Brozzetti Antichita Furniture

19th Century, English George III Inlaid Console and Game Table Measures: closed: cm W 92,5 x D 46,5 x H 78,5; open: cm W 92,5 x D 93 x H 76,5 This refined console table can be tra...

Pair of sofas in carved walnut and lacquered chinoiserie, Venice, early 18th century. This rare and refined pair of sofas was made in Venice at the beginning of the 18th century, ...

19th century, French Louis XVI style wood armchair This refined armchair was made in France, in Louis XVI style, in the early 19 century. Its wooden structure is carved with elem...

18th century, Italian painting depicting landscape with watermill and characters Oil on canvas; Measurements: frame cm L 103.5 x H 127 x P 5; painting L 93 x H 117.5 The painting...

20th century, Oriental coromandel lacquered wood screen Measures: cm H 183,5 x W 40,5 a panel x D 2. Total W cm 162 Elegant four-panels screen ...

19th century, French center cabinet with marble top This central cabinet was made in France, during the Directoire period, between the late eighteenth and the beginning of the ninet...

19th Century, six Italian neoclassical lacquered wood benches. Measures: 4 stools: D 46.5 x W 46.5 x H 51 cm 2 benches: D 46.5 x W 82 x H 51 cm ...

17th century, Italian painting with virgin and childr by Follower of Sir Anthony van Dyck cm W 90 x H 113; cornice cm W 111 x H 135 x D 7 The canvas depicts the Madonna with the Chi...

17th century Roman school, Santa Cecilia with angels in concert, oil painting on canvas The valuable painting, in excellent condition, depicts Sa...

17th Century, Italian painting with still life with fruit, dogs and cat Measurements: With frame cm W 93 x H 75.5 x D 4; Frame cm W 82.5 x H 66.5 The...

Painting by Pietro Domenico Ollivero. "Manio Annio Curio Dentato receives the ambassadors of the Samnites", around 1740 The work in question depicts the scene of and was made by the famous italian painter Pietro Domenico Ollivero. The oval canvas shows on the back the card of the Galleria Caretto in Turin (Italy) with the authentic 1965 Giorgio Caretto. The work was also published in "I Piaceri e le grazie" by Arabella Cifani and Franco Monetti in 1993. The subject refers to the history of Rome and an episode narrated by the historian Valerio Massimo. Manius Curius Dentatus (330 BC - 270 BC), one of the great Romans of the 3rd century B.C. was a consul in ancient Rome, known for ending the Samnite Wars. Elected consul in 290 BC. along with Publio Cornelio Rufino, in the same year he fought and won the Third War against the Samnites and their allies, thus ending a conflict that had lasted for 49 years. He definitively subdued the Sabines and the Greek army of Pyrrhus in the battle of Benevento. He represented the ideal prototype of ancient Roman for the generations that followed in that he avoided public honours; Cato the censor, who collected his sayings, placed him among the great figures of universal history. For centuries after his death (in 270 B.C. while overseeing the construction of the second aqueduct in Rome) his military exploits were recounted and his moral rectitude was praised as an example for all the Romans. Ollivero, in the cultured choice of the episode, illustrates the moment when Manio Curio Dentato is found in his home, characterized by Roman walls, sitting by the fire, on a rustic bench while eating his meal in a "ligneo catillo" (wooden basin...

18th century, Italian neoclassical lacquered and gilt wood console table This elegant console was made in Italy in the Neoclassical era, in the second half of the eighteenth cent...

XVI Century, Italian Renaissance wood chest. This important noble chest of the Tuscan Renaissance was built towards the end of the sixteenth centur...

XIX Century, Pair of Venetian gilt bronze fireplace Chenets in Baroque Style This imposing pair of Fireplace Chenets in finely chiselled and gi...

