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A table clock made of white marble with gilded bronze details. Rectangular basement with two turned columns and a cylindrical clock between them. The white marble is embellished with gilded bronze details, frames, flames and laurel garlands under the box. Pendulum with mask with silver spokes. The glazed metal face has Arabian numbers and it's signed Lèchopiè à Paris. Finely perforated gilded metal hands. Manufactured in France, last quarter of the 18th century.

70s daybed from the "Le Bambole"series designed by Mario Bellini and produced by B&B. Covered with original fabric in shades of white and pink, still in very good condition, it bears the manufacturer's label. Good conditions.

Exotic wood table with curved solid wood structure. Model no. 522, designed by Gianfranco Frattini and produced by Bernini starting from 1960. Completely restored furniture.

1960s desk from the "530" series designed by Gianfranco Frattini for Bernini in walnut veneered wood.

Europe Napoleon III

Boulle style clock in wood decorated with faux turtle. Gilded bronze frames with winged dragons, cherubs, vases, male busts, gallant scene in the center and winged figure with lantern at the top. The bronze applications are finely chiseled. Gilt bronze display with hours in Roman numerals in enamelled metal. Openwork bronze hands. Mechanism replaced but coeval marked Japy Freres & C.ie medaille d'honneur.

Sideboard designed by Carlo Scarpa and produced by Bernini since 1977 has four doors with double cylinder side elements. High quality furniture, it is made of national walnut wood. The manufacturing brands are present.

France Early 19th century

Mahogany wood trunk with brass sockets. Inside, a set in French porcelain finely decorated in pure gold and polychrome with ribbons and garlands of flowers. Service consisting of six teacups with saucers and sugar bowl. Missing teapot and milk jug. The six spoons are in silver and the other elements in contemporary glass. Retractable compartments with sheet metal cans. Lock with working key.

Lombardy Early 18th Century

Sculpture of a baroque angel holding a vase in carved lime wood and completely repainted black in a later period, Lombardy, early 18th century. The figure, dressed in a robe decorated with lambrequins, is placed on a base supported by four feral feet. The tastings carried out brought the original colors to light.

Elegant table with beech wood base and walnut veneered wood top; an elegant table with a very particular shape, with very clean lines from the 50s, suitable for a Living area that seeks a touch of great originality due to its unusual shape, or also suitable as a display surface; carefully restored by our laboratory, the wooden part thus returns to the original luminosity of the essence of stained beech and of the walnut top with shellac and a wax finish.

19th Century / 1801 - 1900

Box with a characteristic carp shape, entirely lacquered with gilded parts, the eyes are in glass paste and the teeth are in wood. The upper part of the body is removable and conceals the internal compartment, which is also entirely lacquered. Losses between the teeth and on the caudal fin. It belongs to the Japanese production, dating back to the 19th century.

19th Century / 1801 - 1900

Pair of wooden vase holding columns, entirely lacquered in chinoiserie style. Shaped, the base has a tall painted plinth with red and black chequered reserves. On the four uprights, there are small tiles with a busy outline, they are decorated with floral motifs of oriental taste in the middle. On the four main sides there are bigger reserves, the middle ones are painted with oriental scenes: exotic plants with colourful birds, landscapes with pagodas, where aristocrats live, and palanquins carried by servants. On the top part, there is a small shaped and ebonized shelf.

17th Century / 1601 - 1700

Bolognese baroque sideboard supported by shelf feet (redone in the front part), on the front it has two doors surmounted by five drawers placed in the undertop band and alternated with wavy shelves; decorated with carved tiles, while the undertop band is indented. In walnut, the sides are in elm, top in pear; interior in fir and poplar.

Bookcase in oak veneered wood with display cabinet with sliding glass doors and storage compartment with sliding doors and visible drawers in the lower part.

Italy Late 18th century

Temple holder in patinated wood and lacquered faux marble in neoclassical style.

19th Century / 1801 - 1900

Two George IV screen poles, supported by 3 curved legs, on which stands a refined baluster engaged with the pole that ends in a vase-shaped element. Two shield-shaped panels are fixed by rings and screws, so that their height can be adjusted. Made of citronnier, painted with phytomorphic motifs, the screens have embroidered fabric inserts. While in the 19th century pole screens had an ornamental function, in the 18th century they were used to shield the face from the direct heat of the fire, which could generate dangerous toxic reactions with white lead cosmetics (basic lead carbonate), widely used at the time by both men and women. The adjustable height allowed them to be customised according to the needs of the user, positioning them as a screen between their face and the fireplace.

Germany Late 1800s

Pair of silver gravy boats in neoclassical style, decoration in relief chiseled and embossed with laurel festoons, ribbons and medallions depicting the face of a nobleman. Engraved silver and silversmith's marks. Gr. 1126

Italy, Late '800s - Early '900s

Pair of vases in Medici breccia marble.

Desk with side drawer units and drawer under the top in oak veneered wood with linoleum top.

Italy, 1960s

Porcelain plate from the "tema e variazioni" series. On the back brand of the manufacturer.

Drunk Baccus

Oil on canvas. Signed lower right. The god is depicted standing on the scene, clad only in a cloth around his loins and by ivy leaves placed on his hips and head, while holding a chalice in one hand; his gaze is vacant and dazed. Behind him, a semi-reclining putto plays with ivy. All around are white clouds, just as the ground is white, with flashes of blue sky and a green bush creating the only contrasts. On the back of the work is the label 'Mario Galli Collezione d'Arte', with cataloguing number 64 and the artist's autograph inscription. The work well represents the painting of this artist, who was born in Modena but trained artistically first in Rome and then in Florence, where he spent most of his life. His rich production initially proposed mainly historical subjects, but then turned to portraits and finally to landscapes. His uniqueness can be recognised in his ability to range from historical subjects, often placed in settings taken from ancient Pompeii, to the Macchiaioli-style naturalism of his second period, in which Muzzioli sought a significant perception of atmosphere and light in subjects inspired by the rural Tuscan environment, often set in antiquity. In this work, a portrait of a mythological character, the artist's luministic intent strongly transpires, the search for the effect of light playing on the naked bodies of the god and the putto, then fading into the background. The Art Gallery label leads back to the Florentine Mario Galli (1877 -1946), a sculptor who was also an important collector of works especially by Macchiaioli. The work shows an important crack and has been retouched. It is presented in a stylish frame.