Italy, XX Century

Neoclassical style black marble column, 20th century Italy. Octagonal top, resting on a Corinthian capital in gilded bronze, shaft partly fluted and ending with a border also in gilded bronze. Molded lower part placed on an octagonal base.

Ceiling lamp in brass and glass.

Interior of Stable

Oil on hardboard. Signed lower right. The Cremonese painter Carl Vittori specialized in landscape views of his Po Valley lands or in scenes with animal figures, always linked to peasant life, like this stable interior inhabited by a donkey. The chromatic and luminous choices are suggestive. The work is presented in a frame.

Italy, XX Century

Vanity table in Lombard Baroque style, walnut veneer and walnut root, 20th century Italy. Consisting of two cabinets, connected to each other in the lower section, with shaped tops in breccia marble, front with two drawers each, wavy front legs and truncated pyramidal rear legs. Decorated with gilded bronze shoes and handles and maple inlays. In the upper part, a tilting wooden mirror carved with curls and leafy and gilded elements.

114 x 68 In

Ardebil carpet in cotton and wool, fine knot, manual production.

86 x 49 In

Beluchi wool carpet, fine knot, manual production.

Glass center table.

Italy, Late XIX Century

Umbertino walnut work table, Italy, late 19th century. Top with reserve veneered in walnut root, the latter also used to embellish the band under the top. One drawer, compartment under the band, turned legs and crosspiece, shaped feet. Cherry interior.

Italy Second Half of the XX Century

Polychrome ceramic tile with relief decoration depicting a grotesque harvest scene. Manufacturer sticker on the reverse.

Seated Figure

Oil on wooden board. Signed lower right. The painter Salvatore Sportelli, of Apulian origin but who lived for a long time in Lodi, where he taught (a posthumous exhibition of his was recently held in the city), produced numerous popular figures and genre scenes characterized by a look at post-impressionism. The work is presented in a frame.

Europe, Late XIX Century

Clock in black marble. An enamelled metal display with Roman numeral hours is enclosed in a gilded bronze frame. Beveled glass lid.

Chair in lacquered wood with woven rope seat.

Sunny Landscape

Fresco on canvas. Signed lower right. Further signature and technique on the back. Placed in the informal Emilian naturalism, Bruno Saetti's painting is distinguished by a significant love for the pictorial material, rich and consistent, pasty and fermenting, but also open to the modulations of luminous vibration. His series of "frescoes" with the Sun as the dominant subject is rich, as in this work, which presents a large bright sun shining on a brick red background, above an indefinite landscape, where only a basilica can be recognized at the top right. If Saetti's Emilian origin is evident in the warm tones of the red bricks and in the very peculiar taste of the material (the favorite fresco), on the other hand the Venetian contamination is recognizable (Saetti lived for a long time in Venice) in his lingering on the color, on its luminous vibrations, on the feeling of astonished amazement of space. The work is presented in a frame.

Mirror mounted on wooden frame, brass console, mirrored glass with decorations.