Lombardy Second Quarter 19th Century

Pair of restoration chairs in walnut, Lombardy second quarter of the 19th century. Open back with central folder, decorated with carvings of leaves, curls and anthems; grissinato seat front, saber-shaped rear legs, wavy front legs and embellished with carved leaf elements. Removable upholstered seats.

47x31 In

Tabriz 60 raj carpet in cotton, wool and silk. Fine knot. Manual manufacturing.

England Third Quarter XIX Century

English Davenport equipped with feet with wheels, on one side it has a row of four drawers, while on the other they are only simulated. The inclined upper shelf has a Moroccan insert and can be lifted, this backsplash with drawer and finished with a railing.

Italy, XX Century

Walnut style bench, 20th century Italy. Truncated pyramidal band and legs adorned with grooved reserves; brass feet. Padded seat.

Italy, XX Century

Style bench with large seat and monumental backrest; it is carved with foliaceous frets and two fake pilasters on the sides of the backrest, it is entirely lacquered and painted with floral festoons and is adorned with golden inserts. Present removable cushion.

N. 8

Nude leather sandals with woven pattern and back zip fastening. Heel height: 12 cm. The article has never been worn, as can be seen from the sole and the heel, it has only a slight defect which consists in the lack of a loop in the left shoe.

Size 36

Black shiny leather boots with 4 lateral buckles and a practical internal zip and rubber sole. Size: 36 They are new but the packaging is ruined.

The path of San Rocco (Camogli)

Oil on cardboard. Signed lower left. On the back this title in pencil. An extremely original landscape painter who experimented with oil painting but also with watercolors and engraving, Raul Viviani came very close to pointillist painting, however developing his own personal technique, characterized by very thin filaments of color in the shape of thin commas, which define the structures of his landscapes. With his transfer to Liguria, which made the landscape of that region the protagonist of his works, his technique changed, moving away from the original divisionism to open up to a broad and summary brushstroke, which finally resulted in the last period in a production of nature death with violent and contrasting colors. This landscape can also be placed in the Ligurian period, which offers a glimpse of a well-known Ligurian locality, still rendered in the characteristic style of Viviani, made of brushstrokes in thin filaments, superimposed on spots of lively color, in the chromatic ranges of the colors of nature. In frame.

Italy, XX Century

Baroque style trumeau, supported by wavy and carved feet, has a wavy and rounded front and sides. Equipped with two drawers plus two side by side placed in the upper band and surmounted by a folding door and concealing a cabinet with small drawers and compartments; the riser ending with a shaped cymatium has a door with a mirror from which you access the castle with compartments and drawers. In walnut.

Pair of armchairs, foam padding, skai covering, beech wood structure.

Oil on the table. The picturesque landscape has a wide path in the foreground on the right which winds between fronds and green meadows, where flocks graze; a small family of peasants passes along the path, all engaged in the transport of goods: even the girl carries a large bundle on her head, while the mother carries the basket with her newborn son in the same way! In the background, the plain extends wide to fade towards the distant hills and into the clear and rarefied sky, which gives off an almost pink light. The fir table of the painting has undergone restoration and parqueting. The work is presented in a mid-1900s frame.

Sestante 14 1989

Color screenprint on paper. Signed in pencil lower right, numbered n. IV/XV bottom left. It is accompanied by photo authentication from the "Il borghetto" art house in Milan. The work was part of the "Sestante" series, consisting of 16 different serigraphs. In 1982 Alberto Burri created Sestante, a large cycle of seventeen cellotexes and an iron sculpture, which was exhibited from May to September of the following year in the space of the former Giudecca shipyards in Venice. The evocation of the old nautical instrument, which was used by travelers to establish the position of a given point with respect to the horizon, is a tribute to the maritime destiny of Venice. The paintings are Burri's umpteenth challenge: in their combinations the shapes and colors of the "sextant" create an inexhaustible cycle where there is not the slightest repetition. Within the same painting, or in the juxtaposition of one to the other, the kaleidoscope of shapes allows square and curvilinear structures to coexist, together with large chromatic backgrounds and dense visual patterns. In 1989 the artist proposed the cycle again as a graphic work, creating the "Sestante" series. The art historian Bruno Corà said that "in Burri's case, speaking of graphics does not mean speaking of a lesser production compared to paintings, but only of a different and parallel artistic modality, in conception and execution, in short such as to be able to be included with absolute importance in the production of the great painter, alongside all his other revolutionary innovative pronouncements". The work is presented in a frame.

Genoa Early XVIII Century

English-style Genoese flap in mahogany, Genoa, early 18th century. Front with flap door concealing cabinet with drawers, 2 drawers and 5 drawers, 2 of which in the band. Interior in walnut and maritime pine. Restorations and replacements.

Mid-20th century Clutch bag, entirely handmade with white and beige beads and flower designs. The interior is in light satin, with small pockets (spots inside). The signs of wear and tear of time do not preclude its beauty and use (some beads are missing and you have to put back some fasteners to be able to use it by hand).

Extendable table with book opening in solid wood and teak veneer.

Indonesia Second half of the 20th century

Elegantly carved large female sculpture in teak wood in the round. The figure is represented in a plastic position and with great detail in the ornaments.

Italy, 1970s

Two ceramic vases. Under the base the manufacturer's brand.

Oil painting on canvas. Venetian school of the late 18th century. The large painting tells the evangelical episode of the meeting between Saint Elizabeth, pregnant with John the Baptist, and Mary, waiting for Jesus, but inserted in a larger choral scene: it is placed on a large staircase, probably that of the temple in where Zechariah, Elizabeth's husband, was a priest, and a crowd of figures, and is animated by a crowd of figures, among which several women with children and families stand out. Detail in the foreground on the left is the figure with a little boy attached to his legs, who looks towards the viewer, indicating with a broad gesture of his arm the central event, the meeting between the two holy women. The colors stand out, which according to the Venetian pictorial tradition, are founding elements of the scenes, which underline the figures and fade into the different three-dimensional planes. Relined and restored, the canvas has a slight crack on the left. It is presented in a gilded frame from the late 19th century.

Filet

Fabulous pillow cover entirely in filet, with an added wide floral embroidery framed with a fine small framing, the corners are enriched with small trios of tassels. The pillow cover has some breakage in the yarn. Colour: Ecru and Cappuccino Measurements: 42x62cm