Gianni Frassati - Senza titolo 1972

Figures, 1963

Inkwell on paper. Signed and dated '63 lower right. On the back there is an autographed declaration of authenticity dated "Milan 31-3-1980". Small drawing from the 1960s, in which Ennio Morlotti proposes the study for some nude figures, in which he has already overcome the Picasso phase and is moving towards an informal expressionism. The work is presented in a frame.

Valtellina, 2000

Mixed media on canvas. On the reverse there is signature, title, date and dedication to the art critic Rossana Bossaglia. The work belongs to the pictorial phase of the painter Massimo Soldati, which evolved after 1985 and characterized by the search for new expressive techniques and the use of different materials, moving from formal figurative to informal figurative and conceptual abstract. The work is presented in a frame.

Mixed technique on canvas. Signed lower right. The painting of Kodra, an Albanian painter trained artistically in Italy and active in the Milanese context, consists of a personal interpretation, of a fantastic kind, of Cubism, with the peculiarity that the decompositions typical of analytical cubism are proposed according to an approach of its own more than synthetic cubism. The seascape depicted here, with sailboats sailing close to a coast, is part of the later production, in which the native country is often evoked.

Mixed technique bas-relief on chipboard. Abstract composition, with the date 1975 in the lower left. On the back the title, the date, and the declaration of revision of the same, with dedication and signature of the artist Stefano Colombo.

Print on paper. Rare anti-racist poster which, as indicated below, was published as a supplement to the magazine "MAI" of June '68, in the series "I manifesti di MAI di Giò" (Giorgio Tavaglione). It is a manifesto of the beat movements that spread in Italy in the years 1967-1968: thanks to the use of the mimeograph, which allowed the printing of numerous flyers, posters, poetic anthologies, small plaquettes and especially magazines, the young beatniks they created an alternative information channel that represented the primary vehicle for disseminating the principles that animated the beat movement, as opposed to the official cultural and communication circuits. Within the magazines, and in general in the various beat activities, poetic writing assumed an essential role as an integral part of the practice of dissent, since it represented one of the main forms of expression and affirmation of a different ideal of life, as well as of a different idea of collectivity. Giorgio Tavaglione was one of the best-known artistic exponents of the beat movement: as a complete self-taught Giò he designed the posters, flyers and covers of the first Italian underground magazines of the 1960s; disappeared for years after a trip to India, he subsequently reappeared as a draftsman of tarot cards and talismans in the creation of which he transferred his excellent graphic quality, his typical meticulous and imaginative, esoteric and visionary style. Work in frame.

Pair of Ink Drawings

Ink on paper. One of the two is signed on the lower right. The works of the Russian artist Vyacheslav Sawich Mikhailov are exhibited in prestigious museums such as the Tretyakov Gallery or the Museum of Modern Art in Moscow, the National Museum of Russian Art, the Museum of Nonconformist Art in St. Petersburg. Considered an expressionist author, he creates scenes of intense drama with different techniques. The design proposed here is part of a series of scenes full of dramatically intertwined figures in contortions of the body, with allegorical elements and patches of often red color, evoking blood. In frame.

Panel in copper and brass, worked with irregular geometric figures. Mounted on a white lacquered wooden panel. Inspired by the works of the sculptor and painter Lino Bersani (Genoa 1935).

Burnished and worked copper plate, with decorations in lighter spots, overhangs and holes, mounted on a red-stained plywood panel.

Bas-relief

Bas-relief in wood, fabric and white tempera, evoking a stylized Crucifix. Mounted on a panel and presented in a display case.

Composition on 4 Panels, 1978

Mixed media on canvas applied to wooden panels, showing a sequence. On the lower right the artist's initials GB and the numbering of the panels; on the verso of each panel is the signature in full, with the date and the following sequential titles: 'By Bosch', 'Declination of an Owl', 'Transcription' and 'Disappearance for Coquetry'. Gabriella Benedini has defined her as an artist as 'a nomad in search of the profound meaning of things'. Although attracted and interested first by abstract-informal painting, then by Existential Realism and then by the New Figuration, Gabriella Benedini proceeds on a strictly personal quest that cannot be assimilated into any specific current. The entire 1970s were mainly marked by pictorial works that reflected literary cues filtered through her need for growth and confrontation. Then, through her passion for Alchemy, Benedini began to transform anything that came her way into works of art; shells, pages of old books, bottles, everything is combined into a harmonious whole that recalls spaces. Her works therefore become mainly three-dimensional, either to hang on the wall, or they are sculptures, even large ones. The four panels are presented here in a single frame.

City Glimpse

Oil on wood. Signed on the back. Riccardo Viriglio, a landscape painter from Pavia, portrayed urban views mainly of his city and landscape views especially of Lombardy. Here too there is a view of a city square with a portico. In a stylish frame.

Pulcinella's Games

Oil (mixed) on canvas. Signed and dated lower right. Additional signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter, pupil of Gennaro Villani and later friend and collaborator of Umberto Lilloni, participated in the renewal of Neapolitan painting with his own personal style, without straying from tradition. Endowed with fertile invention and remarkable representational ability, he left behind a rich and varied production. Recurring in his production are landscape or urban views, populated by numerous figures, often, in the Neapolitan setting, by Punchinello, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall.