Veglia Clock Bronze Italy XX Century

The Scribano

Oil on cardboard. Signed at the bottom right. Beautiful painting by the painter from Bergamo (Italy). Romualdo Locatelli studied at the Carrara Academy and then, driven by a strong passion for trips, he traveled a lot in Italy and abroad in Africa and Orient. During the World War II he moved to Manila in the Philippines, where he stayed until his death. His works belong to public and private collection all around the world, especially in Orient where he probably made his better works and is still known as the "famous Romualdo". His natal city Bergamo dedicated him many exhibition. The painting depicts an oriental subject, a character of the Oriental popular life typical of the places the artist visited. The face of the depicted person was cleaned because it had extremely pronounced facial features compared to the shade given by the hat. The features were inappropriate considering the man's race (before and after cleaning in the pictures). Presented in frame. 20th century.

Caricatures of Gandusio and Melato

Tempera on paper. Signed at top right. Luigi Daniele Crespi was a painter, journalist and illustrator active in Rome from 1912 to 1940, of whom no other biographical information is available. Linked to the Futurist movement, he was also active in advertising posters and set design. His elegant caricatures and satirical drawings were published in many magazines and covers. In this drawing Crespi offers caricatures of two well-known show business personalities of the time, Antonio Gandusio (1875 - 1951), who was one of the most interesting Italian comic actors, both film and theatre, almost a commedia dell'arte mask, and Maria Melato (1885 - 1950), a theatre, radio and cinema actress. Framed.

Glimpse of Ruined Temple

Pastels on paper. Signed lower left in pencil. Evocative work by the Danish artist Arild Rosenkrantz, symbolist in style, who was a painter but also a master glassmaker, sculptor, illustrator. His production was inspired by the anthroposophical theories of Rudolf Steiner and by Goethe's philosophy. WJ Goethe in his "Theory of Colors" hopes that painters treasure the moral action of colors, revealed by him, to make their works more alive and pulsating. Even Rudolf Steiner glimpsed in Goethe's lesson a mine of very useful knowledge to bring about a renewal of painting. In particular, we owe Steiner the very important discovery of those intimate sensations that could be defined as "movements of the soul" and which, in the contemplation of colors, are experienced in the depths of the subconscious. Rosenkrantz translates this search for intimate sensations into his works, transforming a landscape like the one proposed here into an experience of the soul, through the use of almost impalpable, rarefied colors and lights, which introduce a dreamlike dimension. The work is presented in a frame.

Nude Concept

Crayons on paper. Signed lower right; further signature on the back, with the title. Delicate female nude, with soft colors, by the Venetian painter Eugenio Polesello, best known for his landscapes. In frame.

Grado

Oil on canvas. Signed lower left. Further signature and title on the back. It is a landscape glimpse of the lagoon from the beach with the mooring piers of the Friulian town, in the warm and bright colors and in the suspended atmosphere typical of Silvio Consadori's painting. Born and trained artistically first in Brescia, his hometown, then at the Carrara Academy in Bergamo, Consadori discovered Burano in 1935, immediately joining the circle of artists who spent long periods on the island. He was initially a painter of genre scenes (the interiors of cafés and maternity hospitals were among his most recurring subjects), while after the war he devoted himself constantly to sacred painting. Starting in the 1950s, his great cycles of frescoes with sacred subjects, which culminated in 1971 in what he himself defined as "the most complete result of my fresco painting": twelve frescoes in the church of San Giuseppe al Trionfale in Rome. In the last years of his life he spent long periods not only in Milan, where he taught at the Brera high school, but also on Lake Garda and Burano, where he died in 1994. Framed work.

Oil on wooden board Unidentified signature lower right. In imitation of Renaissance painting, the painting presents the three figures seated in a meadow with a large and gentle landscape in the background; Mary holds the prayer booklet in one hand, but her gaze is directed to the two children, Jesus in her arms and John sitting on the ground, who both hold in one hand the stick surmounted by the Cross, the iconographic symbol of the Passion. The painting is presented in a coeval frame.

Oil painting on canvas. Great presentation of the Sacred Maternity, with Mary seated on the clouds and the Child in her arms, blessing, while holding a rose in the other hand. The background is neutral, in a golden color which helps to give solemnity to the scene. The painting is presented in a gilded frame from the late 1800s-early 1900s, which needs restoration of the stuccos.

Bas-relief in embossed copper, mounted on a wooden panel. The large scene is a sort of allegory of the history of man: in the centre, some naked human figures, both male and female, are trying with great effort to turn a large cogwheel, inside which a balance is inscribed; other human figures, with headdresses that refer to different civilizations, observe them. All around, among other cogwheels, there is a mixture, without historical continuity, of buildings and inventions belonging to different periods of human history: we see pile dwellings, classical temples, modern bridges and skyscrapers; oil drilling pylons, planes, the galaxy with its elements and above it an atom; on the right appear dinosaurs, ears of corn and game. At the bottom right is the signature G. Guerinoni, while the name Giuseppe Guerinoni, Borgo Palazzo 43, Bergamo, appears on the back of the wooden panel on which the work is mounted. These data refer to a work created by a member of the Guerinoni d'Averara family of Bergamo, a family of notable fresco artists dating back to the 14th century. One thinks in particular of the work of Luigi Guerinoni known as Guerinù (1912-1991), who created several bas-reliefs in embossed copper, above all for the churches of the Bergamo area and therefore with religious subjects.

In Brianza

Oil painting on canvas. At the bottom left there is the DB monogram. Title and gallery stamp on the back. The glimpse of the Brianza countryside, still flat, sees a shepherd who lets his cows graze in the meadows immediately outside the village, near the dirt road flanked by light poles; two bare and thin trunks stand vertically, almost parallel, dividing the scene into three shots. The work is presented in a coeval frame.

Figure with Tambourine 1927

Drypoint print. Signature printed lower left. Further signature in pencil at the bottom, with serial number 67/125. In the vast production of Ardengo Soffici we also find various human figures, which well express his choice to return to traditionalism, after having attempted various avant-garde experiences. The work is presented in a frame.

Old Naples's View 1933

Oil painting on canvas. Signed and dated lower left. Ricciardi was a prolific Neapolitan painter considered by some to be the seed of Neapolitan impressionism; he painted seascapes, beaches, views, landscapes and Neapolitan customs and traditions of his city as his main subjects. In his works the intense chromaticism, the study from life, the abandonment of the drawing and the limpid and terse light that pervades the scenes, reveal the knowledge of Impressionism, due to the presence in Naples of Giuseppe De Nittis. This glimpse of Naples has been repeatedly replicated by the artist, and in one of these works also appears the title "Impression of old Naples", absent here. It is an intense glimpse of the atmosphere of an old popular Neapolitan street, enlivened by a market populated by human figures, with old peeling walls decorated with hanging clothes and planters. The work is rather dark, a brown monochromatism prevails, interrupted only by the brighter colors of the human figures; the only source of light comes from the artificial lights turned on in the shop down the street. The work has a slight damage in the upper right corner (small cut of the canvas). It is presented in a coeval frame.