SELEZIONE ANTIQUARIATO - Page 6

China, Shunzhi Era (1644-1661)

Porcelain vase painted with wucai enamels within reserves with decoration of chrysanthemum plants and peonies on a very dense background with a fish scale motif painted in red.

Italy, Late XIX Century

Pair of portrait frames in bronze and semi-precious stones Enrico Bosi Florence. Enrico Bosi was active between 1850 and 1865 in Florence where he had his studio. He often worked together with other important figures such as Francesco Betti, Bianchini and the Buoninsigni brothers.

Cupboard with Showcase

Small sideboard with two doors and two drawers surmounted by a showcase with side shelves supported by thin turned uprights. The panels of the doors like those of the sides of the riser contain floral ceramics, in the center of the door with glass there is a bas-relief ceramic panel with the allegory of painting, this is an indecipherable signature, on the back the "Goldchelder Wien" brand , referable to the well-known Viennese ceramics factory and engraved with the numbers "0764 / 16 / 30&". The wavy feet, the cymatium, like the rest of the piece of furniture, have small "whiplash"carvings and carved florals, defined by gilding and lacquering. Brass-coated frames, hardware, worked in floral style with partly gilded copper sheet flowers and fruits.

19th Century / 1801 - 1900

Inkwell with large base in green serpentine marble surmounted by two cup-shaped vases with lids and lion handles with the function of inkwells. In the center, a statue of Mercury with the author\'s engraved signature. The bronzes are gilded and have some parts worked in burin.

Italy XVI - First Half XVII Century

Small Mannerist frame in ebony with commissary marble, Italy 16th - first half 17th century. Molded perimeter with protruding sections at the corners, 4 reserves in violet stain slab marble, molded octagonal frame placed in the center originally decorated with 4 small turned elements on the sides, 2 present with lacks while 2 completely absent, oval light. Restoration interventions of the late nineteenth century, added the oak bottom and replaced some ebony frames.

Lombardy, Mid XVIII Century

Large double-body library sideboard, on the front it has three pairs of paneled doors with characteristic frames, also featured in the upper body, following the wavy volume of the cymatium. In walnut, the sides are in poplar and the back in fir. The piece of furniture has been reduced in width and has small defects.

Italy Last Quarter XVIII Century

Pair of big corner cabinets with rudentate pillars that end with pyramidal truncated feet and with a two-panels door. In the middle of the panels there are medaillons painted with landscapes of buildings and hills in the backbround; the rose windows are hels by pink ribbons and sourmounted by a basket of flowers in the middle. Coeval iron keyholes. Original lacquering.

Lombardy, XIX Century

Charles X fireplace entirely veneered in elm root, Lombardy, third decade of the 19th century. Attributable to the production of Paolo Moschini, a skilled inlayer and cabinetmaker active between Soncino, his hometown, and Milan in the first half of the nineteenth century. Front with architrave and projecting plinths, connected by double columns finely fluted and embellished with gilded wooden capitals, the upper ones of which are carved with frets and acanthus leaves. Base and architrave edges threaded in amaranth, threaded column profiles in ebony. Central mercury mirror placed within the frame.

19th Century / 1801 - 1900

Alabaster goblet held by a gilded bronze support with an enamelled decoration realized with the champleve technique. The base is shaped as an upside down goblet and holds a circular bronze structure with enamelled vegetal themed decorations. Handles with spirals, grotesque masks and snakes. Embossed signature of the author on the base.

19th Century / 1801 - 1900

Triptych clock in gilded and chiseled bronze with carved and gilded wooden bases. The clock with a large rectangular base features finely worked burin decorations with leaf volutes, garlands, lion protomes and a cup-shaped vase at the top. Enamelled metal display with hours in Roman numerals and minutes in Arabic numerals protected by a lid with curved glass; the hands are in gilded and perforated bronze. In the center of the dial and on the manufacture branded mechanism. The six-flame candelabra have the same decorations as the clock and are 67 centimeters high.

