Bazaar Sas Furniture

We kindly invite you to read the full description, as it provides detailed technical and historical information to ensure the authenticity of our pieces. This elegant and refined Fre...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Part...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Pair of prints engraved by burin and painted in watercolor; both are a tribute to Cupid; the name Cupid - meaning desire, lust - was given by the Romans to the Greek god of love, actually called Eros. Alternatively, he was called just Love always by the Latins. As the son of Aphrodite, goddess of love, he, like his mother, was capable of any act, even deplorable. In the first print, which has been cut out and shaped, there are two young girls offering God a basket of fruit and a goblet of wine; in the second print a mature woman is about to be hit by Cupid's love arrow; both prints have been made with a beautiful burin engraving, then finished with delicate watercolors. The frames are handmade in gilded wood. The prints were made between 1850 and 1855 by Adrien Nargeol (see signature) a prolific and talented French engraver and were published in the "Journal des Demoiselles...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Part...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Beautiful and meticulously detailed etching with sober wooden frame; the paper work, "La Gloire de la France", was made by the famous French engraver Simon Thomassin (Troyes 1665-Paris 1733) in 1724, he made the drawing inspired by an elaborate and particular sculpture, made for the gardens of Versailles, between 1681 and 1683 by Pierre Mazeline (1632-1708) important French neoclassical artist; In the inventory of the Garden in 1706-1708, the statuary group is described as follows: "A figure representing Glory seated on a cloud placed on a celestial globe, surrounded by trophies of arms, with the right arm half raised, holding a laurel wreath, and, with the left, a pyramid. The names of the two artists are imprinted on the print itself. Pierre Mazeline was a very prolific and refined sculptor of recognized talent, he is also the author of other statues in the gardens of Versailles as the "Apollo of Belvedere and "Europe"; he also executed the equestrian statue of Louis XIV...

We kindly suggest that you read the entire description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Exceptional hot-blown Murano glass goblet; it has a stem worked with the pincer molding technique and gold leaf decoration; the bowl and base are a soft, delicate pink color; the surface is not smooth but skillfully and masterfully wavy. From the mid-1400s, Murano glass masters invented the world's first truly transparent glass and refined their techniques to create delicate and subtle drinking vessels: the Murano glass wine glasses...

We kindly suggest that you read the entire description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. The ...

We kindly suggest that you read the whole description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects Refined and elegant Italian coffee table with a round top; the four black painted wooden legs, sloping outward, have a distinctive, eccentric, and unique design. The coffee table has a larger size than normal coffee tables. The artisans used, for the top, a veneer with Sapele burl, using a special technique of leveling and polishing in 12 steps...

We kindly ask you to read the entire description, as we strive to provide detailed technical and historical information to ensure the authenticity of our items. This elegant and uniq...

We kindly invite you to read the entire description, as it provides detailed technical and historical information essential to ensuring the authenticity of our items. This is an oil ...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Elega...

We kindly invite you to read the full description, as it provides detailed technical and historical information essential to ensuring the authenticity of our pieces. This is an oil p...

Please read the entire description carefully, as we strive to provide you with accurate technical and historical details to ensure the authenticity of our items. This fascinating and...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Elegant and particular pair of lamps in gilded brass with the base made of Murano glass; the lamps were produced between 1970 and 1973 by an artisan company of Murano in Mazda style; very original is the stem formed by a golden brass round bar from which depart decorations, also in brass, in the shape of spines, a cactus plant in metal! The circular base is solid and massive obtained from a single block of excellent and precious Murano glass; the finishing of the objects is of a high level; the black lampshades, well proportioned, complete the particular design of the pair; the original table lamps in "Mazda Lamp" style fascinate for their design of the thirties, simple and functional Art Deco. Mazda is a brand created within General Electric in 1909 and in addition to incandescent light bulbs, had a prolific production of objects for lighting and furniture of the highest quality; this name was chosen because of its association with the deity Ahura Mazda...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Pleas...

