Brozzetti Antichita Furniture

18th Century, Italian Neoclassical Carved Giltwood Half-moon Console This elegant console was built in Rome, in Italy, in the neoclassical era at the end of the eighteenth century. Demi-lune shaped, it has a top composed of a slab in Sicilian jasper marble on a white marble base that in its height is covered with gold leaf. The wooden structure has a gilding leaf that to create movement and shine has the details in relief polished with agate stone, while the backgrounds are cushioned with a burin treatment. The wood is finely carved with motifs characteristic of neoclassicism. The band below the floor has an egg frame...

18th Century, Pair of Rococo Italian Lacquered and Gilt Wood Armchairs Measures: cm W 67 x D 73 x H 106,5. H sitting 45 cm The elegant pair of armchairs was made in Genoa, Italy, ar...

Italian carved and silvered wood consolle Naples, Italy, early 18th century This finely carved and silvered wooden console table is a remarkable example of the decorative reperto...

Giuseppe Gambarini (Bologna, 17 March 1680 - Casalecchio di Reno, 11 September 1725) Loth and the daughters Oil on canvas; Measurements: cm H 73 x W 93; frame H 88 x W 108 x D 5,5 The painting, of beautiful pictorial quality, depicts the biblical scene of Lot and his daughters, with Sodom set on fire in the background, and is stylistically attributable to the italian painter Giuseppe Gambarini (Italy, Bologna, 17 March 1680 - Casalecchio di Reno, 11 September 1725). The canvas shows in the center Lot sitting and already drunk, depicted according to traditional iconography, old, gray and with long gray boat. With his left hand he grabs the wine flask that one of his daughters offers him. She is depicted kneeling and resting on large boulders of stone, described as an architectural base, dressed in a voluminous deep blue mantle, her hair covered with a humble headdress made of a knotted cloth; look at the viewer, as if to want to involve him directly in the scene. The other daughter is described on the left, from the back to the observer, with a bare back and dark hair gathered by a red ribbon. She too is intent on serving her father a cup in which to pour the wine. Around them a duck placed on a cloth, some bread and another wine flask enrich the composition describing a banquet in progress. The scene is set outdoors, where only a large tent supported by branches arranged in a hut serves as a shelter to the figures. In the background a forest landscape blends chromatically with the blue sky. To the right in the distance, is described the city of Sodom, already destroyed and on fire. Lot’s wife...

Pair of terracotta French busts resting on circular marble bases, 19th century, signed on the back. The refined pair of busts depicts a man and a woman who have been paired accord...

18th century, Italian pair still life with flowers and fruit by Michele Antonio Rapos Measures: Oil on canvas, diameter 71 cm, with frame diameter 80 cm x W 5 cm The two circular c...

18th Century, Pair of Demi-Lune Neoclassical Italian Lacquered Wood Chest of Drawer This pair of elegant drawers was made in the Piedmontese area (north of Italy) in the neoclassica...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

17th century, The condemnation and martyrdom of the four crowned saints by Giuliano Dinarelli Mid-17th century, Italy, Bologna Oil on canvas, frame ...

Frans Franken III and aid, Adoration of the Magi Good condition The oil painting on wood, with a gold background, depicts an Adoration of the Magi. The Magi are dressed in sumptuous silk and brocade dresses; they wear precious hats and jewelery. The richness of their garments is in contrast with the humility of the Holy Family and of the other characters who, around curious, observe the scene. The hut is simple, made of wood and straw: above it shines the Comet, symbol of the divine event. In the distance, a group of wayfarers walk along a path that is lost on the horizon, blending into the gold of the bottom. The representation proposes a traditional iconography, in which the painter inserts some details that he lends himself to symbolic interpretations. Among these is the appearance of the Magi, who from the XIVth century differs iconographically: the wise astronomers represent the homage to Jesus of the then known parts of the world, namely Africa, Asia and Europe. To the right of the Magi, in the foreground, sits a monkey, considered a demonic creature and a symbol of lies and sin. It is depicted on the sidelines, as a defeat, next to a fragment of a classical column: ruin alludes to the end of paganism, of the old world that collapses with the advent of the new one, marked by the birth of Christ and liberation from the Original Sin. On the ruins he climbs the ivy, symbol of the immortality of the soul. The work is attributable to the workshop of the Flemish painter Frans Francken III...

18th century, Flemish Painting with Banquet and Dance scene by Jan Baptist Lambrechts Oil on canvas, Measurements: only the canvas cm H 34 x W 30; frames cm H 49,5 x W 45 x D 8 Thes...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

Roman School, follower of Paolo Anesi, Roman Landscape with the Milvio Bridge, Half of the 18th Century Oil on canvas, measures: frame cm W 149 x H 112 x D...

Tabletop veneered in various woods, 19th century octagonal sail, entirely inlaid with polychrome floral motif and centred by a circular reserve with a polylobed rose window, high qu...

