Piedmont, Late XVIII-Early XIX Century

Neoclassical walnut wardrobe, Piedmont, late 18th - early 19th century. Front with pair of doors decorated with breadstick tiles. Carved drip tray placed under the hat.

Vintage floor lamp with aluminum and methacrylate base containing a neon light, fabric lampshade added later. Double ignition.

Italy, XX Century

Style mirror with carved and gilded frame, the cymatium is decorated with the shape of a double opposing curl.

Pure Silk

Pure silk scarf from the "Posters Collection", n.13-2012. The scarf represents 24 coins with the faces of Roman emperors.

Italy, Early XIX Century

Louis Philippe sofa in mahogany, resting on saber feet, uprights with leaf carvings culminating with an eagle's head. Padded seat and backrest, lined in striped fabric. Present matching cushions. Italy, mid-19th century.

England, Third Quarter XIX Century

Open desk of English production, supported by carved uprights connected by a turned crosspiece and resting on a pair of feet with bronze shoes; in the undercounter band, on each of the two long sides, there are two small drawers; in exotic wood, the top has a morocco insert and metal railing. Locks marked ";J. Branah 134 Piccadilly"

Italy, XVI Century

Two Renaissance stools in walnut wood, supported by four legs, both the seat and the shaped backrest are richly decorated with geometric carvings.

115 x 74 In

Ardebil carpet in cotton and wool, manual manufacturing. Heavy Knot.

Pure Silk

Pure silk scarf from the "Posters Collection", n.11-2010. The scarf represents the poster created by Henri de Toulouse-Lautrec in 1896, for the Salon des Cent: Exposition Internationale d'affiches, in Paris.

Italy, Late XIX Century

Umbertine chest of drawers with a broken front with four drawers framed between uprights carved with leaf and plant motifs and a pair of female busts; marble top.

China, XX Century

Pair of vases painted in enamel with plant and animal motifs within reserves and on a gold background. Under the base, mark in blue painted underglaze. The vases are held up by elegant lacquered wooden supports.

Vintage serving trolley with double top and small removable tray in stained beech wood and glass.

Emilia Romagna, Late XIX Century

Cupboard with neo-Baroque walnut wall unit, Emilia Romagna late 19th century. The wall unit, with a door and drawer on the front, is made from antique parts, while the sideboard, with a front door opening, was obtained by modifying an older piece of furniture. Brass studs.

Italy, XX Century

Lectern supported by a curly-carved upright in chestnut.

Italy, XX Century

Walnut bedside table with opening glass top, drawer under the top and door underneath. Apron and wavy legs. 20th century Italy

Italy, Early XVIII Century

Lacquered and painted poplar baroque bench, early 18th century Italy. Shaped back and front panel, lacquered and painted with leaf volutes, curls and shell elements, typical of the decorative taste of the early 18th century. Openable seat concealing inner compartment and fitted with cushion, not contemporary. Restorations and parts of lacquerwork restored; reduced in the cimasa.

Italy, XX Century

Baroque style walnut bench, 20th century Italy. Padded seat covered in damask fabric, characterized by everted sides. On the four corners there are as many turned knobs; wavy legs carved with leaf motifs and curls.

Study of a Hand 1906

Pencil on paper. Signed lower right. On the back there is a further sketch of a donkey's head. Celada's painting is capable of blocking reality in time and space, in a way that appears detached, analytical and scientifically exact (colours, reflections, transparencies), but communicating - as opposed to a total unreality - a great narrative pathos. Here we propose the study of a hand of the artist who is still very young, but already capable of powerful expressiveness in outlining the figure. Work in frame.

China, Mid XX Century

Jade sculpture depicting birds and peonies resting on a wooden base.

Interior of Stable, 1889

Oil on hardboard. Signed and dated 11-30-1889 lower left. Delleani, who initially painted mainly historical subjects, progressively approached landscape painting "en plein air", especially of the places of his origins, the Piedmontese valleys, characterizing his views with chromatic vibrations and warm brightness. In the last decades of his life, however, he also allowed himself to be involved in the orientalist trend, but then returned to his landscape views, creating above all panels rich in warm colors and suggestive atmospheres. Rarer but equally evocative is his production of interiors, such as this one of a stable, where the animated figures, the sheep, appear as almost indistinct spots of color within an environment played entirely on the luminous effects of a single chromatic range. Restored and protected, the painting is presented in a gilded frame from the early 1900s.