We kindly suggest that you read the whole description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Massive and distinctive Murano glass ashtray, has a strong line, with sharp, decisive cuts and very accentuated edges; the color is an exceptional cobalt blue with graceful shades of blue obtained with cobalt oxide and a small amount of copper oxide. The ashtray was created between 1964 and 1968, in a small furnace in Murano (Italy) run by former Master Glassmakers of the Mandruzzato company who made the ashtray following the company's own style and using precisely the "vetro sommerso...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Works of the famous Italian painter Max Marra, paint mixed technique on canvas dated 2004, titled "Judges II"9 and “Judges II” 14, on the back of the paintings we find a “Certificate of Authenticity”. Measures: Cm. 80 x 80 Max Marra was born in Paola, Calabria, in 1950. He lives in Monza and works in Lissone. Matured graphic and television experiences, from the 1980s he directed his research towards the integration of expressive technique in painting and sculpture with recycled materials. He works in the H: Orarte laboratory, which he shares with Mario De Leo. He links the teaching and commitment of cultural, organizational, and editorial promotion to artistic activity. With Mario De Leo, Luigi Bianco and other operators founded the Oason Movement in 1985 and then Harta, a bi-monthly cultural interaction, which was later joined by the Hartamotus Association. In 1988 he founded Lissone, with Mario De Meo, the interdisciplinary art studio H: Orarte, open to the consideration, dialogue, and confrontation of other artists, active in organizing cultural initiatives and events. His activity is linked to themes and specific cultural projects, identifiable in the contents and expressive tools. Strong hills, strong features, biting ideas, but also some stops in the white, which is air, which is infinite, to be captured in heavy frames, almost in a purification ritual. He exhibits in a personal exhibition in a private gallery, public institutions, participates in thematic exhibitions, and national and international collective exhibitions are present in Germany, France, Japan. Main exhibitions Cieli di terra, a cura di T. Coltellaro, Museo Archeologico, Lamezia Terme e Museo Civico d’Arte Contemporanea, Taverna, 2002; 57° Premio Michetti Laboratorio Italia, a cura di Philippe Daverio, Francavilla a Mare, 2006; Repubblica e costituzione: rassegna d’arte per i sessant’anni della costituzione italiana a cura di M. Domenicucci, F. Papale e C. Mosillo, Archivio Centrale dello Stato, Roma, 2008; Max Marra: Opere 1984 – 2009, Museo d’Arte Contemporanea di Lissone, 2009/10; Time passages, a cura di Omar Calabrese, Magazzini del Sale, Siena, 2011; Luoghi e realtà di ricerca tra identità e mutamento, a cura di T. Coltellaro, Collegio Sant’Adriano, San Demetrio Corone, 2011; Limen Arte vince il primo premio, Vibo Valentia, 2011; 54a Biennale di Venezia, Padiglione Italia per il 150° dell’Unità d’Italia “L’arte non è cosa nostra”, a cura di Vittorio Sgarbi, Sala del Re – Galleria Vittorio Emanuele II, Milano e Palazzo delle Esposizioni – Sala Nervi, Torino, 2011/12; Max Marra. Orizzonte senza approdo, a cura di C. Rizzi, Museo Parisi Valle, Maccagno, 2012; Cieli di cosmos, Sofia Arsenal, Museum for Contemporary Art, 2013; Equilibri materici, a cura di G. Bonomi, Centro per l’Arte Contemporanea, Rocca di Umbertide, 2015; E fu il terremoto, a cura di Vittorio Erlindo, Refettorio del Monastero di San Benedetto Po, Mantova, Monastero di Weingarten (Germania) 2018; IXION, MAC Lissone, a cura di A. Zanchetta; L’opera in bianco, a cura di S. Cortina, Galleria Cortina, Milano, 2018; Dal Rembrandt by himself all’io ritratto, a cura di G. Lepore, Accademia Nazionale delle Belle Arti di Sofia, Bulgaria 2018; Contributi al Novecento, Da Boccioni a Rotella ai contemporanei, Fondazione Stelline, Milano, a cura di B. Corà e T. Sicoli; Di studio in studio, Casa Museo Boschi Di Stefano, Milano, a cura S. Soddu, Comune di Milano e Politecnico di Milano 2019; Omaggio a Franca Rame, MusAlab Archivio Franca Rame e Dario Fò...