Occasions - Page 3

Desk with double column side drawers in enamelled metal and mahogany veneered wood with Formica-covered top.

Oil painting on canvas. It is a vintage copy of the engraving of the same name made by Annibale Carracci (1560-1609), which had immediate success and gave rise to a series of printed replicas and painted copies. It presents the moment of the Passion in which Christ is crowned with the crown of thorns, the object of torture, the disparaging symbol of his proclamation as King of Kings. The act is performed by two figures, the Roman soldier and the Jew, representing the two people who they took part in Christ's death sentence. The figures, vigorous and sanguine, those of the two tormentors paler and more inert than the victim, create an intertwined composition of bodies, with that of the central Jesus joining the other two, uniting them in the shared responsibility of what they are doing; placed sideways, Jesus has his head bent forcibly to the left by the soldier who imposes the crown of thorns on him, while the Jew on the right places the bamboo cane in his hand, replacing the scepter. The scene is dominated by gloomy and dark colors, among which only the bright red of Christ's robe stands out, a symbol of his suffering humanity. The painting has been restored and relined. It is presented in a beautiful coeval frame, with shortcomings.

Table with brass base, chromed brass. Smoked glass top.

Showcase with hinged door and sliding doors, open shelves. Walnut veneered wood.

Buffet with shelf and mirror, hinged doors and drawers under the top. In briar and walnut veneer.

Sofa with spring padding and feather cushions, original velvet covering of the period. A sofa that lends itself to being revisited to make it suitable for an environment with a relaxation area, with an original style and a taste of times gone by, the product can be restored by our laboratory, with an intervention that involves the replacement of the padding and the fabric by choosing from our different samples.

Northern Italy, Late XIX Century

Sideboard in larch with upper part decorated with pinnacles, shaped cymatium, front with two doors decorated with etched glass and an underlying body containing a single drawer in the band under the top and two carved doors. Uprights carved to depict curl motifs. Northern Italy, late 19th century

Landscape with River and Figures 1878

Watercolor and pencil on paper. Signed and dated lower left. We know of several landscape views of the English countryside by the English painter Henry Clifford Warren, mostly painted in watercolour. Here is a view of a wooded countryside crossed by a wide river, with a shepherd leading his cows to graze on the hill in the foreground. Presented in a frame.

Sideboard with hinged doors, flap doors and visible drawers; teak veneered wood.

Oil painting on canvas. Northern European school of the 18th century. Caratacus was a Celtic king of the Catuvellauni tribe of Britons and leader of the anti-Roman resistance and famous as a freedom fighter. For eight years he resisted the Roman invasion of Britain starting in 43 AD. For eight years he was the most wanted man in the Roman Empire, hunted relentlessly, from fight to fight, from fortress to fortress, in the mountains of Wales, until he was not betrayed and handed over to the Romans in 51 AD by Cartimandua, queen of the Yorkshire Brigands, to whom he had turned for help. Defeated, he was brought in chains to Rome with his entire family: brought before the emperor, the British king spoke with such wisdom and pride (with the speech reported by Tacitus in his Annales) that Claudius, struck by his words, granted the grace to him, his wife and brothers, allowing them to spend the rest of their days in Rome. The painting presents the moment of Caratacus' peroration, at the center of the scene in chains, fervently pleading his case before the emperor: he is sitting on his throne, flanked by his wife and surrounded by senators and soldiers. The painting, restored and relined at the end of the 19th century, has slight damage.

Ceiling lamp; structure in chromed brass, glass.

Cabinet with upper storage compartments with shutter closure, double column of side drawers. Oak veneered wood. The product can be restored by our laboratory, with a renewal of the polishing, so as to make it suitable for a modern living environment, with a touch of other times, and to give new life to things.

Central Italy, Early XVII Century

Antique chestnut sideboard resting on a platform, central Italy, early 17th century. Front with 2 drawers in the band and pair of doors. Decorated with frames. Turned knobs replaced.

19th Century / 1801 - 1900

Travel trunk in wood covered with iron foil straps fixed with studs. The metal bands are adorned with a decoration of plant racemes with flowers, made with a burin. The reserves between the metal foils are covered in velvet, now abraded adorned with a quadrangular motif with foil.

Oil painting on canvas. The scene tells the biblical episode of the book of Exodus in which little Moses, whom his mother had entrusted to the river inside a basket to save him from the massacre of the Israeli male children (ordered by the Pharaoh of Egypt to prevent the Israeli population became too numerous and could rebel against slavery), he was found by a handmaid of Pharaoh's daughter, who decided to adopt him and saved him. The scene, set along the river, is entirely occupied by the female figures of the princely retinue, crowded together and projected towards the bottom right corner where the basket with the newborn is placed. All eyes are also turned towards the child, in the direction indicated by the outstretched arm of the woman in the foreground on the right. The roundness of the female forms stands out, especially of the three figures in the foreground, where plays of light and shadow highlight the complexions that emerge from the clothes. Restored and relined, the painting is presented in a frame.

