Mirror Glass Italy 1960s

Oil painting on canvas. The large landscape foreshortening offers a view of a lake enclosed by mountain peaks, which evoke Lake Como; in the foreground, on the slope from which the view opens, a corner of the garden with buried flowers and potted plants, to create a corner of color in contrast with the dominant ranges of blue and green. The painting has a small patch on the back. It is presented in a stylish frame.

Mixed technique on paper. On the back the artist's stamp with the signature and the date of the work. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturation and occupies a prominent space within the contemporary art scene. His research mainly uses unusual materials such as acetates, pvc and, more recently, scenic backdrops from nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that draws the work and is capable of narrating thoughts; working by superimposition, the images are built by adding or subtracting the color on the various supports. Framed work.

Mixed technique on paper. On the back the artist's stamp with the signature and the date of the work. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturation and occupies a prominent space within the contemporary art scene. His research mainly uses unusual materials such as acetates, pvc and, more recently, scenic backdrops from nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that draws the work and is capable of narrating thoughts; working by superimposition, the images are built by adding or subtracting the color on the various supports. Framed work.

Italy, Mid XX Century

Bust in white marble copy of the Venus de Milo, Italy mid-20th century. The Venus de Milo is one of the most famous Greek statues. It is a 202 cm high Parian marble sculpture without the arms and the original base and is kept in the Louvre Museum in Paris.

Italy, Mid XX Century

Bust of a Roman emperor in white marble and alabaster, Italy, mid-20th century. Alabaster gown. Base in black marble.

Italy, Mid XX Century

Bust of a Roman emperor in white marble and flowered alabaster, Italy, mid-20th century. Alabaster toga. Base in black marble.

Italy, Mid XX Century

Female bust in white marble, Italy half XX century. Hairstyle with braid falling over the left shoulder; drapery supported by a lace. The breasts are uncovered. Yellow Senese marble base.

Oil on canvas. The two paintings, certainly similar in terms of subject type and pictorial methods, offer two landscape glimpses typical of the 17th and 18th Nordic production. They feature large countryside spaces near watercourses and inhabited by farmhouses. There are figures of peasants and commoners focusing on their work. The blue mountains in the background, preceded by gentle hills and surrmounted by a blue sky with white clouds. They had been previously relined and restored and they both show color spots and opacity. They feature a contemporary frame.

Drawings on rice paper. They represent four scenes of popular life without backgroun but just human figures with few elements that define the scene. One of the drawers has small missings. The drawings come in a Empire frame.

Oil painting on canvas. Unidentified signature lower right. The woman is portrayed in a pose that expresses a thoughtful state: sitting on the ground, her eyes closed, her head slightly bowed; behind and around her, fabrics and cushions, to evoke the alcove. The chromatic tones are almost uniform, in the range of beiges - bluish browns, among which even the rosy complexion stands out delicately. The painting has traces of restoration. It is presented in a stylish frame.

The Devil's Bridge in Val di Lanza 1897

Oil on the table. Dated 1897 lower right. On the back the title and attribution to Lorenzo Delleani. The proposed landscape foreshortening recalls the pictorial production of Lorenzo Delleani, who in the last decades of the 19th century devoted himself mainly to "en plein air" landscape painting, above all of the places of his origins, the Piedmontese valleys, characterizing his foreshortenings with chromatic vibrations and warm luminosities. In this glimpse of a valley in Piedmont, animated by small peasant figures crossing the stone bridge, the warm and suffused colors stand out well, created with quick brushstrokes and with soft edges. The work is presented in a period frame.

Oil on wooden board. Signed lower right. Title and location on the back. Enrico Intraina was a Milanese artist who mainly produced landscapes and glimpses of his places, remaining linked to Lombard Naturalism. The painting is presented in a coeval frame.