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Work of the famous Italian painter Max Marra, paint mixed technique on canvas dated 2004, titled "Judges"8, on the back of the painting we find a “Certificate of Authenticity”. Measures: cm 100 x 100 Max Marra was born in Paola, Calabria, in 1950. He lives in Monza and works in Lissone. Matured graphic and television experiences, from the 1980s he directed his research towards the integration of expressive technique in painting and sculpture with recycled materials. He works in the H: Orarte laboratory, which he shares with Mario De Leo. He links the teaching and commitment of cultural, organizational, and editorial promotion to artistic activity. With Mario De Leo, Luigi Bianco and other operators founded the Oason Movement in 1985 and then Harta, a bi-monthly cultural interaction, which was later joined by the Hartamotus Association. In 1988 he founded Lissone, with Mario De Meo, the interdisciplinary art studio H: Orarte, open to the consideration, dialogue, and confrontation of other artists, active in organizing cultural initiatives and events. His activity is linked to themes and specific cultural projects, identifiable in the contents and expressive tools. Strong hills, strong features, biting ideas, but also some stops in the white, which is air, which is infinite, to be captured in heavy frames, almost in a purification ritual. He exhibits in a personal exhibition in a private gallery, public institutions, participates in thematic exhibitions, and national and international collective exhibitions are present in Germany, France, Japan. Main exhibitions Cieli di terra, a cura di T. Coltellaro, Museo Archeologico, Lamezia Terme e Museo Civico d’Arte Contemporanea, Taverna, 2002; 57° Premio Michetti Laboratorio Italia, a cura di Philippe Daverio, Francavilla a Mare, 2006; Repubblica e costituzione: rassegna d’arte per i sessant’anni della costituzione italiana a cura di M. Domenicucci, F. Papale e C. Mosillo, Archivio Centrale dello Stato, Roma, 2008; Max Marra: Opere 1984-2009, Museo d’Arte Contemporanea di Lissone, 2009/10; Time passages, a cura di Omar Calabrese, Magazzini del Sale, Siena, 2011; Luoghi e realtà di ricerca tra identità e mutamento, a cura di T. Coltellaro, Collegio Sant’Adriano, San Demetrio Corone, 2011; Limen Arte vince il primo premio, Vibo Valentia, 2011; 54a Biennale di Venezia, Padiglione Italia per il 150° dell’Unità d’Italia “L’arte non è cosa nostra”, a cura di Vittorio Sgarbi, Sala del Re – Galleria Vittorio Emanuele II, Milano e Palazzo delle Esposizioni – Sala Nervi, Torino, 2011/12; Max Marra. Orizzonte senza approdo, a cura di C. Rizzi, Museo Parisi Valle, Maccagno, 2012; Cieli di cosmos, Sofia Arsenal, Museum for Contemporary Art, 2013; Equilibri materici, a cura di G. Bonomi, Centro per l’Arte Contemporanea, Rocca di Umbertide, 2015; E fu il terremoto, a cura di Vittorio Erlindo, Refettorio del Monastero di San Benedetto Po, Mantova, Monastero di Weingarten (Germania) 2018; IXION, MAC Lissone, a cura di A. Zanchetta; L’opera in bianco, a cura di S. Cortina, Galleria Cortina, Milano, 2018; Dal Rembrandt by himself all’io ritratto, a cura di G. Lepore, Accademia Nazionale delle Belle Arti di Sofia, Bulgaria 2018; Contributi al Novecento, Da Boccioni a Rotella ai contemporanei, Fondazione Stelline, Milano, a cura di B. Corà e T. Sicoli; Di studio in studio, Casa Museo Boschi Di Stefano, Milano, a cura S. Soddu, Comune di Milano e Politecnico di Milano 2019; Omaggio a Franca Rame, MusAlab Archivio Franca Rame e Dario Fò...