Pair of Vintage 1970s Lumi Wall Lamps Design Pia Guidetti Crippa

Switzerland 1960s-70s

Three-dial rotating solar table clock, made by Montre Royale Genève in Switzerland.

Europe, 1960s-70s

Coat rack in wood and horn covered in leather with metal studs.

Italy, 1960s-1970s

Silver bas-relief depicting a woman's face presented in a wooden and green velvet frame. Engraved signature of the author and silver mark.

Silvered brass photo frame. Designer's signature wedged on.

Pair of brass sculptures with flowers and leaves. In the manner of Maison Jansen.

Italy, 1970s

Sculpture in multi-coloured Murano glass in the manner of Seguso. Adhesive manufacturing label under the base.

Italy 60s-70s

Torchon vase and coin tray in submerged glass in various colours.

Blue glass bottle with silver leaf inclusions. Manufacturer brand under the base and adhesive label.

Electrotren train. Group of 18 wagoons and a box of platforms. Scale 1:85

Female Figure

Pencil on paper. Signed lower right. Celada's painting is capable of blocking reality in time and space, in a way that appears detached, analytical and scientifically exact (colours, reflections, transparencies), but communicating - as opposed to a total unreality - a great narrative pathos. Proposed here is the study in red pencil of a female figure: the woman was always at the center of Celada's production, who both in portraiture and in figure studies presents a female body, firm and classicizing both in forms and in references to the painting of the past, Work presented in a frame.

The bust portrays a noble woman, richly dressed. Certainly a portrait, as can be seen from the detailed physiognomic characteristics of the face; the depicted subject has a stern gaze and attitude, an element that characterizes the portrait sculpures of the time. The hair are tied on the back of her head in an elaborate hairstyle with braids. The neck is adorned with a necklace with a medallion in the centre and multiple strings of pearls. She is wearing an off-the-shoulder dress, refined with a thin lace hem and a bow in the middle of her chest. The sculptor has great skills with the use of a chisel to refine details and the texture of fabrics.

Three Drinkers and an Angel 1942

Mixed media on board. Signed lower right. On the back further signature, title and date. Beppe Porcheddu, an important Italian illustrator and ceramist, was also a painter. In his evolutionary artistic path "it would seem that the artist has poured "the illustrator" into the painter and vice versa "the painter has prevailed in the illustration". From his first production, alongside his aptitude for the grotesque, Porcheddu showed a natural inclination for what was defined as a "perfect trio of symbols of a world (the medieval one) that expressed itself through metaphors like no other previous civilization" . In this panel, that tendency towards the grotesque is well expressed in the figures of the three drinkers, presented with crude features, clear lines and marked angles, while the figure of the angel appears evanescent, blurred, framed in the single light that comes from the open door.