18th century Italian neoclassical carved, lacquered and gilded wood dresser attributed to Francesco Bolgiè (1752?-1834). The fine and elegant commode is made of finely carved, lacquered and gilded wood. It presents several stylistic and material elements characteristic of the wooden works and of the furniture present in the Piedmont area, between the end of the 18th century and the beginning of the 19th century. The richness of the ornaments, the gold leaf, the iconographic program and the significant level of cabinet making that characterizes this furniture are testimony of a wealthy client and the valuable work of a sculptor at the service of noble and royal families. Stylistically can be attributed to the famous italian sculptor Francesco Bolgiè (1752-1834). The front of the furniture and the two side are characterized by a complex decorative architecture. Two horizontal perimeter bands show gilded carved geometric patterns and palmettes on a blue lacquered backdrop. The low frame, in the centre and on the front, has a half-moon element inside which is finely carved a lion with two cupids and laurel branches. Near the corners, at the top, are carved a female faces, while at the bottom are some bees. The fretwork of the vertical bands draws strings that support a bunch of grapes with vine leaves. The side walls are lacquered in ochre yellow and, at the centre, a frame with acanthus leaves outlines a lacquered space in the tones of the ancient rose violaceous, with in the centre an ornate leaf with fine girali. On the four sides of this frame four large golden flowers harmonize the together. The front, similar in composition, has a yellow ochre background, internal frame with palmettes and four flowers. The large internal space, lacquered in antique pink, shows in the center a woman’s fece with a composition of grapes and wheat ears; from the face depart fine phytomorphic girals with racemes, bunches of grapes and vine leaves. The nozzle of the original lock, placed on the front of the cabinet and on top, is in gilded bronze, chiselled with ribbon motif. The front panel opens downwards. The interior of the cabinet, entirely lacquered in red, has a shelf and therefore two compartments. The red color cinnabar deliberately recalls the characteristic Chinese lacquer, at the time much loved for the decorations to cineseria furniture. The special folding lock system, which allows the opening and closing of the front door, is the original one. The commode rests on four conical wood legs witch are carved with acanthus leaves and small ramage, gilded and lacquered. The top of the furniture is in grey marble bardiglio valdieri, lithotype that had great success in Piedmont, in the north of Italy, since the middle of the 18th century. On it were usually exposed bronzes, candlesticks, watches and sculptures. The sculpted subjects refer to a precise iconographic programme. The female head is identifiable in Ceres, Mother Terra, which in classical iconography is depicted with the head surrounded by a sert of wheat ears and a cluster of grapes. Ceres or Demeter in Greek, sister of Zeus, in Greek mythology is the goddess of fertility, the guardian of crops, protector of agriculture and wheat, constant nurse of youth and of the green earth, author of the cycle of seasons, life and death, protector of marriage and sacred laws. The representation of Ceres, and its meaning, are linked to bees, symbol of virtue and chastity, allegory of Mother Earth, rebirth, mercy and justice. Just as the leaves of the vine and its fruits: in many cultures, from Greco-Roman to Christianity, the vine is a symbol of well-being, fruitfulness and blessing; it represents an abundant life and the joy that flows from it; it reflects the desire for fertility and beauty. It is also a sign of devotion to the fruits of the spirit and protection from evil. Fullness, wisdom, youth, maturation, prosperity are all images associated with the vine. Sacrifice, faith and good will are the qualities required for the vine to bear fruit. The inverted bezel shows the iconographic image of Amor Vincit...

18th century, four Italian large lacquered giltwood armchairs These refined four armchairs were made in the first half of the 18th century in centr...

19th Century, France inlaid wood centre table This elegant centre table in inlaid wood was made in France in the early 19th century. The rectangular top has shaped and wavy side...

Two Louis XVI center tables in veneered wood, marble top and gilded bronze finishes, France, second half of the 18th century Measurements: left side table: cm L 49 x P 35 x H 65; ...

18th Century, Venetian Baroque Carved Giltwood mirror This mirror was made in Venice, Italy, in the second half of the 18th century. The frame, in carved and gilded wood, has the characteristics of the Venetian baroque. The internal wooden band, with 90-degree angles in the lower portion and with a cambered and curvilinear profile in the upper part, is carved in vegetable-shaped bas-reliefs. At the top a rich cymatium encloses another mirror. Rich perforated volutes, rocaille and phytomorphic elements, create movement to the whole and streamline the mirror making it graceful. To crown, there is a floral element. Also, below the frame includes a small mirror, while on the sides continue the friezes carved with flowers, leaves and scrolls rocaille. This small mirror, very refined and of great decorative effect, can be easily placed in different environments, placed over consoles or antique drawers...