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Work of the famous Italian painter Max Marra, paint mixed technique on canvas dated 2004, titled "Judges", on the back of the painting we find a “Certificate of Authenticity”, a photo of the author with signature and his biography, since the latter is written in Italian, we proceeded to translate it here below. Still, on the back of the picture, we can see two small repairs done by the author himself. Max Marra was born in Paola, Calabria, in 1950. He lives in Monza and works in Lissone. Matured graphic and television experiences, from the 1980s he directed his research towards the integration of expressive technique in painting and sculpture with recycled materials. He works in the H: Orarte laboratory, which he shares with Mario De Leo. He links the teaching and commitment of cultural, organizational, and editorial promotion to artistic activity. With Mario De Leo, Luigi Bianco and other operators founded the Oason Movement in 1985 and then Harta, a bi-monthly cultural interaction, which was later joined by the Hartamotus Association. In 1988 he founded Lissone, with Mario De Meo, the interdisciplinary art studio H: Orarte, open to the consideration, dialogue, and confrontation of other artists, active in organizing cultural initiatives and events. His activity is linked to themes and specific cultural projects, identifiable in the contents and expressive tools. Strong hills, strong features, biting ideas, but also some stops in the white, which is air, which is infinite, to be captured in heavy frames, almost in a purification ritual. He exhibits in a personal exhibition in a private gallery, public institutions, participates in thematic exhibitions, and national and international collective exhibitions are present in Germany, France, Japan. Main exhibitions Cieli di terra, a cura di T. Coltellaro, Museo Archeologico, Lamezia Terme e Museo Civico d’Arte Contemporanea, Taverna, 2002; 57° Premio Michetti Laboratorio Italia, a cura di Philippe Daverio, Francavilla a Mare, 2006; Repubblica e costituzione: rassegna d’arte per i sessant’anni della costituzione italiana a cura di M. Domenicucci, F. Papale e C. Mosillo, Archivio Centrale dello Stato, Roma, 2008; Max Marra: Opere 1984 – 2009, Museo d’Arte Contemporanea di Lissone, 2009/10; Time passages, a cura di Omar Calabrese, Magazzini del Sale, Siena, 2011; Luoghi e realtà di ricerca tra identità e mutamento, a cura di T. Coltellaro, Collegio Sant’Adriano, San Demetrio Corone, 2011; Limen Arte vince il primo premio, Vibo Valentia, 2011; 54a Biennale di Venezia, Padiglione Italia per il 150° dell’Unità d’Italia “L’arte non è cosa nostra”, a cura di Vittorio Sgarbi, Sala del Re – Galleria Vittorio Emanuele II, Milano e Palazzo delle Esposizioni – Sala Nervi, Torino, 2011/12; Max Marra. Orizzonte senza approdo, a cura di C. Rizzi, Museo Parisi Valle, Maccagno, 2012; Cieli di cosmos, Sofia Arsenal, Museum for Contemporary Art, 2013; Equilibri materici, a cura di G. Bonomi, Centro per l’Arte Contemporanea, Rocca di Umbertide, 2015; E fu il terremoto, a cura di Vittorio Erlindo, Refettorio del Monastero di San Benedetto Po, Mantova, Monastero di Weingarten (Germania) 2018; IXION, MAC Lissone, a cura di A. Zanchetta; L’opera in bianco, a cura di S. Cortina, Galleria Cortina, Milano, 2018; Dal Rembrandt by himself all’io ritratto, a cura di G. Lepore, Accademia Nazionale delle Belle Arti di Sofia, Bulgaria 2018; Contributi al Novecento, Da Boccioni a Rotella ai contemporanei, Fondazione Stelline, Milano, a cura di B. Corà e T. Sicoli; Di studio in studio, Casa Museo Boschi Di Stefano, Milano, a cura S. Soddu, Comune di Milano e Politecnico di Milano 2019; Omaggio a Franca Rame, MusAlab Archivio Franca Rame e Dario Fò...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Rich ...

