19th Century / 1801 - 1900

Group of 4 chairs supported by saber shaped rear legs and curved frontal ones that are connected by crossbeams. Walnut with stuffed seat and open backrest.

20th Century / 1901 - 2000

Separé composed of four panels, covered on one side with embossed and gilded leathers, originally wall leathers.

Wall lamp with counterweight up and down, enamelled metal, brass, methacrylate diffuser.

18th Century / 1701 - 1800

Veronese neo-classical drop-leaf secretaire supported by pyramidal truncated feet. 3 frontal drawers surmounted by a folding door that hides a central open compartment and small lateral drawers. Walntu slab with marple and olive threads and silver fir interior.

Oil on canvas. Central European School. The scene is set in the shop of a barber, who is intent on cutting a man's hair under the watchful eye of other customers and, above all, of some women with children, one of whom even observes the result of his work with glasses. Glasses were introduced in art first as a sign of distinction, and later also as a sign of scientific attention, progressively delineating the figure of the scholar, doctor and surgeon: in this painting, they actually underline the irony of the scene, and they are used as a tool for a close female examination of the spouse's haircut! The whole scene is filled with figures, painted in a crude and almost grotesque way, with very marked, almost theatrical expressions and poses, underlined as well by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which originated in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in an antique frame.

Oil on canvas. It probably depicts a tragic anti-Semitic event. On the right, a wounded soldier in Russian uniform is witnessing the dramatic scene of a slaughtered family while the rabbi is preying for them. The broken window and the upside down drawers make clear that the killers broke into the house. On the left of the mirror, there is a Jewish writing that may suggest the location. The word may be translated as 'Ciro' and may be referring to the areas of Georgia and Azerbaijan near the Kura (river flowing from Turkey to the Caspian Sea, known as 'Ciro' in 1800s). The painting, restored and relined, is presented in a frame of the 1800s.

18th Century / 1701 - 1800

Walnut chest, supported by lion feet, the uprights are moved and carved in scrolls.

20th Century / 1901 - 2000

Wrought iron chandelier with six lights.

19th Century / 1801 - 1900

Pair of Liberty wrought iron and shear plate wall lights decorated with phitomorphic motifs; originally they were gilded as we can deduct from some signs, but they had been painted in green later.

Europe 1920s-1930s

Pocket watch with visible movement. Spring loaded 8 days. Shows slightly worn.

Enamelled metal ceiling lamp with Murano glass diffuser.

Swivel armchair, foam padding, fabric upholstery, enamelled and chromed metal legs.

Pair of armchairs; spring padding, skai covering, legs in ebony-stained wood with brass.

Group of 6 chairs; natural and laquered beech wood, spring padding and leatherette upholstery.

Group of 4 chairs; chromed metal tubular, foam padding and leather upholstery.

Corner cabinet, veneered wood, chromed aluminum band.

Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book in his hand, identify him as a prelate. The surname Albertoni is widely spread in Italy, in various families that started from Lombardy to extend to Parma and then to Rome. The painting, restored and relined, is presented in a period frame.

18th Century / 1701 - 1800

Baroque game table, supported by wavy legs, two of which rotate to support the openable top. In walnut, veneered in walnut briar on the top and on the outside of the legs. The internal drawers were added later.

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.

Center table, chromed metal, top in Walnut veneered wood.