Vintage Living Room Furniture Unique Piece Mahogany Veneer 1950s

Paris Third Quarter of the 19th Century

Napoleon III two-door sideboard, made by the cabinetmaker Georges-Alphonse-Bonifacio Monbro. Structure in ebony veneered oak, embellished with semi-precious stones and gilded bronzes. White marble top arranged within the edge, front with two doors decorated with reserves with vases of flowers and fruit made of stones in the centre, uprights at forty-five degrees, bracket feet. The bronzes, chiseled and gilded, portray leafy friezes, phytomorphic elements, godrons, rosettes, masks and volutes. The pilasters of the uprights are also made of gilded bronze, decorated with bunches and grape leaves and culminating with a caryatid and a telamon. Interior doors veneered in mahogany. Stamped in several parts on the hull and on the bronzes. Restorations and replacements.

Pair of armchairs, iconic model by Franco Albini, with exposed structure in stained beech wood, foam padding, fabric covering. Very good condition, completely restored both in the wooden part and in the remaking of the padding and covering.

Paris, Late XIX Century

Vase holder tripod in gilded bronze and Sèvres ceramic, modeled after Pierre Gouthière. Circular base in cobalt blue Sèvres porcelain, with golden decorations on the top and wreath of myrtle leaves on the band; underneath three feet in gilded bronze with a spiral motif support the whole thing. The three bronze goat feet rest on the surface with an upside-down pine cone in the centre; the tripod is contained by a band decorated with frets in the lower part, the uprights end with faun heads characterized by a long beard and ram's horns, connected to each other by festoons of vine leaves and bunches of grapes. In the centre, descending from above following a spiral trajectory, is the figure of a snake with a body covered in scales and a wide open mouth. On the top it has a second pine cone element, opposite to the first, surmounted by a tuft of leaves arranged in a radial pattern and by a vase holder plate, the latter embellished with a fret and ending with a perforated railing element with an everted edge. These elements, originally separated by a Sèvres porcelain vase missing here, were superimposed and fixed together at a later stage. The base features the Sèvres manufacturing mark.

Set of iconic "Camaleonda" modular seats that can be combined as desired.

French school. Mid 18th century

Oil on wooden board. French School. Mid-18th century. The scene depicts a party in a park enclosed by walls with arched openings that open onto the countryside, and decorated on the right with an amphora on a small column and in the center, behind the figures, with a gushing fountain, with statues of cherubs and shells. Two couples of richly dressed ladies and gentlemen are gallantly entertaining each other, surrounded by servants; one of the men is playing the violin, crouched in front of his lady who, flanked by the damsel, follows the melody on the score held by the black man at her side, while two musicians accompany the playing with the flute and a mandolin; the other couple, in an attitude of intimate dialogue, listens on the left, while on the right the hunter returning from the hunt also observes the scene. The painting is presented in a period frame.

Grapes, figs, pomegranates and peaches on a capital

Oil on canvas. Signed ‘Max. PF.' on the upper frame of the capital. The still life consists of grapes, pomegranate and peaches placed on a capital, there is also a silver tray in the composition; in the background is a landscape with trees and ruins, on the left is a glimpse of a cerulean sky, barely veiled by clouds. Maximilian Pfeiler made a name for himself with his still lifes in which he placed an architectural fragment in the background of the flowers and fruit, already introducing the taste for ancient ruins that was to become fully established in the 18th century. The painting has been retouched and restored (minor repainting). It is presented in a frame.

Penitent Magdalene, ca. 1750

Oil on canvas. The figure of Mary Magdalene is represented here, as per tradition, with long red hair; with a gesture of painful dedication she fixes her gaze on the crucifix, which she holds with her left hand pressed against her right arm, which in turn is folded in a sign of collected penitence. The whole body is rendered with a splendid counter-twist, which has the effect of making the viewer feel the tension of the moment experienced by the saint. On her left is visible the skull, her traditional attribute, and in the background one can glimpse the outline of the cave in which she is placed. The part of the body emerges, thanks to the intense luminosity of the arms, connected to the red ochre shades of the hair and face, thus also accentuating the erotic character of the scene, recalling the exuberant painting of Rubens, which had a great influence on Crespi's work. This captivating and delightful figure of the Magdalene follows the widespread trend in the 17th and 18th centuries to depict saints with an undertone of human sensuality, revealing the patrons' preference for sacred themes imbued with profane elements. The painting, restored and relined, is presented in a late 19th-early 20th century frame.