19th Century, pair of French gilt bronze fireplace chenets. This valuable pair of Fireplace Chenets was made in France in the early ninetee...

18th Century, pair of Italian Rococo carved giltwood benches. This elegant pair of two-seater benches was built in the second half of the 18th century in Rome, Italy. The structure, in richly carved and gilded wood, has the characteristics of the Baroque period. The band under the seat has a mixed profile and is carved with rocaille motifs and rich floral decoration in relief in the central part. The four legs, curved and moved, have on the uprights the same carvings and in the terminal part of the foot emerges a scroll. The rear uprights, carved with curled end, are higher than the seat, in order to slender the image of the benches vertically. The seat is lined with velvet from a later period. These benches can be exhibited in pairs or individually in entrances or corridors, in living rooms and studios or in a room at the foot of the bed. They can also be placed below large paintings. Very decorative, bright and graceful, they are suitable both in contexts characterized by antique and modern furniture.

18th Century, French Louis XVI Wood sideboard by Conrad Mauter Measurements: H cm 134 x W 90 x D 38; marble top cm W 94.5, x D 42 x thickness cm 2.5 ...

18th Century, Italian neoclassical gilded and red lacquered wood with marble top Piedmont, Italy, second half of the 18th century. This fine piedmontese console table (northern Italy) is made of hand carved wood, richly gilded with red lacquered background. It have a marble top presumably of the Pyrenees. The refined console is a rare object for the coloring in red lacquer, quite unusual. On the front a large drawer has comfortable carved and gilded knobs and decorative gilded carvings with a geometric pattern reserve on the lower part and a central medallion with male head placed in profile inside a round, with a big bow on the top. The neoclassical object...

This centerpiece, or surtout de table, was made in the Tuscany, Italy, in neoclassical era at the beginning of the nineteenth century. The top, under glass, has a fine painting on p...

Italian coffee table with 18th century marble top and carved giltwood base. Measurements: cm W 91 x D 49 x H 52, top thickness 4 cm. This coffee table, from the center, was made in I...

20th century, Italian bronze planter or Gueridon Measures: cm W 56 x maximum diameter 51 x H 90. H on the floor of the wide 81 cm This refined planter was made in Italy, in Naples, towards the Early 20th Century in the style of «Retour d'Egypte». It consists of a tripod structure in finely chiselled gilded bronze and lacquered in tones. Each leg originates with scroll decorations and phytomorphic elements with golden details, supported by a sphinx with hairstyle, tail and golden wings. This sits on a curvilinear and wavy element decorated with golden ramage and a man’s head with a long beard of classic taste. The legs end with an injured foot and rest on a tripartite base that connects them. In the middle of each leg there is a bronze junction with curls and volutes that converges towards the others in the center, where a vertical element contributes to the momentum and gracefulness of the whole. The basin of the planter is in lacquered tin, with gold edges and reserves. The rising part of the tub has some holes that allow the breathability of the space. This tripod is inspired, with variations, to a famous model of the brothers Luigi and Antonio Manfredini, active in Milan at the beginning of the nineteenth century, financed by the viceroy of Italy Eugenio de Beauharnais, adopted son of Napoleon Bonaparte, for the opening of the real manufacture of Eugenia. The Retour d'Egypte style was widely echoed in France and Europe and originated from General Bonaparte’s military campaign in Egypt in 1799. The fashion of the Egyptians had already in Italy found a previous interpreter in the engraver Giovan Battista Piranesi, but the vast diffusion that also had in the furniture the Egyptian ornament...

This elegant drop-leaf cabinet was made in the early eighteenth century in walnut wood finely carved with rocaille motifs. It has a particular patina of the carvings, slightly darker...

