Female figure

Charcoal and white lead on paper. The work bears the signature of Baj at the bottom left and the same name repeated at the top: although close to the style of the famous Milanese artist Enrico Baj (1924-2003), the attribution is not endorsed by a certificate of authenticity. Moreover, there are numerous drawings, sketches, preparatory studies for works subsequently developed by the multifaceted artist (painter, sculptor, essayist). The drawing is presented in a frame. and the dazed, surreal and visionary world of Enrico Baj.

Young woman with ball of yarn

Oil on the table. Delicate portrait of a young woman intent on making a ball of wool: on the left you can see the ancient tool for winding wool, which the woman rotates with one hand. It is a scene of intimate domestic work, proposed in delicate and suffused colors, with the only contrast of the background of the ocher-colored wall and the roses of the tablecloth. It is presented in a style frame, which bears a metal plate with the name of the artist Mosè Bianchi of Monza, not considered appropriate.

Edoardo Covino

Mountain village with figures

Oil painting on canvas. At the bottom right there is the inscription "To dear friend Giuseppe Balestra - Edoardo Covino, 4 May 1896". Edoardo Covino was a Turinese landscape architect active between the end of the 19th century and the beginning of the 20th century; he is particularly counted among the mountain landscape architects. The painting is presented in a gilded style frame.

Mario Vellani Marchi

Marcellina with the Bandaged Hand 1942

Ink on paper. At the bottom right there is the signature MVM, with the Burano location and the date (19 Sept. 1942); at the bottom left the title. Trained artistically in his hometown, Modena, Vellani Marchi in 1924, after his debut at the Venice Biennale with some lithographs and etchings of landscape subjects, made his first stay in Burano, where he will also return later giving life with Guido Tallone and others. artists to an association called "Buranella school". From this moment the landscapes, the figures and the characteristic views of the island much loved by the painter, will constitute a recurring theme in his production. He then moved permanently to Milan, where he approached the world of publishing by collaborating with newspapers and magazines and established himself as a painter, draftsman and illustrator and participated in the most important exhibitions, not only national. After the war, he also collaborated with the Teatro alla Scala creating numerous sets. The drawing is presented in a frame.

Neoclassical Decorative Element Painting 18th Century

Tempera on canvas. Decorative element from a Lombard mansion house depicting a fake marble relief composed of a rhomboid frame enclosing a basket of fruit leaning on a lion's head. Garlands of leaves outside. The Neoclassical taste favored the sculptural plasticity over the pictorial expressiveness and the predominance of shape over color. The canvas is presented in frame. Light losses of color and stains of moisture. Last quarter of the 18th century.

Neoclassical Decorative Element Painting 18th Century

Tempera on canvas. Decorative element from a Lombard mansion house depicting a fake marble relief composed of a rhomboid frame enclosing a basket of fruit leaning on a lion's head. Garlands of leaves outside. The Neoclassical taste favored the sculptural plasticity over the pictorial expressiveness and the predominance of shape over color. The canvas is presented in frame. Light losses of color and stains of moisture. Last quarter of the 18th century.

Landscape with Figures, Oil on Canvas, Italian School 17th Century

Oil on canvas. Landscape of rugged lands an barren mountains where a needle-like plant stands out poorly; we can see some figures of wayfare in the lower part. The painting had already been restored and turns ot to have been painted darker with an oxidised protective paint. Displayed in a ancient gilded frame with rear reinforcement.

Pair Of Still Lifes Oil On Canvas 18th Century

Oil on canvas. From a private collection in which they were combined as a pendant, the two compositions are actually different in manufacturing and technique, as well as in the size of the canvases. The slightly larger canvas (71 x 91 cm), in oil, features two different wicker baskets filled with white and red grapes, surrounded by other fruit (pears and peaches) and with a curious squirrel sniffing the air; the dark background is empty. The second canvas (64 x 88 cm) is made with the lean oil technique, which makes it very close for pictorial effect to a tempera on canvas; the composition is made up of variegated flowers and fruit (watermelon, grapes, peaches), and is placed in an external environment, albeit not very defined (the clouds on the left). Both canvases need cleaning; the first shows traces of previous restoration and relining (patch on the back), while the second, in her very worn first canvas, has very widespread small holes and drops of color. Both works are presented in white lacquered frames, albeit different in shape.

Guglielmo Baldassini

Rocks of Quarto

Oil on plywood. Signed lower right. On the back the title. Born in Genoa, but moved to Milan at a young age, Guglielmo Baldassini studied at the Brera Academy but then, out of a spirit of independence, he left his studies and continued his artistic career independently, dedicating himself mainly to the landscape and above all to the marinas. From 1914 he decided to apply himself to etching, reaching a wide notoriety, even internationally, with this technique. Baldassini is considered a great sailor, capable with his strongly material brushstrokes to create very effective and unique plays of light and transparencies. The marina proposed here is presented in a guilloché setting from the 1930s-1940s.

Giuseppe Ajmone, Oil on Canvas

Nude, 1964

Oil on cavas. SIgned and dated on the lower right corner. Title and signature on the back. Giuseppe Ajmone, artist from Valsesia who studied at the Brera Academy of Fine Arts in Milan, had been one of the firmatories of the Manifesto of Realism in 1946. Along with still lives and landscapes, during his first artistic period, Ajmone was very interested in nudes that represent most of his pictorical prodution from 1960s until todai. Framed.

Portrait of an Old Lady Oil on Canvas Lombard School 19th Century

Oil on canvas. Lombard School. Restored. The severe and austere face of the old lady is frame by a barely visible floral composition. The painting shows small color drops. Ancient gilded frame.

Giuseppe Valsecchi

Two Glimpses

Oil paintings on plywood. Both signed below. On the back there is a further signature, with the titles, which identify the places portrayed, and the dates. The largest (45 x 35 cm), from 1947, is entitled Rural Peace, and is located in Moirago (Milan); the second (29 x 35 cm), also from 1947, depicts the Punta di Ceresola seen from Lake Maggiore in the morning. The Lecco artist Giuseppe Valsecchi, despite having shared the human and social commitment of the Milanese movement of Corrente (to which artists such as Guttuso, Treccani, Sassu adhered), did not neglect a more highly evocative and intimate vein that can be grasped both in the production of portraits and landscapes, inspired by the views from the windows of his homes.