Size 10/12

In cotton jersey, plain burnt color, comfortable day dress made by Dsquared. V-neck with buttons, short sleeves with cuffs. Fitted bodice and flared skirt. Long cm. 122; in good condition, lightly spotted on the back; size S

Group of 3 chairs in stained teak wood with foam padding and fabric covering. In good condition.

Stable interior

Oil painting on canvas. Signed lower left. The work was previously acquired at the Sotheby's auction in Milan on 10/12/2007. It was exhibited in 1991 in the exhibition "Giovanni Sottocornola. Images from a collection" held in Milan at the Silbernagl Gallery. After an initial pictorial phase dedicated to portraits and still lifes, in the 1880s Giovanni Sottocornola approached social themes, which were becoming the favorite subjects of young Lombard painters attentive to the poorest aspects of society, linked to the adoption of original artistic techniques. Sottocornola embraced the practice of pointillist painting, of which he wrote in 1895 "For now it is certain, I am convinced that there is no other painting more capable of conveying certain sensations than this one". However, this type of painting remained entirely focused on light, on its uncertain tonal vibrations, as happens in the Interior of a stable, created towards the end of the 1980s, where the plays of light and shadow play and create the effects visual in the brushstrokes of color played on a few chromatic ranges, those of browns, expressed in a wide variety of shades. The work is presented in a period frame.

Italy Late 1800s

Model of bed in mahogany wood with accessories in fabric, cotton and lace.

Landscape with River Glimpse 1906

Oil painting on canvas. Signed lower left. The Roman-born artist Cesare Maggi established himself as a pointillist landscape painter, portraying alpine landscapes in the Engadine and Aosta Valley, often enlivened by the inclusion of figures and animals. Becoming a friend of the painter Giacomo Grosso in Turin in 1901, he then successfully oriented himself towards the portrait genre, setting aside the pointillist technique. While still favoring high mountain views, he broadened his subjects by also engaging in seascapes and still lifes. In this work, still from the first period, Maggi portrays a glimpse of the countryside crossed by a calm river, bordered by rows of bare trees and small grassy hills, behind which the farmhouses overlook: already no longer linked to the techniques divisionist, the work is rather characterized by dense and opaque mixtures of color, in which the earth, the water and the farmhouses are superimposed in a continuum broken only by the band of sky above. The work is presented in a period frame.

Oak veneered wooden table.

France Second Quarter 19th Century

Charles X secretaire entirely veneered in mahogany and mahogany feather, also in the cabinet, France second quarter 19th century. Marble top, front with drawer in the band, door concealing cabinet with drawers and large desk top with morocco insert, three drawers in the lower section. Cabinet embellished with columns with ebonized elements. Oak interior. Replaced vents.

Table lamp in blown glass, gold dust and brass.

Italy, XX Century

Table with bevelled glass top resting on a capital in lacquered, gilded and carved wood, decorated with curls and phytomorphic elements. Italy 20th century

The path of San Rocco (Camogli)

Oil on cardboard. Signed lower left. On the back this title in pencil. An extremely original landscape painter who experimented with oil painting but also with watercolors and engraving, Raul Viviani came very close to pointillist painting, however developing his own personal technique, characterized by very thin filaments of color in the shape of thin commas, which define the structures of his landscapes. With his transfer to Liguria, which made the landscape of that region the protagonist of his works, his technique changed, moving away from the original divisionism to open up to a broad and summary brushstroke, which finally resulted in the last period in a production of nature death with violent and contrasting colors. This landscape can also be placed in the Ligurian period, which offers a glimpse of a well-known Ligurian locality, still rendered in the characteristic style of Viviani, made of brushstrokes in thin filaments, superimposed on spots of lively color, in the chromatic ranges of the colors of nature. In frame.

Italy, 1980s

Glass sculpture depicting a horse's head. Pointed signature and adhesive label of the designer under the base.

Europe First Half 19th Century

Wooden temple clock with applied bronze decorations. The base and the capital of the columns are in gilded bronze. Display with Roman numeral hours.

Ceiling/wall lamp in enamelled aluminum and knurled glass. In good condition.

Italy, XX Century

Table with bevelled glass top and central bronze ornament resting on a capital in lacquered, gilded and carved wood to form curls and phytomorphic elements. Italy 20th century

Italy 20th century

Table with bevelled glass top and central bronze ornament resting on a capital in lacquered, gilded and carved wood to form curls and phytomorphic elements. Italy 20th century

India First half of the 20th century

Polychrome enamels on silver depicting an elephant with a palanquin and characters. The decoration of the object in enamels with vivid colors is embellished with glass pastes and beads hanging from the roof of the palanquin and from the elephant's ears. Base below finely engraved.

Exotic wood veneered wooden table with polyester finish, wooden top with back-treated glass and brass tips. An elegant table by Osvaldo Borsani, a creation that started towards the end of the 50s, a line that met with good success and became a valuable piece of furniture for those years, so as to remain in production even in the early 60s. A piece of furniture which with its classic lines can still be inserted in a contemporary and current furniture but with a flavor of other times, with the value of a design piece and to be able to give a new life to things.

Italy, XX Century

Table with bevelled glass top resting on a capital in lacquered, gilded and carved wood, decorated with curls and phytomorphic elements. Italy 20th century

Coffee table with open compartment under the top in stained mahogany veneer with turned legs in stained beech wood. Good condition.

Oil on copper. Flemish school of the seventeenth century. The painting, attributed by oral tradition to Frans Francken the younger (1581 -1642), depicts a miraculous healing performed by Jesus: while he goes with his disciples, he meets on his way a sick man, probably with leprosy, a disease that involved isolation and banishment from the city; the man invokes Christ who performs the miracle and heals him. The painting places the event on the left edge of the scene, in the foreground, where the figures dressed according to the typical style of the times of Christ stand out for their bright colours; moreover, the landscape that fills the rest of the scene is decidedly Nordic, with a river full of water flowing in a countryside full of vegetation, and a city in the background under mountain peaks. The pictorial description of the vegetation is meticulous and precise, rich and well defined in the details: the broken trunk in the foreground, the fronds of the large tree behind the characters, the birds flying high in the sky, the small flowers on the shore, the nuances of the The water in which plants and clouds are reflected are painted with a pictorial refinement typical of Flemish painting, similar in style to that of the great Antwerp artist. The painting is presented in a repurposed antique frame.