We kindly suggest that you read the whole description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Pretty and vexatious Italian bedroom...

We kindly invite you to read the entire description, as it provides detailed technical and historical information to ensure the authenticity of our items. A stunning and large Art De...

Please read this description carefully, as it contains detailed technical and historical information that ensures the authenticity of our items. This elegant pair of wall sconces fea...

We kindly invite you to read the entire description, as we strive to provide you with detailed technical and historical information to ensure the authenticity of our pieces. This ele...

We kindly invite you to read the entire description, as it provides technical and historical details to ensure the authenticity of our items. This elegant French table lamp features ...

We kindly invite you to read the entire description, as it provides detailed technical and historical information to ensure the authenticity of our items. This unique and elegant Fre...

We kindly invite you to read the entire description, as it provides detailed technical and historical information to ensure the authenticity of our items. This elegant and refined Fr...

We kindly invite you to read the full description, as we have provided detailed technical and historical information to ensure the authenticity of our items. This iconic and sophisti...

We kindly invite you to carefully read the full description, as we are committed to providing you with detailed technical and historical information to ensure the authenticity of our...

We kindly suggest that you read the whole description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Extra...

We kindly suggest you read the whole description, as we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Fascinating and ra...

We kindly invite you to read the entire description, as we strive to provide you with detailed technical and historical information to ensure the authenticity of our objects. The woo...

We kindly suggest that you read the whole description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. We wo...

We kindly suggest that you read the whole description, as we try to give you detailed technical and historical information to ensure the authenticity of our items. Set of 4 Danish wooden chairs...

Please read the entire description carefully, as we aim to provide you with detailed technical and historical information to ensure the authenticity of our items. This elegant burnis...

We kindly suggest that you read the entire description, as with it we try to give you detailed technical and historical information to ensure the authenticity of our objects. Particu...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Monum...

We kindly invite you to read the entire description, as it provides detailed technical and historical information to ensure the authenticity of our items. This elegant and sophistica...

We kindly suggest reading the full description, as we aim to provide detailed technical and historical information to ensure the authenticity of our items. This iconic and distinctiv...

We kindly invite you to read the entire description, as it provides detailed technical and historical information to ensure the authenticity of our items. This iconic and charming ch...

We kindly suggest that you read the entire description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. The ...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Elega...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Particular pair of toilet bottles in cut and ground by hand crystal; for their execution it was used crystal with a percentage of lead of 30%; the high lead content, instead of calcium present in the common glass, gives the crystal a remarkable hardness, exceptional transparency, and a high refractive index; with the techniques of cutting, grinding and polishing, scrupulously performed by hand, extraordinary light effects and reflections were created; the bottles with the ball body are surmounted by a silver neck and a hinged lid finely chiseled with Victorian motifs. They bear the Classic English silver punches from which we can tell that they were produced in the Victorian style in the city of Birmingham in 1907 (Edward VII) by the firm Phineas Harris Levi & Joseph Wolfe Salaman. The company was founded in 1870 in Birmingham on Northampton Street, in 1872 moved to larger premises on Hockley Street and in 1885 the business was finally moved to a prestigious building on Newhall Street. Levi & Salaman produced much Fine silverware...

We kindly invite you to read the entire description, as we strive to provide you with detailed technical and historical information to ensure the authenticity of our items. This eleg...

We kindly invite you to read the entire description, as we aim to provide you with detailed technical and historical information to ensure the authenticity of our items. This origina...

We kindly invite you to read the entire description, as we strive to provide detailed technical and historical information to ensure the authenticity of our pieces. This elegant blon...

We kindly invite you to read the full description, as we provide detailed technical and historical information to ensure the authenticity of our items. This set includes three wall-m...

We kindly suggest that you read the whole description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Massive and distinctive Murano glass ashtray has a strong line, with sharp, decisive cuts and very accentuated edges; the colors red (obtained with gold chloride) and yellow(obtained with a mixture of sulfur and cadmium) combine with harmony and precision. The ashtray was created between 1964 and 1968, in a small furnace in Murano (Italy) run by former Master Glassmakers of the Mandruzzato company who made the ashtray following the company's own style and using precisely the "vetro sommerso...

