Venetian Neoclassical chest of drawers

The EIGHTEENTH Century - 1700

Venetian neoclassical chest of drawers, supported by truncated pyramidal feet, on the front it has three drawers. Veneered in walnut, the drawers, sides and top are decorated with maple and bois de rose threads, while in the center there are inlaid reserves in maple and walnut with geometric motifs, similar also on the feet; the interiors are in pine.

French Empire Library

The NINETEENTH Century - 1800

French Empire bookcase, supported by feet of which the front ones are jar-shaped, on the front it has two paneled doors surmounted by as many drawers placed in the undertop band, raised open with rack. Veneered in glazed mahogany, it is adorned with brass-plated frames, the interiors are in oak.

Portrait Of Eleonora Lampugnani Oil On Canvas Second Half 1500

Oil on canvas. Lombard school. The rich lady portrayed is accompanied by the identifying inscription at the top right which reads "Eleonora Lampuniana Nupta N.V. Bartolomei De Cornu 1478": it is therefore Eleonora Lampugnani wife of Bartolomeo Del Corno. The Lampugnani family is an ancient patrician family of Milan (the name derives from the Lampugnano neighbourhood), with residences in Legnano and Busto Arsizio, and to which Filippo Maria Visconti (Duke of Milan) assigned the fief of Trecate in the fifteenth century; the noblewoman's husband belonged to the noble Piedmontese Corno family (originally called Del Corno). The noblewoman is portrayed standing, in a splendid richly embroidered dress, embellished with lace; she lays her hand on a precious box inlaid with ivory, probably a coin cabinet, a symbol of wealth and power, surmounted by a vase with flowers, a symbol of vanity. The painting has an ancient restoration on the hands, which are of lower quality than the face, the clothes, the glass jar. The painting comes from an antique Lombard collection. The date 1478, reported in the inscription, is not very consistent with the sixteenth-century clothing: according to the story of the family of origin of the painting, the date that appeared before the last restoration was 1578, and therefore it would be a modification mistakenly made by the restorer.

Madonna Wooden Sculpture

The EIGHTEENTH Century - 1700

Carved, lacquered and gilded wooden sculpture depicting the Madonna with cupids' heads at the base. The Madonna wears a long white robe that reveals only her feet and a sumptuous cloak that drapes her right shoulder and left side. The robes have a rich gold decoration.

Luigi Cavenaghi

Praying Madonna

Oil on cardboard. On the back the handwritten indication "Bozzetto di Luigi Cavenaghi". It is probably a preparatory sketch for a fresco by the famous restorer and painter Luigi Cavenaghi: the praying Madonna is inserted inside a pointed arch, on a gold background, flanked by the Latin inscription "Ave Maria, gratia .. ", incomplete because just sketchy. Luigi Cavenaghi, originally from Caravaggio (Bg), was artistically trained in Milan, first as a restorer, then as a painter. Considered one of the most important restorers of Italian paintings, in his long and successful career he was involved in the recovery of important wall paintings, often associated with "discoveries". The culmination, both from a technical and a conceptual point of view, was the restoration of Leonardo da Vinci's Last Supper in S. Maria delle Grazie in Milan, carried out in 1908 without compensation as a tribute to Leonardo. His pictorial production was largely linked to the activity of restorer, configuring itself not so much as an original creation, but rather as a reconstruction in style, an imaginative restoration, a cross between restoration and remaking. The painting proposed here could be part of this production. The frames from the late 19th-early 20th century are presented.

