Alberto Salietti Oil on Canvas 20th Century - Female Portrait

Laundresses

Oil painting on canvas. Signed lower right. Rich in lights and colors, the painting offers an impressionist moment of the daily life of two washerwomen, intent on their work on the edge of a city canal. The work refers to the impressionist influences that Flumiani, an artist from Trieste, brought back from his study stay in Munich and from his meeting with his fellow citizen Umberto Veruda (1868-1904): the short and quick but large brushstroke appears to be impressionist. search for the play of light and colors, while the color tonality remains in the Veneto region. Ugo Flumiani's production is characterized precisely by a landscape production of marine: his favorite subjects are views of the Venetian lagoon, villages by the sea or boats that sail placidly, in any case always subjects in which aquatic surfaces can appear, in which the artist can make chromatic and luminous vibrations reverberate. The landscape is always the protagonist of Flumiani's works, even where human figures are inserted: even the two washerwomen in the painting presented here are part of the landscape, they are inserted in a harmonious, continuous way, without interruptions or chromatic and lines. The work is presented in a contemporary frame.

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.

Sant'ambrogio

Original oil painting on cardboard for the preparation of the stained glass window of the church of Viggiù (Varese), for which the master Aligi Sassu made many works. This painting comes with expertise on picture signed by Alessandro Grassi, master glassmaker who collaborated with many Italian and foreign architects and artists and realized the final work in collaboration with the artist. The painting depicts St. Ambrose - patron Saint of Milan - in the act of denying the entry into the church to the emperor Theodosius I, who was guilty of many crimes even though he was a Christian. In frame. 20th century.

Marmittone gets married 1950

Oil on canvas. Signed and dated lower left. On the back there is a cartouche of the Ranzini Gallery in Milan, relating to the artist's personal exhibition held in November 1950, which indicates the title of the work. It is an original and unusual subject by the Ligurian painter, who is inspired by a comic published starting from 1928 in the Corriere dei Piccoli, which tells the adventures of the simple soldier Marmittone, a type not too bright but of good will who, due to gaffes or simply out of sheer misfortune, ends up in jail at the end of each adventure. Noelqui's work is of a fantastic kind: the two protagonists of the scene, Marmittone and his bride, are flanked by characters with the appearance of animals, the context is represented with geometrically defined houses with simple outlines, the colors are lively and cheerful. It seems almost the illustration of a children's story, which refers to the activity of writer, also of fairy tales and short stories, in which Noelqui ventured. Noel Quintavalle (known under the pseudonym Noelqui), a native of Ferrara but raised and artistically trained in Milan, was a multifaceted artist. Graduated in architecture, he was self-taught in the arts, but after the great war in which he actively participated, he quickly distinguished himself and exhibited in numerous national and international exhibitions; in the meantime he also carried out the aforementioned literary activity, publishing various volumes (satire, fairy tales, short memories of the war) and also tried his hand at sculpture and xylography. His pictorial production, which began as a pointillist, was then influenced by the synthesis of modern painting. The subjects most dear to him were the portrait and the landscape. The work presented is in a contemporary frame, with some small defects.

Landscape 1927

Oil on canvas. Signed and dated lower left. On the back there is a cartouche with the address of the artist's studio and the title of the work; there is also a pencil-made note from the owner (a painter too) "Gift of the author, 19-03-1930". Noel Quintavalle (known under the pseudonym Noelqui), a native of Ferrara but raised and artistically trained in Milan, was a multifaceted artist. Graduated in architecture, he was self-taught in the arts, but after the great war in which he actively participated, he quickly distinguished himself and exhibited in various national and international exhibitions; in the meantime he also carried out literary activities by publishing various volumes (satire, fairy tales, short stories, memories of the war) and also experimented with sculpture and xylography. His pictorial production, which began as a pointillist, was then influenced by the synthesis of modern painting. The subjects most dear to him were the portrait (with a preference for particular female figures, such as dancers) and the landscape. The landscape presented here - a hilly glimpse, with a wide view that opens from the path under the leafy tree - belongs to the period of Noelqui still close to Divisionism, in which he used a technique with small, almost point-like brushstrokes, giving a greater brightness and surrounding each element or figure with a magical aura. The work is presented in a contemporary frame.

Landscape

Oil on board. Signature and date at the bottom left. On the back there is a stamp of "Domenico De Bernardi-Besozzo" and authenticity. De Bernardi's painting is part of the 19th and 20th century Lombard landscape tradition. He always lived in Besozzo, his birthplace in the province of Varese, but travelled extensively in and out of Italy, gathering impressions and searching for new landscapes to revive them in his work. In particular, he gained new inspiration from a trip to Libya in the 1930s, from which he returned with a more lively and Mediterranean palette. Landscape painting was his favourite genre, but he was also often attracted to 'still life' with equally significant results. The small landscape presented here is a view of hills with higher peaks in the background, perhaps the artist's native pre-Alpine areas; a small village fills the centre of the scene, in which the widespread fences of the crops stand out in particular. The painting comes in a coeval frame.

