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1 - 27  of 27 LOTS
ALTAR
1

ALTAR

ALTAR ROMAN, 2 ND TO 3 RD CENTURY AD Fine grain white marble, sculpted, polished, and finished off [..]
1

ALTAR

ALTAR ROMAN, 2 ND TO 3 RD CENTURY AD Fine grain white marble, sculpted, polished, and finished off [..]
Estimate
€ 20.000 / 30.000
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STATUE OF ARTEMIS
2

STATUE OF ARTEMIS

STATUE OF ARTEMIS NEO-ATTIC CRAFTSMANSHIP, END OF THE 1 ST CENTURY B.C. Medium grain white marble, sculpted [..]
2

STATUE OF ARTEMIS

STATUE OF ARTEMIS NEO-ATTIC CRAFTSMANSHIP, END OF THE 1 ST CENTURY B.C. Medium grain white marble, sculpted [..]
Estimate
€ 80.000 / 120.000
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Amykos Painter
3

Amykos Painter

Amykos Painter (active 430-410 BC) LARGE RED-FIGURE PSEUDO-PANATHENAIC AMPHORA, LUCANIAN Orange clay, [..]
3

Amykos Painter

Amykos Painter (active 430-410 BC) LARGE RED-FIGURE PSEUDO-PANATHENAIC AMPHORA, LUCANIAN Orange clay, [..]
Estimate
€ 30.000 / 50.000
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David Willaume I
4

David Willaume I

David Willaume I (Metz 1658-London 1744) EWER, LONDON, 1700             [..]
4

David Willaume I

David Willaume I (Metz 1658-London 1744) EWER, LONDON, 1700             [..]
Estimate
€ 10.000 / 15.000
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Ayme Videau
5

Ayme Videau

Ayme Videau (active from 1723 to 1775) EWER WITH BASIN, LONDON, 1755 in vermeil engraved and [..]
5

Ayme Videau

Ayme Videau (active from 1723 to 1775) EWER WITH BASIN, LONDON, 1755 in vermeil engraved and [..]
Estimate
€ 28.000 / 35.000
Details
Paul Storr
6

Paul Storr

  Paul Storr (Westminster 1771 - Tooting 1844) CENTERPIECE, LONDON, 1805 silver, 27 [..]
6

Paul Storr

  Paul Storr (Westminster 1771 - Tooting 1844) CENTERPIECE, LONDON, 1805 silver, 27 [..]
Estimate
€ 12.000 / 18.000
Details
Gio Ponti
7

Gio Ponti

Gio Ponti (Milan 1891-1972) COFFEE TABLE, 1937 Chestnut briar root and crystal Made by Giordano [..]
7

Gio Ponti

Gio Ponti (Milan 1891-1972) COFFEE TABLE, 1937 Chestnut briar root and crystal Made by Giordano [..]
Estimate
€ 30.000 / 45.000
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GIOVANNI BATTISTA PIAZZETTA
8

GIOVANNI BATTISTA PIAZZETTA

GIOVANNI BATTISTA PIAZZETTA (Venezia 1683 – 1753) Coppia di musicanti Gessetto nero [..]
8
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GIOVANNI BATTISTA PIAZZETTA

GIOVANNI BATTISTA PIAZZETTA (Venezia 1683 – 1753) Coppia di musicanti Gessetto nero [..]
Estimate
€ 25.000 / 35.000
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Limoges, mid-16th century
9

Limoges, mid-16th century

Limoges, mid-16 th century JUNO REJECTING PSYCHE Copper plate with enamel and gold, 21 cm diameter [..]
9

Limoges, mid-16th century

Limoges, mid-16 th century JUNO REJECTING PSYCHE Copper plate with enamel and gold, 21 cm diameter [..]
Estimate
€ 12.000 / 18.000
Details
Ginori Manufactory, Doccia
10

Ginori Manufactory, Doccia

Ginori Manufactory, Doccia SNUFFBOX KNOWN AS “OF THE HERESIARCHS”, CA. 1760-1765 Polychrome [..]
10

Ginori Manufactory, Doccia

Ginori Manufactory, Doccia SNUFFBOX KNOWN AS “OF THE HERESIARCHS”, CA. 1760-1765 Polychrome [..]
Estimate
€ 20.000 / 30.000
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Imperial Lapidary Works
11

Imperial Lapidary Works

Imperial Lapidary Works PAIR OF ORNAMENTAL VASES, RUSSIA, FIRST QUARTER OF THE 19TH CENTURY Malachite [..]
11