Cain And Abel Oil On Canvas 17th Century

Oil on canvas. Central-Italian school. Of great scenic impact, the painting tells the episode of the Book of Genesis whose protagonists are the brothers Cain and Abel, the first sons of Adam and Eve and therefore the first born from human loins. Cain, a farmer, since God had refused the fruits of his harvest in favour of the lambs sacrificed by the shepherd Abel, kills his brother. The two thus became respectively the first man to be born and the first to die, as well as the first martyr in sacred history. They are also considered as the archetype of fratricide: their story has been widely told in literature and pictorial art mainly in this capacity. In the painting proposed here, which depicts the culminating and tragic moment of the killing, the two figures fill up the scene, like two contrasting figures: Cain is standing, with dark skin and hair, a grim look, animated by intense heat as he raises his club ready to strike; Abel is on the ground, vainly trying to protect himself, pale in his already mortal complexion, his eyes wide open in an expression of terror. The particular effectiveness of the faces, especially Abel's in the skilful perspective, refers to the work of Giuseppe Diamantini (1621-1705). Between the two bodies, the light of the bonfire shines, which refers to the sacrificial pyre further back on the left, from which an intense fire blazes, a symbol of the divine presence from which the act of Cain can not escape. The rendering of the draperies that follow the movements of the bodies is also effective. Restored and relined, the painting is presented in a decorated frame in style.

Attributed To Francesco Mantovano Oil On Canvas Second Quarter 1600

Flowers Garland With Annunciation To The Shepherds

Oil on canvas. Refined quality and in excellent condition, the painting depicts a garland of colourful flowers that frames the Gospel scene of the Annunciation to the shepherds. The piece is accompanied by the expertise of Dr Gianluca Bocchi, who attributes it to the production of Francesco Caldei, known as the Mantovano from the name of his hometown. The Mantovano studied arts on Rome, where he stayed between 1613 and 1625, acquiring an education as a flower painter. His production consists, in fact, mainly of vases with flowers. He later moved to Venice, where he stayed until his death. The Mantovano imported the Roman pictorial canons into the city, in particular the taste for botanical representation, but also for the type of garland, that the Roman artists had drawn from the Flemish tradition. The production of garlands included a representation of figure scenes, with mythological or sacred subjects, often produced with figure painters, to whom the Mantovano did not disdain to resort. The scene of the Annunciation to the shepherds of this painting refers quite faithfully to the homonymous piece by Jacopo da Bassano (1515-1592), whose bucolic production was so successful that it was proposed again in numerous copies by his own sons and in many engravings circulating throughout Europe, who allowed other artists to draw inspiration from them, as the Mantovano probably did himself. It can therefore be concluded that the piece presented here is a painting by Francesco Mantovano realized in Venice around 1640-1650. The painting has been relined in antique. It is presented in a frame from the 18th century, adapted and gilded again. On the back, there are labels that document the passage of the piece on the French market of the 19th century.

Restoration Chest Of Drawers Mahogany Sessile Oak Marble France 1825

The NINETEENTH Century - 1800

French Bourbon Restoration chest of drawers, there are three drawers on the front framed by two half pilasters which support the slightly jutting under the top band, in which another drawer is hidden. Mahogany feather banded veneer, it is decorated with gold to mercury bronze applications in the nozzles, with the characteristic anthemium shape, in the bases and the capitals of the half pilasters, where two feminine faces are depicted. The interiors are in sessile oak, the grey fossil marble has been replaced at a later date.

Sèvres Vase Gold and Porcelain France 18th Century

Neoclassical

Porcelain vase with two handles; finely all-round decorated with plant and pure gold patterns. Manufacturing brand under the base.

Sconces Bourbon Restoration Gilded Bronze Italy Second Quarter 1800

The NINETEENTH Century - 1800

Pair of gilded bronze sconces, they hang on the wall through a rose window in burnished bronze decorated by two phytomorphic decorations with floral spirals and decors, the rose window holds a circle to which the three branches are tied. The branches are enriched with leaves that support the corollas that work as candle cups, that end with a swan head. The whole surface is finely chiselled and gilded with mercury, except the burnished rose window. The candles, now electrified, have lampshades in perforated brass with fabric. Small repairs.

Large Baroque Mirror

The SEVENTEENTH Century - 1600

A large mirror, gilded and finely carved. Two orders of frames, volute and leaf carvings with perforations. Manufactured in Italy, 17th century.

