Vintage 1960s Mirror for Console Lacquered Wood Italy

123 x 89 In

Kum silk carpet, extra fine knot, manual production.

Buffet with mirror with hinged doors and visible drawers, exotic wood veneer, back-treated glass top, brass details.

Ceiling lamp, chromed metal, glass inserts.

Italy, 1960s

Hand-engraved and hammered silver-plated copper plate. Mario Pinton for Atelier Des Orfevres. Under the base there is a manufacturing mark and an adhesive label.

Sofa, foam padding, original fabric covering, enamelled metal legs with brass tips. A sofa that lends itself to being revisited to make it suitable for an environment with a relaxation area, with an original style and a taste of times gone by, the product can be restored by our laboratory, with an intervention that involves the replacement of the padding and the fabric by choosing from our different samples.

Coffee table, brass-plated metal structure, marble top.

Pair of wall lamps, chromed metal, chiselled glass pendants.

View of the World from 9th Avenue, 1976

Printed on paper. At the top is the masthead of the famous magazine, at the bottom the signature of the illustrator. Saul Steinberg was one of the greatest illustrators of the 20th century, a world-famous artist and illustrator who, during his career, collaborated with the major American periodicals, including ‘Life’, ‘Time’, ‘Harper's Bazaar’, but is best known for his collaboration between the 1940s and 1980s with The New Yorker, a magazine for which he produced illustrations, cartoons, drawn reports and dozens of covers. With his essential, scratchy lines and his metaphysical imagery influenced by Dadaism and Art Deco, Steinberg depicted views of New York and visionary, surreal compositions on the magazine's covers. With his essential, scratchy lines and metaphysical imagery influenced by Dadaism and Art Deco, Steinberg depicted views of New York and visionary, surreal compositions on the magazine's covers. Steinberh suggested replacing the word ‘autobiography’ with ‘autogeography’, as if life were essentially a matter of places, locations and perspectives, as in this famous cover of the New Yorker of 29 March 1976, entitled ‘View of the World from 9th Avenue’, which shows the world as seen from an unspecified point on the famous street. The poster is presented in a frame.

Ceiling lamp, enamelled and brass-plated aluminium.

Evening bag created by Comolli Milano, in white linen canvas and beaded floral design. The condition is almost perfect, only small marks on the fabric near the metal of the clasp.

Oil on walnut board. Flemish school of the 16th century. The painting presents a landscape characterized by a tall leafy plant in the centre, which vertically divides the scene into two parts, rising from the brown and dark earth in the foreground, towards the horizon of wooded blue hills, which then fade into a chromatic continuum in the sky above, interrupted by the thick foliage of the tree. The scene in the foreground is animated by various figurines of walking characters, scattered across the countryside. The chromatic choices are peculiar, the browns and blues, which together with the type of landscape and the figures refer to Flemish painting; moreover, the use of a walnut panel testifies to a Flemish artist working in Italy, where this pictorial support, unusual in Northern Europe, was used. The painting is presented in a contemporary frame.