Landscape with Figures

Oil painting on canvas. Italian school. Signed G. Bossi lower right. The large landscape offers on the right the glimpse of a pond with swans, in the middle of a verdant countryside; on the left, a couple on the path is accessing an architectural structure, an outbuilding of the villa of which you can only glimpse an upper corner. Suggestive and with a bucolic atmosphere, the painting is presented in a coeval gilded frame.

Gian Rodolfo D'Accardi

Knights in the Woods

Oil painting on canvas. Signed lower right. Originally from Palermo, but from Milan by training, Gian Rodolfo D'Accardi made his debut in the 1930s, achieving widespread success throughout Italy. His production ranges from landscapes to portraits, from still lifes to masks: of a vague post-impressionist mold, his art is expressed with bright and harmonious colors and with imaginative forms, pervaded with poetic intensity. The series of horses and riders in the woods, to which the proposed work belongs, is wide and varied. Presented in the frame.

Landscape with horses and jockeys

Mixed technique on canvas. At the bottom right there is the signature Paolo Borzi and the date 1905. Large in size and with a strong decorative impact, the work presents some figures only sketched and overall it is not very defined in the outlines as well as in the application of the color, characteristics that give it an aura of modernity. Moreover, the frame and the composition of the scene are compatible with the date shown at the bottom right, that is, they depict the work of the early 1900s, probably unfinished. The work is presented in a gilded frame from the mid-1900s.

Church interior

Oil on plywood. Unidentified signature lower right. In the painting, lively in the colors, the light that makes the altar emerge from the half-light of the side aisles stands out; beside it a pious woman is gathered in prayer. It is presented in a contemporary frame.

Lithograph by Giuseppe Viviani

Title page N.1

Color lithograph. Signed and dated lower right, numbered N. 56/200 lower left. Pisan painter and engraver, Viviani obtained national recognition only when he became professor of engraving at the Academy of Fine Arts in Florence in 1948, at the chair of Giovanni Fattori. Viviani was able to transfer his personal vision of the world into his engravings, through images that drew on the life of the Pisan coast, a land he preferred and where he lived, dedicating himself to his other great passion, hunting. In an exposed frame.

Screen printing by Salette Tavares

Efes 1978

Screen printing on paper. Signed and dated lower right; numbered N.10 / 100 bottom left; dedication ad personam at the center. Portuguese poet, born in Maputo but moved to Portugal at the age of 11, Salette Tavares traveled to Europe and the USA to study aesthetics. He privileged forms of experimental poetry, creating morphosyntactic and orthographic deformations and ironically constructing numerous drawn poems. In this work he recites one of his poems composing with the words three large letters F. Work in an exposed frame.

Lithograph by Giuseppe Viviani

Frontispiece No. 2 1962

Color lithograph. Signed and dated lower right, numbered N. 70/110 lower left. Pisan painter and engraver, he obtained national recognition only when he became professor of engraving at the Academy of Fine Arts in Florence in 1948, at the chair of Giovanni Fattori. Viviani was able to transfer his personal vision of the world into his engravings, through images that drew on the life of the Pisan coast, a land he preferred and where he lived, dedicating himself to his other great passion, hunting. In an exposed frame.

Screen printing by Salette Tavares

Aranha 1978

Screen printing on paper. Signature and date lower right; serial number 10/100 at the bottom left; dedication ad personam at the center. Portuguese poet, born in Maputo but moved to Portugal at the age of 11, Salette Tavares traveled to Europe and the USA to study aesthetics. He privileged forms of experimental poetry, creating morphosyntactic and orthographic deformations and ironically constructing numerous drawn poems. In the work presented, the word Aranha, together with its derivatives and its abbreviations, is repeated to draw the figure of the spider it evokes; particular is the use of the repetition of the letter R inside the word in multiplied, triple and even quadruple numbers, incorrect orthographically. Work presented in an exposed frame.

Face of Madonna

Oil on plywood. The work takes up ancient pictorial methods, of Renaissance taste. At the bottom left there is a monogram. It is presented in a beautiful coeval frame, covered in parchment.

Ugo Ferrero

Landscape with Cavalry

Oil painting on canvas. Signed lower left. The large scene proposes, within a countryside landscape, the race of a group of soldiers on horseback, who are reaching their commander for observation in the shadow of the large tree on the left. The uniforms refer to the Habsburg cavalry of the second half of the 19th century. Ugo Ferrero, originally from Turin but trained in Milan at the school of Cesare Tallone, dedicated himself to portraiture but above all to fresco mural painting. His works decorate public buildings in Milan and its province. Even the work proposed here, due to its size and scenic structure, refers to an art with a strong decorative impact. It is presented in a frame.

Female Portrait

Oil painting on canvas. Signed by Monti in the lower right corner, but the author is not identifiable. In any case, he proposes this portrait of an absorbed young lady with good pictorial quality. Slight drops in color.

Portrait Of A Couple Oil On Canvas 20th Century

Oil on canvas. The painting is a portrait of a married couple dressed in rich, yet severe, clothing from the 19th century, embellished with jewels and fur coats, flaunted to highlight the condition of economic prosperity they achieved. Even the pictorial methods resume the ways of nineteenth century art, although the painting was certainly realized during the following century. On bottom right, the signature "Hayez" appears, which place the piece in the category of artists reproductions, moreover of excellent quality. It is presented in a late 19th century frame.