Mirror Carved Wood Italy XX Century.

Still life

Oil on the table. Signed lower left. On the back this label with the title of the Segalini art gallery in Brescia; There are also two stamps from private collections. The composition has an autumn flavor, with a basket of chestnuts and two dead birds, flanked by a flask of red wine. Born in Livorno to a wealthy family, Giovanni Bartolena learned the rudiments of the trade from his uncle Cesare, author of battle paintings and portraits. In 1886 he moved to Florence, with the intention of continuing his training at the Scuola Libera del Nudo, under the guidance of Giovanni Fattori, a neglected intention in favor of an intense and expensive social life, which distanced him from academic studies and made his pictorial activity was unstable. In 1919 he settled permanently in Livorno and thanks to the help of some patrons from Livorno, he started an intense creative season, marked by the production of flower vases, landscapes and above all still lifes, in which Bartolena brings together the most diverse things he had collected and scattered in his studio (Ricci and mug, Cigar and oranges .... Chestnuts and flask). Gifted with a notable chromatic exuberance and sensuality, he strove to keep all the freshness and glaze of his colors by spreading and processing them directly on the table, which he had previously treated with various substances so that it would not absorb. In these still lifes, as well as in his landscapes of the Livorno countryside (which he rummaged from his studio with a long marine telescope), Bartolena expressed all his expressionistic exasperation mixed with a certain Macchiaiolo spirit. The work is presented in a contemporary frame.

Paris Rue Norvins 1957

Oil on cardboard. Initials of the artist (MVM) and date at the bottom right. On the back there are label and stamps of the Galleria Ponte Rosso in Milan with the data of the work (author, title, date). 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 the "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. Several glimpses of Parisian streets are also part of his production of the 1950s, such as this one in a small street in the Montmartre district. The work is framed in style.

Venetian glimpse

Oil on cardboard. Signed Gigi Moretti lower right. Of Luigi Moretti we know above all glimpses of the city in born and died, Venice. With an impressionist flavor, he proposes glimpses that change according to the play of light and shadow, with colors that blend and overlap to create chromatic games. The work is presented in a late '880-early' 900 frame.

Landscape with Figures 1924

Oil on the table. Signed and dated lower right. Born in the province of Lucca, Umberto Vittorini artistically trained at the art school of this city, then became a pupil of Edoardo Gordigiani and attended the studio of the divisionist painter Fausto Ciompi delle Notti, a meeting place for Pisan artists of the early twentieth century. He made his debut exhibiting a portrait in Florence in 1910, and later his career led him to propose himself in Italy and abroad, achieving great success. He painted portraits, naturalistic compositions, landscapes of the Tuscan countryside, but his production was characterized by a predilection for the views of Pisa: in particular, in fact, he reproduced this city in its various aspects, in different hours and moments of the day, in its various sites. . He also tried his hand at drawing in black and white in engraving. His pictorial genre was initially considered to have a Neocèzannian matrix, with a personal vision of pointillist painting. Having obtained the chair of painting at the Brera Academy of Fine Arts in 1930, he repositioned his style remaining influenced by Carrà's futurism and a certain influence of the Scapigliatura (Arturo Tosi). He was the protagonist several times at the Venice Biennale, at the Rome Quadriennale and at various editions of the Milan Permanente. In reality, Vittorini always considered himself extraneous to any current, taken only by his art, his only reason for living. Vittorini died in Milan in 1979. The work offers a glimpse of a river in the countryside populated by boats and boatmen. In frame.

Landscape 1928

Oil on plywood. Signed and dated 1928 in the lower left corner. The glimpse of the landscape sees a path in the luminous countryside, with bushes laden with the first spring colors and still bare trees that stretch dry branches towards the sky. Strong and expressive work by a self-taught artist, native of Ferrara, of whom his friend Filippo De Pisis said: "A candid soul, feels its landscape with the delicacy of a poet: the bright colors under the sun inebriate it, and , and he always wants color in his paintings and often the sun is more than light ". The work is presented in a style frame.