Imperial Lapidary Works

Imperial Lapidary Works PAIR OF ORNAMENTAL VASES, RUSSIA, FIRST QUARTER OF THE 19TH CENTURY Malachite [..]
Estimate
€ 20.000 / 30.000
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CABINET, NAPLES, SECOND HALF OF THE 17TH CENTURY
12

CABINET, NAPLES, SECOND HALF OF THE 17TH CENTURY

CABINET, NAPLES, SECOND HALF OF THE 17 TH  CENTURY Carved wood, veneered ebony and tortoiseshell [..]
12

CABINET, NAPLES, SECOND HALF OF THE 17TH CENTURY

CABINET, NAPLES, SECOND HALF OF THE 17 TH  CENTURY Carved wood, veneered ebony and tortoiseshell [..]
Estimate
€ 80.000 / 120.000
Details
A LOUIS XVI PAIR OF GIRANDOLES, FRANCE, CIRCA 1775
13

A LOUIS XVI PAIR OF GIRANDOLES, FRANCE, CIRCA 1775

A LOUIS XVI PAIR OF GIRANDOLES, FRANCE, CIRCA 1775 Green granite and gilded and chiselled bronze; vases [..]
13

A LOUIS XVI PAIR OF GIRANDOLES, FRANCE, CIRCA 1775

A LOUIS XVI PAIR OF GIRANDOLES, FRANCE, CIRCA 1775 Green granite and gilded and chiselled bronze; vases [..]
Estimate
€ 80.000 / 120.000
Details
RARE CENTRE DESK, LOMBARDY, THIRD QUARTER OF THE 18TH CENTURY
14

RARE CENTRE DESK, LOMBARDY, THIRD QUARTER OF THE 18TH CENTURY

RARE CENTRE DESK, LOMBARDY, THIRD QUARTER OF THE 18TH CENTURY Veneered chestnut and chestnut briar, rounded [..]
14

