Italy Late 19th – Early 20th Century

Neoclassical style writing desk with glass top, walnut, oak interior and Moroccan top, tapered truncated cone legs, top with tapered columns and Doric capitals. Right drawer lock missing. Italy, late 19th, early 20th century.

Mountain landscape with stream

Oil on cardboard. Signed lower right. A landscape painter from Cremona, Vittori mainly portrayed glimpses of the Po Valley lands. In frame.

86 x 49 In

Beluchi wool carpet, fine knot, manual production.

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.

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

Italy, Late XIX Century

Group of 4 baroque walnut chairs, open backrest with floral and leaf carvings, wavy legs. Padded seat, recently redone, covered in eco-leather. Third quarter of the 18th century

UK Size 10

Cocktail dress from the Milanese atelier that recalls the style of 1950s shirtdresses. Made of light blue and white striped viscose crêpe, with large mother-of-pearl buttons. The garment has four pockets, two fake on the bodice and two inserted in the skirt. The tailored model wears a size 42 with the following measurements. Waist: 67 cm. Armhole: 50 cm. Shoulder width: 38 cm. Length: 125cm. It has some very slight halos, almost imperceptible.

Rome, Third Quarter XVIII Century

Baroque commode subsequently transformed into a bedside table by blocking the top, Rome, third quarter of the eighteenth century. Supported by four wavy legs, on the wavy front it has two shaped doors in the lower part; the upper surface is also shaped. The external surface is veneered in various essences, including walnut, cherry, maple and fruit wood. The top, front and sides are then decorated with walnut pedule reserves placed within maple borders, with the same number of panels in the center containing inlaid compass roses. Gilt bronze applications placed at the top of the uprights.

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, 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.

115 x 74 In

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

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

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.