Torcello 1955

Oil on cardboard. Signed in the lower center. On the back this label of the Ponte Rosso art gallery in Milan with the title and date of the work. Born in Venice in 1903, Dalla Zorza attended the Art Institute and exhibited for the first time at the annual exhibition "Bevilacqua La Masa" in 1922. In '24 he obtained an international award in Buenos Aires and in the same year he was the first time present with a drawing at the Venetian Biennale. The great international review saw him present up to 1954 for twelve successive times. Carlo Dalla Zorza belongs to the second generation of the "School of Burano" with Vellani Marchi, Seibezzi, Candiani and others. In 1946 he received the prestigious award of the Burano Painting Award which was the first international level prize of the post-war period. In Burano he worked intensely: "he faced the painting of that extraordinary landscape formed by the gardens, the salt marshes and the canals between Burano, Mazzorbo, Torcello, with his innate sensitivity as a draftsman". He was also an illustrator, mosaic artist and etching artist. The painting is presented in a frame, on which there is a stamp from a private collection.

Oil on cardboard. Signed lower right. On the back further signature, title and (date 1945?). Born in Livorno in 1898, Carlo Domenici enrolled at the Florence Academy of Fine Arts at the age of 13, where he attended courses in drawing, lithography and etching. In 1924 he participated with forty works in the eighth exhibition of the Labronico Group, a group of painters founded in Livorno and active since 1920, with the aim of enhancing the art of Livorno; Domenici becomes one of the main exponents. His painting stands out for the brightness and the lively and joyful sense of nature, based on a flowing and confident design that always has Tuscany as its protagonist, with three areas in particular: the Maremma, with its farmers and animals at work. in the fields, his city Livorno and the island of Elba. Domenici died in Portoferraio in 1981. The work proposed here presents a glimpse of the Island of Elba, with the buttero leading a white horse to pasture. In frame, with shortcomings.

Don Quixote of La Mancha 1962

Oil painting on canvas. Signed lower left. On the back there is a further signature with the date and title of the work. Also present is a cartouche of the Gussoni Gallery in Milan, relating to a personal exhibition dedicated to the author, bearing in addition to the data of the work, the catalog number 41 and the name of the owner collector. A Milanese artist descended from a cadet branch of the Gonzaga nobles of Mantua, Giovan Francesco took part in the Second World War with the Savoy Cavalry when he was still twenty years old, participating with the “Fantasma” squadron in patrol actions in the Russian steppe. The months spent in close contact with the horse during the war sparked in him a real passion for horses, which became the privileged subject of numerous paintings, sculptures and poems. Self-taught artist, he declared "Nature is my true teacher", and faithful to it, after horses, he devoted himself mainly to landscapes and still lifes, always depicted "en plein air". Vittorio Sgarbi wrote about him: "The wisdom of Giovan Francesco Gonzaga lies in the design, which is strong and decisive ..... The images vibrate with restlessness, in the sign of man's struggle against himself, in the hell of a a story that always seems to repeat the same drama. But if the preparatory drawing is admirable, the color of this artist has a regality and a sensitivity that come from a musical perception of the color, where the palette is expressed in sudden, variations and rhythms buttons ". His works appear in various museums, including that of the Pinerolo Cavalry, the Historical Museum of the Guardia di Finanza in Rome, the Tel Aviv Museum, the Art Museum of Los Angeles, in public and private collections in Italy, France, Spain, Luxembourg, Indonesia, China, Japan, Singapore and America. Among the various figures on horseback represented by the artist, to denote his passion for this animal, particular is this Don Quixote of La Mancha, accompanied by the faithful Sancho who rides his donkey: the frontal shot creates an effect of impetus with the slim but erect figure of Don Quixote that stands out in the sky, of which he wears the same colors, holding the lance also blue; the mounts and Sancho, on the other hand, in brown tones, lead back to the earth, to materiality. The work is presented in a frame.

Trees on the shore of the lake

Oil on canvas. Signed lower right. On the back there are: stamp of the Galleria Annunziata in Milan and label of participation in the exhibition at the same, further exhibition cartouche of 1951 at the Art Gallery the Skyscraper of Legnano, two other stamps of further art galleries. The painting is accompanied by authentication on photo with stamp of the general catalog of works by A. Del bon and catalog number. Born in Milan and trained at the Brera Academy as a pupil of di Alciati, Angelo Del Bon made his debut in Monza in 1924 at the female portrait exhibition. In 1926 he participated in the second exhibition of the Italian twentieth century, but he immediately departed from this movement and its heaviness and static nature, seeking rather a greater lightness of hues and shifting interest from form to color, to arrive at an essentially chromatic definition of the picture. , also on the suggestions of post-impressionism. From 1930, the year in which he was again present at the Venice Biennale, the dialogue with nature and the clear description of the Lombard landscape began, aiming for a clearer and brighter definition of the surrounding space. Starting from 1932, he reached a total zeroing of the surface values, introducing large patches of white and defining his own peculiar technique, which involved applying a consistent layer of zinc white to the canvas, subsequently proceeding with pure color mixtures. and scrapings to let the preparation emerge from the bottom. Del Bon obtained works of absolute clarity and brightness, accentuated by the use of pastel colors, which characterized his paintings from 1933 onwards. He mainly painted Lombard landscapes; from 1941 he began the series of still lifes and flowers. In 1940 he set up the Annunciata gallery with his friend Grossetti, to which Del Bon exclusively gave all his production. The work is presented in a style frame.