RARE CENTRE DESK, LOMBARDY, THIRD QUARTER OF THE 18TH CENTURY

RARE CENTRE DESK, LOMBARDY, THIRD QUARTER OF THE 18TH CENTURY Veneered chestnut and chestnut briar, rounded [..]
Estimate
€ 60.000 / 90.000
Details
PAIR OF MIRRORS, VENICE, SECOND QUARTER OF THE 18TH CENTURYPAIR OF MIRRORS, VENICE, SECOND QUARTER OF THE 18TH CENTURY in ebonized, lacquered and gilded wood with mother of pearl marquetry and foliage in sculpted and gilded wood, 168x98 cm This pair of frames is a typical and refined expression of the early rococo atmosphere in Venice during the second quarter of the 18th century. This was a moment in time in which the gilded mirror passed from being mostly used for private grooming to constituting a furnishing element in its own right, over a progressive process of emancipation. During this still transitory phase, during which each city exhibited its own decorative techniques, Venice became one of the main protagonists, laying the foundation for a decorative style that will constitute a key influence for the coming decades. Over the course of the 18th century, the creation of these artefacts is so deeply rooted in the venetian lagoon that within the guild of the marangoni, or woodworkers, there developed a specific branch of highly specialized master carvers, the marangoni de soaza. At the same time, there was a multiplication of workshops managed by soaza artisans: 36 workshops with 94 masters, 124 workers and 24 helpers according to a 1773 statistic polled by the magistrates and trade regulators of the Savi della Mercanzia. The venetian masters did not shy away from letting their creativity run loose, using an ornamentation technique at which they excelled, enamelling, in which the decoration, drawn on a monochrome stucco base is then polished with a layer of varnish, called sandracca. It was in this way that the same kinds of ornamentations which decorated chests and other furnishings went on to embellish mirror-frames, animating them with exotic themes, or chinoiserie. A particular predilection is reserved for decorations modelled after flowers and of oriental inspiration which, drawn vividly and with narrative gusto, stand out with their rich colours against the neutral, often dark backgrounds, alternated with branches and leaves and creating an exuberant but at the same time composedly elegant picture. When a given commission is particularly important, these decorations may also be further enriched by evocative pearl inlays, as with the red and gold lacquered wood frame made in Venice at the end of the 17th century and currently held in the Gemäldegalerie in Berlin (fig. 1), or the one probably dating from the early 18th century and held in a private collection (fig. 2). It is also the case of our two frames, which were probably requested by an important family for a significant occasion. The combination of lacquer and pearl was a venetian prerogative between the late 17th and early 18th centuries. Many carvers produced this kind of decoration, among whom we must mention the architect, engraver, carver, and inlayer Domenico Rossetti, famous for his “works with pearl and in the Chinese style”. This pictorial richness was paralleled by an equal sculptural vivacity, which expressed itself – as well as in the creation of frames in a wide array of styles and shapes – in adding further elements of carved wood to the frames. Additions in sculpted and gilded wood are often attached to the four outer corners of the frame. We can see this in our pair’s ogival motif, creating a kind of counter-frame which was supposed to make the mirror stand out against the wall. But a greater importance is without doubt given to the coping, a necessary crowning of the upper part of the mirror. In the carving of this component, the venetian masters let their creative imagination run wild, showing off their whole repertory of leaves, shells, festoons, and, as in the present case, cartouches, often made so that they would hold a family crest or, as is the case here, decorated with the same pictorial motifs embellished with pearl that are found on the main body of the frame. Almost as if replying to the painted floral motifs, the coping is populated by elements in painted and carved wood, made with a mastery fully on par with that of the expert and imaginative master painters. In our mirror-frames, flower and fruit alternated with leafy folds frame the central coping, the asymmetrical position of which creates a decentred effect typical of the 18th century, whilst the four corners of the frames are marked – symmetrically this time – by small sculpted and polished folders in the middle of the pearl component. And whilst often in this kind of mirror-frame the sculptural element tends to dominate over the pictorial one, concentrating the focal point of attention on the coping, here the overall composition is characterized by a marked equilibrium, in which all elements, both sculptural and pictorial, cohabit and form a harmonious whole. In this sense, these mirror-frames can be fully included in early rococo production, when the festive and daring baroque evolved into lines which – whilst still dominated by an inventive force and capricious exuberance – reflected the period’s more graceful and refined taste. During these few years, many sculptors and woodcarvers place their art in the service of frame-making, including Antonio Gai, Antonio Corradini, or Andrea Brustolon, noted for having made multiple frames alongside the furnishings for the Venier family, now held in Palazzo Rezzonico. Following his drawing, the luxurious throne for the church of the Gesuati in Venice was made in the early 18th century (fig. 3). Its precious pearl inlays, together with its folds and rich wooden sculpted and gilded flowers, constitute one of the first examples of a decorative taste which will exercise much influence over the following decades. Our mirror-frames, thus, may be included precisely in this current. Comparative literature G. Mariacher, Specchiere italiane e cornici da specchio, dal XV al XIX secolo, Milan 1963, pp. 16-24; E. Colle, Il mobile barocco in Italia, Milan 2000, p. 