Pair of Wall Lights Gilded Bronze Italy 20th Century

Landscape with Houses 1966

Oil painting on canvas. Signed and dated lower left. It is a glimpse of houses at the entrance to the town, rendered with a marked geometric dimension and a material use of colour, as characteristic of the painter from Gussago (Bs) Eugenio Levi, whose pictorial poetics was always inspired by "things" and places he lived. The work is framed in style.

Flowers in vase 1972

Oil on canvas board. Signed lower left. The composition of some flowers in a simple terracotta vase is characterized by the use of a strongly material colour, typical of the Gussago artist Eugenio Levi. Presented in a stylish frame.

Oil painting on canvas. The great style scene, takes up the pictorial compositions of the seventeenth and eighteenth centuries, the so-called architectural whims, which placed ancient architectural structures, often in ruins, within an Italian landscape animated by popular figures. The same subject is found in this large canvas with a strong decorative impact. It is presented in a stylish frame.

Oil on canvas cardboard. At the bottom right there is an inconsistent attribution signature, and the location Venice. It is a Venetian corner facing the sea, probably overlooking the Giudecca Canal, with a quay crowded with various female figures, dressed in clothes from the first half of the 1900s, perhaps waiting for a boat. A moored gondola can be seen to the left. The work is presented in a coeval 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.

View of Vienna from the Belvedere

Mixed media (acrylics and oils) on canvas. Painted between the 1960s and 1970s. It is a copy of one of the many views of Vienna painted between 1758 and 1761 by Bernando Bellotto, better known as Canaletto. They are kept in the Kunsthistorisches Museum of Vienna. The large view, enlivened by numerous figures in the typical style of both the 18th century's Venetian painting and Canaletto himself, is taken from the upper Belvedere of the same named palace. It was the summer residence of Prince Eugene of Savoy, which was built on a hill on the southern part of the city center. A series of large Baroque buildings appear in the background behind the gardens. In particular, the Karlskirche (church of S. Carlo Borromeo) with its monumental dome and the Schwarzenberg Palace with exaggerated proportions. So as the Orangerie and the Lower Belvedere of the Palace. Finally, on the right there is the Salesian Convent. Behind all this monuments, further still in the background, it is possible to see the fortified city center and the spiers of the Stephansdom (St. Stephan's Cathedral). The painting's frame is from the first half of the 1900s.

Four Women 1986

Etching and aquatint on paper. Signed in pencil lower right; serial number 54/95 lower left. The work, created in 1986, proposes one of the most recurring themes in Renato Guttuso's production, the woman, which he always proposes in a passionate way in the tone, incisive and marked in the sign, to capture the gaze in an erotic and sensual emphasis . Inspiring muse and undisputed protagonist of many works by the artist from Bagheria was Marta Marzotto, whose features are also found in this work. They are four women and yet she is only one; they are close to each other almost touching, yet each ignores the presence of the one next to it. There is no narrative intention in Guttuso, but the women chase each other on the surface of the sheet as in a study book, notes for the great compositions on which the artist works. Therefore, as is characteristic of the studies, what interests Guttuso here is to follow the unfolding of the signs until they are recomposed in a synthesis that transforms them into a complete image. The etching delicately traces contours and internal lines that a few strokes of aquatint barely color; or play freely on the intricate masses of hair that have always been a typically and exclusively graphic element for Guttuso. The lithograph is mounted on a panel with a visible frame.

Hill Landscape with Cottage

Oil painting on canvas. Signed lower right. A glimpse of rolling hills characterized by the brilliance of the green color, in a wide range of shades enhanced by soft edges, surmounted by the blue sky and interrupted only by a cottage, which also incorporates the same colors of the earth and the countryside. It is the work of the young Milanese artist Amerigo Canegrati, who had great fame in the Thirties, and is considered among the representatives of the Lombard pictorial trends of the Italian twentieth century; his painting expresses deep coloristic qualities both in landscape paintings and in compositions and figures. The work is presented in a style frame.

Glimpse of Mandello Lario 1909

Oil on canvas. Signature and location (Mandello) lower left. On the back additional signature, date and title in full. Riccardo Pellegrini, a Milanese painter, was a pupil of Domenico Morelli and was educated in the climate of romanticism. He was a landscape painter and genre painter, but he also created valuable still lifes, with bright colors and a precise and realistic drawing. His landscape production drew on the various places he visited and lived, in Italy and abroad, especially in Spain and France. In this landscape, Pellegrini offers a glimpse of the mountain that overlooks the town on the shores of Lake Como: a barren and bare mountain, albeit inhabited, with the hut on the top and a female figurine that fills the buckets at the stream of flowing water. between the rocks; the colors are those of the winter mists, divided almost transversely between the gray-blue of the upper part, with clouds laden with rain that dominate the peaks on the other side of the lake (which can be sensed, without being seen), and the green-brown of the land that occupies the lower half, with the branches of the bare trees stretched out to connect the two halves. The quiet of the mountains, the title of the work, clearly shines through and pervades the mind of the observer. The painting is presented in a contemporary frame.

Venetian glimpse 1940

Oil on hardboard. Signed and dated lower right. The painting is part of the realist production of the 1930s-1940s by Pino Ponti, a Venetian artist who trained at the Academy with Virgilio Guidi. In this phase, his painting proposes an apparently light and improvised representation of reality, which is instead studiously elaborated and ambiguous. After the war, in which Pino Ponti participates as a partisan, his painting becomes dramatic, of denunciation, characterized by the presence of sparse forms, but pervaded by a certain restlessness and grotesque accents. The painting is presented in a frame.

Surreal Landscape 1974

Mixed technique on wood. Signed and dated lower right. Further signature and date on the back (1973, not coinciding for one year with that on the reverse). Bruno Artioli, an artist originally from Nocera Umbra, was above all a landscape painter, who interpreted both with a classic naturalism and with a geometric purity in an abstract key. In this second interpretative key, Bruno Artioli's views go beyond phenomenal reality to acquire a completely objective character, devoid of any particularism, the elements of the landscape end up being reduced to pure forms and pure colors. The work presented is part of this conception of the landscape, sparse, geometric, clean in every line as well as in the subdivision of the colors, which each maintain their own identity and occupy a well-defined space. In frame.