Bronze Camel China XX Century

Thistle Flowers 1958

Oil painting on canvas. Signed lower left. On the back there is a label from the Galleria Annunciata in Milan, with the title and date of the work. Fiorenzo Tomea created, especially in the 1950s, a vast production of flowers, in pots or alone: ​​in the same years this subject was a traditional theme of the painting of De Pisis and Mafai, and he wanted to propose a reflection on vanitas, that is, on fleeting nature of life. The dried, gaunt flowers, isolated from each other, suspended in a livid, almost surreal atmosphere, convey a sense of defeat and estrangement. The work is presented in a period frame.

Winter scene

Oil painting on canvas. Italian school of the early 1900s. The large scene is set in a desolate landscape completely covered in snow: on the left in the foreground, behind a group of carts and mobile homes (probably a gypsy camp) a woman cries while peeking out from behind a cloth; observe the figures moving away from the center of the scene, only silhouettes but clearly definable: two gendarmes flank a man in plain clothes, evidently under arrest. A street lamp and some dry and bare trees occupy the space on the right. The whole scene, painted with broad brushstrokes and without contours, is dominated by the greyish-white shades of the snow, the gray sky, the indistinct peaks in the background, or rather all the naturalistic elements, including one of the two horses tied to rest, while the other elements, the figures, the house, the street lamps, the other horse, and also the footprints on the snow that trace the path of the three figures in the distance, are characterized by brown and ocher colours, rather dull: the whole underlines the drama of the scene, perhaps also the desperation and sense of loneliness and abandonment of the woman. Restored and relined, the painting is not signed on the front (possible signature on the back covered by the relining?). The painting is presented in a period frame.

Glimpse of the Cloister of the Dome of Monreale

Mixed technique, with canvas, wooden panels, metal threads, small beads, etc. At the bottom center is the artist's name, unidentified. It is a three-dimensional and perspective reconstruction of the cloister of the Monreale Cathedral, with the fountain in the foreground. The work is presented in a display case with a gilded frame from the early 1900s.

Landscape with River

Oil painting on canvas. Signed lower right. Specializing in landscape painting, the painter Romeo Borgognoni mainly depicted glimpses of the Pavia countryside, in a style which, although with realist rigor, draws on impressionism for its bright and vibrant brushstrokes. In this large painting there appears a flat and green countryside crossed by a slow river, perhaps a glimpse of Ticino. The work is presented in a contemporary frame.

The Joachim Quartet 1904

Etching. Signed lower right; additional signature and date on the top corner of the sheet music. This is a famous portrait taken by the Viennese photographer and engraver Ferdinand Schmutzer, of the musical quartet directed by maestro Joseph Joachim (1831 -1907), famous Hungarian violinist, composer and conductor. Among the famous portraits painted by Schmutzer are those of Albert Einstein, Sigmund Freud and Richard Strauss. The work is presented in a frame.

City Glimpse

Oil on wood. Signed on the back. Riccardo Viriglio, a landscape painter from Pavia, portrayed urban views mainly of his city and landscape views especially of Lombardy. Here too there is a view of a city square with a portico. In a stylish frame.

Glimpse of the Country with Figures

Oil on wooden panel. Signed lower left. Vittore Antonio Cargnel, father of Lucio Cargnel, was mainly a landscape painter, author in particular of evocative views of Treviso and exciting glimpses of Friuli, his homeland. He is considered the spokesperson of intimate landscape painting, for his ability to freeze landscapes in the immediacy of atmospheric changes, often on small panels, so as not to miss the moment of a particular luministic condition responsible for the impression aroused in the artist. In this part of the town, the luminous contrast stands out between the square still dominated by the gray rain, highlighted by the umbrellas of passers-by - figures that are only indistinct spots, neutral elements of the landscape - and the light which, cutting through the clouds, illuminates and colours. the top of the buildings. The painting is presented in a contemporary frame.

Landscape with Shepeherds and Ruins

Oil on wood. Signed lower right. Antonio Oberto, a post-impressionist painter from Pavia, dedicated himself to landscapes but also to the decorations of public buildings in his city. He mainly proposed views of Pavia and the Pavia countryside along the Ticino, depicted, through rapid brushstrokes, in a late nineteenth-century style. A large landscape is proposed here along the river, precisely the Ticino in its flat stretch, precisely the one that borders the city of Pavia; in the foreground, on the right the remains of neoclassical structures, on the left two shepherds with their flock. The work is presented in a period frame.

Madonna with Child

Oil on hardboard. Signed lower right. Francesco Mazzucchi, an artist originally from the Pavia area and active in Lombardy, dedicated himself mainly to sacred art, leaving his works in some churches in the Vigevano area. Proposed here is this delicate and tender depiction of the Madonna with Child, in the colors and scene, which sees mother and son in a moment of domestic intimacy, intent on playing with the pigeons in the garden. In frame.

Rovereto, 1920

Oil on the table. Signed lower left. The title and date on the back in pencil. Riccardo Viriglio, a landscape painter from Pavia, portrayed urban views mainly of his city and landscape views especially of Lombardy. Here is a glimpse of the village of Roveleto, a small village in the Piacenza countryside at the foot of the pre-Apennine hills. The work is presented in a frame.

Oil on canvas. Eastern European School. Signed Szego G. below. These are two works to be proposed aligned because they depict a boy and a girl lying on the same lawn in a mirrored position, as if facing each other, probably intent on a love game: they wear gypsy clothes and have musical instruments with them - she a tambourine and him a violin - which refer to two characters of Slavic ethnicity, from the gypsy world. The whole is lively and serene. The two works are presented in styled frames.