332; C. Santini, Mille mobili veneti. L’arredo domestico in Veneto dal sec. XV al sec. XIX, III, Modena 2002, pp. 246-247 nn. 424-426 PAIR OF MIRRORS, VENICE, SECOND QUARTER OF THE 18TH CENTURY in ebonized, lacquered and gilded wood with mother of pearl marquetry and foliage in sculpted and gilded wood, 168x98 cm This pair of frames is a typical and refined expression of the early rococo atmosphere in Venice during the second quarter of the 18th century. This was a moment in time in which the gilded mirror passed from being mostly used for private grooming to constituting a furnishing element in its own right, over a progressive process of emancipation. During this still transitory phase, during which each city exhibited its own decorative techniques, Venice became one of the main protagonists, laying the foundation for a decorative style that will constitute a key influence for the coming decades. Over the course of the 18th century, the creation of these artefacts is so deeply rooted in the venetian lagoon that within the guild of the marangoni, or woodworkers, there developed a specific branch of highly specialized master carvers, the marangoni de soaza. At the same time, there was a multiplication of workshops managed by soaza artisans: 36 workshops with 94 masters, 124 workers and 24 helpers according to a 1773 statistic polled by the magistrates and trade regulators of the Savi della Mercanzia. The venetian masters did not shy away from letting their creativity run loose, using an ornamentation technique at which they excelled, enamelling, in which the decoration, drawn on a monochrome stucco base is then polished with a layer of varnish, called sandracca. It was in this way that the same kinds of ornamentations which decorated chests and other furnishings went on to embellish mirror-frames, animating them with exotic themes, or chinoiserie. A particular predilection is reserved for decorations modelled after flowers and of oriental inspiration which, drawn vividly and with narrative gusto, stand out with their rich colours against the neutral, often dark backgrounds, alternated with branches and leaves and creating an exuberant but at the same time composedly elegant picture. When a given commission is particularly important, these decorations may also be further enriched by evocative pearl inlays, as with the red and gold lacquered wood frame made in Venice at the end of the 17th century and currently held in the Gemäldegalerie in Berlin (fig. 1), or the one probably dating from the early 18th century and held in a private collection (fig. 2). It is also the case of our two frames, which were probably requested by an important family for a significant occasion. The combination of lacquer and pearl was a venetian prerogative between the late 17th and early 18th centuries. Many carvers produced this kind of decoration, among whom we must mention the architect, engraver, carver, and inlayer Domenico Rossetti, famous for his “works with pearl and in the Chinese style”. This pictorial richness was paralleled by an equal sculptural vivacity, which expressed itself – as well as in the creation of frames in a wide array of styles and shapes – in adding further elements of carved wood to the frames. Additions in sculpted and gilded wood are often attached to the four outer corners of the frame. We can see this in our pair’s ogival motif, creating a kind of counter-frame which was supposed to make the mirror stand out against the wall. But a greater importance is without doubt given to the coping, a necessary crowning of the upper part of the mirror. In the carving of this component, the venetian masters let their creative imagination run wild, showing off their whole repertory of leaves, shells, festoons, and, as in the present case, cartouches, often made so that they would hold a family crest or, as is the case here, decorated with the same pictorial motifs embellished with pearl that are found on the main body of the frame. Almost as if replying to the painted floral motifs, the coping is populated by elements in painted and carved wood, made with a mastery fully on par with that of the expert and imaginative master painters. In our mirror-frames, flower and fruit alternated with leafy folds frame the central coping, the asymmetrical position of which creates a decentred effect typical of the 18th century, whilst the four corners of the frames are marked – symmetrically this time – by small sculpted and polished folders in the middle of the pearl component. And whilst often in this kind of mirror-frame the sculptural element tends to dominate over the pictorial one, concentrating the focal point of attention on the coping, here the overall composition is characterized by a marked equilibrium, in which all elements, both sculptural and pictorial, cohabit and form a harmonious whole. In this sense, these mirror-frames can be fully included in early rococo production, when the festive and daring baroque evolved into lines which – whilst still dominated by an inventive force and capricious exuberance – reflected the period’s more graceful and refined taste. During these few years, many sculptors and woodcarvers place their art in the service of frame-making, including Antonio Gai, Antonio Corradini, or Andrea Brustolon, noted for having made multiple frames alongside the furnishings for the Venier family, now held in Palazzo Rezzonico. Following his drawing, the luxurious throne for the church of the Gesuati in Venice was made in the early 18th century (fig. 3). Its precious pearl inlays, together with its folds and rich wooden sculpted and gilded flowers, constitute one of the first examples of a decorative taste which will exercise much influence over the following decades. Our mirror-frames, thus, may be included precisely in this current. Comparative literature G. Mariacher, Specchiere italiane e cornici da specchio, dal XV al XIX secolo, Milan 1963, pp. 16-24; E. Colle, Il mobile barocco in Italia, Milan 2000, p. 332; C. Santini, Mille mobili veneti. L’arredo domestico in Veneto dal sec. XV al sec. XIX, III, Modena 2002, pp. 246-247 nn. 424-426
15

