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.

Erminia among the Shepherds

Oil on canvas. The large canvas recounts an episode taken from the Gerusalemme Liberata by Torquato Tasso, in which the young Erminia, princess of Antioch secretly in love with Tancredi, witnesses the wounding of her beloved in a duel. Driven by love, she therefore wears the weapons of the warrior Clorinda, her close friend, and at night she goes out to reach her beloved Tancredi and heal him. But in the Christian camp a ray of moonlight illuminates her and, mistaken for Clorinda by the sentries, she is forced to make a hasty flight: this is how it happens in a village inhabited by shepherds who live far from the war in an idyllic space, where she asks and obtains to be hosted for some time in the (vain) hope of forgetting her unhappy love. The work, already attributed to Carlo Loth, is rather referable to the production of Louis Dorigny, the Parisian painter who lived for a long time in Italy, in Rome, in Venice and finally definitively in Verona, where he obtained numerous orders from Veronese but also from clients. Venetians and Lombards, extending his activity as a fresco painter from Bergamo to Udine. In Verona since the beginning of the century, the preferences in the field of painting went towards a complex classicistic language in the composition, but calm and elegant, even in the great decorative works. Dorigny conforms to this painting, who in this canvas combines the balanced classicism of Simon Vouet (of whom he was grandson) with the chiaroscuro he learned in Rome and the calm Venetian elegance. Restored and relined, the painting is presented in an early 20th century frame.

Feast day in the Village

Oil on canvas. On the back of the painting there are some labels: one from an English market (probably an auction from the early 1900s) bearing the title; a second from a Milanese gallery in via Montenapoleone (from the 1930s) and finally a label from an important private collection. The scene proposes a moment of celebration in a Nordic village: in the center of the street men and women dance and chat, while others sit at tables drinking and playing, children and animals chase each other around; the atmosphere is lively and cheerful. The pictorial style and the methods of execution are compatible with the production of David Teniers III (son of David Teniers II the Younger), a Flemish painter who in his production includes various scenes of festivity and village life. Restored and relined at the end of the 19th century, with a frame from the same period.

20th Century / 1901 - 2000

Pair of five-flame silver candelabra with leaf volute arms, zoomorphic heads and plant motifs decorations. Brand of silver and silversmith engraved at the base. Grams 2830.

Furniture characterized by a massive and monolithic body, inspired by Renaissance wall decorations. The original wooden drawers, obtained from a 1960s sideboard, have a diamond shape and are contained by a satin pink metallic ? nish. On the sides there are two niches closed by doors, one flap and the other hinged, which take up the diamond shape.

Semi-gloss black sideboard characterized by simple shapes and a subtle play of overhangs and recesses. The three wooden boxes, obtained from a 60's furniture, are slightly offset in their positioning and generate a play of shadows and an intermediate support surface. The sides have open compartments, whose backdrops show the sides of the original wooden boxes. The brushed brass details of the handles, of the circular rings in the central niche and of the feet give the whole piece of furniture sober strokes of light: a piece of furniture that combines elegance and functionality.

Furniture characterized by an articulated play of edges, strong asymmetries and misalignments. The storage unit with shapes derived from modern architecture. The three wooden elements in teak from the 1960s have been restored and have different types of openings. The presence of the open compartment in the center of the cabinet generates a strong shadow that dialogues with those of the compartments placed on the inclined sides.

Triptych of silver-plated brass vases, Mesa Italia brand on the bottom. Designed by Giuliano Malimpensa. 1980s-1990s.