20th Century, Venetian Baroque style carved and laquered giltwood bench. This small center bench was made in the Venetian baroque style around the early twentieth century. The struc...

19th Century, Pair of French Gitl Bronze Appliques This particular pair of appliques, in chiseled and gilded bronze, dates back to the first half of the nineteenth century. Made ...

XX century, Pair of Italian Oil Paintings with Chinoiserie Landscapes Provenance: Pietro Accorsi collection, Turin (Italy) This delightful pair ...

18th Century, Italian Louis XV Carved Giltwood Armchair Measurements: cm H 108 x W 73 x D 77, seat H 46 x D 51 x W 61 The splendid large armchair, in finely carved and gilded wood, was made in Genoa, in the Louis XV period, mid-18th century. The pentagonal back has a wavy and curvilinear profile, and is decorated with carvings with phytomorphic and rocaille elements. The armrests, slightly moved and decorated with carved leaves, end with a volute and from this fit the seat. The band under sitting is moved and decorated with rocaille elements, as well as the legs, arched, and curly feet. On the back, a repainting of the ochre tint was done. The back and seat are padded and lined in red velvet with fine ochre and grey decorations. The type of carving accords refinement and gracefulness to the armchair. The shaped backrest, the wavy armrests and the curved legs give elegance and charm to this seat, easily inserted in any furnishing context, both marked by modern and antique taste...

18th century, Italian Policrome Lacquered Wood Chest of Drawers This small and elegant chest of drawers was made in Genoa, northern Italy, around the middle of the eighteenth century. This model of dresser is inspired by the models that spread in France in the Louis XV period and to which all the cabinet makers were immediately inspired. It consists of four drawers, of which two smaller upper. It has a wooden structure entirely lacquered in light ocre decorated with floral and foliate decorations and compositions of still life of fruit in shades of red. The handles and mouthpieces of the locks are in finely chiseled burnished bronze, typical of the Louis XV era. The molded top is in Rosso Francia marble, a marble from abroad that at the time was very precious and expensive. The dresser has the front and the sides moved by the move line, legs thin and slightly curved. The front legs are embellished with burnished bronze chiseled tips shaped like acanthus leaf. This piece of furniture is quite rare because of its small size that make it easy to fit into any environment. Very decorative due to its sinuous lines and its fine decoration, it is suitable both next to antique furniture...

18th century, Italian baroque carved and giltwood mirror This refined mirror was made in Venice, Italy, in the eighteenth century and has the characteristic decoration of the Ven...

19Th Century, French Wood and Gilt Bronze Centre Table Measures: cm L 69 x P 41 x H 73. The legs have a max width of cm 48.5 x P 39 The center...

18th century, Italian Louis XIV Lacquered and giltwood console Measurements: cm W max 107 (W front 100) x D 56 x H 73 This elegant baroque console was made in the early 18th century, in the Louis XIV era. Said "a ¾" has particular dimensions, as it is slightly lower than traditional consoles...

18th century pair of Italian Louis XV carved Giltwood armchairs The elegant pair of armchairs was made in Turin, Italy, around the middle of the eighteenth century, Louis XV. Ea...

Second half of 18th century, pair of Venetian Louis XV carved and gilt wood mirrors This fine pair of mirrors was made in Baroque Era in Venice in the second half of the 18th cent...

19th century, pair of French lacquered and giltwood armchairs Measurements: cm H 98 x W 62 x D 65, seat H 44 cm This delightful pair of armchairs, in lacquered and gilded wood, ...

19th century, pair of Italian giltwood armchairs The refined pair of armchairs was made at the beginning of the 19th century in Venice (It...

Maximilian Pfeiler (active Rome, circa 1694-circa 1721 Budapest) Still life with peaches, grapes, figs and pomegranate Oil on canvas, Measures: cm H 63,5 x W 47. With frame cm ...

19th century, Pair of French Gilt Bronze Candlesticks, Louis XV style This pair of small candlesticks was made of gilded bronze in France in the 19th century, inspired by the Loui...

19th century, French chiselled and gilt bronze table clock This table clock was made of chiselled and gilded bronze in the early 19th centur...

18th Century, Italian Pair of Gilt Wood Louis XV Stools This fine pair of stools was made in Naples, Italy, around the middle of the eighteenth century, in the Louis XV era. Each st...

18th century, French wood centre desk Measurements: cm W 95 x D 63,5 x H 71,5 (maximum leg H 57,5) The elegant centre desk was built in northern France...

Pietro Bardellino (Italy - Naples, 1732 - 1806), attr., Sacred Heart of the Child Jesus Measurements: with frame, cm L 86 x H 99 x P 8; only the canvas, cm L 78 x H 64 The painting, made in oil on canvas, represents the Sacred Heart of the Child Jesus. Stylistically the work is attributable to Pietro Bardellino (Italy, Naples, 1732 - Naples, 1806), a pupil of Francesco De Mura and considered by critics one of the most gifted and sensitive exponents of the Rococo style in Naples. The canvas represents the Child Jesus, surrounded by flowers in an outdoor setting, while showing the sacred heart. The canvas has a well-balanced color and a strong sweetness of the child’s traits, which with the complicit gesture of the right hand, involves the viewer in the intimate and delicate sharing of the garden in which he sits. The roses, in addition to being a beautiful piece of still life, contribute to enrich the Christological message, being bearers of symbolic meanings. Marian attributes par excellence, are often side by side with Christ, whose thorns foreshadow the Passion. In the canvas, on the top left, two cherubim are observed: among them, according to the Old Testament, is God: the author therefore puts into place an iconographic and iconological hyperbole that amplifies its meaning. The iconographic theme of the Child Jesus with the Sacred Heart in his hand spread between the second half of the eighteenth century and the first of the following century. With the worship of the Sacred Heart of Jesus, the Catholic Church intends to honour the Heart of Jesus Christ, one of the organs symbolizing his humanity, which by intimate union with the Divinity, has the right to worship and love of the Saviour for men, of which His Heart is the symbol. It represents one of the fundamental devotions of Christian life, as it manifests the true face of God, who is prodigal and boundless love. It was the French mystic Saint Margaret Mary Alacoque...

Giovanni Michele Graneri (Italy, Turin 1708-1762) Bambocciata (Farmers dancing in front of the inn) The painting, made in oil on canvas, depicts a moment of celebration where some p...

18th century, Italian neoclassical carved and lacquered wood coffee table Elegant and refined coffee table, made in Tuscany (Italy) in the neoclassical era, circa end of the 18th ...

17th century, Italian hand carved walnut cupboard The cupboard, in good condition, is made of solid walnut wood decorated with carvings geometric design characteristic of the tast...

19th century, French Louis XV style, lacquered wood desk This elegant lacquered wooden desk was made in France between the end of the 19th centu...

19th century, pair of French gilt bronze and marble candelabra The pair of three-light candelabra was made in the 19th century in France in the Louis XVI style. Each candelabra c...

