Silk voile scarf, fine yarn from the Mantero company in Como. Paisley print in bright colours, with a prevalence of red and fuchsia. The conditions are good: some imperfections are signs of aging but do not preclude its use.

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.

Two-seater sofa from the "Artona" series designed by Afra and Tobia Scarpa for Maxalto. Seat that is in good original condition, with wooden structure and stratifications in different essences, seat and backrest with foam padding and fabric covering of the period. Closing zipper under the sofa structure not working and covered with a patch as visible in the photo.

Italy, XX Century

Globe supported by a wooden structure with turned uprights.

Italy Late 19th century

Rococo style sofa in carved wood with rocaille and gilded motifs, Italy late 19th century. Wavy armrests and legs ending in a curl, padded back and seat.

Extendable round table made in the 1960s in teak veneered wood.

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.

Italy, Late XIX Century

Table supported by moving legs connected by a cross-shaped crosspiece adorned with a central pinnacle element. In walnut, it is decorated with Umbertine-style carvings.

Ceiling lamp with a classic line made of worked Murano glass.

120 x 77 In

Kaskay carpet in cotton and wool; big knot. Handamde.

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.

Japan, Meiji Era

Circular bronze mirror with rope covered handle. On the back, the representation of a paradisiacal landscape with cranes among pine and maple trees on the seashore. Japan Meiji era (1868-1912)

Pair of vintage Italian-made Bergere armchairs from the mid-20th century with original padding and upholstery of the period in fair condition. Wooden feet.

Italy, XX Century

Bronze sculpture depicting a girl with braid. Author's signature engraved on the base.

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.

Oil on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur edges; curiously, with the raised arm she flaunts a fur muff tucked over one hand, probably a habit to underline a fashion of the time. The painting shows signs of restoration, with conservation of the original canvas, although reassembled on a new frame. It is presented in a coeval oval frame, but surmounted by a wooden frieze added at a later time.

Two wall lamps in the style of Flavio Poli for Seguso, with chromed metal structure, very thick smoky green Murano glass lampshade.