Glimpse of Canal with Boats

Oil painting on canvas. Signed lower left. Having moved as a child with his family to Milan in 1898, still very young, Raoul Viviani enrolled at the Brera Academy, where he studied under the guidance of Giuseppe Mentessi (1857-1931). At the same time he attended the nude school of the Artistic Family, with which he exhibited for the first time at the age of 17, immediately enjoying great success with the public and critics, as a landscape painter with a strong personality and modernity and for his highly original style characterized from strong chromatic experiments. In 1912 he participated in the Venice Biennale and subsequently participated in numerous national and international exhibitions. From 1926 he began his career in the field of art criticism, writing for various newspapers, but his opposition to fascism led him to choose voluntary exile: in 1931 he moved to Uruguay, where he founded and directed the Academy of Montevideo Fine Arts. Returning to Milan in 1937, he resumed his activity as a painter and as a critic. In the 1950s he moved to Rapallo for health reasons and remained there until his death. Extremely original landscape painter, who engages in oil painting but also in watercolor and engraving, is very close to pointillist painting, however, developing his own personal technique, characterized by very thin filaments of color in the form of thin commas, which define the structures of the its landscapes. With his transfer to Liguria, the Ligurian landscape becomes the protagonist of his works and also his mute technique, moving away from the original pointillism to open up to a broad and summary brushstroke, which finally leads to a production of still lifes from violent and contrasting colors. In this foreshortening, his characteristic pictorial style is clearly evident. It is presented in a frame.

Capri Calm

Oil on cardboard. Signed lower left. On the back, a cartouche of the Bolzani Gallery in Milan, with the title of the work. Painter and engraver, originally from Milan, Carlo Perindani visited the island of Capri for the first time in 1924 and there he met a large colony of artists (including the painters Carlo Siviero, Giuseppe Casciaro, Augusto Lovatti and Antonino Leto) of school and of different sensitivities, who usually went to the island attracted by the dazzling Mediterranean light, the wild nature of the rocks and the simple life of the inhabitants. He too let himself be seduced by the reality of the island, which became the privileged subject of his works. In frame.

Still Life 1948

Oil painting on canvas. Signed and dated lower left. A Milanese artist descended from a cadet branch of the Gonzaga nobles of Mantua, Giovan Francesco took part in the Second World War with the Savoy Cavalry when he was still twenty years old, participating with the “Fantasma” squadron in patrol actions in the Russian steppe. The months spent in close contact with the horse during the war sparked in him a real passion for horses, which became the privileged subject of numerous paintings, sculptures and poems. Self-taught artist, he declared "Nature is my true teacher", and faithful to it, after horses, he devoted himself mainly to landscapes and still lifes, always depicted "en plein air". Vittorio Sgarbi wrote about him: "The wisdom of Giovan Francesco Gonzaga lies in the design, which is strong and decisive ..... The images vibrate with restlessness, in the sign of man's struggle against himself, in the hell of a a story that always seems to repeat the same drama. But if the preparatory drawing is admirable, the color of this artist has a regality and a sensitivity that come from a musical perception of the color, where the palette is expressed in sudden, variations and rhythms buttons ". His works appear in various museums, including that of the Pinerolo Cavalry, the Historical Museum of the Guardia di Finanza in Rome, the Tel Aviv Museum, the Art Museum of Los Angeles, in public and private collections in Italy, France, Spain, Luxembourg, Indonesia, China, Japan, Singapore and America. In this still life, the elements of a moment of everyday life appear on a table, that of an afternoon tea: two silver teapots, the cup with the spoon and the lace napkin, a saucer with lemon resting on some photos; on the red background wall, a framed print. The intense chromatism and the expressive power of the elements stand out. The work is presented in a frame.