Ancient Lombard Chimney Mirror Milan '700 Engraved Lacquered Still Lif - Milan, Third Quarter of the XVIII Century

Veneto, Mid XVIII Century

Pair of Baroque walnut chairs, Veneto, mid-18th century. Back panels decorated with rocaille style carvings; legs connected by crosspieces. Padded seats.

Italy, Early XVIII Century

Baroque chest from the early 18th century. Bipartite front with pilasters decorated with carvings of masks and scrolls, feral feet. Hinges initially replaced with ring hinges, original wrought iron lock, restorations.

Composition with Bread and Tomatoes

Oil on canvas. Signed lower right. The artist's stamp is on the back of the frame. De Bernardi's painting is part of the Lombard landscape tradition of the 19th and 20th century. He always lived in Besozzo, his hometown in the province of Varese, but he traveled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. His production does not lack some still lifes, dating back mainly to the 1940s, compositions scrupulously drawn and aimed at dealing with the problems of light and atmospheric depth with agility and freshness, as in this presentation of some bread and tomatoes on a rustic table. Restored and relined, the painting is presented in a frame.

Italy, XVIII Century

Pair of electrified torch holders in embossed and gilded copper sheet. Fabric lampshade.

Suspension Study 1992

Mixed media on paper. Title but readable at the bottom; on the back the artist's stamp with signature, date and title (Pour poissons - Studio sospeso). Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Vis à Vis 1963

Mixed media (marker, watercolor) on paper. signed and dated lower right. Jean Cocteau was a multifaceted artist: writer, playwright, playwright, he also dabbled in visual arts, loving to experiment with all the avant-gardes of his century. Cocteau published his first book of drawings in 1923, at just 36 years old. In it the poet portrayed his friends Raymond Radiguet, Pablo Picasso, Erik Satie, Francis Poulenc, but also numerous scenes of daily life in Paris, Nijinski's Russian ballets, allegories, caricatures, poetic images. Cocteau revealed himself to be a talented sketcher, but above all an artist capable of capturing the essence of faces, behaviors, human weaknesses. The theme of the face, or rather of faces, often two profiles facing each other, vis à vis, recurs in his pictorial production. In 1962 the artist completed the construction of the open-air theatre in Cap d'Ail, on the French Mediterranean coast, whose flooring is decorated with this subject, two faces with a Greek profile facing each other, with an eye in between; the subject was then re-proposed by him in the following period - moreover the one imminent to his sudden death -, with different variations. In the drawing presented here we find the two Greek profiles, separated by the third eye but also by two twisted snakes, while in the drawing of the theatre we find leaves. The work is presented in a frame.

Italy, Early XVIII Century

Baroque chest of drawers veneered in walnut from the beginning of the 18th century, subsequently modified. Front with five drawers, of which the undercounter one has been reduced in height and made double, uprights at forty-five degrees, turned feet. Bronze vents and handles, poplar interior. Restorations and replacements.

Emilia Romagna, XVIII Century

Baroque Emilian cupboard in walnut from the early 18th century with subsequent reductions and modifications. Top and front decorated with metal studs, drawer in the band, pair of doors. Sides embellished with two reserves each. Poplar interior.