18th century, Italian Neoclassical Inlaid Chest of Drawers with Marble Top This refined neoclassical chest of drawers was made...

Late 18th Century, Italian Neoclassical Lacquered Wood Console This elegant console was made in the neoclassical era, in the second half of the eighteenth century in Milan, Italy. T...

19th Century, Italian Louis XV style Veneered Wood chest of drawers This chest of drawers was made in Genoa in the second half of the nineteenth century, in the characteristic style ...

18th Century Pair of Large Venetian Barocchetto Lacquered ed Giltwood Armchairs The fine and important pair of large barocchetto armchairs was made in Venice, Italy, in the mid-eig...

18th century, Italian Baroque Lacquered and Giltwood Armchairs This elegant armchair was made in the Baroque period in Turin, around the middle of the eighteenth century. The struct...

18th Century, Large Italian Baroque Wood and Plaster Lacquered Mirror This large and refined mirror was made in Piedmont, Italy, around the middl...

19th Century, Large French Gilt Bronze and Crystal Chandelier with Twelve Lights This elegant and refined chandelier was made in France in the early nineteenth century. The structur...

Terracotta bust depicting nobleman, marble base, 19th century, France The refined bust depicts a nobleman dressed according to the fashion of the mid-eighteenth century in France. T...

Terracotta bust depicting noblewoman, marble base, 19th century, France The refined bust, made of terracotta, depicts a noblewoman dressed according to the fashion of the mid-eighte...

XIXth Century, Pair of French Gilt Bronze Regency Style Sconces This delightful pair of gilded bronze sconces was made in France around the end of the 19th century in the Regency sty...

Follower of Jacopo Da Ponte, called Jacopo Bassano (Bassano del Grappa, circa 1510 - Bassano del Grappa, 13 February 1592), 17th century Allegory of the Spring Measures: With frame: ...

18th century, Italian Neoclassical Lacquered Wood Chest of Drawers This neoclassical chest of drawers was made in Piedmont in the second half of the 18th century, in carved and lacq...

19th Century, Pair of French Gilt Bronze Candlesticks with Polychrome Porcelain, marble base The pair of elegant candlesticks with three lights was made in France, in the nineteent...

19th Century, Pair of Italian Lacquered Bronze Vases Pair of vases in bronze lacquered with fake porphyry with applications in chiseled and gilded bronze, Rome, late nineteenth cent...

XXth Century, Pair of Roman Coffee Tables with Lacquered Wood Top Measurements: single coffee table: cm W 71,5 x D 51,5 x H 45 assembled from the short side: cm 134 x 51,5 assembled ...

XXth Century, Tuscan Large Square Coffee Table with Lacquered Wood Measurements: cm 136,5 x 136,5 x H 45,5 Top thickness 4 cm This table was made around the fifties of the twentie...

18th Century, Pair of Italian Rococo Chinoiserie Lacquered Wood Corner Cabinets This pair of corner cabinets was made in Piedmont, Italy, around the middle of the eighteenth century according to the taste of the baroque. The structure is in poplar wood, lacquered and decorated on the front side. The central body consists of an open door that conceals a compartment with two shelves. Above, a mixed cymatium crowns the piece of furniture and consists of two small tops bordered with gold leaf on red bole. Equally finished in gold are reserves and frames that decorate the furniture highlighting the various parts of which it is composed. Below the door, a open compartment is presented by a quadrilobate profile. The piece of furniture is decorated with floral ornaments and polychrome chinoiserie designs partly in relief thanks to the application of cast plaster. Inside the side frames are depicted characters dressed in oriental with floral decorations typical of fashion in chinoiserie. The two central doors have different designs, animated by oriental figures dressed in Chinese clothes...

20th century, Venetian Mirror These refined mirror was made in Murano, Venice, in the 20th century, in the style widespread in the lagoon city in the early eighteenth century. The mi...

18th century, pair of Italian Baroque lacquered and gilt wood benches This particular pair of baroque benches was made in Rome, Italy, in the second half of the 18th century. Their wooden structure is entirely sculpted, lacquered and gilded in Mecca. It consists of a seat with a profile moved from which depart two armrests characterized by arched elements, moved and culminating in curls. The effect of great movement is enhanced by the decorations of rocaille taste with volutes and leaves that surround them creating dynamism. The band under the seat, quadrangular and move, is decorated with rocaille elements and framed with reserve that creates curls in some points of connection. The six curved legs, characteristic of the Baroque era, are decorated with phytomorphic elements and end with a curly...

18th Century, Italian painted with still Life by Francesco Lavagna. The fine and imposing painting, accompanied by a frame in carved and gilded wood, depicts a sumptuous composition...

19th century Pair of large Venetian wood armchairs. This important pair of very large armchairs was made in Venezia (Italy) in the first 19th century, Louis XIV-Regency. The armc...

