Antique Goyard Travel Trunk Wood France 1905 ca.

Iconic Doge table designed by Carlo Scarpa and produced by Simon since 1968. Made with a steel structure with brass spacers and a large crystal top, the sculptural shape has made it an emblem of the "Ultrarational"movement.

Flemish School, XVI Century

Oil on wooden board. Flemish school of the 16th century. The work has a plaque at the base attributing it to Lambert Van Noort (1520 -1571), justified by the closeness to his pictorial methods which can be found in the faces of Jesus and Magdalene, but not confirmable for the other parts of the painting. The work recounts the episode from the Gospel of John in which the scribes and Pharisees brought a woman accused of adultery to Jesus, to test her observance of the law of Moses, which included stoning. But Jesus, bending down to the ground, began to write with his finger in the dust, then when urged, he pronounced the words "Let anyone among you who is without sin cast the first stone", saving the woman and subsequently forgiving her. The large stage is filled with a large and tight group of characters. Jesus in the centre, is the only figure bent on the ground, estranged from the rest of the group and fixed in his gesture of writing with one finger; standing behind him, with a precise vertical alignment of her face with that of Christ, is the accused woman, who covers her body with her cloak observing Jesus' gesture, while awaiting the sentence; all around the scribes, the Pharisees, some soldiers, who instead speak animatedly among themselves, are agitated, confronting each other, indicating what Jesus is doing. The subject was widely represented in Flemish painting, with different interpretative methods. If in this painting the Flemish school is clearly perceived in the faces with hard features and in the rather rigid bodies in the movements of the scribes and Pharisees, as well as in the representation of the building in the background and in the meticulous representation of the shoes in the right foreground, the two The figures of Jesus and the woman are instead affected by the Italian influence, which softened the features of the faces, gave the movements of the body greater composure and gracefulness, and with the help of a brighter color made them stand out among the other figures. The panel of the painting was subjected to restoration and relined in the first half of the 20th century. The painting is presented in an adapted antique frame.

Oil painting on canvas. Emilian school of the 18th century. Large portrait of a 17th century nobleman, dressed in an elegant cloak edged with spotted fur and with the white wig typical of 17th and 18th century fashion, identifying a high lineage. The gentleman is holding a sheet of paper on which a church surrounded by other buildings is drawn, perhaps a convent, or in any case a village of which the nobleman was probably a benefactor. The painting has been restored and relined. It is presented in a contemporary gilded frame. The previous owners indicated that it came from an elegant building in Parma.

Italy 17th century

Seventeenth-century sideboard with front with two doors surmounted on the top by a decorative support. The whole piece of furniture is made of walnut split into two by large pilasters, with a projecting cornice with indentations decorated with gilded highlights like the decorative frames and roundels. Italy 17th century

Large Painting, 1954 ca.

In the foreground, a group of female figures is depicted, in which there is only one male figure, however relegated to the background. On the right are two girls facing each other, the one further away is drawing, while the one seen from behind, at whose feet a cat is sitting, is intent on painting on a canvas placed on an easel. He is observing the model to be portrayed: two young girls dressed in old-fashioned clothes, one seated, semi-dressed in a long white cloak which also covers her head and her partner, kneeling in front of a basket full of fruit and vegetables. Alongside another small group, more heterogeneous. A young woman dressed in white is watching a little girl who seems to be running towards the girl on the far right, dressed in country clothes and carrying a basket of fruit under her arm. Among these, leaning against a tree, there is a woman also dressed in a peasant style who holds a small skin in her hands, next to her the only male figure supports himself on a shepherd's stick. In the background a natural landscape with a hilly profile, dotted with trees, but also with characters caught in rural activities such as harvesting and sowing. Immersed in nature there are also rural houses, but also industrial buildings with tall chimneys and more modern constructions, such as the mighty arch, which almost acts as an architectural backdrop on the left of the painting. Signed “C. Barbers” on the right.