Antonio Calza (Italy, Verona, 1653-18th April 1725) "Battle between Christian and Turkish cavalry with castle" The painting depicts a bloody battle between Christian and Turkish cavalry. Characterized by dynamism, intensity of color and light, the main scene occupies the lower horizontal section of the canvas, optically interrupted by the black fumes of the shots from which emerge, on the left, the towers of a fortress. On the right, in the distance you can see the combat in progress in the countryside, beyond which you can see the pale presence of hills that create a fifth, marking the horizon. To frame the scene contributes to the left, against light and in the foreground, a portion of the wall. The painter, however, introduces a horse on the ground, of which we see only the back, a ruse to involve the observer making him become active and participate in the scene. In the foreground, lifeless bodies, wounded horses and, scattered on the ground, weapons and a drum enhance the drama of the clash. The excitement and expressive force, the intense chromatic range attentive to the conditions of light and the fine brushstrokes, decisive and dramatic, suggests the attribution to Antonio Calza, one of the most important painters of battles of the seventeenth century, excellent student and continuator of the greatest interpreter of the genre, Jacques Courtois called il Borgognone (Saint-Hyppolite 1621 - Rome 1676). Il Borgognone, although not having had a real school or direct students, places itself as a primary reference point by the Italian and foreign "battaglisti". The genre of battle painting found great success in the collections of the Italian and European nobility of the seventeenth and eighteenth centuries. The battles of the Italian Renaissance, in which the scene converged towards a precise protagonist, evolve towards a type of combat "without hero". The bloody realism of the details and the dynamic development of the narrative confuse the figure of the protagonist, when present, to give importance to the swirl of horses and armed fighters, among which, moreover, does not emerge a winner. The certain documents relating to the life and movements of Antonio Calza are scarce; it was equally difficult to reconstruct, from the critics, a catalogue of autograph works. Through paintings in private collections, in museums and paintings passed on the antiques market it has been possible to identify a copious corpus of works that can be traced back to his hand. The work of art historians, together with that of antique dealers, in conferring proper attributions in order to best outline the figure of Calza, continues but studies are still in progress. In this sense, the work of Giancarlo Sestieri should certainly be noted, who investigated the artistic production of the battaglisti and Calza, thus allowing the comparison of the numerous photographic works reported, to identify and recognize the stylistic qualities that distinguish the corpus of paintings assigned to him today. Antonio Calza was born in 1653 in Italy, in Verona and in 1664 he entered the school of Carlo Cignani in Bologna, dedicating himself to painting battles and landscapes. He then perfected in Rome, where he knew the works of the then undisputed head of the sector, Jacques Courtois called the Burgundian. In 1675 he returned to Verona and married an 88-year-old widow who, dying, left him a rich inheritance. Much appreciated by the nobility and the bourgeoisie, he received numerous commissions. Bartolomeo Dal Pozzo (Le Vite de' pittori, de gli scultori et architetti veronesi, 1718) praises "three great paintings of battles...

19th century, pair of French three-light gilt bronze appliques The refined pair of wall lamps was made in France in the 19th century in chiseled and gilded bronze. The quality and...

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

Alberto Carlieri (Italy-Roma 1672-1720), "Christ and the adulteress", Oil on canvas, with frame cm H 115 x L 151 x 6.5, only canvas H 98.5 x L 135 cm...

18th century, pair of Italian neoclassical lacquered and giltwood consoles This pair of consoles was made in the second half of the 18th century in the neoclassical era, in Naples (Italy) The carved and lacquered wooden consoles are composed of two half-moon tops lacquered with fake jasper. The band below the floor is sculpted in the ways of Classic grooved friezes, lacquered with light color and gold. The four legs are also grooved lacquered and golden and end in quadrangular feet. These consoles are very elegant and refined for the simplicity of their line and color. Consoles with two shelves are also quite rare. These allow greater flexibility in their use: in fact, in the lower shelf it is possible to expose, for example, vases with flowers, porcelain, books or other decorative objects in addition to what is placed above or offend the ability to lighten the top floor from too many objects. For their small size and especially for the particular depth of the floors, very narrow, and for the distinctly decorative character, these consoles are easily inserted in any environment. They are in fact perfect in the entrances or in the corridors, in a living room or a study, exposed in pairs or individually. The light color also makes them pleasant next to antique and modern furniture.

20th century, French wood Louis XVI style coffee table The elegant coffee table was made in France at the beginning of the 20th century in the Louis XVI style. The coffee table h...

17th century, Italian oil on canvas painting with battle between Christian and Turkish cavalry The oil on canvas painting depicts a battle between Christian and Turkish cavalry. C...

18th century, Italian Naples baroque carved wood console This console made of richly carved and gilded with “Mecca” wood, is a characteristic example...

19th century, pair of French git bronze candlesticks with Vestals These two chiselled and gilt bronze candlesticks were made at the beginning of the 19th century and are inspired...

Marzio Masturzo, attributed (Active in Italy - in Naples and Rome- in the second half of the 17th century) "Battle between cavalry and vessels with fortified city on the left" ...