Scope Of Vittorio Ranieri Tempera On Canvas Second Half '800

Landscape With Birds And Game

Tempera on canvas. In a fantasy landscape, on a completely blue background in which plant elements are inserted around a stream, various ornithological species are represented, depicted in their natural movements in nature. Scientific interest in the study of animal species grew during the second half of the 18th century, culminating, in particular for ornithological research, in Buffon's work "Historie naturelle des oiseaux" of 1770, which then became a reference point in the following decades for the reproduction of naturalistic settings in decorative terms and contributed to amplifying the commercial interest in chinoiserie work in Europe. Carlo Antonio Raineri and his son Vittorio are also included in the group of decorators who worked in Lombardy and Liguria between the eighteenth and nineteenth centuries, among the great European decorators who followed the taste of the time for exotic furniture, declining it according to the Lombard naturalistic tradition . In particular, they stood out for their ability to prune exotic fantasies from the excess and create a decorative scenario in compliance with the ornithological and naturalistic treatment. Their workshop had a wide following and contributed to a large production of this decorative genre. The large piece proposed here was probably part of a decorated boiserie, and was only mounted on a Ligurian frame in the mid-1900s. It is presented in a decorated frame in style.

Scope Of Vittorio Ranieri Tempera On Canvas Second Half '800

Landscape With Birds And Game

Tempera on canvas. In a fantasy landscape, on a completely blue background in which plant elements are inserted around a stream, various ornithological species are represented, depicted in their natural movements in nature. Scientific interest in the study of animal species grew during the second half of the 18th century, culminating, in particular for ornithological research, in Buffon's work "Historie naturelle des oiseaux" of 1770, which then became a reference point in the following decades for the reproduction of naturalistic settings in decorative terms and contributed to amplifying the commercial interest in chinoiserie work in Europe. Carlo Antonio Raineri and his son Vittorio are also included in the group of decorators who worked in Lombardy and Liguria between the eighteenth and nineteenth centuries, among the great European decorators who followed the taste of the time for exotic furniture, declining it according to the Lombard naturalistic tradition . In particular, they stood out for their ability to prune exotic fantasies from the excess and create a decorative scenario in compliance with the ornithological and naturalistic treatment. Their workshop had a wide following and contributed to a large production of this decorative genre. The large piece proposed here was probably part of a decorated boiserie, and was only mounted on a Ligurian frame in the mid-1900s. It is presented in a decorated frame in style.

Female portrait

Pencil on paper. Effective portrait of a lady, with beautiful rendition of the chiaroscuro obtained in pencil. It is presented in a coeval gilded frame.

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.

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.

Giuseppe Valsecchi

Two Mountain Landscapes

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 (44 x34 cm), from 1947, depicts Valle Cordevole (Bellluno); the second (39.5 x 35), from 1962, depicts La Grignetta from Pian dei Resinelli. 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.

Gallant scene

An Indiscreet Question

Oil on the table. Signed A. Gilly lower right. On the back this paper label with inventory number and title in German. The nice scene depicts, inside a garden with balustrades and marble, a knight intent on asking something from the embarrassed young peasant woman. The painting is presented in a coeval worked frame.