Vintage Wall Mirror 1950s Mirrored Glass Colored Decoration

Elegant bench in ebony stained wood, sprung seat with velvet upholstery. Restored.

Cabinet with hinged doors in exotic wood veneer, grissinato panel, green marble top, interior in mirrored and transparent glass.

Cabinet with hinged door, exposed drawers and open shelves, in ash veneered wood.

Coffee table with double top, in mahogany veneered wood.

Ceiling lamp in brass, enamelled aluminum and worked glass.

Hermès scarf in pure silk entitled "À la Fenêtre du Chasseur" designed by Henri de Linarès in the first edition in 1959. The conditions are good; It has some specks and rings which do not preclude its use.

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.

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.

Oil painting on canvas. The sacred figures are depicted in glory, that is, seated in the heavens and surrounded by angels. Mary, crowned with stars, holds the Baby Jesus on her knees, who extends his little hand towards the Saint kneeling in front of them; Catherine, dressed in the Dominican habit and with the crown of thorns on her head, in turn extends her hand holding the Rosary towards Jesus, to join Him in a mystical marriage, which the Madonna sanctions with the crown of flowers that she wants to place on the bride';s head. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Wardrobe with 5 hinged doors, in mahogany veneer and mirrored glass.

The Nine Muses

Tapestry. The word Euterp appears at the bottom right. The enormous grass juice depicts the nine Muses, female Greek divinities, all sisters, as daughters of Zeus and Mnemosyne, and having the god Apollo as their guide. They represented the supreme ideal of Art, understood as the truth of the "Everything" or the "eternal magnificence of the divine". Initially considered in a generic way as divinities of song and joyous dances, responsible for putting into music and verse stories such as the origin of the world, the birth of gods and men, the exploits of Zeus, and often depicted accompanied by various musical instruments, starting from the Hellenistic era, all singing and musical expressions were associated with them, including sad and funeral ones, and other arts such as theatre, and each of them was associated with a specific genre of art, so that they could be invoked individually to exercise their inspiration and protection. The word "Euterp"refers to the name of one of them, Euterpe, muse of lyric poetry and music, traditionally depicted with a flute; but the name Euterpe etymologically means "She who cheers" who brings joy, and one can therefore think that the choice of this name to title the tapestry refers to the most ancient function of the Muses, those of bringers of joy through art. In this presentation, the muses appear dancing, dressed in veils and flowering branches; in their hands or placed next to them, instruments or other objects symbolizing the art that they inspire appear (both tragic and comic theatrical masks, the pictorial palette, various musical instruments...). The large painting has signs of wear and humidity stains.

Table with beech wood base, briar veneer band, wooden top with back-treated glass, brass tips.