G. Antonio Sasso Group of 5 Drawings Italy XIX Century - Episodes from the Life of John the Baptist

Male Portrait

Crayon and chalk on paper. Signed lower left. At the bottom right is the wording "from photography". The painter and poet from Portogruaro mainly devoted himself to sacred decorative painting for the churches of the Veneto and Piedmont. The portrait proposed here is presented in a coeval frame, which needs restoration due to multiple deficiencies.

Oil painting on canvas. Northern European school of the 19th century. Portrait of a curvy and composed lady, in sober house dress. Restored and relined, it is presented in a period frame.

Charcoal on paper. Unidentified signature with date to the right of the face. The name of the young woman portrayed, Teresina Rota di Valsecca, is mentioned on the back, with a further date. The work is presented in a coeval conception.

Concept of a Young Figure

Mixed technique on paper; drawing cut out and applied on cardboard. Signed lower right. It is a small study, probably to be included in a larger scene, of the figure of a child carrying a basket of vegetables on his head, still undefined but sketched with traces of green; the boy is dressed only in a short shirt. Neapolitan painter, but also museologist and teacher of figurative arts, Dalbono trained in the Neapolitan verismo movement which referred to the School of Resina. He loved the landscape, which he portrayed from life, preferring the hours of dawn with its play of light; but he also produced many genre scenes, with popular bourgeois subjects, animated by different figures and always with Naples as a background, its views and its landscapes, told with suffused atmospheres, full of poetry. The painting is presented in a period frame.

Male Portrait 1877

Pencil on paper. Signed and dated lower right, in the oval. It is an early work by the well-known sculptor Luigi De Paoli, corresponding to the years of study at the Venice Academy. He also devoted himself to painting only in the last years of his life. The work is presented in a late 19th century frame.

Oil on cardboard. The mountain landscape presents a group of houses along the trail which a small figure is walking on. The painting is presented on an early '900 frame with some defects.

Oil on cardboard. The wide landscape presents a river, animated with figures and boats, that runs through the wide valley and which the small castle overlooks. The painting, that needs cleaning, is presented in an early '900 frame with some defects.

Stable interior

Oil painting on canvas. Signed lower left. The work was previously acquired at the Sotheby's auction in Milan on 10/12/2007. It was exhibited in 1991 in the exhibition "Giovanni Sottocornola. Images from a collection" held in Milan at the Silbernagl Gallery. After an initial pictorial phase dedicated to portraits and still lifes, in the 1880s Giovanni Sottocornola approached social themes, which were becoming the favorite subjects of young Lombard painters attentive to the poorest aspects of society, linked to the adoption of original artistic techniques. Sottocornola embraced the practice of pointillist painting, of which he wrote in 1895 "For now it is certain, I am convinced that there is no other painting more capable of conveying certain sensations than this one". However, this type of painting remained entirely focused on light, on its uncertain tonal vibrations, as happens in the Interior of a stable, created towards the end of the 1980s, where the plays of light and shadow play and create the effects visual in the brushstrokes of color played on a few chromatic ranges, those of browns, expressed in a wide variety of shades. The work is presented in a period frame.

Oil painting on canvas. Of ancient taste, the landscape, verdant and with the village at the center, is animated in the center by figures of shepherds and a wayfarer on horseback who water the animals in the stream, conversing with another wayfarer passing over the bridge. Restored, it is presented in a coeval adapted frame.

Maria Dolente

Marble bas-relief. Engraved signature along the left margin. Born in Cannobbio (on Lake Maggiore), Giulio Branca was introduced to the art by the Cannobio sculptor Bergonzoli, and later attended G. Strazza's school of nude drawing and sculpture at the Brera Academy. Born in Cannobio on 13 December 1850 to Ludovico, he was introduced to art by the Cannobio sculptor Bergonzoli, and attended the school of the nude and G. Strazza's school of sculpture at the Brera Academy. He made about four hundred sculptures, including memorials, funerary monuments and portrait busts. Branca also took part, following a competition, in the completion of the high wall of the cathedral of Como, which had remained unfinished for centuries, sculpting several figures in white marble for the façade and the altar between 1897 and 1900. The work presented here is a bas-relief showing a half-bust of the grieving Madonna flanked by two pious women. It is presented in a coeval wooden frame from the end of the 19th and beginning of the 20th century.

Oil painting on canvas. This portrait of a woman dressed in a very abundant dress that hides her shapes and with her face covered by a black mask is curious: the visible portion of the face suggests a young and smiling face, the furtive attitude of one who tries to hide behind the heavy marquee, suggests a joke in progress, in theme with a party, a pleasure-loving moment. The painting is presented in a coeval frame.

Park

Watercolor on paper. Signed lower right. On the back there is a label from the Manzoni Art Gallery in Milan, with the data of the work. A leading exponent of 19th-century Lombard painting which was always linked to the love for the real, Pompeo Mariani was also called "the Italian impressionist", due to the influence in his works of French impressionism and those experiences, not only cultural, which constituted the era of the Belle Époque, which the artist lived between Milan, Bordighera, Nice and Montecarlo. In this small watercolor Mariani offers a glimpse of a city park, adorned with statues along the gate. The painting is presented in a period frame.