Italy Last quarter of the 18th century

Lombard neoclassical chest of drawers veneered in briar walnut with borders in bois de rose and violets, Italy, last quarter of the 18th century. On the front, the three drawers as well as the sides are framed by a relief frame, highlighted by the uprights where the pilasters have a third order of projection that outlines the architectural character of the piece of furniture. On the sides as on the frote, thanks to the flush drawers with retractable chain, we find reserves in walnut briar inlaid in boxwood and maple, with floral and phytomorphic motifs arranged circularly and vase elements. On the frames of the reserves are Greek inlaid with successive leaves and on the uprights motifs with sloping discs. Feet in a jar. Top in Bardiglio gray marble replaced, restorations. The piece of furniture presents in the taste of the inlay and in the arrangement of the same, different points of contact with the work of Mortarino both in the furniture attributed to him and in the certain ones; to this example the inlaid motifs on the uprights are reflected in the side borders of the two Mantuan dressers. See Enrico Sala, Maggiolini & Co.

Lombardy First Quarter 19th Century

Lombard fireplace in walnut, with ebonized and gilded parts. In the lower part a base with a broken plinth, with ebonized reserves delimited by carved strokes with successive leaflets and gilded with leaf. In the upper part, a central door with a mercury mirror, with a golden groove between two frames with successive leaves, also re-proposed more externally. The door is framed between two tapered and ebonized pilasters, with a capital carved with gilded acanthus leaves, to support the broken entablature and adorned with pods, leaflets and gilded acanthus leaves, alternating with a walnut band and a notched frame.

Vintage service trolley with inclined arms and magazine rack function in stained wood, glass and brass.

Lombardy, Mid XVIII Century

Large double-body library sideboard, on the front it has three pairs of paneled doors with characteristic frames, also featured in the upper body, following the wavy volume of the cymatium. In walnut, the sides are in poplar and the back in fir. The piece of furniture has been reduced in width and has small defects.

Sideboard in walnut wood with hinged doors and drawers. Design by Gianfranco Frattini, production by Bernini. Unrestored piece of furniture but in excellent general condition. Very good condition

Particular group of 6 chairs, exotic wood veneer, foam padding, fabric covering. In very good condition. Restored.

The Wayfarers 1910

Oil on cardboard. At the bottom left is the autographed inscription "Bozzetto per una copia", with the signature and the date Christmas 1910; the title at the bottom right. It is a sketch for a replica with variations of the homonymous painting made by Carena in 1907, large monumental (159 x 300 cm), exhibited at the Venice Biennale in 1909 and now kept in the Civic Museums, Modern Art Gallery of Udine, Some moving figures appear in the work, precisely of wayfarers, representing the different categories of humanity, men and women, adults and children, old and young, but all traveling in the same direction. Compared to the original, in this sketch with still undefined facial features, the figures are placed in slightly different positions, with the young man wrapped in a red cloak in the center, and the lower part as well as the background are missing. The colors are almost harsh, lively, spread with rapid brushstrokes and with undefined contours. The painting belongs to Carena's still symbolist pictorial phase, inspired by the French symbolism of Eugène Carrière, a period which ended with his participation in the 1912 Biennale. The work is presented in a coeval frame.

Trentino First half of the 19th century

Pair of small sculptures in carved Swiss pine; on a circular base there are two standing figures, one of an unidentified bishop, while the other of San Rocco: applied to the cloak are the two shells, symbol of pilgrimage, and the robe allows a glimpse of the plague; the little dog is missing, an attribute with which it is usually accompanied. Both are protected by glass bells.

Naples Third Quarter XVIII Century

Neapolitan Rococo chest of drawers, supported by curved feet, the under-the-top band is curved as well; on the curved front, it features two drawers with retractable chain. Quadripartite veneered wood, with double borders set at 45° degrees, the same motif is proposed in the reserves on the sides. The two drawers are decorated with a central inlay with a poly-lobed threading with a bouquet of flowers inside, inhabited by a parrot. The shaped top is in red breccia marble from the Appennini; the handles is bronzy and bronze appliqués are used on the feet, on the upper part of the uprights and in the centre of the frontal apron.

Three-seater sofa designed by Gianfranco Frattini and produced by Cassina since the end of the 1950s. Legs in enamelled metal and wood, foam padding, fabric covering in shades of recently redone grey. Very good condition.

Snowy Landscape with Figures 1872

Oil on canvas. Signed, dated 1872 and located in Parma in the lower right corner. It is a large winter landscape with a strong scenic impact, which fits well into the scenographic traditionalism of the painting of Mentore Silvani, a native artist of Traversetolo (Parma), a landscape painter but also known as a set designer. In the scene, sprinkled with the white of a short snowfall that creates that typical rarefied and silent winter atmosphere, between bare and dry trees, a dirt road winds its way through by a traveler; on the right a dilapidated building with a wash house where a woman draws water; in the center a small column on which a sacred image is mounted. Trained in his hometown, Silvani participated in the exhibitions of the Encouragement of Parma starting from 1864, and it is mainly in his city that his works are found today (at the Municipality of Parma, the National Gallery, the Paolo Toschi artistic high school ); however, he also exhibited in Milan (1872) and Florence (1875). Trained as a scenographer at the school of Gerolamo Magnani, Silvani held this position in Parma but also in Venice starting from 1871. His pictorial production, which includes mainly rural landscapes of the Parma countryside, is always characterized by fidelity to reality. The work proposed here is presented in a contemporary frame.

