Neoclassical Style Fireplace Wood Italy XIX Century - Italy, last quarter of the nineteenth century

Italy, Late XIX Century

Pair of Louis Philippe walnut chests of drawers, four drawer front, white Carrara marble tops, onion-shaped feet. Cherry interiors, missing keyholes and keys, Italy, second quarter of the 19th century.

Italy, Late XIX Century

Gallant scene in white enamel porcelain depicting a couple under a rococo style palm tree with an embankment base with plant motifs. Under enamel "crowned N" mark, Capodimonte manufacture.

Girl with Roses

Oil on cardboard. Signed lower left. Tito Corbella established himself as a painter but above all as a poster artist, creating posters and postcards. In his production, female subjects prevail, elegant and romantic figures, created with delicate colors. The work is presented in a period frame.

Italy, Early XIX Century

Restoration chest of drawers in walnut, three drawers in front, slightly protruding drawer under the top, truncated conical feet, interior and back in poplar. Top replaced. Italy, early 19th century.

Italy, Mid XIX Century

Walnut étagère with six shelves, turned legs, replaced feet. Italy, mid-19th century.

Italy, Late XIX Century

Umbertino work table in walnut and walnut veneer, spool legs and turned crosspiece. Poplar interior and undercounter mirror. Italy, late 19th century.

Italy, Late XIX Century

Carved and gilded wooden torch holder. Italy, late 19th century.

Oil on canvas. Roman school of the 17th century. The bloody episode of the sacrifice of Iphigenia, also told in the Iliad, originates from the wrath of Artemis, goddess of the hunt, who, offended by Agamemnon for his boasting as a hunter, prevents the Greek fleet from sailing towards Troy; the soothsayer Calchas then prophesies that the wrath of the goddess can only be appeased by sacrificing the youngest daughter of King Agamemnon himself, Iphigenia, and so it happens. In the centre of the scene the girl is depicted prostrate at the foot of the sacrificial altar, while she is being prepared by the priests according to the rituals; in the left corner we can glimpse her father Agamemnon (with the crown abandoned at his feet) with her mother Clytemnestra who, in despair, do not dare to look. Above, the goddess Artemis watches the scene, recognizable by the moon on her hair, the bow she holds in her hand and a deer, her symbolic animal, at the foot of the canopy: according to a less violent version of the myth, at the moment of the sacrifice Iphigenia is replaced by Artemis with a doe, as the presence of the animal in this representation might indicate. The work presented here derives from the painting by Pietro Testa, published between 1640 and 1642 (now at the Galleria Spada in Rome) and from his engravings: the entire composition of the figures is taken from it, although modified in the clothes, colors and various details. Restored and relined, the painting is presented in an early 20th-century frame, contemporary with the restoration.

Nothern Italy, Late XIX - Early XX Century

Sideboard with Art Nouveau upper part made of larch wood, Northern Italy late 19th - early 20th century. Riser with three-door front with artistic stained glass panes; sideboard body with marbled-effect lacquered top, front with pair of side doors and row of six central drawers. Decorated with carvings depicting fans and lozenge elements.

Italy, Mid XIX Century

Wooden candelabra, carved, lacquered and gilded with mecca. Italy, mid-19th century.

England, First Quarter XIX Century

English George IV flap with upper display cabinet, England first quarter of the 19th century. Showcase in early twentieth century style with two doors with blown glass; on the front of the flap there is a concealed cabinet door with drawers and morocco insert, pair of side pulls and five drawers. Both the door and the cabinet have inlay decorations in maple and green-stained maple. Further embellished with maple threads and mahogany borders. Oak interior. There are small deficiencies in the veneering.