PAIR OF MIRRORS, VENICE, SECOND QUARTER OF THE 18TH CENTURYPAIR OF MIRRORS, VENICE, SECOND QUARTER OF THE 18TH CENTURY in ebonized, lacquered and gilded wood with mother of pearl marquetry and foliage in sculpted and gilded wood, 168x98 cm This pair of frames is a typical and refined expression of the early rococo atmosphere in Venice during the second quarter of the 18th century. This was a moment in time in which the gilded mirror passed from being mostly used for private grooming to constituting a furnishing element in its own right, over a progressive process of emancipation. During this still transitory phase, during which each city exhibited its own decorative techniques, Venice became one of the main protagonists, laying the foundation for a decorative style that will constitute a key influence for the coming decades. Over the course of the 18th century, the creation of these artefacts is so deeply rooted in the venetian lagoon that within the guild of the marangoni, or woodworkers, there developed a specific branch of highly specialized master carvers, the marangoni de soaza. At the same time, there was a multiplication of workshops managed by soaza artisans: 36 workshops with 94 masters, 124 workers and 24 helpers according to a 1773 statistic polled by the magistrates and trade regulators of the Savi della Mercanzia. The venetian masters did not shy away from letting their creativity run loose, using an ornamentation technique at which they excelled, enamelling, in which the decoration, drawn on a monochrome stucco base is then polished with a layer of varnish, called sandracca. It was in this way that the same kinds of ornamentations which decorated chests and other furnishings went on to embellish mirror-frames, animating them with exotic themes, or chinoiserie. A particular predilection is reserved for decorations modelled after flowers and of oriental inspiration which, drawn vividly and with narrative gusto, stand out with their rich colours against the neutral, often dark backgrounds, alternated with branches and leaves and creating an exuberant but at the same time composedly elegant picture. When a given commission is particularly important, these decorations may also be further enriched by evocative pearl inlays, as with the red and gold lacquered wood frame made in Venice at the end of the 17th century and currently held in the Gemäldegalerie in Berlin (fig. 1), or the one probably dating from the early 18th century and held in a private collection (fig. 2). It is also the case of our two frames, which were probably requested by an important family for a significant occasion. The combination of lacquer and pearl was a venetian prerogative between the late 17th and early 18th centuries. Many carvers produced this kind of decoration, among whom we must mention the architect, engraver, carver, and inlayer Domenico Rossetti, famous for his “works with pearl and in the Chinese style”. This pictorial richness was paralleled by an equal sculptural vivacity, which expressed itself – as well as in the creation of frames in a wide array of styles and shapes – in adding further elements of carved wood to the frames. Additions in sculpted and gilded wood are often attached to the four outer corners of the frame. We can see this in our pair’s ogival motif, creating a kind of counter-frame which was supposed to make the mirror stand out against the wall. But a greater importance is without doubt given to the coping, a necessary crowning of the upper part of the mirror. In the carving of this component, the venetian masters let their creative imagination run wild, showing off their whole repertory of leaves, shells, festoons, and, as in the present case, cartouches, often made so that they would hold a family crest or, as is the case here, decorated with the same pictorial motifs embellished with pearl that are found on the main body of the frame. Almost as if replying to the painted floral motifs, the coping is populated by elements in painted and carved wood, made with a mastery fully on par with that of the expert and imaginative master painters. In our mirror-frames, flower and fruit alternated with leafy folds frame the central coping, the asymmetrical position of which creates a decentred effect typical of the 18th century, whilst the four corners of the frames are marked – symmetrically this time – by small sculpted and polished folders in the middle of the pearl component. And whilst often in this kind of mirror-frame the sculptural element tends to dominate over the pictorial one, concentrating the focal point of attention on the coping, here the overall composition is characterized by a marked equilibrium, in which all elements, both sculptural and pictorial, cohabit and form a harmonious whole. In this sense, these mirror-frames can be fully included in early rococo production, when the festive and daring baroque evolved into lines which – whilst still dominated by an inventive force and capricious exuberance – reflected the period’s more graceful and refined taste. During these few years, many sculptors and woodcarvers place their art in the service of frame-making, including Antonio Gai, Antonio Corradini, or Andrea Brustolon, noted for having made multiple frames alongside the furnishings for the Venier family, now held in Palazzo Rezzonico. Following his drawing, the luxurious throne for the church of the Gesuati in Venice was made in the early 18th century (fig. 3). Its precious pearl inlays, together with its folds and rich wooden sculpted and gilded flowers, constitute one of the first examples of a decorative taste which will exercise much influence over the following decades. Our mirror-frames, thus, may be included precisely in this current. Comparative literature G. Mariacher, Specchiere italiane e cornici da specchio, dal XV al XIX secolo, Milan 1963, pp. 16-24; E. Colle, Il mobile barocco in Italia, Milan 2000, p. 332; C. Santini, Mille mobili veneti. L’arredo domestico in Veneto dal sec. XV al sec. XIX, III, Modena 