Antique Tryptich Clock Bardon Gilded Bronze Porcelain France '800 - France, Second Half XIX Century

Italy, Mid XIX Century

Louis Philippe corner etagere in walnut, Italy, mid-19th century. Perforated shelf stand, turned front uprights. Five total support surfaces.

The bust portrays a noble woman, richly dressed. Certainly a portrait, as can be seen from the detailed physiognomic characteristics of the face; the depicted subject has a stern gaze and attitude, an element that characterizes the portrait sculpures of the time. The hair are tied on the back of her head in an elaborate hairstyle with braids. The neck is adorned with a necklace with a medallion in the centre and multiple strings of pearls. She is wearing an off-the-shoulder dress, refined with a thin lace hem and a bow in the middle of her chest. The sculptor has great skills with the use of a chisel to refine details and the texture of fabrics.

Italy Mid 19th century

Group of 2 Louis Philippe corner cupboards in Maple, Italy mid 19th century. Raised shaped and carved in curls, embellished with reserves with perimeter frames; white marble tops, wavy front with glass doors, internal compartments equipped with mercury mirrors. Inlaid with Charles X motifs in walnut and decorated on the uprights with leaf and floral carvings. Changes and replacements.

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.

Venice, Late XIX Century

Corner cupboard in lacquered and gilded wood with four mirrored shelves. Carved decoration with curl and rocaille motifs. Lacquered and painted surface with floral motifs and gilded borders.

Portrait of a young girl in marble placed on a grey marble column, depicting a young girl cloaked in the winter cold. The different processes used give variety in the rendition of the marble. On the back of the bust, “F. Andreini Florence 1894" is engraved.

19th Century marble sculpture representing a roman matron; the figure stands on the left leg and is wearing a long robe that leaves her breast free; the left arm is hidden by the cloth and is folted while in the opposite hand she is holding a corrispondence. Her face is austere with a pointed chin; her hair har divided by a central parting and collected in a bun behind her head.

Interior with Stove 1946

Oil on canvas. Signed and dated lower right. The work belongs to the first period of the Florentine artist, still close to the figurative before dedicating himself definitively to Abstractionism, in particular to classical Abstractionism, of whose Manifesto of 1950 he was one of the signatories. The work is influenced by post-cubism, in the representation of a figurative subject, not broken down as in cubism, but highlighted and emphasized in simple geometric lines, variously composed, in intersection, oriented in various ways, which refer to recognizable objects but depicted not as copies of reality but as formal concepts. The work is presented in a frame.

Tealight Holder Vases

Pair of bas-relief vases for lamps, carved and lacquered in the early 19th century, still in neoclassical style. Electrified in the mid-20th century.

Italy, Early XIX Century

Empire gueridon with walnut veneered pine structure, Italy first quarter of the 19th century. Circular top in gray marble, central column upright. Resting on a shaped base supported by feet. Repaired and non-coeval marble top.

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.