Female Nude

Enamelled earthenware sculpture. The sculpture depicts a young woman seated with missing legs and arms: it is possible to guess that she is sitting with her arms resting on them, her head turned upwards, smiling, allowing herself to be illuminated by the light. It is part of the rich sculptural production of Virgilio Audagna, who gave great prominence to the female nude, presented in many poses and expressions. The sculptor Virgilio Audagna created both large monuments and small works. Active not only in Italy but also abroad, where he often stayed, he was also able to produce models for medals, with sacred and profane subjects, to commemorate numerous events. As well as being a sculptor, he was also a draughtsman and painter.

Tempera on canvas, Mid 20th century. The four large decorative panels are shaped to delimit a central hole for the chandelier. They are decorated with a leaf wreat motif, with fruit and ribbons, which, when the panels are mounted together, makes up a crown; there is also a putto, playing on the wreat, on every panel. The motif is of neoclassical taste. The whole decoration measures 350x240cm.

Painted decoration of wardrobe doors

Oil on wooden table. Signed on the first lower right door. It is the pictorial decoration of the eight doors of a wardrobe, made to measure for the client's family, which make up a large abstract scene - almost a scenography! - in very delicate pastel colors, in which deconstructed, dreamy, floating figures are glimpsed. Giorgio Bellandi, born in Milan in 1931, was a very talented set painter. Passionate about art from a very young age, he attended the Brera Academy and became an active part of the Milanese artistic environment of those years. Bellandi worked as a set designer at the Teatro alla Scala in Milan and made his debut as a painter in the 1950s by joining the existential realism, a very active artistic movement in Milan in the second half of the 1950s, becoming one of the exponents of this current. Existential Realism was originally based on the search for something different, an alternative both to informal painting and to the effects of existentialism, especially political, which had taken hold due to the damage caused by World War II. Ideologically these artists had in common the refusal towards authoritarianisms and towards social and political conformisms, in an environment that was generally oriented to the left. Bellandi is an artist gifted with talent and creativity, a lover of freedom of expression and beauty, and performs works of interesting reading with intense but harmonious chromatic tones. Passionate about Lake Como, he often came to the Lario in search of relaxation and inspiration. In '64 he participated in the Venice Biennale and in '65 he was invited to the IX Quadriennale in Rome. Very active painter, he realizes many exhibitions in national and international territory, until his illness which unfortunately was fatal to him, in 1976. It is possible to carry out the intervention of detachment of the doors from the cabinet from the structure and their reassembly on a unitary panel.

You you 1967

A panel with colored acrylic inlays. Made by Ugo Nespolo (1941). Signed and dated at the bottom left. A further signature, date and title on the back. Early work belonging to Nespolo's debut as artist. 1967.

Saint George 1992

Oil on panel. Signed bottom right. On the back, with Cyrillic characters, there is the title, the date and the location, Bergamo. The Lithuanian artist, who currently lives and works between Moscow, Italy and the United Kingdom, is considered one of the most important contemporary Russian artists. In his large production there are landscapes, still lifes, many portraits of famous people and his surreal compositions, an expression of his peculiar "dream vision" of reality. Even in this table, albeit in the style of traditional icons, the depiction of the famous St. George is proposed in a surreal key that reminds of De Chirico, in which the dragon is replaced by a goose, the Saint's head is an egg, in the outlines there are figures of sorceresses... a clearly unorthodox interpretation! The panel has a vertical slit. The piece is presented in a frame.

No Title

Mixed technique on fabric scraps, with added elements of various materials. The square canvas drawn with oil presents a figure of a woman on horseback; the horse's tail, to be applied on top, is made of synthetic hair; the painting is also accompanied by a small rectangular canvas with a text written in English, like the excerpt of a letter, and a ceramic ashtray in the shape of a horse, proposed alongside each other. Jenny Watson is an Australian artist (born and trained in Melbourne) who has adopted different stylistic approaches to her painting, using a range of different materials and fabrics, such as velvet elements and collages, and often combining images and words. The subjects she proposed have always tended to be autobiographical: starting from punk and feminist inspirations, Jenny Watson recreates an intimate diary in which figures and words intertwine to compose short daily narratives. Her personal iconography is made up of self-portraits (the red-haired woman is none other than the artist herself), horses, cats, domestic interiors and lettering, rendered with very fresh brushstrokes that leave a lot of space to the imagination, even if the figures are rendered in a very rigid and fixed way, as if to denounce the absence of social movement, especially towards women. Her pieces are often accompanied by small coloured canvases that display poetic descriptions of her work, making the viewer's identification process immediate. The piece proposed here was presented at a solo exhibition by Jenny Watson held in Trento in 2018, at the Raffaelli Art Studio, entitled "Jenny around the world". It is accompanied by photos showing how its presentation at this exhibition was carried out, and the invitation card to the exhibition of the buyers of the work is also attached. A small catalogue of the artist's exhibition held in Como in 1993 is also attached.