden frame. The painting has a patch at the bottom right. It is presented in an antique gilded frame.

Italy, Mid XVIII Century

Large majolica plate highly decorated in monochrome blue with a central bull's-eye motif with two daisies placed side by side and surrounded by plant racemes. Decoration that reappears on the edge of the plate.

Italy, Late XVIII Century

Majolica pod plate decorated with great heat in monochrome blue. Decoration made with two daisies placed side by side surrounded by plant racemes in the center of the cavetto and along the edge.