Italy XX Century

Wedding cup in blown Murano glass, decorated in gold and polychrome all over. The Barovier cup, a masterpiece of Renaissance glass art, was created in 1460 by Maestro Angelo Barovier as a wedding gift (it is, in fact, a wedding cup) and is still reproduced today following the same methods as 500 years ago: a composed of glass paste (chalcedony), hand painted blue and gold colored glass. There are paintings of the couple, a horse ride and the fountain of youth. The original is located in the Murano Glass Museum.

Italy, 1930s

Clear glass vase. Glass fish-shaped lid grip with gold inclusions.

Italy, Second Half XX Century

Centerpiece in pod-shaped and hand-hammered silver with polylobed edge. Engraved hallmark of the silver and silversmith. Grams 1230.

Oil painting on canvas. The biblical episode depicted refers to the story of Daniel, the prophet in the court of King Darius the Mede who, for having prayed to his God, was condemned to be thrown into the lions' den. But God saved Daniel, sending an angel to close the jaws of the beasts, and the king pardoned Daniel by instead condemning those who had denounced him. The subject has been depicted several times in art, for the fascination linked to history but also for its exotic flavor due to the presence of wild beasts; in particular we remember the version by Rubens of 1615, where the prophet is depicted naked in the underground pit, while he prays ardently, surrounded by a crowd of ferocious lions. The work presented here instead proposes a version centered on the dialogue between the prophet and the angel, who face each other, standing out with the vivid colors of their robes against the dark background of a prison; there is only one lion, meekly crouching at the angel's feet, and therefore the spiritual and salvific dimension of the biblical event prevails. According to the famous art historian Maurizio Marini, a specialist in the painting of Caravaggio and Baroque art, who had had the opportunity to view the painting years ago, the work could be attributable to Antonio Maria Vassallo (1620 -1664) for the compositional and chromatic choices. The painting, restored and relined, is presented with a listello frame.

Tibet First half of the 20th century

Tibetan teapot in white metal, completely embossed and chiseled on the whole body and on the lid, ending with a "vajra" as a knob. The handle in the shape of a qilong and the infuser in the shape of a chimera.

Germany, 1950s

Gilt brass table clock with Roman numerals. Manual winding mechanism.

The Second Half Of '900

Group of seven chairs, lacquered wood, back covered with synthetic material and ivory imitation, foam padding, fabric upholstery. Manufactured in Italy, 1950s.

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them., which this glimpse includes of a town in the Lombard plain. In frame.

Table with base in ebony-stained wood and top in teak veneered wood.

Armchair, foam padding, skai covering, beech wood structure.

Evening bag embroidered entirely with glass beads, in perfect condition. The golden chain is removable, transforming the clutch bag into a shoulder bag.

Oil on canvas. The two paintings, certainly similar in terms of subject type and pictorial methods, offer two landscape glimpses typical of the 17th and 18th Nordic production. They feature large countryside spaces near watercourses and inhabited by farmhouses. There are figures of peasants and commoners focusing on their work. The blue mountains in the background, preceded by gentle hills and surrmounted by a blue sky with white clouds. They had been previously relined and restored and they both show color spots and opacity. They feature a contemporary frame.

Mixed technique on canvas. Signed lower right. The painting of Kodra, an Albanian painter trained artistically in Italy and active in the Milanese context, consists of a personal interpretation, of a fantastic kind, of Cubism, with the peculiarity that the decompositions typical of analytical cubism are proposed according to an approach of its own more than synthetic cubism. The seascape depicted here, with sailboats sailing close to a coast, is part of the later production, in which the native country is often evoked.

Italy Early 20th Century

Rococo style sofa in mahogany, Italy early 20th century. Wavy legs ending in curled feet; decorated with leaves and rocaille elements. Backrest, armrests and seat upholstered and covered with damask fabric.

Size 14

Suit in black suede leather, with a simple cut midi skirt and a typically 80s-style sweater, tight at the waist with a wool band and wide shoulders. The sweater is worked with floral inserts and tone-on-tone sequins. Wears today's Italian size 48/50 (skirt: length 75 cm, waist 84 cm).

Ceiling lamp; enameled metal, glass.