Antique Baroque Drop-Leaf Secrétaire with Drawer Walnut XVIII Century - Lombardy, Third Quarter XVIII Century

Piedmont, Early XVIII Century

Cupboard supported by bracket feet (subsequently replaced), on the front it has two doors surmounted by as many drawers; pair of doors also in the upper body. In walnut, the front and sides are carved with tiles; locks replaced.

Italy, 1980s

Opi model ice bucket in plexiglass with lid and silver tongs. Tubular stainless steel hinge. Manufacturer's mark under the base. Silver and Ganci Carmelo Milano silversmith's marks engraved on the lid and on the tongs. 144 grams.

France, Early XX Century

Desk clock in bronze and beveled glass. Dial with Arabic numerals and central medallion in pierced bronze.

England, 1922

Box in silver worked with a burin. On the lid a neutral rectangular plate. Wooden interior with compartments. Silver marks engraved on the side.

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.

Parma, Mid XVIII Century

Walnut chest of drawers, curved front with two drawers, apron and feet carved with leaf motifs. Poplar interior, fir back. Contemporary handles and escutcheons, replaced. Restoration. Parma, mid-18th century.

Italy, XX Century

Wooden vessel with British flags built entirely by hand.

Italy, 1960s

Pair of perforated and painted ceramic display plates with relief decoration and gilded edges. Mythological scenes are depicted in the reserves and in the hollow. On the brim are cupids, birds and gilded leafy scrolls. Manufacturer's mark on the back.

Italy, 1960s-1970s

Chromed metal ice bucket with twisted decoration and handle. Manufacturer's mark engraved under the base.

Emilia Romagna, Early XVIII Century

Baroque Emilian sideboard in walnut from the early 18th century with subsequent reductions and modifications. Top and front decorated with metal studs, two drawers in the band, pair of doors. Sides embellished with reserves. Poplar interior.