Sestante in Ottone Firmasto H. Hughes Dei Primi Del '900 Con Scatola Originale

Almirez de bronce del S XIX con asas y decoraciones e inscripción de letras El palo mide 17cm.

L'Arte del Legno e del Mobile in Italia, by Silvano Colombo. Busto Arsizio: Bramante Editrice, 1981. First edition hardcover with dust jacket and Brodart cover. 169 color and 440 b&w...

Grande appendiabiti da parete interamente in legno con quattro appendini in ottone lavorati e decorati. Il mobile si presta benissimo per ingressi o saloni, adattabile ad ogni gener...

First class yacht binnacle by Kevin Hughes of New York and Boston. Varnished wood base with hinged door. A bronze clinometer is mounted to the base. Iron ...

Scala industriale primi del secolo ferro e legno - vintage Descrizione dell'oggetto Scala industriale struttura in ferro primi del secolo Dettagli sull'oggetto legno e ross...

Vintage 900 silver Belgiorno bracelet This stunning 900 silver bracelet features a sculptural design with curvilinear plates 2 cm wide and 3 mm thick. With a unique finish and full o...

Vintage Belgiorno 900 Silver Bracelet This Belgiorno 900 silver bracelet, with a distinctive link design from the 1970s, reflects classic Italian elegance and craftsmanship. The geom...

Belgiorno 900 Silver Designer Bracelet This dazzling Belgiorno bracelet, crafted in 900 silver, is an ode to minimalist elegance. Its rectangular links, with a subtle satin finish, h...

Second edition of this compendium of radical and post-modern design produced by the Tuscan-based firm Poltronova from its early collaborations with Ettore Sottsass, who became Art Director in 1958, through the heyday of 1960’s anti-design and to the mid-1970s. Features work by both Old Guard masters and emerging leaders of the Radical Movement including (in addition to Sottsass) Archizoom, Superstudio, Sergio Asti, Gae Aulenti, Angelo Mangiarotti, Allesandro Mendini, Massimo and Lella Vignelli, Gianni Ruffi, Giovanni Michelucchi, Gianfranco Fini, Mario Ceroli, Ugo Nespolo, Roberto Barni, Paolo Portoghesi, Gino Marotta, and the group De Pas, D’Urbino, and Lomazzi. Written by Pier Carlo Santini and published by Artigraf Edizioni in 1996, following its initial run in 1977. 4to, 181 pages with text in Italian; stiff printed wraps with printed brown paper dust jacket. Fully illustrated, primarily in black-and-white. Includes artist biographies. A scarce and significant resource chronicling the contribution of this avant-garde design firm. A crisp, collectible copy with only minor bumping to the dust jacket and extremities. From the estate of design guru Jim Walrod...

Rock Crystal and Gold Agnus Dei Late 16th, early 17th century Case made in Milan Agnus Dei in wax from the Vatican Among the most significant religious artifacts of the Renaissance, the Agnus Dei medallion exemplifies the height of Catholic devotional culture. Believed to hold sacramental blessings and even miraculous power, these sacred wax objects were crafted from the melted remains of the Paschal candle used in Rome and personally blessed by the Pope. Their rarity was compounded by their fragility—few survived intact, making them among the most coveted religious items of their time. This extraordinary example, dating from the late 16th to early 17th century, defied the odds of survival. Encased in its original rock crystal and gold setting, among the most luxurious materials available when it was made, the wax itself features subtle yet remarkably preserved imprints—an almost impossible feat given its delicate nature. It is the only known example outside of a museum, with possibly two others in institutional collections. Made for a patron of exceptional wealth, this late Renaissance masterpiece marries religious significance with extraordinary craftsmanship. The oval rock crystal frame encases the wax Agnus Dei, encircled by exquisite gold mounting with black enamel detailing and twisted gold cord. Rock crystal caryatids shaped as dog heads with gold collars transition into female busts that curve into scrolls, resting on teardrop elements adorned with vibrant enamel. Two elegant gold scrolls wrap around back-to-back dog muzzles at the top, crowned by an enamel-decorated knob and suspension ring—creating a devotional object of unparalleled artistic refinement. The fragile composition of Agnus Dei medallions meant that most were easily damaged—cracking, collecting dirt or crumbling over time. Their pristine whiteness held such sacred significance that in 1572, Pope Gregory XIII issued a Papal Bull...