Antique Neoclassical Mirror Walnut Italy XVIII Century - Veneto Last Quarter of the 18th Century

Terracotta sculpture of Madame Du Barry.

Tuscany late eighteenth century

Pair of chests of drawers veneered in walnut and cherry. Front with three drawers, the first of which in the smaller under-top band, threaded with an arrow motif. The whole structure is threaded with maple and walnut, the inlaid maple vents were added later. Handle in central sheet metal with original rosette and acanthus leaves. Small breaks and shortcomings. Tuscany late eighteenth century.

Italy, XX Century

Neoclassical chest of drawers subsequently embellished with a front of three drawers, maple inlay depicting simple geometric motifs on the top, front and sides, pine cone feet replaced. Non-coeval locks and hardware. 20th century Italy

Milan, Third Quarter of the XVIII Century

Carved and lacquered fireplace with a painted canvas with a still life in the center and a mirror underneath. The whole surface is carved with rocaille motifs called "a pel de rava"according to the Milanese taste. Milan third quarter of the eighteenth century.

Italy, Third Quarter of the XVIII Century

Exotic wood desk with front with seven drawers, the only central one in the undercounter band accompanied by a drawer pull. Stiff legs. Exotic wood panelling and bordering throughout, inlaid mouths. Spruce interior. Lacks. Italy early 18th century.

Italy, Early XVIII Century

Walnut chest supported by bracket feet, the front is carved with two lateral winged caryatids to frame two panels with frames with successive and geometric leaves, in the center is instead carved a coat of arms depicting a rampant lion carrying a sword and with three stars and three on his head lilies. The lower band is podded, while the upper one is foliaceous, lid with a notched frame on the front.

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.

Italy, Mid XVIII Century

Mirror with gilded and carved wooden frame, decorated with curl motifs and rocaille elements also present on the cymatium. Mercury mirror. Italy mid-18th century

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.

Italy Second Half of the 18th Century

Virgin Mary in carved wood painted in polychrome. The drapery features gold highlights and decorations. Obvious shortcomings and failures.

Netherlands, XVIII Century

Dutch six-light bronze chandelier, 18th century Netherlands. Structure composed of a pair of spheres alternating with turned sections, moved arms. Born with candle lighting.

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.