Antique Bronze Sculpture Female Face Europe XX Century - Europe, Mid XX Century ca.

Italy late 19th century

Female bust and liberty column in white statuary marble, Italy, late 19th century. Bust in old-fashioned dress with floral elements placed on the chest; column decorated with ivy that descends transversely from the supporting surface.

Italy, Mid XX Century

Bust of a Roman emperor in white marble and alabaster, Italy, mid-20th century. Alabaster gown. Base in black marble.

China, XX Century

Chinoiserie style bar cabinet, red and gold lacquer, aqua green interior. China, 20th century.

Oil on canvas. Roman school of the 17th century. The bloody episode of the sacrifice of Iphigenia, also told in the Iliad, originates from the wrath of Artemis, goddess of the hunt, who, offended by Agamemnon for his boasting as a hunter, prevents the Greek fleet from sailing towards Troy; the soothsayer Calchas then prophesies that the wrath of the goddess can only be appeased by sacrificing the youngest daughter of King Agamemnon himself, Iphigenia, and so it happens. In the centre of the scene the girl is depicted prostrate at the foot of the sacrificial altar, while she is being prepared by the priests according to the rituals; in the left corner we can glimpse her father Agamemnon (with the crown abandoned at his feet) with her mother Clytemnestra who, in despair, do not dare to look. Above, the goddess Artemis watches the scene, recognizable by the moon on her hair, the bow she holds in her hand and a deer, her symbolic animal, at the foot of the canopy: according to a less violent version of the myth, at the moment of the sacrifice Iphigenia is replaced by Artemis with a doe, as the presence of the animal in this representation might indicate. The work presented here derives from the painting by Pietro Testa, published between 1640 and 1642 (now at the Galleria Spada in Rome) and from his engravings: the entire composition of the figures is taken from it, although modified in the clothes, colors and various details. Restored and relined, the painting is presented in an early 20th-century frame, contemporary with the restoration.

Nothern Italy, Late XIX - Early XX Century

Sideboard with Art Nouveau upper part made of larch wood, Northern Italy late 19th - early 20th century. Riser with three-door front with artistic stained glass panes; sideboard body with marbled-effect lacquered top, front with pair of side doors and row of six central drawers. Decorated with carvings depicting fans and lozenge elements.

Italy, Early XX Century

Antique writing desk, made of poplar and walnut, drawer in the under-counter band, curved crosspiece and legs. Italy, early 20th century.

110 x 66 In

Mud carpet in cotton and wool. Fine knot; manual manufacturing.

Europe, First Half XX Century

Bronze sculpture on a marble base depicting a young woman at a fountain. The author's signature is engraved on the base but is difficult to read.

Italy, XX Century

Wooden vessel with British flags built entirely by hand.

Oil on canvas. Roman school of the 17th century. In classical mythology, the goddess Venus, wife of Vulcan, had him forge weapons for her son Aeneas. In the scene, set in the cave where the forge is located, Vulcan is in fact forging a suit of armor on the anvil, with the help of his assistants, while Venus, accompanied by the faithful Cupid, arrives to check the work. Thetis, the sea nymph mother of Achilles, also commissioned the weapons for her son to the same god Vulcan, to protect him during the Trojan War. Restored and relined, the painting has a loss of color at the top right. It is presented in an early 1900s frame, contemporary to the restoration.

Bali, Early XX Century

Lacquered and gilded wooden sculpture depicting a Barong, Indonesian king of spirits. The warrior figure, holding a sword richly decorated on his robe, with mirrors and colored glass.

Way Sombra 2008

Mixed media on canvas. Signature, title and date of the work on the back. After an initial period in figurative style, the Milanese painter Mario Arlati soon finds a new dimension, which will become characteristic of all his work. In Ibiza, in fact, where he has often lived since the 1970s, he discovers and makes his own the informal material of the Spanish school which, fused with the wild dimension of the island, gives life to works of great consistency in which the artist literally moves the material: lacerations, scratches, stratifications, colors, but also energy, gesture, emotions, poetry. Arlati';s material is a representation of his intimate soul, made of feelings, emotions and evocations of the landscape. The work is mounted in a plexiglass case.