2002, pp. 246-247 nn. 424-426 PAIR OF MIRRORS, VENICE, SECOND QUARTER OF THE 18TH CENTURY in ebonized, lacquered and gilded wood with mother of pearl marquetry and foliage in sculpted and gilded wood, 168x98 cm This pair of frames is a typical and refined expression of the early rococo atmosphere in Venice during the second quarter of the 18th century. This was a moment in time in which the gilded mirror passed from being mostly used for private grooming to constituting a furnishing element in its own right, over a progressive process of emancipation. During this still transitory phase, during which each city exhibited its own decorative techniques, Venice became one of the main protagonists, laying the foundation for a decorative style that will constitute a key influence for the coming decades. Over the course of the 18th century, the creation of these artefacts is so deeply rooted in the venetian lagoon that within the guild of the marangoni, or woodworkers, there developed a specific branch of highly specialized master carvers, the marangoni de soaza. At the same time, there was a multiplication of workshops managed by soaza artisans: 36 workshops with 94 masters, 124 workers and 24 helpers according to a 1773 statistic polled by the magistrates and trade regulators of the Savi della Mercanzia. The venetian masters did not shy away from letting their creativity run loose, using an ornamentation technique at which they excelled, enamelling, in which the decoration, drawn on a monochrome stucco base is then polished with a layer of varnish, called sandracca. It was in this way that the same kinds of ornamentations which decorated chests and other furnishings went on to embellish mirror-frames, animating them with exotic themes, or chinoiserie. A particular predilection is reserved for decorations modelled after flowers and of oriental inspiration which, drawn vividly and with narrative gusto, stand out with their rich colours against the neutral, often dark backgrounds, alternated with branches and leaves and creating an exuberant but at the same time composedly elegant picture. When a given commission is particularly important, these decorations may also be further enriched by evocative pearl inlays, as with the red and gold lacquered wood frame made in Venice at the end of the 17th century and currently held in the Gemäldegalerie in Berlin (fig. 1), or the one probably dating from the early 18th century and held in a private collection (fig. 2). It is also the case of our two frames, which were probably requested by an important family for a significant occasion. The combination of lacquer and pearl was a venetian prerogative between the late 17th and early 18th centuries. Many carvers produced this kind of decoration, among whom we must mention the architect, engraver, carver, and inlayer Domenico Rossetti, famous for his “works with pearl and in the Chinese style”. This pictorial richness was paralleled by an equal sculptural vivacity, which expressed itself – as well as in the creation of frames in a wide array of styles and shapes – in adding further elements of carved wood to the frames. Additions in sculpted and gilded wood are often attached to the four outer corners of the frame. We can see this in our pair’s ogival motif, creating a kind of counter-frame which was supposed to make the mirror stand out against the wall. But a greater importance is without doubt given to the coping, a necessary crowning of the upper part of the mirror. In the carving of this component, the venetian masters let their creative imagination run wild, showing off their whole repertory of leaves, shells, festoons, and, as in the present case, cartouches, often made so that they would hold a family crest or, as is the case here, decorated with the same pictorial motifs embellished with pearl that are found on the main body of the frame. Almost as if replying to the painted floral motifs, the coping is populated by elements in painted and carved wood, made with a mastery fully on par with that of the expert and imaginative master painters. In our mirror-frames, flower and fruit alternated with leafy folds frame the central coping, the asymmetrical position of which creates a decentred effect typical of the 18th century, whilst the four corners of the frames are marked – symmetrically this time – by small sculpted and polished folders in the middle of the pearl component. And whilst often in this kind of mirror-frame the sculptural element tends to dominate over the pictorial one, concentrating the focal point of attention on the coping, here the overall composition is characterized by a marked equilibrium, in which all elements, both sculptural and pictorial, cohabit and form a harmonious whole. In this sense, these mirror-frames can be fully included in early rococo production, when the festive and daring baroque evolved into lines which – whilst still dominated by an inventive force and capricious exuberance – reflected the period’s more graceful and refined taste. During these few years, many sculptors and woodcarvers place their art in the service of frame-making, including Antonio Gai, Antonio Corradini, or Andrea Brustolon, noted for having made multiple frames alongside the furnishings for the Venier family, now held in Palazzo Rezzonico. Following his drawing, the luxurious throne for the church of the Gesuati in Venice was made in the early 18th century (fig. 3). Its precious pearl inlays, together with its folds and rich wooden sculpted and gilded flowers, constitute one of the first examples of a decorative taste which will exercise much influence over the following decades. Our mirror-frames, thus, may be included precisely in this current. Comparative literature G. Mariacher, Specchiere italiane e cornici da specchio, dal XV al XIX secolo, Milan 1963, pp. 16-24; E. Colle, Il mobile barocco in Italia, Milan 2000, p. 332; C. Santini, Mille mobili veneti. L’arredo domestico in Veneto dal sec. XV al sec. XIX, III, Modena 2002, pp. 246-247 nn. 424-426

