Chest Of Drawers Silvio Cavatorta

Years 60

Chest of drawers with mirror folding; glass shelf; veneered wood teak, metal legs, brass.

Table Clock

XIX Secolo - 1800

A table clock made of chiseled and gilt bronze with a rectangular basement supported by feet with studs enclosed in leaf volutes. Upper decoration with vegetable volutes, wreaths of flowers, rope and butterflies. The bronze second dial with Roman numeral hours is enclosed in a wreath of flowers. The clock is surmounted by a female figure with butterfly wings sitting on a stone made of bronze in a black patina. Cailly/Ainè mechanism, brand under the base. Manufactured in France, second quarter of the 19th century.

Antique vase japanese

With pedestal

Large porcelain vase decorated all round with scenes of everyday japanese people. Inside reserves, the vegetal and animal motifs; to highlight the decorations in the gold particularly well kept. Pedestal in wood veneer in burr walnut with inlaid plant motif.

Armchair by Marco Zanuso Fabric Metal Vintage Italy 1950s

Years 50

Armchair designed by Marco Zanuso (1916-2001) for Arflex. Fabric upholstery, metal and brass legs. Model: Senior. Manufactured in Italy, 1950s.

Coffee Table by Lella and Massimo Vignelli Vintage Italy 1980s

The 80's

Coffee table with crystal top leaning on geometric shapes made of marble. Designed by Massimo and Lella Vignelli for Casigliani. Model: Metafora. Manufactured in Italy, 1980s.

Ceiling Light Brass Glass Metal Vintage Italy 1950s

Ceiling light with shiny brass details, lacquered metal and frosted glass. Manufactured in Italy, 1950s.

Glass Catchall Colored Glares Murano Italy 1950s-1960s

Glass catchall with colored glares (yellow, green, blue, purple and fuchsia). Anonymous manufacture. Made in Murano, Italy, 1950s-1960s.

Painting by Arman 10000 Cendrillons 2003

10000 Cendrillons

Mixed technique on canvas. Armand Fernandez, stage name Arman, was born in Nice in 1928. He is remembered as one of the most significant and influential members of the artistic movement 'Nouveau Réalisme', the European declination of the American New Dada. The Nouveau Réalisme was founded in 1960 in France by the critic Pierre Restany. The members of the nouveaux réalistes group tended to see the world as an image from which they could take parts and incorporate them into their works - as they sought to bring life and art closer together. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Artists of Nouveau Réalisme sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public. The work comes from the artist's studio in New York and is certified by the email of Fondation A.R.M.A.N. showing also the file number. Fondation A.R.M.A.N. is currently the only institution having the right to issue certifications for Arman's works. A picture of the painting signed by the artist and showing the file number, title, dimensions and technique is enclosed. On the back of the picture there is the stamp of the Art Gallery Dante Vecchiato which was a reference point for the distribution of Arman's works in Italy in the early 2000.

Arnoldo Soldini, Country glimpse

Arnoldo Soldini. Oil on cardboard. Signed on the at the bottom on the right. The painting, depicting country houses seen from above, with snowy mountains and clouds in the background, belongs to the typical and exclusive landscape production of the important author from Brescia, who always depicts the native places known to him. On the back, a label of the Galleria Campana of Brescia from 1978. Since then it has been in a private collection. Presented in a beautiful contemporary frame.

No Title by Arman Jeté 2003

Jeté

Mixed technique on canvas. Armand Fernandez, stage name Arman, was born in Nice in 1928. He is remembered as one of the most significant and influential members of the artistic movement 'Nouveau Réalisme', the European declination of the American New Dada. The Nouveau Réalisme was founded in 1960 in France by the critic Pierre Restany. The members of the nouveaux réalistes group tended to see the world as an image from which they could take parts and incorporate them into their works - as they sought to bring life and art closer together. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Artists of Nouveau Réalisme sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public. The work comes from the artist's studio in New York and is certified by the email of Fondation A.R.M.A.N. showing also the file number. Fondation A.R.M.A.N. is currently the only institution having the right to issue certifications for Arman's works. A picture of the painting signed by the artist and showing the file number, title, dimensions and technique is enclosed. On the back of the picture there is the stamp of the Art Gallery Dante Vecchiato which was a reference point for the distribution of Arman's works in Italy in the early 2000.

