The variety of typologies represented is one of the most fascinating aspects of the auction: manuscripts, sculptures, paintings, furniture, works of art, glass, clocks, and decorative objects engage in a dialogue with one another, conveying a sense of continuous stylistic evolution capable of narrating the changing forms of decoration and artistic language over the centuries.

Opening the selection are important testimonies of medieval and Renaissance art, including the precious Book of Hours in the Use of Rouen from the 15th century (lot 4), a illuminated manuscript originating from Northern France or Flanders, enriched with gold initials, miniatures, and elaborate decorations that testify to the exceptionally high quality of late medieval book production.

Among the most significant sections of the auction is the selection of Mannerist and Baroque sculptures and bronzes. Of particular note is the large pair of bronze putti from the 17th century (lot 10), attributed to a Roman founder following Gian Lorenzo Bernini, works of strong scenographic impact that fully reflect the theatricality and dynamic tension of Baroque Rome.

Among the most extraordinary works in the entire sale is the Bust of Costanza Piccolomini Bonarelli (lot 11), a marble sculpture attributed to the Bernini circle and likely to Matteo Bonarelli. The work represents one of the most fascinating and rare expressions of the close circle of Gian Lorenzo Bernini and immediately recalls the famous marble of Costanza housed in the Bargello Museum in Florence and currently on display at the Gallerie Nazionali di Arte Antica in Palazzo Barberini, in the exhibition “Bernini and the Barberini.”

The sculpture encapsulates all the modernity and sensuality of Bernini’s language: the face caught in a lively and natural expression, the slightly disheveled hair, the parted lips, and the soft rendering of the drapery convey an extraordinarily modern psychological intensity for the 17th century. Even more compelling is the historical story linking Costanza to Bernini, of whom she was muse and lover, making the bust a work of exceptional artistic interest and a direct document of one of the most turbulent relationships of Roman Baroque.

Continuing through the catalogue, noteworthy are the works in hard stones and semi-precious materials from the 17th and 18th centuries. Among these is the pair of marble tabletops from the Galleria dei Lavori of the Grand Ducal workshops in Florence (lot 22). Mounted on a pair of 19th-century mahogany consoles, the two tops feature a background of ten panels in red marble framed with black and white marble, enclosing pietra dura inlays from the 17th century depicting birds, floral scrolls, and vases with flowers.

Also of great elegance is the octagonal casket with jasper plaques (lot 24), an 18th-century cabinet-making work enriched with gilt bronzes and stone inlays.

Special attention is also due to the refined group of 18th-century Venetian lacquered furnishings, which fully express the decorative vibrancy and ornamental taste of the lagoon tradition (lots 44 to 61).

Among the most interesting objects in the catalogue is a group of Russian art spanning different typologies and functions, from devotional art to luxury craftsmanship. This includes 18th- and 19th-century silver icons (lots 96 and 98), expressions of the Orthodox sacred tradition, alongside functional luxury objects such as a gold box from St. Petersburg, datable to the late 19th century (lot 104), and a gold cup made in the same city and period (lot 105). These latter pieces exemplify the sumptuous taste and high level of applied arts at the Russian imperial court.

The catalogue also devotes ample space to Old Master paintings, with a selection spanning different European schools. Among the most significant works are Winter Landscape with Skaters (lot 13), a delicate Northern European scene from the late 17th century, and above all the magnificent Portrait of a Lady with Flowers by Rosalba Carriera (lot 34), a pastel that fully conveys the elegance and grace of 18th-century Venetian portraiture. The softness of the skin tones, the luminosity of the fabrics, and the psychological sensitivity of the face confirm Rosalba Carriera’s central role in the international diffusion of pastel technique among the great European courts.

Also of particular interest is the section dedicated to 19th-century paintings. Within this area, the works of Francesco Zerilli (lots 81 to 85) stand out, one of the most representative painters of early 19th-century Sicilian vedutism, alongside notable works by Federico Andreotti (lot 124) and Eugenio Zampighi (lot 125).

With this second edition of the Fine Art Selection auction, Cambi Casa d’Aste further consolidates its Milan-based project dedicated to Old Master art, offering a catalogue that combines historical rigor, collecting quality, and typological variety.