Set of six chairs with foam padding, renewed upholstery and stained beech wood frame and brass tips. Restored.

Ceiling lamp in enamelled and chromed aluminum and opaline glass.

Pair of chairs in stained beech wood, seat in renovated foam and fabric.

Florence, XVII Century

Pair of polychrome scagliola plaques of Florentine manufacture from the 17th century, depicting parrots perched on branches of leaves and fruit resting on a portion of soil, one of which is enriched by small plants with flowers. A parrot is intent on detaching a cherry from the tree with its beak. One plaque has been restored. The two plaques are placed within contemporary moulded frames in gilded wood. Already during the second half of the 18th century there are testimonies regarding the admirable Tuscan scagliola works, among which we remember that of the famous naturalist Targioni Tozzetti, who states that this art had flourished for about two centuries "and in the houses of Florence you can see beautiful tables, paintings and cabinets...". This attestation demonstrates both the variety of objects of a profane nature, and their early diffusion in the context of private furnishings in the Tuscan area. This phenomenon appears to be contemporary with the maximum diffusion of the Carpi scagliola, a tradition which however seems to be more attributable to the ecclesiastical sphere with a large production of altar frontals.

Elegant sideboard with hinged doors, flap and exposed drawers. In cherry veneer with inlaid thread, brass details and handles. Restored.

Ceiling lamp, attributable to Massimo Vignelli, in brass and glass.

France Mid 19th Century

Chiseled and gilded bronze clock. The complex decoration of this clock over the apparent eclecticism of the whole makes the structural typologies and figurative details typical of sixteenth-century architecture prevail, proposing the facade of a building with a central staircase and statues of vestal virgins on the sides. The enamelled metal exhibition has the manufacturer's brand in the center but not very legible. The clock is surmounted by putti holding a wreath. Movement marked Cailly Ainè 1839 on the back of the dial.

Elegant double-station desk with removable lateral top in beech wood. The front drawer is carved and the top is in Formica.

Hungary, Late XIX Century

Silver cutlery set with initials engraved on the handles, composed of 16 serving cutlery, 12 spoons, 12 forks, 12 knives, 12 fruit forks, 12 fruit knives, 12 dessert spoons, 12 dessert forks, 12 dessert knives sweet, 12 teaspoons. 6035 grams net of the 24 knives. Marks of silver incussi. The service is kept in a mahogany cabinet with a wavy front and three drawers, the top of which, embellished with a brass insert, can be opened and conceals an additional cutlery compartment. The body can be separated from the truncated pyramidal legs. The front and top of the small chest of drawers are embellished with maple and dark wood threads, while only the first has a bois de rose border. On the sides of the front two small doors allow you to block the drawers. Locks marked Lever and internal label bearing the name of the manufacturer "James Weir Jeweler & Silversmith 66 Buchanan Street Glasgow".

Ceiling bookcase with adjustable position elements, container with hinged doors and drawers, open shelves. In teak veneer and aluminium.

Large wall lamp with enamelled metal and Murano glass frame.

Italy, Late XIX Century

Inkwell in yellow Siena marble with a gilt bronze bust of Napoleon at the top. On the sides, gilded bronze inkwells with finely chiseled fret decorations and leafy scrolls. The inkwell is supported by four circular gilt bronze feet.

Pair of wall lamps in enamelled metal and satin glass.

Ceiling bookcase with adjustable position elements, container with hinged doors and drawers, open shelves in teak veneered wood and aluminium. Restored.

French school. Mid 18th century

Oil on wooden board. French School. Mid-18th century. The scene depicts a party in a park enclosed by walls with arched openings that open onto the countryside, and decorated on the right with an amphora on a small column and in the center, behind the figures, with a gushing fountain, with statues of cherubs and shells. Two couples of richly dressed ladies and gentlemen are gallantly entertaining each other, surrounded by servants; one of the men is playing the violin, crouched in front of his lady who, flanked by the damsel, follows the melody on the score held by the black man at her side, while two musicians accompany the playing with the flute and a mandolin; the other couple, in an attitude of intimate dialogue, listens on the left, while on the right the hunter returning from the hunt also observes the scene. The painting is presented in a period frame.

Grapes, figs, pomegranates and peaches on a capital

Oil on canvas. Signed ‘Max. PF.' on the upper frame of the capital. The still life consists of grapes, pomegranate and peaches placed on a capital, there is also a silver tray in the composition; in the background is a landscape with trees and ruins, on the left is a glimpse of a cerulean sky, barely veiled by clouds. Maximilian Pfeiler made a name for himself with his still lifes in which he placed an architectural fragment in the background of the flowers and fruit, already introducing the taste for ancient ruins that was to become fully established in the 18th century. The painting has been retouched and restored (minor repainting). It is presented in a frame.

Penitent Magdalene, ca. 1750

Oil on canvas. The figure of Mary Magdalene is represented here, as per tradition, with long red hair; with a gesture of painful dedication she fixes her gaze on the crucifix, which she holds with her left hand pressed against her right arm, which in turn is folded in a sign of collected penitence. The whole body is rendered with a splendid counter-twist, which has the effect of making the viewer feel the tension of the moment experienced by the saint. On her left is visible the skull, her traditional attribute, and in the background one can glimpse the outline of the cave in which she is placed. The part of the body emerges, thanks to the intense luminosity of the arms, connected to the red ochre shades of the hair and face, thus also accentuating the erotic character of the scene, recalling the exuberant painting of Rubens, which had a great influence on Crespi's work. This captivating and delightful figure of the Magdalene follows the widespread trend in the 17th and 18th centuries to depict saints with an undertone of human sensuality, revealing the patrons' preference for sacred themes imbued with profane elements. The painting, restored and relined, is presented in a late 19th-early 20th century frame.

France, Early XIX Century

Robert & Courvoisier temple table clock in gilded bronze, finely chiselled and engraved. Decorations with lion heads, winged dragons and plant motifs. The enamelled metal display with hours and minutes in Arabic numerals is held by a gilded bronze frame with the twelve zodiac signs. In the center of the dial signature of the well-known watchmakers. Movement with striker for the hours and quarters, on two bells.

Italy, Late XIX Century

Pair of obelisks in red granite surmounted by two terrestrial and celestial globes in gilded bronze. The obelisks rest on two granite plinths with a base and capital in Giallo di Siena marble resting on gilded bronze feet; the two obelisks rest on plinths supported by 4 gilded bronze turtles. The bronze turtles are later embellishments.

Camillo Borghese

The gilt bronze mantel clock has a base decorated on the front with leafy phytomorphic motifs and a central floral element, and is supported by elaborate spinning top feet that streamline its shape. On the base rests a large plinth in which the dial is housed and on the side the figure of a young man leaning against the plinth. The display of the clock in Roman numerals for the hours and Arabic numerals for the minutes bears the writing at the top “Lu. Lacroix H.er. " and under the heading "De S. A. I. Lu Prince Camille, A Turin". Under the dial, in gilded and chiseled bronze, there is a panoply with a basket overflowing with fruit and vegetables, above which a shovel and a lituo are crossed and from which two rich vegetable garlands hang; on the side a mask with female features within a crown consisting of two cornucopias and laurel branches. To the left of the plinth there is a young man with a short cassock and a long shovel held in his hands, in a relaxed attitude and leaning with his left arm against the structure of the clock, above which a bagpipe is placed. The mechanism is original. to the wind. The quadripartite tops, always in striped walnut, have an almond-shaped reserve in the center with floral decorations that is started inside by two fans and a central rose window. The feet are in the shape of a truncated pyramid.