Ancient Chest Walnut Italy XVII Century - Italy, Late XVII Century

Emilia Half XVIII Century

Group of four Baroque mirrors carved with scrolls and floral motifs, entirely gilded with leaf; the mercury mirrors (one broken) are etched, with figures of classical divinities.

Piacenza, Late XVIII Century

Pair of chests of drawers with walnut veneer, walnut root and bois de rose, maple and boxwood trim; inlaid rosettes with shading on tops, sides and fronts with three drawers. Retractable chain that allows the continuity of the inlay. Interior in fir and original locks. One seatback has been replaced.

Italy Last quarter of the 18th century

Lombard neoclassical chest of drawers veneered in briar walnut with borders in bois de rose and violets, Italy, last quarter of the 18th century. On the front, the three drawers as well as the sides are framed by a relief frame, highlighted by the uprights where the pilasters have a third order of projection that outlines the architectural character of the piece of furniture. On the sides as on the frote, thanks to the flush drawers with retractable chain, we find reserves in walnut briar inlaid in boxwood and maple, with floral and phytomorphic motifs arranged circularly and vase elements. On the frames of the reserves are Greek inlaid with successive leaves and on the uprights motifs with sloping discs. Feet in a jar. Top in Bardiglio gray marble replaced, restorations. The piece of furniture presents in the taste of the inlay and in the arrangement of the same, different points of contact with the work of Mortarino both in the furniture attributed to him and in the certain ones; to this example the inlaid motifs on the uprights are reflected in the side borders of the two Mantuan dressers. See Enrico Sala, Maggiolini & Co.

Central Italy XVII Century

Baroque sculpture in walnut, central Italy 17th century. The male figure, created to be seen in an elevated position with respect to the observer and originally part of a larger sculptural group, is characterized by wavy hair and beard, right arm brought to the chin while the left in an enveloping position, in the act of to support an object or to cling to some element of support; dressed in a rich drapery that leaves the upper part of the bust and the legs uncovered, one bent and the other stretched out. The volume and plasticity of the body, combined with the sense of movement transmitted by the twist, look to the sculptural production of the Roman Baroque.

3 Faces 8 Leaves

Gouaches on paper. On the back there are stickers from Sotheby's Auction with the artist's name and the original title "Three faces eight leaves". These are two similar drawings, with the same subject albeit with small differences, and colored with different techniques. Jean Cocteau was a multifaceted artist: writer, playwright, playwright, he also dabbled in the visual arts, loving to experiment with all the avant-gardes of his century. Jean Cocteau published his first book of drawings in 1923, at just 36 years old. In it the poet portrayed his friends Raymond Radiguet, Pablo Picasso, Erik Satie, Francis Poulenc, but also numerous scenes of Parisian daily life, Nijinski's Russian ballets, allegories, caricatures, poetic images. Cocteau reveals himself to be a talented sketcher, but above all an artist capable of capturing the essence of faces, behaviors and human weaknesses. Framed work.

Winter Landscape with Figures on Ice

Oil painting on canvas. Flemish school of the XVII-XVIII century. On the frame there is a label attributing to Thomas Heeremans (but with incorrect date). The large scene offers a winter landscape appropriate to the Dutch territory, as it is characterized by a frozen canal, near a village, populated by numerous figures of skaters, intent on daily activities: the horse-drawn sleigh for transporting people, the the man who pushes the "wheelbarrow" full of wood, the child who pushes himself into his little box; other figures pass by on the embankment along the canal. The gray and cold sky of a winter day hangs over everything. The subject was the recurring one in the production of the Dutch painter Thomas Heeremans, who mainly painted winter landscapes of his land, replicating them several times due to the success obtained, and inducing numerous other artists to imitate him; it is therefore thought that this work can be traced back to an imitator of the Heeremans, rather than to him directly. Restored and relined, the painting is presented in a period frame.