We kindly suggest that you read the entire description, as with it we try to give you detailed technical and historical information to ensure the authenticity of our objects. Peculiar, rare, and antique pair of Italian altar candlesticks in the shape of a torch; they were made completely by the technique of manual turning, a special way of working that allows the objects to have a rounded shape: the piece of wood rotates with the aid of the lathe, while the craftsman uses special tools called "gouges" to shape and decorate its surface; they were then painted with a pasty gray-white varnish, which over time has taken on the craquelure effect; on the wooden structure we did not, therefore, consider doing any restoration because its veiled patina and imperfections make it truly alluring and fascinating and attest to its antiquity and authenticity; at the top of each one is a metal "bobeche" of shaped leaves made to hold large candles; when, in more recent times, they were electrified, a candle-shaped lamp holder was applied; the base is made of three lion's paws in cast bronze. They were produced in a craft workshop in the province of Lucca (Tuscany, Italy) between 1830 and 1835; the area was famous for producing liturgical furnishings of all kinds. The master craftsman was inspired by ancient medieval torch...

Please kindly read the entire description, as we strive to provide you with detailed technical and historical information to ensure the authenticity of our items. This refined and or...

Before describing the object under consideration, we must make an important clarification; the artifact, one of many that we will publish over time, is part of the museum collection ...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Sumpt...

We kindly suggest that you read the entire description, as with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Sedu...

Please kindly read the entire description, as we aim to provide you with detailed technical and historical information to ensure the authenticity of our objects. This exceptional Ita...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Uniqu...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Iconi...

Before describing the object under consideration, we must make an important clarification; the artifact, one of many that we will publish over time, is part of the museum collection of a historic Florentine crystal grinder that unfortunately closed recently. It is the Marcello Galgani & Son company, whose completely manual and artisanal work has not withstood the disproportionate advance of mass-produced mechanical processes! Marcello Galgani began his craft as a grinder and restorer in 1960; as the years went by, Marcello mastered and became familiar with particular techniques and shapes, resulting in the production of objects that manage to retain the freshness of grinding and engraving, the warmth and softness of light, and the inimitable flavor of unique artifacts. After several years, his son Lorenzo, who grew up among crystals, also entered the business and immediately became passionate about this ancient craft with skill and ability. Stimulated by the aesthetic sense of the past, father and son, set up a workshop in which the shapes they researched and created themselves are mouth-blown by traditional Tuscan glassmakers in Empoli, then ground and engraved using ancient sixteenth-century techniques, with motifs born from the Galgani's inexhaustible imagination or culturally inspired by designs of objects seen and studied in Florentine museums (Uffizi, Galleria Palatina, Museo degli Argenti, etc.). Marcello and Lorenzo Galgani were also Masters in the difficult art of restoration, bringing rare and precious objects back to life. As mentioned the company recently closed and disposed of all its last production, and only Marcello's old private museum collection remained, which includes unique and special objects created over time, a collection that the craftsman made available to us for a planned sale. All of the objects were made entirely by hand with old grinding wheels, but there were mainly two tools that allowed the creation of masterpieces: the right hand and the left hand of the master craftsman. Ancient glassmaking techniques were used for all the ground and engraved products: first, the object was ground with an emery wheel fed continuously by a jet of abrasive sand and water, then re-polished with a very fine-grained sandstone wheel also fed with water; the engravings were done freehand using as many as 10-15 small stone wheels for each design (flowers, branches, animals, etc. ); then the object was polished and shined; we must make, at this point, an important clarification on these last two operations: towards the end of the 1960s acid crystal polishing was devised, the object was immersed and rotated in a solution of sulfuric acid, fluoridic acid and water and in a short time all the defects left by the previous processes were eliminated, it was a fast, industrial operation that allowed to lower costs considerably, with discrete but not excellent results. But for Galgani's products polishing is done with a cork bark wheel wet with water and pumice, to make the surfaces more transparent, and finally polishing was achieved with a felt wheel wet with a paste of water, iron oxide, and cerium oxide. This series of processes takes an average of two days of work( sometimes much longer) for each object, each engraving or grinding is the result of the creative inventiveness of the two artisans, inventiveness that transforms crystal into reality material of the highest aesthetic value and inestimable value. All the items in the entire collection have never been used; they were part of the exhibition. Huge and monumental Florentine Renaissance-style vase...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Pecul...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Valu...

We kindly invite you to read the full description, as we strive to provide you with detailed technical and historical information to ensure the authenticity of our items. This elegan...