Saporiti Bauletto Cabinet Design Giovanni Offredi Burl Veneer 1970s - Design by Giovanni Offredi

Chest of drawers with tilting mirror; glass shelf, teak veneer, enamelled metal legs, enamelled aluminium and brass handles.

Mantua, Early 18th Century

Walnut and burr walnut veneered drop-leaf chest, front with three leaf-spring drawers. Drop-leaf chest conceals a five-drawer internal cabinet, open central compartment with secret compartments. Poplar interior and back, bracket feet, burnished metal escutcheons and handles. Mantua, early 18th century.

Vintage Italian bar cabinet from the 20th century, featuring a counter with a brass frame, a wooden body with mahogany and exotic wood veneer, open storage compartments with shelves at the back and decorative red Formica panels on the front with brass trim, a red back-treated glass top, and a crystal backsplash. Display cabinet with a brass frame, glass shelf, and wooden cabinet with mahogany and exotic wood veneer, comprising an open compartment and a display cabinet with a mirrored interior and sliding glass doors.

England, Mid XIX Century

Large library table, England mid-19th century, victorian period. A turned support supported by four sabre-shaped legs serves as a support for the circular top. The top is covered in red leather, worked with gilded motifs, has 4 drawers in the band alternating with four false drawer spaces. The supports are made of mahogany and veneered in the under-top band on the mahogany top with a carved end-grain wood edge. Bronze shoes chiseled in the shape of a feline paw, with brass wheels, Bronze drawer handles in the shape of a rosette, original brass-plated locks.

Adoration of the Shepherds

Oil on canvas. A composition replicated several times by disciples and students of the Bassano school, in particular a work by Jacopo Bassano (1515 -1592). In the original scene, here reproduced with fidelity to the composition of the figures but not to the colors, Bassano had approached the theme on the one hand respecting tradition, on the other introducing innovations. In fact, they act as a scenic backdrop of archaeological ruins, a frequent element in Italian iconography of the Nativity. Here we see a row of broken columns on a high pedestal, on the model of Greek temples, against which a hut is leaning. The unusual architectural structure symbolizes the overcoming of paganism and the construction of the Christian church, of which the birth of Jesus is the first act of foundation. The shepherds occupy the center of the scene, and if it were not for the left side of the painting, it might seem like a genre scene with a rural character. The shepherd from behind is kneeling, showing his bare feet, a reminder of his extreme humility, and holding a lamb, the sacrificial animal par excellence, a reference to the future Passion of Christ. On the far right, a curious insert: a crouching boy blowing on a burning ember, in a futile effort to rekindle a flame. In this replica, the yellow and red colors of the robes of the two shepherds in the center and of the boy on the right stand out, prevailing in vivacity even on the figures of the Holy Family and emerging from the ochre hues of the landscape and the architectural structures in the background. The painting was restored and relined in the 19th century, with the replacement of the frame (on it there is contemporary writing in English, probably export addresses). It is presented in a period frame.

Four Engravings by Giovan Battista Brustolon

Four optical prints by Giovan Battista Brustolon based on a drawing by Antonio Canal, late 18th century. Depicting the "Piazzetta dell'Arsenale", "Ponte di Rialto", the ";Church of the Redeemer" and "Piazza San Marco". Made to be seen at night with a light on the back, they are mounted in a box with cuts of windows with colored canvases, notes on the back of the prints. On the front, the outline parts have been blackened, and on two of them the writings have been brought back into view, from which the engraver and painter can be seen. The lighting effect has been recreated with LED light.

The Last Supper 1962

Oil on canvas. Signed and dated lower left. On the back there is a handwritten and signed prayer to Jesus in Portuguese by the artist. Malangatana was a Mozambican artist (poet, painter, musician), as well as a political activist for his country. The work belongs to Malangatana's first artistic period, whose political commitment was not yet evident, and takes up the subject of the Last Supper, which he had already tackled on other occasions in the same years. In this religious subject, Malangatana clearly reveals his closeness to the ritual and tribal culture of his country, but also his knowledge of religion as well as that of Western art, both in the composition of the figures that look at similar Western subjects, and in the compositions of the objects, in particular the numerous and varied elements that fill the table, with a basket of fruit in the center, which recall our Still Lifes. His figures are presented as overlapping and intertwined bodies, and dominated by faces, in which long eyes stand out, with penetrating expressions, which will then become tormented and suffering looks, a symbol of the suffering of an oppressed people.