Lombardy First Quarter XVIII Century

Group consisting of a high chair and four chairs in carved, lacquered and partially gilded walnut, Lombardy, first quarter of the 18th century. Armrests and under armrests of the high chair moved, legs and front crossbar have the typical volutes of intertwined acanthus leaves of Fantonian origin, feet carved in a curl. Backrests and seats upholstered and covered in finely embossed leather with partially gilded decorative motifs. Small lacks in the carving; deficiencies in the gilding and lacquering. A group of similar seats are included in the collection of the Museum of Applied Arts, in the museum complex of the Castello Sforzesco in Milan.

18th Century / 1701 - 1800

French neoclassical chest of drawers inlaid with breccia top, front with 2 drawers, front and sides inlaid with architectural whims enclosed within gilt bronze borders, wavy legs. Entirely decorated with neoclassical gilt bronze elements. Veneered in bois de rose; among the woods used there are palm, maple, green stained maple and boxwood. Interior in oak.

Italy, Last Quarter XVIII Century

Neoclassical mirror in carved and partially lacquered and gilded wood, Lombardy last quarter of the 18th century. Medallion frieze with love knot placed on the top, made with a ribbon and held by a float, and richly carved floral festoons; gilt moldings, mercury mirror. Decorated in the upper part with a cancurrent motif enriched with golden leaf elements, attributable to the iconographic repertoire of Giocondo Albertolli (Bedano 1742–Milan 1839), Swiss-Italian architect, decorator and teacher.

Italy First Quarter 19th Century

Pair of cups in burnished bronze and yellow Siena marble, Italy, first quarter of the 19th century. Oval marble plinth base, embellished with shell and bead frets in the lower part and a pair of festoons made up of leaves, lake reeds and four valves arranged in a rosette, one of which is partially missing. Upper section of the base with a bronze plate to simulate marine ripples, from which rises a sculpture in the round depicting a two-tailed winged siren, characterized by a "crown" of algae and raised arms, the latter holding a large shell with a segmented placed on top. One of the bronzes that surround the plinth is partially missing.

20th Century / 1901 - 2000

Chandelier in gilded bronze and ground glass. The open cartouche-shaped structure develops through 12 sliding arms with fluted bell-shaped candle holders and corolla-shaped bobeches over pierced acanthus jets, interspersed with 4 amethyst-colored terminals in the shape of an urn. The frame is centered by an urn-shaped column with a pinnacle terminal. Entirely decorated with transparent, amber and amethyst glass pendants, including a faceted sphere pendant. Attributable to Baccarat production.

Lombardy second quarter XVIII century

Writing desk resting on wavy legs with goat feet, drawer in the band under the top, top and riser with carved crown depicting plant motifs and central star. On the bottom, the riser has a coeval protrusion indicating that the piece of furniture belongs to a boiserie, probably a bookcase. The piece of furniture is decorated with inlays depicting floral motifs present in the solid wood of the top and walnut briar veneer with maple threads also present on the drawer and upstand. Lombardy second quarter XVIII century

Ferrara, Mid XVIII Century

Baroque sideboard made in Ferrara supported by cabriole feet, has a wavy front in which there are pairs of doors and drawers in the band: a large central one and two smaller lateral ones; the sides are also wavy and are equipped with a door each. On the top rests a riser with a shelf that can be opened giving access to the internal compartment, to which galvanized tanks have been added to allow it to be used as a planter; in walnut, the interiors are in fir. The piece of furniture has small restorations and replacements in the construction part of the drawers, in the rear strip and in the hinges of the shelf to allow the aforementioned transformation, in the hardware and in a handle of one of the two side doors.

Milan, 1750 ca.

Pair of lamp holders in carved pine wood, lacquered white and partially gilded, supported by a cylindrical rod. Composed of large opposing "C" volutes, they are carved with curls and leaf motifs, embellished with a flowering branch that descends from the upper corolla, a support for the candle. Above the two lights there is a perforated and gilded sheet iron plate.

