Pair of Wooden Chairs, Lombardy, 17th Century

Walnut and marble table North of Italy, 17th century Wood and black marble H 80,5 x L 114 x P 58 cm This elegant table features a one single solid marble top directly mounted on f...

Karin Mobring Safari chair « Diana » 1970 Leather, linen, Pine 70 x 63 x 60 cm The frame is made in wood and upholdery is made in Swedish ecru linen. These Safari chairs are a design by Karin Mobring and they were produced in the 70s. This model is also called the "Diana Chair...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

Rare pair of Gothic Columns - Olivetani Marble Italy, 14th - 15th century Heraldic shields on the capitals of the Order of the Olivetani H 220 et 225 cm x W 25 x D 25 cm H 86 2/3 & 8...

This is a pair of antique Venetian court chairs. An Italian, hand-carved oak decorative seat, dating to the Victorian period, circa 1890. Fascinati...

Two Baroque chairs made in Stockholm around the year 1700. The chairs are upholstered in antique leather and feature turned legs and an H-stretcher.

Pair of Romantic chairs 19th century In carved oak wood, hollow back, cane seats. Decorated with plant motifs. Signs of use. Dimensions.: 101 x 47 x 42 cm.

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...