PAIR OF MIRRORS, VENICE, SECOND QUARTER OF THE 18TH CENTURY in ebonized, lacquered and gilded wood [..]
15

PAIR OF MIRRORS, VENICE, SECOND QUARTER OF THE 18TH CENTURYPAIR OF MIRRORS, VENICE, SECOND QUARTER OF [..]

PAIR OF MIRRORS, VENICE, SECOND QUARTER OF THE 18TH CENTURY in ebonized, lacquered and gilded wood [..]
Estimate
€ 70.000 / 100.000
Details
Regia Scuola di incisione sul corallo
16

Regia Scuola di incisione sul corallo

Regia Scuola di incisione sul corallo EBONY, LAVASTONE, GILT BRONZE, MOTHER-OF-PEARL, TORTOISESHELL [..]
16

Regia Scuola di incisione sul corallo

Regia Scuola di incisione sul corallo EBONY, LAVASTONE, GILT BRONZE, MOTHER-OF-PEARL, TORTOISESHELL [..]
Estimate
€ 40.000 / 60.000
Sold
Sign in or register
Details
AN EXTREMELY FINE AND RARE STAINLESS STEEL AND 18K PINK GOLD CHRONOGRAPH WRISTWATCH, PATEK PHILIPPE , REF. 130, MOVEMENT NO. 867’038, CASE NO. 630’157, MANUFACTURED IN 1946, WITH PATEK PHILIPPE EXTRACT FROM THE ARCHIVE
17

AN EXTREMELY FINE AND RARE STAINLESS STEEL AND 18K PINK GOLD CHRONOGRAPH WRISTWATCH, PATEK PHILIPPE , REF. 130, MOVEMENT NO. 867’038, CASE NO. 630’157, MANUFACTURED IN 1946, WITH PATEK PHILIPPE EXTRACT FROM THE ARCHIVE

RARO OROLOGIO DA POLSO CON CRONOGRAFO PATEK PHILIPPE, REF. 130, MOV. N. 867’038, CASSA N. 630’157, [..]
17

AN EXTREMELY FINE AND RARE STAINLESS STEEL AND 18K PINK GOLD CHRONOGRAPH WRISTWATCH, PATEK PHILIPPE [..]

RARO OROLOGIO DA POLSO CON CRONOGRAFO PATEK PHILIPPE, REF. 130, MOV. N. 867’038, CASSA N. 630’157, [..]
Estimate
€ 130.000 / 180.000
Details
Domenico Pellegrini
18

Domenico Pellegrini

Domenico Pellegrini (Galliera Veneta 1759 - Rome 1840) PORTRAIT OF FILIPPO AND COSTANZA DE MARINIS [..]
18

Domenico Pellegrini

Domenico Pellegrini (Galliera Veneta 1759 - Rome 1840) PORTRAIT OF FILIPPO AND COSTANZA DE MARINIS [..]
Estimate
€ 60.000 / 80.000
Details
Antonio Fontanesi
19

Antonio Fontanesi

Antonio Fontanesi (Reggio nell'Emilia 1818 - Turin 1882) IL GUADO oil on panel, 78,5x115 cm [..]
19

Antonio Fontanesi

Antonio Fontanesi (Reggio nell'Emilia 1818 - Turin 1882) IL GUADO oil on panel, 78,5x115 cm [..]
Estimate
€ 130.000 / 160.000
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Eugene Boudin
20

Eugene Boudin

Eugène Boudin (Honfleur 1824 - Deauville 1898) TROUVILLE, LE RIVAGE oil on canvas, 55,5x92,5 [..]
20
Free Bid

Eugene Boudin

Eugène Boudin (Honfleur 1824 - Deauville 1898) TROUVILLE, LE RIVAGE oil on canvas, 55,5x92,5 [..]
Estimate
€ 100.000 / 150.000
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Sir William Hamilton
21

Sir William Hamilton

Sir William Hamilton (Henley-on-Thames 1730 - London 1803) CAMPI PHLEGRAEI. OBSERVATIONS ON THE [..]
21

Sir William Hamilton

Sir William Hamilton (Henley-on-Thames 1730 - London 1803) CAMPI PHLEGRAEI. OBSERVATIONS ON THE [..]
Estimate
€ 50.000 / 70.000
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GRANDE VENTAGLIO DECORATO DA DUE ACQUARELLI DI GIACOMO FAVRETTO (1849 – 1887) E IMPREZIOSITO DA OLTRE 60 IMPORTANTI AUTOGRAFI E DEDICHE, DI CUI 14 AD OPERA DI CELEBRI MAESTRI DI MUSICA, LETTERATI E ATTORI, 1883 – 1993
22