Lombardy, Early XVIII Century

Pair of baroque walnut consoles, Lombardy, early 18th century. The front is composed of a succession of curls and wavy elements, according to a well-defined design; reserves, leafy and shell-shaped elements and small festoons with a flower in the centre, falling from the upper part of the uprights, complete the front decorative apparatus. Shaped top, crosspieces and turned rear uprights, the latter protruding laterally compared to the front uprights and embellished with a bulbous element placed at half their height. The layout and the carvings of the front present a typically Lombard layout, characterized by a strong resemblance to a group of seats of Fantonian origin, included within the collection of the Museum of Applied Arts at the Castello Sforzesco museum complex in Milan.

19th Century / 1801 - 1900

English console resting on a shelf and equipped with two monopod griffins shaped uprights; the rear panel consists of three mirror plates. Entirely veneered in amboina briar, it has a bronze frame and brass covered top edges.

18th Century / 1701 - 1800

Pair of big corner cabinets with rudentate pillars that end with pyramidal truncated feet and with a two-panels door. In the middle of the panels there are medaillons painted with landscapes of buildings and hills in the backbround; the rose windows are hels by pink ribbons and sourmounted by a basket of flowers in the middle. Coeval iron keyholes. Original lacquering.

Oil on wooden board. Central Italian school of the second half of the 16th century. The sacred scene of the Annunciation sees the two protagonist figures placed in the foreground in an interior that corresponds to Mary's room. The young woman is sitting in front of a small wooden desk, supported by figures of angels, on which rests the prayer book and a vase with small flowers; at her feet, the sewing basket. Mary's body is partially turned backwards, in a twisted movement, almost as if she were trying to escape, as if she wanted to get away from the other figure, that of the Archangel Gabriel. He stands on the right, majestic and elegant, with one hand holding a lily and the other pointing upwards above him, where the white dove, symbol of the Holy Spirit, is emerging from a gap of light. In the background, tall columns with drapes surmount the platform on which Mary's bed rests. The composition refers, in the figurative style and in the chromatic choices, to the already mannerist painting of the schools of central Italy: in particular there is a strong concordance of style and composition with some works of the same subject by the painter Bastiano Vini Detto Bastiano Veronese (1525-1530 / 1602), who lived and worked in Pistoia from around 1540. It is in this city that some of his Annunciations are found: in particular the one in the Church of Santa Maria delle Grazie (an altarpiece measuring over two meters in height), shows clear similarities on a formal and compositional level with the one presented here . There is concordance in the setting of the sacred scene: a room, in the background of which is a curtain that partially covers a bed, furnished with the elements essential to the narrative, the lectern and the chair richly decorated with caryatids of cherubs or angels that seem to be carved in the wood. The compositional scheme corresponds, albeit with slight variations, with the two figures arranged "frieze-like" on the same laying plane, and the somatic features of the Virgin and the Archangel also correspond. However, the floor differs, which, while it is homogeneous in our table, in the Pistoia one presents itself with alternating checkerboard colors, but it seems that this design of the floor was added in a later period, on the occasion of the reconstruction of the altar in 1637 -1639, in pendant with that of another work by the same Sebastiano Vini in the same church, a Sacred Conversation. It therefore seems rather certain that our panel was painted looking at the work of Bastiano Veronese, probably at the specific request of the client, and before the change in the floor, therefore dating back to the second half of the 16th century. The painting has undergone restoration, with the application of two reinforcements to the back of the panel. It is presented in a late 19th century setting. (Reference for the Pistoia altarpiece: Catalog of cultural heritage https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900035285)

Lombardy, XIX Century

Charles X fireplace entirely veneered in elm root, Lombardy, third decade of the 19th century. Attributable to the production of Paolo Moschini, a skilled inlayer and cabinetmaker active between Soncino, his hometown, and Milan in the first half of the nineteenth century. Front with architrave and projecting plinths, connected by double columns finely fluted and embellished with gilded wooden capitals, the upper ones of which are carved with frets and acanthus leaves. Base and architrave edges threaded in amaranth, threaded column profiles in ebony. Central mercury mirror placed within the frame.

19th Century / 1801 - 1900

Central Italy Empire desk, supported by lion feet, on the front it has a retractable door, which can be opened through a mechanism accessible on the bottom of the cabinet and concealing two drawers, it is surmounted by a smaller drawer. In the upper part there is a retractable roller door, concealing a pull-out desk top with a fake Moroccan insert (replaced later), equipped with a spring system that gives access to secrets; present compartments and drawers. The shelf has a single door with a mirror concealing a castle with compartments and drawers. The uprights on the front have the characteristic truncated-pyramidal shape, ending with gilt bronze drips and surmounted by female herms in burnished bronze in the lower body, while in the upper one there are Egyptian caryatids. In mahogany, the interiors are in chestnut.

Large table, top and surrounding band in exotic wood veneer with polyester finish, brass-plated metal structure.

Italy, Half XIX Century

Female statue in white statuary marble, allegorical personification of autumn, Italy mid-19th century. Whole figure dressed in the old fashioned way with gown, headdress of vine leaves and bunches of grapes, the latter also placed along the left side; with his right arm he holds autumn fruits. Resting on a circular base. Small breaks.

19th Century / 1801 - 1900

Alabaster goblet held by a gilded bronze support with an enamelled decoration realized with the champleve technique. The base is shaped as an upside down goblet and holds a circular bronze structure with enamelled vegetal themed decorations. Handles with spirals, grotesque masks and snakes. Embossed signature of the author on the base.