Matteo Bandello
Gius. Laterza & Figli

Giovanni Pascoli
Arnoldo Mondadori Editore

Marcello e Rosalba Tabanelli
Il Mercante di Stampe

Francesco A. Ugolini
Casa Editrice Leo S. Olschki

Albert Haemmerle
Verlag Georg D.W. Callwey

Fredric Jameson
Princeton University Press

Carlo Cattaneo
Fratelli Bocca

Mario M. Rossi
Gius. Laterza & Figli

Fausto Nicolini
Gius. Laterza & Figli

Paolo Rossi
Laterza

Lamberto D'Auxerre
La Nuova Italia editrice

Antonio Ponsetto
Milella

Fernando Fiorentino
Editrice Domenicana Italiana

1970s

Table, in chromed metal and leather.

Confidences

Watercolor on paper. Artist's monogram top left. Tranquillo Cremona, after an initial period close to romantic painting, from 1870 onwards distanced himself from the influences of Francesco Hayez and adopted a painting style with indefinite contours, developing the concept of "macchia scapigliata" together with his friend Daniele Ranzoni: after an initial intervention with brushes, he refined the works with his fingers to blend, using all his fingers to make his paintings as vaporous as possible. This technique (which cost him his life due to lead poisoning caused by repeated contact with the skin of the colors) was compared by Camillo Boito to the views of the magic lantern, when the right focus of the lens had not yet been found: the image is already distinguishable, but is immersed in an almost gaseous vapor. The subjects of Tranquillo Cremona's works were always human figures, present in the historical-literary scenes of the romantic period, as in the portraits and genre scenes of the scapigliata phase; his subjects were taken from everyday life, in its simplicity and spontaneous immediacy, like these three female figures depicted in a moment of confidential and intimate conversation between friends. The work is presented in a late 19th century frame.

Red Version, Molteni&Co. 1970s

Vintage desk model "Orix" designed by Vittorio Parigi and Nanni Prina for a Molteni production in the 70s. Chromed steel structure, body with storage compartments and book holder in red plastic material, glass top-closure, adjustable position lamp in chromed steel.

Argentina, Late XIX Century

Large mahogany wall clock, made for a railway station, a hall in a public building or a bank. Enriched with floral carvings, scrolls and festoons, a cymatium culminating with a central vase. Round dial. Missing parts. Argentina, late 19th century.

Italy, Mid XX Century ca.

Gilded silver stand supported by a circular base engraved with plant motifs. The finely burin-worked burin-worked hollow forms the backdrop to a mythological scene with figures obtained from embossing. Ring-shaped side grips. Silver and silversmith marks under the rim and under the base. Grams 1465.

165 x 118 In

Herat carpet in cotton and wool, large knot, hand made.

Luigi L. Secchi
ULRICO HOEPLI

Workshop furniture, with drawer compartments, hinged doors, flap and open compartment. Enamelled metal and wooden shelves, completely restored.

Italy, Late XX Century

Rococo style chest of drawers with two drawers, curved and rounded in all its parts, supported by four high legs, it is completely carved with rocaille motifs over the entire surface, lacquered in beige and ochre tones with painted bouquets of flowers.

Italy, XIX Century

Louis Philippe armchair in walnut, leaf carvings and scrolls in the armrests, wavy rear legs and turned front legs, culminating with brass cups and casters. Padded back, armrests and seat. Reclining backrest via rack mechanism controlled by the armrests. Italy, 19th century.

Italy, Late XIX Century

Neo-Baroque walnut cupboard, richly carved. Base with pair of drawers in the band below the top and paneled and carved doors, upper part with colored glass doors culminating in a carved frieze depicting a pair of dragons and a fruit basket. Italy, late 19th century.