Base of Cameo Light Daum Multilayered Glass 1905

Italy, Mid XIX Century

Golden wrought iron chandelier, with six lights, is adorned with glass beads, pendants and necklaces added later; subsequently electrified.

Table lamp designed by Joe Colombo in 1967 has a circular base in lacquered metal, vertical metal stem and adjustable and height-adjustable diffuser in lacquered aluminium. We present it in the orange version in very good condition.

Czech Republic 20th century

Bohemian crystal chandelier with ten lights, Czech Republic, 20th century. Adorned with necklaces and pendants.

Woman Who Works

Pencil on paper. Signed lower right. On the back there is a label from the Cairola Art Gallery in Milan, which shows the title of the work. Marussig, an artist of Trieste origin but who lived for a long time in Milan, in the context of post-impressionist research and close to the Milanese Novecento Group, favored social pictorial themes, with scenes of bourgeois life or portraits of family figures. The drawing is presented in a frame.

Ceiling lamp in brass, enamelled aluminum and worked glass.

20th Century / 1901 - 2000

Pair of five-light wall lamps in painted wrought iron.

Amarici (Etiopian Figures) 1930s

Pencil on paper. Signature, title and location lower right. In the second half of the 1930s, Contardo Barbieri left as a volunteer for the campaign in East Africa. From this period there are some works that propose oriental subjects, such as these characters of the Ethiopian people called Amharic because they were natives of Amhara, a region of central-northern Ethiopia where the city of Dessié is located. In frame.

Ceiling lamp; brass and filigee glass.

Table lamp designed by Joe Colombo which we present in the red version, with a circular base in lacquered metal, vertical metal stem and adjustable and height-adjustable diffuser in lacquered aluminium. Winner of the Compasso d'Oro in 1967. Very good condition.

Oil painting on canvas. The identification of the saint is given by the presence of the large wooden wheel, symbol of the instrument of her martyrdom. Usually the saint is represented with a crown on her head and dressed in royal clothes to underline her princely origins. Instead here we have an atypical depiction of her, with her hair loose, covered only by a large red cloak (the color of blood, therefore of mortal humanity) which falls from her shoulders and forces her to cover her breasts with her hands; her gaze is turned upwards, where the heavens open and an angel descends, holding the palm of martyrdom with one hand and placing a crown of flowers on her head with the other, symbol of her mystical marriage with Christ . It is therefore a representation that sees her at the moment of passage to eternal life, similar to a penitent Magdalene in mystical adoration, who offers herself to Christ without any human recognition. The chromatic choices stand out in the painting, which against a dark and gloomy background bring out the red of the open sky and of the mantle, and the whiteness of the flesh, both of the woman and of the angel. The canvas, already restored and relined, is presented in a worked frame from the late 19th century, with some defects.

Italy, Early XX Century

Chandelier in gilded bronze worked with leaf festoons, featuring three arms ending in eagle heads which in their beak hold rings carrying the bobeche in the shape of a floral corolla.

Italy, XX Century

Pair of three-light style wall lamps, in gilded bronze worked with leaf motifs, are adorned with glass pendants.