England, Early XX Century

Servant veneered in ebony and inlaid with thuja briar and maple, featuring a railing with central pinnacle on the top, front with mirror set within four doors decorated with painted porcelain, carved columns, rosettes and ornamental bronzes England, early 20th century

Oil painting on canvas. The scene tells the biblical episode of the book of Exodus in which little Moses, whom his mother had entrusted to the river inside a basket to save him from the massacre of the Israeli male children (ordered by the Pharaoh of Egypt to prevent if the Israeli people became too numerous and could rebel against slavery), he is found by a handmaiden of Pharaoh's daughter, who decides to adopt him and saves him. The scene is set on the banks of a river but in a non-oriental landscape, with architectural structures on the right: numerous figures, depicting the princess' entourage, placed in the center together with the child in the basket. The restored canvas was applied on a modern stretcher. It is presented in chronicle of the 19th century.

Oil on canvas. Mittel-European School. There is a No.S monogram on the back and numbers probably from an inventory. The painting reminds of pieces from the Austrian area. It represents a battle between knights, it is dominated in the foreground by the confrontation between two of them. The painting comes from a historical collection from Lombardy. The painting is still in its first canvas and original framing; there are patches on the back and signs of antique restorations, it has also undergone an additional pictorial and reperativr restoration, in our lab. Well marked crack. The painting is presented in an original and coeval frame, lacquered.

Lombardo-Veneto

Sculpture in linden wood, painted in polychrome and depicting Saint Paschal Baylon (1540-1592) in adoration of the Eucharist, which he holds in his left hand in a monstrance now without the sunburst case. Recognizable, as well as for the typical attitude of his iconography, also for the Franciscan habit and beardless face. The proclamation to Blessed in 1618 constitutes a post quem term for the realization of the sculpture, confirmation also given by the stylistic code of the carving, in particular by the thick locks of hair, the fleshy mouth and the heavy eyelids, characteristics of the sculpture of the first half of the Six hundred.

Oil painting on canvas. The biblical episode depicted refers to the story of Daniel, the prophet in the court of King Darius the Mede who, for having prayed to his God, was condemned to be thrown into the lions' den. But God saved Daniel, sending an angel to close the jaws of the beasts, and the king pardoned Daniel by instead condemning those who had denounced him. The subject has been depicted several times in art, for the fascination linked to history but also for its exotic flavor due to the presence of wild beasts; in particular we remember the version by Rubens of 1615, where the prophet is depicted naked in the underground pit, while he prays ardently, surrounded by a crowd of ferocious lions. The work presented here instead proposes a version centered on the dialogue between the prophet and the angel, who face each other, standing out with the vivid colors of their robes against the dark background of a prison; there is only one lion, meekly crouching at the angel's feet, and therefore the spiritual and salvific dimension of the biblical event prevails. According to the famous art historian Maurizio Marini, a specialist in the painting of Caravaggio and Baroque art, who had had the opportunity to view the painting years ago, the work could be attributable to Antonio Maria Vassallo (1620 -1664) for the compositional and chromatic choices. The painting, restored and relined, is presented with a listello frame.

Oil painting on canvas. Italian school of the eighteenth century. In the portrait of this gentleman, the dressing gown made of an elegant floral fabric stands out in particular, in shades of brick red that recall the color of the wig. The severity of the pose and the austere gaze of the character almost contrast with the almost frivolous elegance of his clothing. The painting, restored and relined, is presented in a frame from the early 1900s.

19th Century / 1801 - 1900, 17th Century / 1601 - 1700

Brass and steel iron scale with spring system; it comes with 3 sets of cup weights; one consisting of six elements, two with houses (the outermost weight in the form of a case with a lid) and with six and five weights respectively. The latter, which is older than the rest of the lot and dates back to the 17th century, is stamped with a chalice on the outer part, while each of the inner weights has a triangle within which a six-pointed star is inscribed.

Italy, first quarter of the nineteenth century

Empire psyche in walnut, Italy, first quarter of the 19th century. Tilting mercury mirror framed by semi-columns with gilded and chiseled bronze applications. Equipped with 1 drawer. Walnut interior.

Germany, 1740 ca.

White porcelain cup with gold decorations, polychrome plant motifs and blue scales on the edges. In the reserves painted with gallant scenes. Under the brand foundations of the manufacture.