Coat hanger in white enamelled metal and nickel-plated brass.

Tableau doré

Mixed technique on plywood (painting and silver paper sheets). On the back, authentic with stamp and signature of the artist's sister. The work belongs to the series of Tableaux dorés, works created by the Milanese artist Remo Bianco starting from the 1950s. Born and educated in Milan, Remo Bianco was a pupil of De Pisis, in whose studio he frequented the great Italian artists of the twentieth century (Carrà, Sironi, Savinio, Soffici, Soldati, Marini, Cantatore). After the interlude of the war (enlisted, sank with his ship and was taken prisoner in Tunis), he resumed his artistic activity in Milan, participating in the Nuclear Movement and Spatialism, coming to completely detach himself from figurative painting to create works made of brushstrokes mashed potato. At the beginning of the fifties he began to create works, pictorial and sculptural, with different materials and to experiment with different themes and techniques; to this production belong the Tableaux dorés, composed of silvered or gilded aluminum foils on painted bases. The work is presented in a frame.

Female Face 2001

Oil painting on canvas. Dated and signed on the back. Born in Seregno, Danilo Martinis was trained with Osvaldo Minotti. Painter and designer, he has furnished prestigious residences all over the world, his works are particularly appreciated in the United Arab Emirates and in Russia. He loves to express his thoughts through graphic-figurative images rendered through geometric effects and chromatic games, using mainly female figures as interpreters. In this work he proposes a close-up of a female face, enhancing its expressiveness through the play of colors in the ranges of yellow.

Shop counter with enamelled metal base, wooden slats and adjustable brass feet, top with open compartment and drawer on one side, Walnut veneered wood, reserves and top in birch-effect Formica, ebonized wood profiles. (also available with other sizes).

Shop counter with enamelled metal base, wooden slats and adjustable brass feet, top with open compartment and drawer on one side, Walnut veneered wood, reserves and top in birch-effect Formica, ebonized wood profiles. (also available with other sizes).

Vase, Roman excavations, 1860

Oil painting on canvas. Signed and dated lower left. Further signature, date and title on the back. On the frame there is a stamp from an important private collection. The work proposes a composition of an amphora and a painted ceramic plate, surrounded on the right by roses. Milanese painter and decorator, Luigi Scrosati initially attended the Brera Academy, which he soon abandoned to devote himself to numerous trips abroad, in particular to Paris. Already from the beginning of his activity, in the 40s, he worked as a painter of still lifes strongly influenced by French examples, in particular from the Lyon school. Alongside the easel and watercolor production, dominated by the specialization of still life of flowers, Scrosati was very active as an interior decorator, often engaged in team work alongside architects and project managers, but always with considerable autonomy and a characteristic style , substantially eclectic and aimed at a reinterpretation of the styles of the past. The debut in this area, towards the end of 1842, consists of a cycle of frescoes in the residence of San Fiorano (LO) owned by Giorgio Guido Pallavicino Trivulzio, for which Scrosati decorated a Gothic room, a Rococo living room and a small entrance compartment. His frescoes can be found in numerous villas in and around Milan, works in which Scrosati refers to the styles of the past, re-proposing eighteenth-century suggestions, but also of the Baroque. The decorations in the Dante's Cabinet first and then in other rooms in the Palazzo Poldi Pezzoli in Milan (now home to the Museum of the same name) were instead of neo-medieval taste, made with the Bertini team of which Scorsati was part. The disease that struck Scrosati in the lower limbs in 1857, making him ill, probably prevented him from continuing his activity as a decorator, forcing him to fall back on floral easel painting, which led him to produce still lifes of flowers, but also portraits or fake bas-reliefs with garlands of flowers or even interiors and genre scenes, in which he was influenced by the German and Viennese production of the Biedermeier type and the French one of the Lyon school. In 1862 Scrosati was commissioned to direct a new Ornato course at the Brera Academy, with particular reference to flower painting and relations with industry, a course set up by the Braidense institution to expand the already flourishing school of ornamental painting. The work is presented in a style frame.

Cement paste sculpture depicting the bust of a man. Anonymous author.

Iconic armchair designed by the Scarpa couple in the 70s with foam padding and black leather upholstery. Very good condition.

'Gesto' floor lamp by Bruno Gecchelin for Skipper with marble base, double metal stem and white lacquered aluminum diffuser.

Dressing table with mirror, drawers, open compartments, walnut and burl veneered wood, transparent glass.

Table with carved decorative details and small drawers under the top, solid beech wood and mahogany veneer, entirely cherry stained, remarkable clear glass laying on top.

Buffet with mirror and toilette. Rosewood veneer with aluminium inserts, metal legs. 1960s. Good conditions.

Table, stained beech, mahogany veneered top, brass. Manufactured in Italy, 1960s.