France Second Quarter 19th Century

Charles X secretaire entirely veneered in mahogany and mahogany feather, also in the cabinet, France second quarter 19th century. Marble top, front with drawer in the band, door concealing cabinet with drawers and large desk top with morocco insert, three drawers in the lower section. Cabinet embellished with columns with ebonized elements. Oak interior. Replaced vents.

Italy, 1980s

Glass sculpture depicting a horse's head. Pointed signature and adhesive label of the designer under the base.

Europe First Half 19th Century

Wooden temple clock with applied bronze decorations. The base and the capital of the columns are in gilded bronze. Display with Roman numeral hours.

Exotic wood veneered wooden table with polyester finish, wooden top with back-treated glass and brass tips. An elegant table by Osvaldo Borsani, a creation that started towards the end of the 50s, a line that met with good success and became a valuable piece of furniture for those years, so as to remain in production even in the early 60s. A piece of furniture which with its classic lines can still be inserted in a contemporary and current furniture but with a flavor of other times, with the value of a design piece and to be able to give a new life to things.

Italy, XX Century

Table with bevelled glass top resting on a capital in lacquered, gilded and carved wood, decorated with curls and phytomorphic elements. Italy 20th century

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.

Shoe Size N.5

Leather ankle boots by Via della Spiga - Naj Oleari. They are size 38, in black leather, with a leg covered in aqua green quilted fabric. The conditions are very good, hardly worn, they have slight marks.

Coffee table with drawer under the top in stained mahogany veneer with turned legs in stained beech wood.

Ceiling lamp in chromed metal and blue glass.

Italy 20th century

Bronze sculpture of riding soldier. Anonymous author.

Italy, 1920s

Red blown glass plate with pod-shaped bottom.

Bohemia, XX Century

Crystal vase with gold decorations and polychrome plant motifs.

Italy, 1930s

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

Oil painting on canvas. The painting has the artist's name (Giovani Piana) and the date of creation 1616 at the top. It depicts Saint Simon holding a book and a saw in his hand, his iconographic attribute which would indicate the martyrdom he suffered. Restored and relined, the painting shows traces of the restoration along the margins.

Italy, 1960s

Porcelain table bell with brass ring socket. Decoration with calendar and zodiac signs held by two gold bands. Inside brand of manufacture.

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.

Figure in Rest 1969

Pen on paper. Signed lower right. Accompanied by photo authentication from the Mario Tozzi Archive. In Maestro Tozzi's extensive production there are many drawings, such as this one presented here, made with different techniques (ink, pastel, pencil, sanguine), dedicated to the human figure: in his dry and stylized style, Mario Tozzi outlines stylized, refined figurines in their silent and discreet geometry, favored by the absence of color, which brings out the forms on the white paper. Even in his pictorial production, Mario Tozzi's favorite subjects are, classically, figures and still lifes, but both figures and death are a set of solid geometric elements, the sphere, the cylinder, the cone, etc. The bodies are elementary, essential in the lines and details, powerful, statuesque, composed of just modeled solids, while the still lifes are a celebration of Euclidean geometry such as the jugs, bowls, flasks which are paradigms of volume and geometric rigor . Mario Tozzi's compositions are influenced by Cubism for certain cuts, by Metaphysics for certain architectural insertions and by Abstractism for the insertion of geometric figures. The work is presented in a frame.

Oil painting on canvas. Italian school of the eighteenth century. In the portrait of this gentleman, the dressing gown made of an elegant floral fabric stands out in particular, in shades of brick red that recall the color of the wig. The severity of the pose and the austere gaze of the character almost contrast with the almost frivolous elegance of his clothing. The painting, restored and relined, is presented in a frame from the early 1900s.

Table with base in enamelled metal and top in wood covered in formica. A table to customize by replacing the formica shade for a curious typically vintage table for a modern and contemporary living environment. The product can be restored by our laboratory.