Pair of Antique Baroque Mirrors Poplar Italy XVIII Century - Emilia, Early XVIII Century

Mixed media on paper. On the back the artist's stamp with the signature, the title (not deciphered) and the date of the work. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturation and occupies an important space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, scenic backdrops from nineteenth-century theatrical works, on which he intervenes by painting forms taken from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-significant sign that designs the work and is capable of narrating thoughts; working by superposition, the images are constructed by addition or subtraction of color on the various supports. Work in frame.

Italy, Early XVIII Century

Pair of high chairs from the Baroque era, in walnut. Crosspieces replaced and restoration work.

Studio 1992

Mixed media on paper. Signed and dated lower, with title. On the back the artist's stamp with the signature, title and date of the work. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturation and occupies an important space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, scenic backdrops from nineteenth-century theatrical works, on which he intervenes by painting forms taken from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-significant sign that designs the work and is capable of narrating thoughts; working by superposition, the images are constructed by addition or subtraction of color on the various supports. Work in frame.

Lombardy, Late XVIII Century

Neoclassical bedside table supported by truncated pyramidal feet, the upper part has a door that continues on the side and in the internal part it is equipped with compartments, the top can also be partially opened. In walnut, the front and sides are inlaid with maple rosette motifs.

Baroque Italy Early 1700s

Support frame in carved and gilded wood with mirror. Leaf scroll decoration.

Baroque Italy Early 1700s

Reliquary holder in finely carved and gilded wood with Baroque-style decorations. The relic, not coeval, 19th century, has a small painting in the center depicting the Madonna and Child.

Central Italy, Early XVIII Century

Chestnut table supported by four turned legs supported by a crosspiece, in the under-top band there are two drawers, one of which has a replaced bottom; also replace the guides.

Italy, Mid XVIII Century

Open bedside table in walnut with shaped and inlaid top, front with door bearing carved knob and wavy legs with carved feet. The entire structure is inlaid with bois de violette, bois de rose and maple. Italy 18th century.

Gilded bronze bas-reliefs. Signed lower right; number of specimen 25/150 bottom left. The triptych is accompanied by a certification of authenticity from the Seledi Arte Center in Milan. The titles of the three bas-reliefs are shown in the authentication: Fortune, Stallion Fight, The Couple. Francesco Messina's sculpture, so full of echoes of the classical Greco-Roman and Hellenistic heritage,"is characterized", wrote Carlo Carrà, "a simple and great style" and by an "idealistic and classical procedure"capable of give life to forms that remain as "ideal images". The three bronze panels are mounted in a single frame.

Bergamo, Early XVIII Century

Baroque chest supported by carved double bracket feet, the front is also richly decorated with carvings: large central blazon framed between two panels with geometric motifs and two lateral pilasters with angel heads and phytomorphic motifs. In walnut, it has restorations.