19th Century, French Louis XVI Style Wood Secretaire Sideboard Rare veneered wood secretaire sideboard, France, late 18th century - early 19th century Measurements: cm W 105 x H 11...

Francesco Lavagna (Italy -Naples 1684-1724) "Still life with flowers and watermelon and hermas with garden in the background" The painting, beautifully made and in good condition, d...

Francesco Lavagna (Italy, Naples 1684-1724) Pair of paintings depicting Still Life composition of flowers and watermelon and garden in the background The paintings, beautifully mad...

18th Century, Franch Louis XV Wood Flap Writing Desk Measures: cm H 94 x W 83,5 x D 46; D with the open panel 82 cm, H of the desk top 69,5 cm This elegant desk was made in France ...

Nicolas Edward Gabe (Paris, 1814-1865) Blind man's bluff Oil on canvas, cm L 72 x W 58 (without frame); with frame cm H 98 x W 84 x D 8 The painting, made in oil on canvas, depicts s...

18th Century, Italian Neoclassical Inlay Wood Centre Table Measurements: cm W 56,5 x H 78 x D 46 (height of legs 63 cm) This refined coffee table was made in Lombardia region (Ital...

19th Century, French Wood Travel Desk Measures: cm H 103 x W 52 x closed D 9. Open D 59 cm This particular travel desk was made in France, in the earl...

19th Century, French Marble and Gilt Bronze Centerpiece This particular centerpiece was made, in white marble and finely chiseled gilded bronze, in France between the end of the eigh...

20th Century, French Gilt Bronze Buillotte Lamp This elegant table lamp model buillotte was made in France towards the beginning of the twentieth century, of classic taste with deco...

19th Century, French Louis XV style Wood Center with gilded bronze applications desk table This elegant centre desk, therefore finished on all four sides, was made in the first half...

19th Century, French Gilt Bronze Buillotte Lamp This elegant table lamp model buillotte was made in France in the early nineteenth century, classic taste with decorative elements Em...

20th century, Pair of French Gilt Bronze Candlesticks The pair of candlesticks, made in the twentieth century, is in gilded bronze. The structure of each candlestick consists of pl...

18th Century, Pair of Louis XVI French Lacquered Wood Corbeille Canapes The refined pair of corbeille sofas, made in France in the second half of the eighteenth century, Louis XVI P...

19th Century, Pair of Italian Baroque Style Nightstand or Cabinets This refined pair of bedside tables, or central cabinets, was made in Genoa (Italy) in the second half of the nin...

Giovanni Battista Innocenzo Colomba (1713 – 1793) Landscape with figures Oil on canvas, Frame H 102 x L 112 x P 8; canvas H 77 x L 87 The valuable painting, attributable to the pai...

19th Century, Italian Inlaid Wood Centre Table by Luigi and Angiolo Falcini This valuable center table in rosewood veneer and inlaid, was ma...

18th century, Italian Half-moon Lacquered Wood Chest of Drawers This refined neoclassical half-moon chest of drawers was made in Turin, towards the end of the 18th century. Entirely...

20th century, Black Forest Brienz Hand Carved Wood bench with Bears This particular bench, made of wood carved in the twentieth century, is a...

18th Century Four Italian Baroque Carved giltwood Chairs The four fine chairs were made in Rome (Italy) around the middle of the eighteenth c...

18th century Pair of Large Italian Neoclassical Gilt Bronze Vases The pair of neoclassical vases was made in Italy in the end of 18th ce...

Piedmontese painter of the second half of the 18th century Two "Still Lifes with composition of flowers, fruits and mushrooms" Measurements: Frames: cm W 63 x H 74 x D 8.5 frames...

Italian Baroque carved gilt and lacquered wood center table, 18th century This particular center table is made of golden and lacquered in ochre finely carved wood with rich floral decorations. The band below the top has a perforated ornament with volutes, phytomorphic elements and rocaille taste, characteristic of the Louis XV era. The legs are arched and moved with curly foot. They are joined together by crossed crossbars that create a refined game thanks to the richness of the carvings. The structure is made with ancient material of Turin (Italy) manufacture of the eighteenth century. The oblong and octagonal top was made in the early years of the twentieth century, in wood treated with faux yellow marble. The table is elegant and very decorative, easily combined, thanks to the light color, with both antique and modern...

18th century Italian Barocchetto (Rococo) Handcarved Giltwood Mirror The refined and elegant mirror, made in Turin, Italy, in the middle of the eighteenth century has a wooden fr...

18th century, Pair of Italian Inlay Wood Corner Cabinets Measurements: cm H maximum 183 cm x D 56; top H 92 cm This refined pair of corner cabin...

17th Century, Italian Baroque Walnut Chest of Drawers This chest of drawers was made in Lombardy in the Baroque period at the end of...