PAINTINGS ONLINE | ANCIENT AND CONTEMPORARY ART GALLERY

Oil on hardboard. Unidentifiable acronym at the bottom left. In English style, the painting presents a country landscape with a hunting dog sniffing out the scent, followed at a distance by the hunter. The painting is presented in a contemporary frame.

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.

Oil painting on canvas. The Madonna holds the Baby Jesus in her arms, and both hold the rosary crown, an invitation to Marian devotion. Above, angels appear from the open skies. The painting has previously been restored and relined; some small drops of color along the edges. It is presented in a contemporary frame.

Female Nude

Sanguine on paper. signed lower right. Celada, who loved to paint women both in portraiture and in his figure studies, proposes a female body, firm and classicizing both in forms and in references to the painting of the past. Celada';s painting is capable of blocking in time and space reality, 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. The work is presented in a frame.

Oil painting on canvas. The biblical scene depicts the Holy Family with Mary sitting on the donkey, newborn Jesus in her arms and Joseph pulling the animal, as they flee from Nazareth, headed for Egypt, to escape Herod's persecution. Some little angels hover above them. The gazes of the angels, Joseph and Mary tenderly converge on the Child. In the background a Nordic landscape. Restored and relined, the painting is presented in a period frame.

Wooden Landscape

Oil on cardboard. signed lower right. Cavaleri was exclusively a landscape painter and in particular a marine painter, considered an exponent of the latest Lombard naturalism. His painting, linked to reproduction from life, stands out for its lively and brilliant colour, with shades spread in large patches, with a technique that brings him closer to the Lombard impressionists of the late 19th century. In the most mature phase of his activity, the artist he approached Liberty (his posters are very well known) and Symbolism, influenced by his poet friend Gian Pietro Lucini. The work is presented in a contemporary frame.

Oil painting on canvas. Central Italian school of the 17th century. According to the iconographic tradition, also in this painting the guardian angel is depicted as a winged young man who accompanies a child along a stretch of road, indicating the sky as the destination of the journey. The winged figure stands out and dominates the scene, lively in its colours, powerful in the physical strength it emanates, albeit sweet in its delicately protective attitude towards the child, whose small figure is enveloped in the limbs of its guardian. The scene is enclosed within a garland of bright and colorful flowers, which give color to the figures, otherwise placed in a dark and almost monochrome landscape. The depiction of characters, mainly religious, enclosed in floral frames had great development especially in Rome, linked to names such as Giovanni Stanchi (1608 -1675), rather than Mario Nuzzi known as Mario de' Fiori (1603 -1673), and others. The painting, restored and relined, is presented in a strip frame.

Oil painting on canvas. Italian school of the 17th century. The variegated and multiform floral composition, developed vertically, is placed inside a vase resting on a base on which some fruits also lie. The background is black, to bring out the bright colors of the flowers. On the first canvas, the painting presents small widespread drops of color and a rather strong crack. It is presented in a stylish frame.

Oil painting on canvas. Central European school of the 18th century. A river landscape is proposed near a village, with a small bridge in the center that crosses the watercourse, and populated by numerous popular figures, with typically Northern European characteristics due to their fleshy features and cunning and curious expressions. They are engaged in everyday activities related to fishing: in the center a man exposes his catch to a couple, guaranteeing, through the gesture of his arm, its fresh origin; in front of him a child overturns a tub of fish and water snakes while another fisherman, further back, also sells his goods. Two other men, standing in the water, haul in their nets; A shepherdess passes over the bridge with her child and goat. w sitting in the foreground on the right, a woman observes the scene. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Unsigned, there is a label on the back with attribution to Ferdinand II Wagner (1847 -1927), a German painter appreciated for his decorative painting. The large painting offers, according to an ancient taste, a glimpse of a city market in a Nordic village, with figures in 17th century Flemish clothes. The central part is occupied by a stall full of fruit and vegetables: on the left the seller, sitting with the steelyard hanging above her, is bargaining with the couple of buyers on the right, intent on testing the quality of the products. The painting is presented in a period frame.

The Woodcutter 1980

Oil on glass. On the lower left are the signature and date, accompanied by the artist's symbol, the stylised figurine of a man in a wheelchair. This is a work on glass by the painter Mario Previ, who has lived and painted in a wheelchair since the age of eighteen, due to quadriplegia following a plunge into his Taro river. He said of himself: ‘The world, the passage of time, from this point of view (the wheelchair) teaches you many things. You learn to wake up every morning with a purpose, even if your body is in pain, if every gesture generates suffering and you depend on others, and giving up could be an easy solution. And instead, art, painting, together with the serenity of my world, of friends, give me incredible energy. They have saved me, giving me the strength to live'. In 1974, three years after the accident, inspired by a television programme on Yugoslavian naïve painters, in particular by the works on glass by Mijo Kovacic, Previ began painting and learning the art of glass painting as a self-taught artist, until he became known and appreciated for his paintings. In his naifs, Mario Previ recounts a reality that has almost disappeared, real stories albeit in a fairy-tale tone, revives lost traditions, glimpses of life that belonged to other generations, those of the peasant civilisation (from which he comes), but what emerges most from his visions are the ‘forë’, those that could once be heard in the ‘firossi’, the traditional evenings in the hamlets of Parma dedicated to getting together to tell anecdotes, stories and historical curiosities, often in front of the fireplace, when it was cold and snowing outside. The work is presented in the frame.

Man's Face

Mixed media on cardboard. Signed lower right. On the back there is a cartouche with the title. An original exponent of European Expressionism, Lorenzo Viani was always attracted to the poorest and most derelict, both in his childhood and in his maturity, going so far as to transfer their lives and their human experiences onto the canvas. There are numerous faces of these characters who are rendered with strong chromatic impressions and with a decisive and fast brushstroke, an intense, expressive and at times extremely melancholic painting. The work is presented in a frame.

Oil painting on canvas. Bottom right signed Borella and dated 1894. It is probably Rafael Borella (1874 -1953), a painter born and trained in Milan but then moved to Uruguay. His first Italian production includes Venetian and Val d'Aosta landscapes. This painting, which offers a mountain view, with meadows crossed by a stream near which a fisherman sits. The scene could therefore be a youthful production by Borella, suited to him in terms of subject and style. The work is presented in a contemporary frame.

Watercolor on paper. Signature L. Rossi at the bottom left. It is a quick portrait, in pencil and then watercoloured, of two young ladies in winter walking clothes, shot in almost full length. The drawing is presented in a gilded and carved frame from the late 19th century, which has several defects.

Watercolor on paper. Signature L. Rossi at the bottom left. They are two young ladies in winter walking clothes, shot in almost full length. The drawing is presented in a gilded and carved frame from the late 19th century, which has several defects and traces of previous restoration

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.

Oil painting on canvas. Venetian school of the late 18th century. The large painting tells the evangelical episode of the meeting between Saint Elizabeth, pregnant with John the Baptist, and Mary, waiting for Jesus, but inserted in a larger choral scene: it is placed on a large staircase, probably that of the temple in where Zechariah, Elizabeth's husband, was a priest, and a crowd of figures, and is animated by a crowd of figures, among which several women with children and families stand out. Detail in the foreground on the left is the figure with a little boy attached to his legs, who looks towards the viewer, indicating with a broad gesture of his arm the central event, the meeting between the two holy women. The colors stand out, which according to the Venetian pictorial tradition, are founding elements of the scenes, which underline the figures and fade into the different three-dimensional planes. Relined and restored, the canvas has a slight crack on the left. It is presented in a gilded frame from the late 19th century.