Full figure in carved, lacquered and painted wood.

The group depicts the Pietà according to traditional iconography: the Virgin Mary seated supports the lifeless body of Christ resting on her knees. The composition, small in format and intended for private devotion, reveals a skilled hand in the rendering of volumes and the articulation of the drapery. The modelling is concise but effective, with particular attention to the expressive quality of the faces. The original polychromy, partially preserved, shows the Virgin’s mantle in dark blue and her robe in red, the canonical colours of Marian iconography. The shaped base is painted red, consistent with the tradition of Italian devotional sculpture of the 18th century.

Condition report: Good overall state of preservation. Signs of ageing, wear and old woodworm activity are present.

Full figures in carved, lacquered and painted wood.

The four statuettes depict popular Venetian characters in full figure: three men and a woman, caught in lively, everyday poses and dressed in typical late 18th-century attire. The male figures, wearing coats, breeches and tricorn hats, originally carried work tools or hunting rifles, now lost; the female figure holds a bouquet of flowers. The carving, fluid and narrative in execution, belongs to the Venetian tradition of display or crèche figures produced for bourgeois and aristocratic interiors during the 18th century. The group offers a vivid record of popular costume and a noteworthy example of Venetian genre wood sculpture.

Condition report: Generally good state of conservation, with signs of ageing and wear to the polychromy. Original tools or attributes missing from the male figures.

Full-length figure in carved, lacquered, and painted wood.

Saint Maurus is depicted standing in full figure, identified by the inscription “MAVRV..” on the base. He is shown in monastic dress, wrapped in a wide mantle with deep, richly carved folds, in a frontal and composed pose. The treatment of the drapery reveals a confident command of woodcarving technique, rooted in the Late Gothic tradition while reflecting Renaissance influence in the facial structure and overall stance. The work was most likely made for devotional purposes, as part of a church or private chapel’s liturgical furnishings.

Condition report: Partial loss of the polychrome surface and gilding. Structure in good overall condition, with signs of age, wear, and some lacunae.

Full-length figure in carved, lacquered, and painted wood.

Saint Robert is depicted standing in full figure, identified by the inscription “ROBERT..” on the base. He is shown in monastic dress, with a veil framing the face and a wide mantle falling in broad, fluid folds. The left hand holds an attribute while the right supports a book, following a recurring iconographic type in 16th-century devotional sculpture. The carving reveals a confident technical hand, with a treatment of volumes that, while retaining elements of the Late Gothic tradition, moves toward the formal simplification of the Renaissance. The work was most likely made for the liturgical furnishings of a church or private chapel, as a pendant to the figure of Saint Maurus by the same hand.

Condition report: Almost total loss of the polychrome surface and gilding. Structure in good overall condition, with signs of age, wear, and some lacunae.

Wall console entirely carved in gilded wood, with a period polychrome marble top, contemporary with the base, featuring an ochre-yellow ground with black and grey veining. The structure rests on a single central support in the form of a winged herm, its arms outstretched to carry the broad lower rail. The figurative motif, traceable to the designs of Giovanni Battista Foggini, court sculptor and architect to the Medici, unfolds in scrollwork and foliage in a fully Baroque idiom. The apron features arched openings on both sides. The base has a shaped, multi-lobed plan. The marble top, of demilune profile with moulded edges, displays particularly fine radial veining.

Good overall condition. Gilding wear consistent with age and use. Minor localised losses.

A large writing table entirely in carved, lacquered and painted wood. The structure features tapered square-section legs with gilt leaf ornaments; the apron is decorated with a continuous frieze of carved and gilded egg-and-dart and rosette motifs, all lacquered in cream. The top is painted overall on a black ground with polychrome floral scrolls, exotic birds and foliate motifs simulating scagliola, a decorative technique associated with the Tuscan and Roman tradition.

Condition report: Some losses and localized defects to the painted surface of the top; the structure is in generally good condition.

Full figure in modelled terracotta.

The sculpture depicts a seated Venus on a rocky support, caught in the act of drying her foot. The figure, in Neoclassical taste, shows careful anatomical rendering in the modelling of the torso and limbs, while a gathered drapery beneath her animates the composition with soft folds. The face, inclined downward, conveys quiet concentration. The model recalls the tradition of seated Venuses from the Italian academic milieu of the 18th century.

Condition report: Small break to the left foot. Generally good state of conservation.

Full-length figure in molded terracotta.

Bureau cabinet entirely in solid walnut, with a shaped serpentine front featuring three drawers of graduated height and a moulded fall-front with two carved panels, supported by brass side stays. The façade presents a double-curve profile, articulated by carved perimeter mouldings. The sides are panelled. The piece rests on turned bun feet.

Condition report: Generally good state of conservation, with signs of natural ageing and wear to the wood. Drawer knobs missing.

Chest of drawers entirely veneered in walnut burl, with a shaped top with canted corners. The front features four drawers, one narrow upper drawer and three of equal height, with dark wood crossbanding. Angular columns with capitals and vertical fluting articulate the structure, resting on bracket feet with scroll details. Two turned wood knobs.

Condition report: Walnut burl veneer in overall good condition. Diffuse signs of wear, surface scratches, and some losses to the veneer are present. Conservative restoration is recommended.

A pair of Venetian bedside cabinets from the mid-18th century, veneered in herringbone pattern with radially grained panels in walnut and carob, with light wood stringing. The shaped front features an upper drawer with gilt-bronze lock plate and a lower door with bronze knob. The serpentine outline is articulated by moulded framing that defines the two-register structure. The carved scrolled feet are characteristic of the Venetian cabinet-making tradition of the high Settecento.

Condition report: Generally good state of preservation, with wear and aging consistent with age. A circular burn mark is present on the top surface of one of the two pieces.

Entirely veneered in walnut and walnut burl with light wood stringing, the piece features a bombé front with three drawers and shaped sides throughout. The fall front is veneered with central panels in walnut burl, surrounded by a herringbone border and framed by double stringing; when open, it reveals a fitted interior with four small lateral drawers and a central door. The lower drawers retain their original gilt bronze handles and escutcheons. The piece rests on curved legs veneered in walnut.

Condition report: Generally good state of preservation, with wear consistent with age.