Italy, Mid XIX Century

Mid-19th century walnut daybed, Italy. Turned backrest crosspiece, front armrest carved with the figure of a griffin, curled feet. Backrest and seat padded and covered in damask fabric. Removable backrest.

Ceiling bookcase with adjustable position elements, container with hinged doors and drawers, open shelves in teak veneered wood and aluminium. Restored.

Italy, Mid XX Century ca.

Group of six silver cups with turned stems. The inside of the cups is in silver vermeil. Silver marks engraved on the edge. 700 grams. The French term vermeil indicates a variety of gilded silver. The characteristics required for this material are a sterling silver base, covered in at least 10 carat gold plating and at least 1 and a half microns thick. However, the use of 14-carat gold, with higher thicknesses, is common. The chemical affinity between silver and gold gives the plating good resistance qualities. Currently plating is obtained by electrolysis. Originally, when this process was introduced in France, in the mid-eighteenth century, fire gilding was carried out. Plating allows you to avoid problems related to the oxidation of silver. Vermeil, being more expensive than silver, is a material used to make valuable objects (jewellery, medals, fountain pens, cutlery, toilet sets, watches, coolers, snuff boxes, travel toiletries, etc.). In fact, its cost is intermediate between that of the two elements that constitute it.

Ceiling/wall lamp in chromed metal and glass.

Grapes, figs, pomegranates and peaches on a capital

Oil on canvas. Signed ‘Max. PF.' on the upper frame of the capital. The still life consists of grapes, pomegranate and peaches placed on a capital, there is also a silver tray in the composition; in the background is a landscape with trees and ruins, on the left is a glimpse of a cerulean sky, barely veiled by clouds. Maximilian Pfeiler made a name for himself with his still lifes in which he placed an architectural fragment in the background of the flowers and fruit, already introducing the taste for ancient ruins that was to become fully established in the 18th century. The painting has been retouched and restored (minor repainting). It is presented in a frame.

Italy 60s 70s

Porcelain plate from the "Specialità Milanesi" series. Manufacture mark on the reverse.

Summer hat designed by Gallia and Peter, the most famous millinery shop in Milan, dating back to around the 1950s. The workmanship recalls a flower with a central corolla and petals. The conditions are very good and the circumference measures 52 centimetres.

Bucket bag in yellow leather signed Etienne Aigner and dating back to the 1980s. The conditions are very good, it shows minor signs.

Italy, XX Century

Trumeau in Lombard Baroque style supported by curled feet, on the font it has three drawers decorated with characteristic little frames, also featured in the rest of the piece of furniture; these are surmounted by an urn flap concealing a cabinet with small drawers; the hips are moved to open. The riser, ending with a shaped cymatium, has a door with mirror and conceals a castle with shelves.

Piedmont, Late XIX Century

Piedmontese wardrobe in poplar, on the front it has a drawer and a pair of doors.

China, XX Century

Sculpture composed of vase and flowering plants presented in a box.

Floor lamp with adjustable position diffuser in enamelled aluminum and steel.

Group of 3 armchairs, enamelled metal structure, seat and back in plastic material. Good condition.

Europe, Early XX Century

Glass vase with floral decoration with polychrome inclusions.

Italy, XX Century

Restoration style chandelier in gilt bronze, 16 lights.

Floor lamp with reflected light in enamelled and chromed metal and enamelled aluminium.

Pair of enamelled metal chairs, lacquered wood seat, rubber roller on the back.

In the Sheepfold, 1857

Oil on wooden board. Signed and dated in the center of the left margin. On the back there is a label from an art exhibition held in Sondrio in 1966 and one from the Martina art gallery in Turin. Eugène Verboeckhoven, a Belgian artist, distinguished himself for his paintings of animals, inserted into landscapes or placed in the interiors of stables. He belonged to that school of artists who, starting from the observation of nature, created compositions studied in detail, idealized reproductions of reality. Thanks to his dexterity in depicting animals, many artists called on him to enrich their works with some of his animals and figures. Between 1841 and 1842 he visited Italy, Switzerland and Scotland. The work presented here, an interior of a sheepfold with sheep and chickens scratching around, is presented in a period frame.