Carved Wooden Support Fan - Baroque Italy Early 18th century

Trento, XVIII Century

Walnut, maple burl, and various wood trim trumeau. Upper section with a tripartite leaf-spring drawer, surmounted by a central door with a single-shelf compartment. A series of three drawers with curved sides, each surmounted by a small drawer with a scrolled cylindrical top. A drop-down door with a leather insert on the interior surface is flanked by projecting drawers, a cabinet with an open compartment, and five drawers. A three-drawer base with a leaf-spring front, fir interiors, and turned feet. Bronze handles, pendants, and escutcheons. Trento, 18th century.

Oil on canvas. Venetian School, 18th century. A wide Nordic landscape, with mountain peaks in the background and a river flowing through the countryside, overlooked by houses and ruins; several figures of wayfarers walk along the path among the rocks. Already restored and relined in the early 1900s, the painting requires further cleaning. Framed.

Oil on panel. This amateurish work is reminiscent of Guido Reni, who created numerous portraits of the legendary fortune teller, traditionally wearing a turban. The work is presented in a beautiful contemporary gilded wooden frame.

Oil on canvas. Emilian School, 18th century. The large canvas depicts the Madonna in glory, seated on clouds in the sky, with Baby Jesus in her arms; angels and winged cherubs flutter around her. The entire scene is characterized by light and movement, and an atmosphere of lightness and serenity; the little cherubs in particular are depicted in joyful and playful poses, contrasting with the serious, yet smiling, attitudes of the two angels and of Mary and Jesus, engaged in an important symbolic gesture. In fact, the angel on the right and the two cherubs below are holding "scapulars"—two rectangular pieces of fabric held together by a string—and are handing them to Mary. These objects are a devotional symbol linked to the Madonna del Carmine (or Madonna of Mount Carmel), one of the oldest and most widespread Marian devotions, linked to the Order of Carmelites founded on Mount Carmel in the Holy Land in the 12th century. A symbol of protection and consecration, wearing the scapular—a gesture performed by various religious orders and lay people alike—is equivalent to a commitment to live one's faith united with Mary, imitating her virtues. The painting thus celebrates Mary's commitment to take under her protection those who trust in her. Originally from a major Bolognese collection, the canvas has been restored and relined in the past.

Italy, XVIII Century

Group of ten Baroque armchairs, lacquered and gilded. Curved armrests culminating in curls, turned front legs joined to the base by a crosspiece with a central spandrel. Gilded moldings and details, padded seat and back. Italy, 18th century.

Oil on canvas. 18th-century Venetian school. The traditional Holy Family features Mary occupying the entire central part of the scene, her gaze, illuminated by a smile, directed toward the Baby Jesus lying on her lap, drawing the viewer's gaze to him as well. The good Joseph, as always, is thoughtfully placed in the background, watching over the two sacred figures entrusted to him. On the back of the canvas is an inventory label from the early 1900s. The work is presented in an antique gilded frame.

Italy, Early XVIII Century

Baroque console table in carved and gilded wood. Wooden top with painted faux marble finish, four S-shaped legs richly carved with scrolls, leaves, and curls, joined to a carved cross-shaped base with a central shell. Carved, lacquered, and gilded apron. Central Italy, early 18th century.

Disciple of Carlo Cignani

Oil on canvas. This work is one of several contemporary versions and replicas of a work by Carlo Cignani, testifying to the subject's success. It can be traced back to his workshop or one of his followers. The allegory of Charity was one of Carlo Cignani's favorite themes, and he painted it several times. She is always depicted as a breastfeeding woman, often surrounded by numerous children, a symbol of the unconditional love she gives to others. In this depiction, the woman is breastfeeding two older children while she covers the swaddled newborn sleeping in the crib. The scene is lively and serene, characterized by natural gestures, simple yet full of tenderness; one of the children holds two cherries, a symbol of love and sweetness. The painting shows signs of restoration and relining carried out in the late 19th century. The gilded frame, decorated with friezes, also dates back to this period.

Oil on canvas. Central Italian School, 18th century. An amphora vase contains a composition of variegated flowers, with some fruit (a pomegranate and black grapes) on the surface. A classic decorative composition, often paired with other paintings. The work has been restored and relined in the past. It is presented in a period frame.

Oil on canvas. Dutch School, 18th century. In this dramatic scene, three sailing ships are at the mercy of a stormy sea; two of them fly the Dutch flag, while the third, smaller one, almost a dinghy, flies another flag. The gray, stormy sky and sea create a uniformly dark background, with a sliver of light on the right, through a rift in the clouds. The painting has been restored and relined in the past. It is presented in a contemporary antique frame.

Oil on canvas. 18th-century French school. The nobleman, portrayed wearing a body armor over a civilian dress with lace and trimmings, displays the important honor of the Cross of the Order of Malta. The painting is still on its original canvas, but shows traces of previous and recent restorations. On the back is an illegible descriptive cartouche. It is presented in a late 19th-century frame.

Italy, Late XVIII Century

Neoclassical chest of drawers in walnut and walnut burl, with various wood trim and inlays. The front features four drawers, the first two of which are side by side, under the top. The legs are truncated pyramids, while the interior is poplar. The escutcheons and handles are wrought bronze. Italy, late 18th century.