Vintage Bag Cloth Italy 1980s-1990s

Mid-20th century Clutch bag, entirely handmade with white and beige beads and flower designs. The interior is in light satin, with small pockets (spots inside). The signs of wear and tear of time do not preclude its beauty and use (some beads are missing and you have to put back some fasteners to be able to use it by hand).

Bag that can be worn on the shoulder or as a clutch in large sizes. It is in green reptile, with two magnetic buttons closure. Internally, also in green leather, it is divided by three compartments and two pockets with zippers. The condition is very good: it has some small signs of wear over time, which does not preclude its use or its value.

Delightful purse-shaped purse, created with metallic threads and gold and silver-colored beads, The interior is in ivory satin, and the closure is a buttonhole with a small pearl. The lower part is enriched with a fringe decoration. The condition is very good, apart from a few missing beads.

1940s python leather purse. Classical model that is still actual and fashionable. Good conditions: small signs of wear on the leather.

Bag by Cesare Piccini, probably designed in the 1960s. Brown velvet with yellow and black bands. Velvet brown handle. The steel ring can be pulled to open the latch. The mirror inside the bag is embedded in the pocket. Excellent condition, the leather inside the bag is slightly marked. Designed in Italy.

Consociazione Turistica Italiana
Consociazione Turistica Italiana

Francesco Meriano
Vallecchi editore

Unique Size

Rust-coloured silk jersey, completely hand-embroidered with sequins. Condition is almost excellent, except for a few pulled threads. The measurements are: length cm 52, sleeve length cm 63, waist cm 76. The waist is tightened by an elastic band.

Oil on plywood

Charles Moody (1979), oil on plywood. Signed on the back. The work was exhibited at the solo exhibition "Borderland" at the Gallery 8 in Milan Corso Venezia, as evidenced by the paper to the back lable. Charles Moody graduated in 2003 at the Art Institute of Boston and, after three years in Milan, chooses to live in New York. In his art the focus at trial (conceptual art, process art) rather than to the image content and it is in this scrap that painting is at its best. An art that was created by the approval of television images (almost never films) and in particular from popular soap operas. Moody's work goes beyond the mass media image by customizing the selection for special images that, in his view, offer a potential narrative; are images of transition, moments of transition from one scene to the next. The artist uses a manual oil painting to reproduce the low quality of the tv picture extolling the "blurring" of blur. We are facing a loss of spatial dimension, in a temporality confused-diffuse-intangible which is difficult to recognize the boundaries ("Borderland"). In these perceptual distortions, in which time dilates expands, each painting represents a "indiscernibilità" in which the recognition of the object that takes second place. The time of Moody is neither Chronicle nor history but suspension. (From "Charles Moody, Borderland", curated by Gianni Romano, exhibition catalogue, CorsoVeneziaOtto, November-December 2009)