English Mahogany Desk - 20th Century

Italy, XX Century

Silver bowl with embossed decoration in the center of the hollow. Inside the bowl is in vermeil silver. Silver hallmark engraved. 260 grams.

Italy, 1930s-1940s

A glazed ceramic tea set for four in shades of blue and green. Each piece is decorated with playful scenes. The base bears the MAP Mengaroni Pesaro branding.

Italy, Mid XX Century ca.

Florentine silver lamp with floral decorations on a finely engraved background. The base is engraved with a silver hallmark. The silversmith's logo is difficult to read. Net weight: 450 grams.

Autumn Flowers

Oil on canvas. Signed lower right. On the back is a Galleria Spirale label with the title. A certificate of authenticity from the same gallery is included. Giuseppe Ajmone, an artist from Valsesia who trained at the Brera Academy of Fine Arts in Milan, was one of the signatories of the 1946 Manifesto of Realism. In addition to still lifes and landscapes, which dominated his early artistic career, Ajmone also developed an interest in nudes, which have characterized much of his painting from the mid-1960s to the present. Shown here is a floral arrangement in a vase. The work is presented in a frame.

Oil on canvas. German school of the mid-20th century. At the bottom right is the signature W. Purschke and the location Munchen. The scene is set inside the study of a high prelate: sitting at his desk he listens to two men who show him a route on a map; at the top left is placed on a shelf a model of a ship: perhaps the bishop is also the owner of the ship, who discusses the next trip with its owner. From the window, closed by a worked grille, you can glimpse the village, with houses with a characteristic Nordic appearance. The painting is presented in a period frame.

Inlay made of various woods. The inlay depicts the figure of a cellist in eighteenth-century dress. Francesco Ferrario was an accomplished cabinetmaker, influenced by the Neoclassical and Art Nouveau movements. Having trained in drawing at the Brera Academy, after collaborating with the finest artists of the time, he opened a workshop in Milan, first on Via Tenca, and then in 1927 on Corso Sempione. A label on the back of the work places it among the works produced at this latter location. The work is presented in a period frame.

Italy, XX Century

Silver bowl with lobed edge and hand-hammered surface. In the hollow are sprigs of flowers obtained with embossing. Silver marks engraved; silversmith's name not legible. Signature of the dealer Bonvicini. Grams 830.

Northern Europe, Mid XX Century

Outdoor sundial in wrought iron with brass plate with Roman numeral hours.

Genre Scene at Court

Oil on canvas. Signed lower right. Antonio Zavaga was an Italian painter between the 19th and 20th centuries, specialized in 18th-century style painting, mainly of a gallant and salon setting. The scene of this work is also set in a rich 18th-century style hall: a lady and a gentleman sit at a table playing chess, while the lady-in-waiting brings tea and another gentleman watches amused. The work is presented in a painted frame from the late 19th-early 20th century.

Seashore with Boats and Figures

Oil on canvas. Signed lower left. Son of an artist, Cesare Gheduzzi established himself as a landscape painter. Although he lived in Turin, he spent a long time on the Ligurian Riviera, creating wide views of the sea, coastal landscapes and fishermen at work, which he reproduced with fidelity and elegance, while favoring cold colors to create an emotional detachment and favor the scenographic effect (inherited from his father who was a set designer for the Teatro Regio in Turin). It is presented in a contemporary frame.

Italy, 1920s

Bronze clock with embossed plant motif decorations and dial with Arabic numeral hours. The clock is supported by a bronze griffin resting on a green serpentine marble plinth. Small plaque applied to the front.

Oil on canvas. The scene of the well-known evangelical episode of the adoration of the wise men is set in an unusual setting: the Holy Family is not in a hut or a stable, but in front of the architectural remains of an imposing marble building; placed on top of a hill, it sees in the background a flat landscape rich in vegetation and inhabited by villages with numerous bell towers. The figures of the kings and the family are depicted with delicate lines, bright but shaded colors, detailed details; moreover in the right corner of the scene appears an emaciated, poor, indistinct figure, a beggar who, hidden in the shadow of the palace, bows to pay homage to the little Jesus, on a par with the rich and powerful kings in his humble devotion. On the back of the canvas there are traces of small restorations. At the bottom right there is a slight cut. The work is presented in a period frame.