Ancient Safe Restoration Era '800 Walnut Iron Bronze Steel - Italy, Second Quarter XIX Century

Italy, Late XVII-Early XVIII Century

Large noble coat of arms placed within a symmetrically developed crumpled frame, made of wood painted in polychrome and partially gilded. The frame is decorated with scrolls and fruit festoons, while in the upper part there is a ribbon bearing the Latin motto “INTVS EST CANDIDUS RECTA LIBERALITATE ROBV(R) PRUDENTIAE” (“A righteous liberality is clearer than force or prudence”). The shield, supported by a pair of cherubs and decorated in the lower part by a grotesque mask, is surmounted by a crown and three gorgets, in the upper part in the center it features the head of a cherub; it is quartered, in the first and third of azure wedge-shaped with gold, head of Anjou, in the second and third of red bordered in black with gold balls, azure band bordered with gold, head of Anjou. In the center there is another coat of arms banded in blue and gold with a blue band, head of the Medici.

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.

France, first half of the 19th century

Gilded and chiseled bronze clock. On the large rectangular base there is a scene with mythological divinities in relief on a finely chiseled background. Decorations with plant motifs and repeated motifs. The clock is surmounted by a large statue depicting a young man with a zither. At the top a panoply with laurel wreath and torch. Gilt bronze display with hours painted in Roman numerals.

Hungary, Late XIX Century

Silver cutlery set with initials engraved on the handles, composed of 16 serving cutlery, 12 spoons, 12 forks, 12 knives, 12 fruit forks, 12 fruit knives, 12 dessert spoons, 12 dessert forks, 12 dessert knives sweet, 12 teaspoons. 6035 grams net of the 24 knives. Marks of silver incussi. The service is kept in a mahogany cabinet with a wavy front and three drawers, the top of which, embellished with a brass insert, can be opened and conceals an additional cutlery compartment. The body can be separated from the truncated pyramidal legs. The front and top of the small chest of drawers are embellished with maple and dark wood threads, while only the first has a bois de rose border. On the sides of the front two small doors allow you to block the drawers. Locks marked Lever and internal label bearing the name of the manufacturer "James Weir Jeweler & Silversmith 66 Buchanan Street Glasgow".

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.

England First Quarter XIX Century

Pair of tripods supported by saber-shaped uprights with lion feet, are connected by a small hexagonal shelf in the lower part; above, they frame a top that is also hexagonal, with a high band adorned with rosette carvings, also re-proposed on the top of the uprights. Rosewood.

Kingdom of the Two Sicilies First Quarter 19th Century

Gueridon supported by three uprights carved with lion feet and in the upper part with caryatids, to support the undertop band. The female figures are standing, dressed according to the Egyptian taste: they wear a low-cut dress that leaves the breasts uncovered, tightened at the waist by a belt, they wear bracelets and necklaces, while the hair is styled according to the Egyptian taste, with braids that fall neatly on the shoulders. These figures are partly ebonized, to make the skin, while the clothes and details are gilded. The legs are connected by a platform in the shape of a concave triangle. The circular top is in alabaster, enclosed within a cherry veneered frame.

19th Century / 1801 - 1900

French Napoleon III center bookcase, supported by wavy legs, the lower band on both the front and sides is shaped; on the front it has two doors finished with fake books, with applied leather ribs, so as to simulate an open bookcase. In the upper part there is an open compartment and an upper tray shelf. The etagere has a similar shape, but in the central compartment there are various shelves placed at different heights. Interior in mahogany, they are veneered in bois de rose, with a 45 ° cut and quadripartite on the tops; the furniture is decorated with gilded bronzes and worked with leafy volutes, in the shoes, on the uprights, on the lower band and in the side handles.

Florence, Early XVIII Century

Large baroque coat of arms enclosed within a crumpled box, made of poplar painted in polychrome and partially gilded, Florence, early 18th century. The crumpled piece is characterized by a symmetrical design composed of volutes of strong architectural style and is surmounted by a mask placed within leafy elements in the form of wings, while in the lower section it presents a laurel festoon which, developing from the sides, ends up serve as a background. Lambrecchini, bows with galls and a rosette-shaped button further adorn the crumpled. In the centre, placed within a shield composed of curls, stands the insignia of the Pasqui family ("D'azzurro, alla faith di complexion, [...], surmounted by an eight-pointed gold star"), flanked by a red and gold bandit. Gold is used both to create some of the decorations and to define the profile of curls and volutes, helping to give the coat of arms a three-dimensional perspective effect (trompe-l'oeil). Restorations and touch-ups in color. The Pasqui family is a very ancient family of Tuscan origins, which since 1200 has figured in the roles of the Santo Spirito district of Florence, where it had a stable residence until 1300. It was also ascribed to Florentine citizenship in 1606.