Adrien Manglard (1695-1760), Chivalric Scene

Landscape with a scene of chivalry

Oil painting on canvas. A chivalric scene, probably inspired by Tasso's 'Gerusalemme Liberata', stands in the foreground, featuring two warriors with armor and feathered helmet, armed shields and swords, both flanked by two ladies, about to face a duel for The possession of a box placed on the ground between the two contenders; A third knight with a red drape on a bay horse and a fourth knight on his shoulders watch the contention, leaning on a double stick, also in full war outfit. The scene is set in a mountain gorge with a tower on the right, in front of a stormy sea and a coastal view in the background. The painting is a significant example in the catalog of Adrien Manglard for the singularity of the figurative scene combined with his acclaimed landscapes painter skills, expressed by the taste of the original inventiveness and prospective application, by his representation of rocks, waves and distant islands. The attribution to the Manglard can be confirmed by the comparisons with various works of this kind, as he was a well-known painter of sea landscapes, both in storms and in quiet atmospheres of silence. For this purpose, it is possible to consult the monograph of S. Maddalo (Adrien Manglard 1695-1760, Multigrafica editore, Rome 1982) with particular reference to Figures 34-39 and 41, focusing on sea landscapes of such an environment, including the Cycle of Palazzo Ducale Colorno, the canvases of the Guéret Museum and Palazzo Boncompagni Ludovisi and the fresco of Palazzo Chigi. In these paintings, we find similar and sometimes almost matching inventive parameters, with a matching pictorial style with the canvas in question. The evocative representation of stormy sky and sea, attesting the careful observation of these phenomena by Manglard, should be emphasized in particular. Moreover, his validity as a figure painter is proved by a general examination of his curriculum, including in particular the 'Call of the first Apostles' dating back to 1731. There is an AM mark in the painting on the box at the bottom of the center. The work is accompanied by an expertise by Professor Giancarlo Sestieri. The painting is restored and presented in a more recent frame.

Group of four Music Chairs Vintage Italy

XIX Secolo - 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.

The EIGHTEENTH Century - 1700

Late Baroque Wall Table

The EIGHTEENTH Century - 1700

A Late Baroque wall table with four carved uprights shaped like goat legs linked with a carved cross centered with a shouting mask under the top. Carved volutes on the front and the sides. The mixtilinear top broadens toward the bottom where the legs are horizontal compared to the supportive wall. The top, slabbed with yellow marble of Siena, is antique as the console, but it probably comes from another piece of furniture with a slightly different shape. Manufactured in Rome (Italy), mid 18th century.

Neoclassical Chest of Drawers

The EIGHTEENTH Century - 1700

A late 18th Century Neoclassical Italian walnut and rosewood veneered inlaid chest of drawers with 45° uprights. Pair of drawers with central rose decoration and a smaller drawer underneath the top. Shaped Carrara marble top. Walnut panels, various woods inlays. Manufactured in Torino, Italy.

Pair of Baroque Solid Walnut Corner Cupboards Italy Lombardia 1700

The EIGHTEENTH Century - 1700

A pair of Baroque solid walnut corner cupboards with a broken line. In the lower part, doors with carved and framed solid wood panels. In the truncated pyramid shaped upper part, shaped doors with panels and original glasses divided into three parts. On the upper uprights walnut veneered striped panels have been applied, while in the lower part the panels are herringbone patterned. Coeval wrought iron locks and hinges. The two corner cupboards were probably part of a living room with boiserie. Manufactured in Italy (Lombardia) in the Mid 18th Century.

Pair of Corner Cabinets Rosewood Manufactured in France 18th Century

The EIGHTEENTH Century - 1700

A pair of stamped corner cabinets, two doors, serpentine front. Citronnier and rosewood veneer. Inlaid on the front with rosewood threads and gilded bronzes on the uprights and the basement. Tops made of breccia and bracket feet. Fir wood interiors. Both the corner cabinets have a stamping under the top: M. Criaerd. Manufactured in France, 18th century.

Neoclassical Wall Table

The EIGHTEENTH Century - 1700

A Neoclassical late 18th Century lacquered wood wall table with truncated pyramid legs and carved shelves. Frames decorated with leaves, lion head, oak leaves roses. Macchiavecchia marble top. Gilded and lacquered. Manufactured in Northern Italy (Lombardia).

The EIGHTEENTH Century - 1700

The EIGHTEENTH Century - 1700