Paris 1809-1819

Molten, embossed and chiseled silver vinegar bottle, non-coeval cut crystal ampoules. Paris, master goldsmith “SJ Dupezard”, first quarter of the 19th century. Elegant model with plinth-shaped main body supported by four feral paws placed at the corners, four circular compartments, of which the two larger ones each hold an ampoule, each consisting of three musician putti with a herm-shaped body. Central section with applied neoclassical dolphin, connecting band decorated with anthems and a pair of masks depicting the Greek god Dionysus, raised column with a three-quarter sphere top culminating with a figure of a boy dressed in old-fashioned clothing, which supports the handle for the catch. Decorative apparatus completed by Greek leaves, beads and floral applications placed on the two long sides of the base plinth. Engraved monogram; it features hallmarks of the goldsmith, title, city guarantee and an unofficial one used by the Association des Orfévres. 756 grams.

19th Century / 1801 - 1900

The supporting structure is made with a central trunk that act as baluster assembled with smaller branches; entirely gilded. Committed marbles top: different stony typologies are used to create a centra vese with flowers on top of which a dove alights. All around there is an edging inside which are represented leafy scrolls and plant patterns; the top's perimeter is defined by a greek fret with alternating triangles.

Etienne Lenoir Henry Dasson attributable to

Table clock with bronze candlesticks. pierced decorations, plant patterns, garlands and festoons. Metal vise with roman numbers for hours and iron hands. Branded Japy Freres medaille d'honneur & C.ie. The candlesticks have 4 flames and are 43 cm high. Not coeval charging key.

Germany Late 1800s

Pair of silver gravy boats in neoclassical style, decoration in relief chiseled and embossed with laurel festoons, ribbons and medallions depicting the face of a nobleman. Engraved silver and silversmith's marks. Gr. 1126

Padua Second Half XVIII Century

Small marble bust placed on a circular base, depicting an old woman with typical physiognomic features; the shoulders are surrounded by a drapery, while the head is covered by a cap. Sculpture can be compared to the inventions of Antonio Bonazza; in particular the pungent and ironic interpretation, the freshness of the passages, the recurrence of tense but not grotesque somatic features, as well as the adoption of engraved orbits, are characteristics of the production licensed by the artist and his atelier. In particular, interesting comparisons are possible with the famous Fattucchiera (Pollastrella) of Villa Widmann in Bagnoli di Sopra (1742). Present small lacks and abrasions, especially in correspondence of the nose; a re-composition affects the base.

16th Century / 1501 - 1600

Pair of Renaissance pilasters with grooved body and ionic capital engraved with rosewindows. Serena stone.

Second half of the 19th century

Sèvres porcelain urn vase in cobalt blue with gilded phytomorphic decorations and polychrome medallions, in one depicting a lake landscape, while in the other a bucolic scene; in the latter, he signs “Cottiret”. The polylobed base, the handles with female heads and the pine cone of the lid are in gilded bronze. Under the lid there is written “Offert par le duc de Choiseul à Madam de Compan”; present double trademark with the emblem of the manufacture.

17th Century / 1601 - 1700, 16th Century / 1501 - 1600

Walnut burl veneered cabinet, the uprights on the front, also in walnut wood, are richly carved: starting from the bottom there is a shelf in the shape of a leafy volute, surmounted by a fish, a dolphin according to the imagination of the time, and again from a grotesque mask. In the upper part there is instead a caryatid, in the left upright, while in the right one a telamon, both with facial features that recall the tradition of grotesque masks. The band below the top sees the alternation of reserves veneered in briar with small carved pieces: in the lateral ones there are two profiles of warriors with helmets on their heads, then there are two pieces with weapons, a shield and a quiver of arrows; in the center, finally, an oval coat of arms, without however any identifying elements. The front is occupied by a large opening flap door veneered in briar inside, hiding a chest of drawers consisting of twelve small drawers and two side doors; they are all decorated with carved briar frames. The wrought iron lock is hidden on the outside, but visible on the inside of the door; it has the characteristic lily shape, echoed in the door hinges.