Artemide Cnosso Lamp Coloured Plastic Design Italy 1960s-70s - Design by Angelo Mangiarotti

Italy, 1950s-1960s

Copper and enamel plate by Studio Del Campo, Turin, depicting fantastical characters and animals. The back bears the manufacturer's incised mark.

Italy, 1950s-1960s

Set of six ceramic plates with a sailing ship decoration on the hollow and a polylobed rim. Solimene Artistic Ceramics Factory, CAS, Vietri. Manufacturer's mark on the back.

Italy, 1970s-1980s

Smoked glass umbrella stand with black patina iron edges. Removable plastic drain tray. Manufacturer's mark under the base.

Italy, 1960s

Hand-engraved and hammered silver-plated copper plate. Mario Pinton for Atelier Des Orfevres. Under the base there is a manufacturing mark and an adhesive label.

Italy, 1970s

Two ceramic vases. Under the base the manufacturer's brand.

Italy, 1960s

Porcelain plate from the "tema e variazioni" series. On the back brand of the manufacturer.

Oil on canvas. Central Italian School. At the bottom right are the initials SGAV and the date 1747. The apparition of the Madonna to San Rocco with the Baby Jesus in her arms is a recurring iconographic theme in Christian devotion. The saint, recognizable by his traditional iconographic attributes—the short tunic and pilgrim's staff, the plague wound on his thigh, and the dog with a morsel of bread in its mouth—is partially kneeling in adoration of the two sacred figures who appear to him from a vortex of clouds in the sky. The apparition symbolizes the celestial consecration of his mission to heal the sick (particularly plague victims) and offer consolation to the suffering through the intercession of the Virgin and Jesus. The scene is set on a country path, near a stream beyond which one can see the city from which the saint remains isolated due to the illness he has contracted. The painting has been restored and relined in the past. It is mounted on a new tensioning frame.

Southern Italy, XVIII Century

Polychrome majolica inkwell and powder shaker, both cubic in shape. White glaze with polychrome blue and yellow decoration. The upper edge is outlined in yellow. The sides feature a repeating decorative motif with a stylized flower set within a reserve framed by yellow and blue lines. The workmanship is rustic.

Lenci jug in cast ceramic in shades of yellow with flower decoration. Brand of manufacture under the base.

Oil on canvas. 19th-century Italian school. The myth of Procris and Cephalus is a famous and tragic story of love, jealousy, and betrayal recounted in Ovid's Metamorphoses. Cephalus, a handsome hunter, and Procris, princess of Athens, were involved in a series of misunderstandings and traps that led to her accidental death. In particular, the scene depicted here depicts the myth's tragic epilogue: Cephalus finds Procris dying, accidentally wounded by her unsuspecting husband's spear. The scene depicted here is modeled after Carlo Francesco Nuvolone, a leading exponent of the Lombard Baroque, for the same dramatic setting of the figures, set in a very different landscape, here uninhabited by other figures. The painting has been restored and re-stretched with a new professional stretcher frame.

France, XIX Century

Bronze mantel clock in the shape of a lyre surmounted by a figure of Cupid wearing a plumed helmet. Note the rich and varied decorative elements, such as the central frame with leafy scrolls and birds of prey faces, the goat feet, and the composition of musical instruments. The enameled and painted metal dial features Roman hour numerals and Arabic minute numerals. The movement is marked AD Mougin Deux Medailles, referencing the 1878 and 1889 Universal Exhibitions.

Italy, XIX Century

Earthenware centerpiece set on a circular base embellished with relief festoons. A central obelisk supported by four lions connects four scrolled arms holding openwork baskets and shells. "Italy" imprinted on the bottom.