18th Century / 1701 - 1800

Baroque drop-leaf secretaire of Tuscan production supported by curved legs; the inferior band is moulded both on the front and on the sides; it has two drawers surmounted by a folding door that hides a compartment with shelf and drawers. Veneered in olive tree with ebonized threads. The internal writing surface is finished with the same motives; inside in silver fir and poplar. The cabinet has sockets with enameled medallions representing landscapes; the vents are a later addition.

18th Century / 1701 - 1800

Two-bodied Neoclassical cupboard from Friuli, supported by truncated pyramidal feet tightened in the upper part by a collar, on the front there are two doors, two small doors on the half moon shaped sides. The shelf rests on a single-axis walnut top, supported by truncated pyramidal feet as well, with connecting nuts carved with rosettes; in the lower band there is a row of small drawers, surmounted by two doors with glass in the middle and as many doors placed on the sides at 45°. In walnut and amaranth with maple threading, the interiors are in spruce.

Mixed technique (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. The scene represents the meeting between a high priest and a leader: if he is followed by his entire army, with grim and armed soldiers of different ranks, the priest is followed by all the people who praise the winner, while two young women on their knees they offer wreaths of flowers. Behind the scene, the mighty walls with the entrance door to a city, towards which the priest points, almost as if handing it over to the leader. The priest's clothing, in particular the presence of the so-called "Decision" breastplate that he wears, refers to an Israelite priest, and therefore the city could be Jerusalem; instead the clothing of the victorious leader, with the helmet surmounted by two horses, refers to Alexander the Great, who actually conquered the city in 332 BC. The drawing is presented in a carved wooden frame from the late 19th century.

Group of three quartzes.

Italy, Late XIX Century

Charles X coffee table in cherry wood and cherry slab, Italy second quarter of the 19th century. Top and under-top band inlaid with walnut phytomorphic motifs, typical of the period; the top also features walnut threads. Turned central shaft, resting on four shaped legs. Internal structure of fir top.

England, Late XIX Century

Victorian English Indian rosewood cupbpoard, late 19th century England. Top with raised strip, broken front with pair of drawers in the band and four doors, the latter punctuated by pilasters decorated with carved leaf capitals. Mahogany and fir interior. Locks replaced.

Italy, XX Century

Five-light chandelier in milky Bohemian glass painted with floral motifs; it is adorned with glass pendants and necklaces.

Emilia, Early XVIII Century

Pair of baroque mirrros carved with leaf and curlicue scroll motifs, entirely gilded; in the lower part two lamp-holding arms decorated with leaves and embossed sheet metal bobeche, mercury mirrors.

Italy, Mid XX Century ca

Bronze sculpture on a white marble base depicting a young fisherman. Posthumous copy. The author's signature is inscribed on the base.

Lombardy, Early XVIII Century

Baroque chest of drawers in walnut, Lombardy, early 18th century. Four drawer front; front and sides decorated with frames and carved panels. Poplar interior. Last drawer lock replaced.

Italy Mid XX Century

Breadstick holder in finely pierced silver engraved with leaf scrolls and floral motifs. Silver marks engraved under the base. Hardly legible silversmith's mark. 258 grams.

France, XIX-XX Century

Bronze sculpture depicting an African knight on horseback. Author's signature.

Ludovico il Moro's farewell to his wife..

Mixed media (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. Ludovico Maria Sforza cries at the tomb of his young wife Beatrice d'Este (1475 -1497); around him the friars of Santa Maria delle Grazie and on his left Bramante and Leonardo. On the short side of the marble canopy of the tomb there is the Sforza coat of arms, with two snakes and two eagles. Il Moro was profoundly shaken by the early death in childbirth of his very young wife Beatrice, his companion in his private but also political life, as well as his husband's, a patron of the artistic geniuses of their court, such as Leonardo da Vinci. and Bramante, authors of many pictorial and architectural works of the Visconti-Sforza court. Various versions of this episode are known, especially from the nineteenth century, from that of 1815 by Giovanni Battista Cigola at the Pinacoteca Ambrosiana, to that of Alessandro Reati of around 1850. The painting is presented in a carved wooden frame from the late 19th century.

Bedside table with drawers, open compartment, smoked glass shelf in lacquered wood. Good condition.

Italy, 1950s

Cast ceramic sculpture with under-glaze polychrome enamels depicting a running girl. Author's signature painted on the base.

Ceiling lamp in chromed metal and glass.

Wall lamp in chromed aluminum and Murano glass.

France, Late XIX Century

Triptych in yellow marble with gilded bronze applications and columns composed of a clock and a pair of risers. Enamelled metal dial with Arabic numerals and visible mechanism in the center. Mechanism marked CH Paris.

Italy, XVIII Century

High fire majolica shaving basin in monochrome shades of blue. Oval in shape with expanded rim. Decoration depicting a mythological scene of Venus rising from the water on two dolphins, supported by Cupid. The scene takes place in a fantastic landscape with villages of houses and mountains. Manufacture mark under the base.