Vintage Cabinet Mahogany Glass Design Italy 1940s-1950s

Saint Bernard of Clairvaux

The sculpture described here, carved from a block of Swiss pine in the early 17th century, depicts Saint Bernard of Clairvaux. The composition is reminiscent of the early 16th-century engraving by Marcantonio Raimondi, who depicted the Saint in monastic habit, holding a crosier, a Bible in his hand, and a demon in chains at his feet. The sculpture was intended for a niche and therefore unfinished on the back. The standing saint is depicted in slight motion, holding an open Bible in his right hand and the beginning of the chain that binds the demon at his feet in the other. Unfortunately, the central section of the chain is missing, but it is completed with a collar; the demon is subdued by the Saint, who rests his foot on it. Although the colors and gilding have some gaps and soot, we can see that the saint's complexion is rosy, while the demon is reddish, almost brown, due to exposure to the flames of the infernal world. Note the Saint's splendid robe, which, despite depicting a monastic habit, is lacquered in shades of red with gold embroidery on the inside and gold with bluish embroidery on the outside. The robe is no longer the humble hermit's, but that of the saint in celestial glory, bathed in light, in sharper contrast to the figure of the devil.

Emilia Romagna, Late XVIII Century

Neoclassical walnut chest of drawers, richly inlaid with boxwood, rosewood and olive wood frames, and maple trim. The top features a central quiver and foliate motifs filling the two lateral compartments. The front has three drawers, the first of which is divided into two parts, while the second and third are inlaid with a central vase supported by a pair of lions and foliate and floral inlays, also repeated on the sides. Truncated pyramidal feet, poplar interior and back, replaced escutcheons and handles. Emilia, last quarter of the 18th century.

Saint Sebastian

A late 17th-century sculpture in the round depicting Saint Sebastian tied to a tree and pierced. The saint, depicted wearing a short robe around his hips, is tied to the trunk and a branch, with one arm raised as he gazes at the viewer, who is metaphorically piercing him with arrows. The sculpture is cast in the round and painted in polychrome, with painted sections restored. Note the restoration of part of the left foot and the lack of arrows.

French Commode

Louis XVI-style cupboard from the early 20th century. Four truncated pyramid legs support a curved front with a single door on olive hinges, and a rare purple breccia top. The cabinet is veneered in mahogany with marquetry inserts made from small, opposing squares of blond mahogany. The entire surface is enriched with finely chased and gilded bronzes. The legs feature small floral festoons, uprights with gilded bronze asparagus inserted into the tapers, cornices in the inserts, and leafy scrolls in the band below the top are also gilded bronze. At the center, a lion's head between two oak and ivy branches holds a drape in its mouth, from which hangs a myrtle branch that decorates the central medallion depicting a bacchanal with fauns.

Oil on walnut panel. The painting follows early 16th-century Tuscan models (for example, the pictorial style of Domenico Puligo), but is a slightly later production and by a weaker hand, typical of "peripheral"production. The absolutely traditional subject features the Madonna breastfeeding the Baby Jesus, framed by a curtain; the infant, sucking at his mother's breast, looks toward the viewer, while the mother gazes tenderly at her son. The monogram CP appears on the back of the panel, likely indicating the artist. The panel has several small paint losses.

Country Scene with Figures

Oil on canvas. Signed lower left. The scene depicts a group of peasants, both men and women, gathering baskets of flowers, making music and dancing to the sound of bagpipes and tambourines, with some taking the opportunity to flirt. It is therefore a popular country festival, a favorite subject of Barucci, a Roman painter who primarily depicted daily life in the countryside. His almost all-encompassing love for nature—the most authentic, barren, and realistic aspects of the Roman countryside and suburbs—led him to become one of the leading exponents of the rustic style. The brightness and vividness of the colors enhance the festive feel of the scene, underscoring the carefree, serene atmosphere of this moment of folk life. The work is presented in a period frame.

Landscape with River Glimpse 1906

Oil painting on canvas. Signed lower left. The Roman-born artist Cesare Maggi established himself as a pointillist landscape painter, portraying alpine landscapes in the Engadine and Aosta Valley, often enlivened by the inclusion of figures and animals. Becoming a friend of the painter Giacomo Grosso in Turin in 1901, he then successfully oriented himself towards the portrait genre, setting aside the pointillist technique. While still favoring high mountain views, he broadened his subjects by also engaging in seascapes and still lifes. In this work, still from the first period, Maggi portrays a glimpse of the countryside crossed by a calm river, bordered by rows of bare trees and small grassy hills, behind which the farmhouses overlook: already no longer linked to the techniques divisionist, the work is rather characterized by dense and opaque mixtures of color, in which the earth, the water and the farmhouses are superimposed in a continuum broken only by the band of sky above. The work is presented in a period frame.

Landscape with Figures

Oil painting on canvas. The large composition proposes a landscape with a large tree in the centre. to surmount with its sparse branches the countryside below, crossed by a stream and animated by various figures of commoners intent on activity or at rest; at the top right stands a fortress, which dominates the valley. Already attributed to Peruzzini from the Marches, the painting can certainly be traced back to his circle, due to the rapid and poorly aggregated pictorial strokes. Antonio Francesco specialized in landscape painting, undergoing the influence of Salvator Rosa and landscape painters such as Pietro Montanini and Pandolfo Reschi, and further influences also came to him from Nordic painters active in Italy, above all from Pieter Mulier known as il Tempesta. In his first works the originality of his painting can already be distinguished given a rapid drafting and an intense and brilliant chromatic timbre. The long artistic bond between Antonio Francesco Peruzzini and Alessandro Magnasco began in the early 1990s, following their meeting in Milan, where Peruzzini had settled; from this period onwards his painting seems to fall apart, through forms that become more dynamic and light, almost fantastic, to finally arrive at a style marked by an ever greater disintegration of the forms of nature and their movement. Restored and relined, the painting is presented in a period frame.

England, Early XIX Century

Large English bookcase in mahogany and mahogany feather veneer. Base with four paneled doors, the two central ones projecting, panels with maple and walnut fillets. Upper part with blown glass doors supported by three groups of Gothic windows surmounted by inflected arches. Small losses. England, first quarter of the 19th century.