Ceiling lamp, chromed metal, enamelled aluminum.

Two bodies furniture; lower part with swing doors, upper part with swing doors and showcase with sliding doors; ebony stained and veneered wood, fluting decorated solid wood edgings.

1980s "Callimaco" floor lamp designed by Ettore Sottsass for Artemide. The lamp has a base and a conical lampshade in black painted steel as well as the structure that houses the dimmer and a steel arch-handle.

Italy 1930s 40s

Silver vase with chiselled body. Handle decorated with flower. Marks of the silversmith, the silversmith and the dealer engraved under the base. 998 grams.

Italy 1940s

Silver box decorated with small flowers in relief. Lid with a bunch of flowers. Silver and silversmith's marks engraved under the base. 300 grams.

Pair of armchairs in ebonized beech wood, foam padding, velvet upholstery. Restored.

1980s "Callimaco" floor lamp designed by Ettore Sottsass for Artemide. The lamp has a base and a conical lampshade in black painted steel as well as the structure that houses the dimmer and a steel arch-handle.

Vento, XVI Century

Late Gothic walnut chest, Veneto, 16th century. Decorated with eight panels carved directly into the solid wood, four on the front and two on each side, depicting rosettes, frets and typical elements of the Gothic style. Standing on feral feet. Fir interior. Plan with restorations and replacements; a backrest board and the under-top band were also replaced.

Italy, 1960s

Hand-hammered silver basket supported by four feet. Engraved silver and silversmith's marks on the edge. 480 grams.

The Penitent Magdalene and St. John the Baptist

Oil on slate. Two examples of oil painting on stone are proposed here, a pictorial genre that was particularly popular in the Venetian Republic between the 16th and 17th centuries, in its form of oil painting on blackboard or touchstone. The choice of such a dark stone as a background is not only linked to practical reasons (the proximity of the mines of Brescia and Val Brembana), but, as our two works clearly demonstrate, the emergence of the figures from the dark background responds to the light also full to the new needs of the painting of the time, which in the climate of the Counter-Reformation, tended to express not only the idealized existential certainties of the full Renaissance, but also the anxieties and the opening up to new phases, already tending with Tintoretto towards greater attention to reality and luministic contrasts, to then flow overwhelmingly into seventeenth-century research strongly focused on the contrasting combination of light and shadow. The two works presented here, well within the production of the Venetian area of ​​the first decades of the 17th century, propose two figures of saints, both hermits, placed on a dark, barely visible naturalistic background. The figure of Magdalene emerges from the darkness, leaning to follow the curve of the stone support; she is depicted looking questioningly towards the darkness, as if in a listening attitude, her left hand raised and the other resting on the remarkably shortened "memento mori". In front of her a scourge and the jar of ointment. Painted en pendant, Saint John the Baptist is represented as a young man, with a lamb at his feet, in his hand the processional cross with the banner "ecce agnus dei", while with his right hand he draws from the water source, recalling the episode that will see Jesus Christ baptized. In both paintings the figures stand out in a strong and incisive way thanks to the black that characterizes the slate plaque on which they are depicted. The two paintings, in an oval format, are presented in black wooden frames, from the late 19th century.

Lombardy, Late XVIII Century

Neoclassical secrétaire supported by truncated-pyramidal feet, on the front it has two doors surmounted by a flap door and concealing a scarab with a morocco top, a central compartment, small drawers and document compartments; there is a further drawer under the top. The cabinet is richly inlaid with maple designs within bois de violette reserves and bois de rose borders. Subjects of maggioliniana derivation are depicted, such as leaf and candelabra motifs, vases from which deliphines branch out on the lower doors, while on the flap is depicted, held by two ram's heads, a large floral festoon placed above two facing sphinxes. The sides are also richly inlaid with vases in the lower panel, while the upper panel features Minerva. Walnut interior, the marble top was added later.

Desk with open compartments with compartments on the top and small drawers under the top. Oak wood and wood covered in laminate, aluminum structure. Restored.