Ultima Cena Textile Reproduction Italy XX Century - Textile Reproduction

The garden of the house of Camerano Casasco

Watercolor and ink on paper. Signed and dated September 14, 1952 in the lower left corner; location at the bottom right. On the back this title of the work of the famous Russian set designer, painter and draftsman, who since 1935 was the main scenographer of the Teatro Alla Scala in Milan. In an exposed frame.

The Park 1979

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Il Balansino presents a glimpse of a city park, with a small terraced relief, animated by a couple of barely sketched figurines that blend into the natural environment, due to the overlapping of colors applied with rapid brushstrokes and with indefinite contours. the work is presented in a frame.

Female Nude, 1965

Oil on cardboard. signed lower right. On the back is the artist's autograph dedication to 'friend and colleague Giovanni Balansino'. Born and artistically trained in Florence, Ugo Vittore Bartolini moved to Milan in 1934, having obtained the chair of figure drawing at the Liceo Artistico dell' Accademia di Brera. If, from the 1930s onwards, he established himself mainly as a landscape painter, after the Second World War, Bartolini moved decisively towards sacred subjects, but also produced series of female nudes and still lifes. His style is simple and communicative, his paintings have a warm and refined chromatism. The work is presented in a frame.

The Olona

Oil on hardboard. Signed lower right. Further signature and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Balansino presents a glimpse of the Olona river, a watercourse entirely in Lombardy, as it flows through the villages of the Lombard plain. The work is presented in a frame.

Bruges 1979

Oil on hardboard. Signature and location lower right. On the back there is another signature, with the title and date of the work. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In this case, instead, it offers a glimpse of Bruges, a well-known Flemish town. The work is presented in a frame.

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them., which this glimpse includes of a town in the Lombard plain. In frame.

Oil painting on canvas. signed lower left. Further signature on the back. It is part of the extensive production of still lifes by Campestrini, who had a preference for compositions with autumnal fruits and colours. The Milanese artist, son of the famous painter Alcide Davide, devoted himself to painting with a technique linked to his father's school and to the late nineteenth-century tradition. The work is presented in a frame.

Oil painting on canvas. At the bottom left there is an unidentified signature (Parravicini?). The hilly landscape, with sparse and low vegetation, is inhabited by a solitary brick farmhouse, squared and equally bare; above, to accentuate the atmosphere of solitude, a sky full of gray storm clouds. The painting is presented in a period frame.

Oil on canvas. Signed S. Ronzoni in the bottom right-hand corner. The foreshortening is set outside the village, near the small stream crossed by a small bridge; on the embankment on the right there is a covered market, populated by numerous figures, among which stands out in the foreground the female figure who, well closed in her coat with a red scarf, returns with a full purse. With broad brushstrokes and blurred outlines, the artist creates a pleasant scene divided into two parts, with the natural landscape on the left, dominated by the colours blue and green, and the environment of popular life, where the bright colours of the clothes stand out in patches against the grey and off-white tones. The painting is presented in a frame.

Brescia hills

Oil on canvas cardboard. Signed lower right. Beautiful landscape of the Brescian hills, with the very green central hill that opens onto the cultivated plain, gradually fading from the greens to the distant blues up to that of the sky. Bonatti, originally from Mantua but trained and lived in Milan, was a figure and portrait painter, but he also produced various Lombard and Ligurian landscapes. The work is presented in a coeval frame.

Oil on canvas applied to plywood. Signed lower left. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. Less frequent in his production are floral subjects, such as this composition in a vase of wild flowers, among which poppies and cornflowers stand out, with a bulb abandoned on the table top. The work, coming from a private collection, is presented in a frame.

Crayons on paper. In the lower right, inconsistent signature and date 1930. In an orderly countryside, a cottage stands on the left with clothes hanging in the sun on outdoor lines; on the right, a man on crutches walks along the road, while another lights a cigarette on the bank above. In the center, a light pole divides the scene in two. The work is presented in a period frame.