Triptych Clock Bronze France XIX Century - France Last Fourth 19th Century

Italy Mid 19th century

Group of 4 Louis Philippe corner cupboards in Maple, Italy mid 19th century. Raised shaped and carved in curls, embellished with reserves with perimeter frames; white marble tops, wavy front with glass doors, internal compartments equipped with mercury mirrors. Inlaid with Charles X motifs in walnut and decorated on the uprights with leaf and floral carvings. Changes and replacements.

Austria, Late XIX Century

Corner dressing table with psychedelic mirror, maple structure, under-counter drawer, uprights and turned legs. Bronzes added later. Austria late 19th century

Maria Dolente

Marble bas-relief. Engraved signature along the left margin. Born in Cannobbio (on Lake Maggiore), Giulio Branca was introduced to the art by the Cannobio sculptor Bergonzoli, and later attended G. Strazza's school of nude drawing and sculpture at the Brera Academy. Born in Cannobio on 13 December 1850 to Ludovico, he was introduced to art by the Cannobio sculptor Bergonzoli, and attended the school of the nude and G. Strazza's school of sculpture at the Brera Academy. He made about four hundred sculptures, including memorials, funerary monuments and portrait busts. Branca also took part, following a competition, in the completion of the high wall of the cathedral of Como, which had remained unfinished for centuries, sculpting several figures in white marble for the façade and the altar between 1897 and 1900. The work presented here is a bas-relief showing a half-bust of the grieving Madonna flanked by two pious women. It is presented in a coeval wooden frame from the end of the 19th and beginning of the 20th century.

Italy late 19th century

Female bust and liberty column in white statuary marble, Italy, late 19th century. Bust in old-fashioned dress with floral elements placed on the chest; column decorated with ivy that descends transversely from the supporting surface.

Venice, Late XIX Century

Corner cupboard in lacquered and gilded wood with four mirrored shelves. Carved decoration with curl and rocaille motifs. Lacquered and painted surface with floral motifs and gilded borders.

Portrait of a young girl in marble placed on a grey marble column, depicting a young girl cloaked in the winter cold. The different processes used give variety in the rendition of the marble. On the back of the bust, “F. Andreini Florence 1894" is engraved.

19th Century marble sculpture representing a roman matron; the figure stands on the left leg and is wearing a long robe that leaves her breast free; the left arm is hidden by the cloth and is folted while in the opposite hand she is holding a corrispondence. Her face is austere with a pointed chin; her hair har divided by a central parting and collected in a bun behind her head.

The bust portrays a noble woman, richly dressed. Certainly a portrait, as can be seen from the detailed physiognomic characteristics of the face; the depicted subject has a stern gaze and attitude, an element that characterizes the portrait sculpures of the time. The hair are tied on the back of her head in an elaborate hairstyle with braids. The neck is adorned with a necklace with a medallion in the centre and multiple strings of pearls. She is wearing an off-the-shoulder dress, refined with a thin lace hem and a bow in the middle of her chest. The sculptor has great skills with the use of a chisel to refine details and the texture of fabrics.