GRANDE VENTAGLIO DECORATO DA DUE ACQUARELLI DI GIACOMO FAVRETTO (1849 – 1887) E IMPREZIOSITO DA OLTRE 60 IMPORTANTI AUTOGRAFI E DEDICHE, DI CUI 14 AD OPERA DI CELEBRI MAESTRI DI MUSICA, LETTERATI E ATTORI, 1883 – 1993

LARGE FAN DECORATED WITH TWO WATERCOLORS BY GIACOMO FAVRETTO (1849 - 1887) AND ENHANCED BY OVER 60 IMPORTANT [..]
22

GRANDE VENTAGLIO DECORATO DA DUE ACQUARELLI DI GIACOMO FAVRETTO (1849 – 1887) E IMPREZIOSITO DA OLTRE [..]

LARGE FAN DECORATED WITH TWO WATERCOLORS BY GIACOMO FAVRETTO (1849 - 1887) AND ENHANCED BY OVER 60 IMPORTANT [..]
Estimate
€ 20.000 / 30.000
Details
DEMI-PARURE, VAN CLEEF AND ARPELS, FINE ANNI '60, IN ORO GIALLO, TURCHESI E DIAMANTI
23

DEMI-PARURE, VAN CLEEF AND ARPELS, FINE ANNI '60, IN ORO GIALLO, TURCHESI E DIAMANTI

DEMI-PARURE, VAN CLEEF AND ARPELS, FINE ANNI '60, IN ORO GIALLO, TURCHESI E DIAMANTI Composta di [..]
23

DEMI-PARURE, VAN CLEEF AND ARPELS, FINE ANNI '60, IN ORO GIALLO, TURCHESI E DIAMANTI

DEMI-PARURE, VAN CLEEF AND ARPELS, FINE ANNI '60, IN ORO GIALLO, TURCHESI E DIAMANTI Composta di [..]
Estimate
€ 60.000 / 80.000
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Andrea Scacciati
24

Andrea Scacciati

Andrea Scacciati (Firenze 1642-1710) VASO DI FIORI ALL'APERTO, SU UNA PIETRA; SULLO SFONDO, [..]
24

Andrea Scacciati

Andrea Scacciati (Firenze 1642-1710) VASO DI FIORI ALL'APERTO, SU UNA PIETRA; SULLO SFONDO, [..]
Estimate
€ 40.000 / 60.000
Details
Maestro della lunetta di via Romana,
25

Maestro della lunetta di via Romana,

Maestro della lunetta di via Romana, alias Bernardo di Stefano Rosselli (Firenze 1450-1526) [..]
25
Free Bid

Maestro della lunetta di via Romana,

Maestro della lunetta di via Romana, alias Bernardo di Stefano Rosselli (Firenze 1450-1526) [..]
Estimate
€ 60.000 / 80.000
Sold
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CARVING, CHINA, LATE QING DYNASTY, XIX CENTURY
26

CARVING, CHINA, LATE QING DYNASTY, XIX CENTURY

CARVING, CHINA, LATE QING DYNASTY, XIX CENTURY Red coral, 24,5 cm high, 1965 g. weight Standing on a [..]
26

CARVING, CHINA, LATE QING DYNASTY, XIX CENTURY

CARVING, CHINA, LATE QING DYNASTY, XIX CENTURY Red coral, 24,5 cm high, 1965 g. weight Standing on a [..]
Estimate
€ 15.000 / 20.000
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A GILT-LACQUERED BRONZE STATUETTE, CHINA, MING DYNASTY, 17TH CENTURY
27

A GILT-LACQUERED BRONZE STATUETTE, CHINA, MING DYNASTY, 17TH CENTURY

A GILT-LACQUERED BRONZE STATUETTE, CHINA, MING DYNASTY, 17TH CENTURY 81,5 cm high representing Bodhisattva [..]
27

A GILT-LACQUERED BRONZE STATUETTE, CHINA, MING DYNASTY, 17TH CENTURY

A GILT-LACQUERED BRONZE STATUETTE, CHINA, MING DYNASTY, 17TH CENTURY 81,5 cm high representing Bodhisattva [..]
Estimate
€ 60.000 / 80.000
Sold
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1 - 27  of 27 LOTS