19th Century / 1801 - 1900

Rectangular table made of chestnut wood veneered in dark walnut and inlaid with various woods, mother of pearl and bone. The inlay with floral motifs presents the top starting from four mirror reserves created around the central oval reserve where a classic vase is depicted with a panoply inlaid with a sample of flowers including roses, daisies, bluebells, lilies of the valley, tulips and lilies. while the lateral reserves are composed of leaves and flowers animated by birds. The bands, as well as the pyramidal trunk legs, are inlaid with plant motifs and the connecting bundles of the legs are embellished with butterflies.

Secretaire Bottega Maggiolini

Secrétaire consisting of drawer under the plan, tilting door, with cabinet and two drawers at the bottom. Veneered in pedulle walnut and inlaid in various woods. The secrétaire is bipartite with a decoartive motif of the lower part entrusted to the marked grain of the walnut, in the upper part of the sides and the door are framed by the frame drops and lagging, at the center of the sash, place on a shelf, a wicker basket containing a bouquet of flowers. In the range under plan a Greek stylized leaves , on the uprights, two reserves candelabra bunches of ivy leaves held together by ribbons. The cabinet has two rows of three small drawers inside, which are veneered in mahogany with in the centre a row of four cherry wood with knobs in bronze, above a glove compartment. Different springs permit access to numerous hidden compartments. The lock of the door to double-lock also closes the upper drawer, while the door has counterweights that allow it to stand still in the open and then to close automatically raising it.

20th Century / 1901 - 2000

Chandelier in gilded bronze and ground glass. The open cartouche-shaped structure develops through 12 sliding arms with fluted bell-shaped candle holders and corolla-shaped bobeches over pierced acanthus jets, interspersed with 4 amethyst-colored terminals in the shape of an urn. The frame is centered by an urn-shaped column with a pinnacle terminal. Entirely decorated with transparent, amber and amethyst glass pendants, including a faceted sphere pendant. Attributable to Baccarat production.

The Penitent Magdalene and St. John the Baptist

Oil on slate. Two examples of oil painting on stone are proposed here, a pictorial genre that was particularly popular in the Venetian Republic between the 16th and 17th centuries, in its form of oil painting on blackboard or touchstone. The choice of such a dark stone as a background is not only linked to practical reasons (the proximity of the mines of Brescia and Val Brembana), but, as our two works clearly demonstrate, the emergence of the figures from the dark background responds to the light also full to the new needs of the painting of the time, which in the climate of the Counter-Reformation, tended to express not only the idealized existential certainties of the full Renaissance, but also the anxieties and the opening up to new phases, already tending with Tintoretto towards greater attention to reality and luministic contrasts, to then flow overwhelmingly into seventeenth-century research strongly focused on the contrasting combination of light and shadow. The two works presented here, well within the production of the Venetian area of ​​the first decades of the 17th century, propose two figures of saints, both hermits, placed on a dark, barely visible naturalistic background. The figure of Magdalene emerges from the darkness, leaning to follow the curve of the stone support; she is depicted looking questioningly towards the darkness, as if in a listening attitude, her left hand raised and the other resting on the remarkably shortened "memento mori". In front of her a scourge and the jar of ointment. Painted en pendant, Saint John the Baptist is represented as a young man, with a lamb at his feet, in his hand the processional cross with the banner "ecce agnus dei", while with his right hand he draws from the water source, recalling the episode that will see Jesus Christ baptized. In both paintings the figures stand out in a strong and incisive way thanks to the black that characterizes the slate plaque on which they are depicted. The two paintings, in an oval format, are presented in black wooden frames, from the late 19th century.