Group of four Music Chairs Vintage Italy

The NINETEENTH Century - 1800

A group of four early 19th Century Empire walnut and cherry music chairs with central baluster. Three turned legs ending in a tip. Round padded seats and padded open backrests. Imprinted and gilded leather seat and backrest with Napoleonic coat of arms depicting the crowned eagle. Part of the leather was substituted in the late 19th Century, reproducing the coat of arms. One of them is original. Manufactured in Tuscany, Italy.

Xavier Bueno

Boy, 1966

Oil on canvas cardboard. Signed lower left. Further signature, date and title on the back. After his childhood spent in Spain, his native country, Geneva and Paris, in 1940 Xavier Bueno moved to Italy, in Fiesole, where he joined with his brother Antonio, Pietro Annigoni and Gregorio Sciltian. to the group of "Modern Painters of Reality", whose manifesto proposed an "objective" observation of truth, of nature and its faithful reproduction as possible. The experience of the Spanish civil war first and then the Italian one increasingly directed the artist towards a realism linked to reasons of strong social content. 1953 represented an important turning point for Xavier's career: it was the year of his explicit adherence to the poetics of socialist realism, an adhesion that came after a personal itinerary that saw him practicing "committed" painting since the pre-war period, with a clear advance on art of the Italian left. Another fundamental stage in Xavier's career was the trip to Brazil in 1954: the artist returned from this experience full of enthusiasm and with a series of inks whose main protagonists are children, teenagers, laborers. From this moment on, the theme of childhood became more and more recurrent, little by little the characters were portrayed motionless, in a sort of unreal fog, devoid of even depth, of perspective rigor, in which they emerge as evoked. The work presented here belongs to this production. Between 1959 and 1964 Xavier created the cycle of "Children", suffering images and melancholy symbolic works of a humiliated and oppressed humanity, which the artist presented at the "España libre" exhibition. His technique also underwent an evolution, which led him to seek a thickening of the material, thickened by the addition of sand to the paint; the use of collage, already experimented by him in still lifes, became conspicuous also in the figurative-portraiture field. The material of his paintings became such as to come to define them "fresco on canvas". Work presented in frame.

Lombard Baroque Fireplace Marble Italy 17th-18th Century

The EIGHTEENTH Century - 1700, The SEVENTEENTH Century - 1600

Lombard Baroque fireplace with curved front and engraved frames; made with ancient grey marble.

Lacquered Wood Tray Venice Italy 18th Century

The EIGHTEENTH Century - 1700

Big lacquered wood tray with gold decoration and mather of pearl inserts on a red base, The paintings recall chinese officials.

Sideboard Teak Veneer Aluminium England 1960s

Sideboard with hinged and flap doors, exposed drawers. Teak veneer, peculiar handles and aluminium legs.

Table Clock Gilded Bronze Porcelain France 19th Century

The NINETEENTH Century - 1800

Gilded bronze table clock with porcelain inserts painted with winged putti inside reserves and floral compositions. WIde gilde bronze base decorated with relif floral motifs and a central panoply with musical instruments. The clock is surmounted by two putti that are playing with butterflies. Metallic enamelled vase with roman numbers for hours and arabic numbers for minutes; in the middle of the vise ther is the signature of Bollotteft. de bronze, rue Vivienne 33. Mechanism branded Japy Fils medaille d'argent 1844-1849.

Pair Of Lion Sculptures in Carrara Marble Italy 19th Century

Pair of finely sculpted Carrara marble lions supported by a not coeval patinated wood with marble effect.

Willy Rizzo mobile

Buffet cabinet with hinged doors on the sides, central flap, exposed drawers, lacquered wood, profiles and handles in chromed aluminum.

Pair Of Vase Holding Columns Wood Italy Mid 19th Century

The NINETEENTH Century - 1800

Pair of wooden vase holding columns, entirely lacquered in chinoiserie style. Shaped, the base has a tall painted plinth with red and black chequered reserves. On the four uprights, there are small tiles with a busy outline, they are decorated with floral motifs of oriental taste in the middle. On the four main sides there are bigger reserves, the middle ones are painted with oriental scenes: exotic plants with colourful birds, landscapes with pagodas, where aristocrats live, and palanquins carried by servants. On the top part, there is a small shaped and ebonized shelf.