Mirror Walnut Italy XX Century - Italy 20th century

"A che punto siamo con i Fiori" 1991

Oil, acrylic and enamel on canvas. Signed and dated on the back of the canvas; also present on the frame are the title and descriptive label with details of the work. Concetto Pozzati was an eclectic artist: after his beginnings in the climate of Informal Art, the artist reworked the influences of international Pop Art in a personal key, always remaining tied to a simplified, ironic figuration with surrealist atmospheres. The work presented here can be traced back to Pozzati's artistic period of the 1980s, 1990s and 2000s, characterised by a dense and fleshy painting that records the artist's interest in everyday objects and objects of affection; it belongs to the series entitled "A che punto siamo con i fiori", which proposes bouquets of flowers arranged in different ways, created with a mixed technique where different pictorial materials overlap to give material consistency to the painted elements. Framed.

Female Figures

Oil painting on canvas. Signed lower left. Mino Maccari's artistic production is mainly aimed at social and political satire, expressed above all through drawing; moreover, he never positioned himself as a judge of Italian customs, but rather as an amusing and amused chronicler of the vices and weaknesses of society. In his pictorial production, although he does not deviate excessively from the themes of his drawings, he accentuates the fantastic aspect more: with rapid and decisive brushstrokes and bright, often violent colours, he characterizes almost unreal or rather caricatural figures. The work is presented in a frame.

Russia

Watercolor on cardboard. Signed and located lower right. The Como painter Bruno Azimonti often reproduced in his works his tragic experience as a soldier in the Russian campaign, offering snowy views crossed by sleds, the troiche, dragged by horses in a fiery and desperate rush. Azimonti favored watercolor. The work is presented in a frame.

Red Roses, 1945

Oil painting on canvas. Signed lower right. On the back of the frame there is the title and date. Angel Del Bon stood out for his peculiar technique, which involved the application of a consistent layer of zinc white on the canvas, subsequently proceeding with pure color mixtures and scrapings to let the preparation emerge from the background. Del Bon obtained works of absolute clarity and brightness, accentuated by the use of pastel shades, which characterized his paintings from 1933 onwards. He mainly painted Lombard landscapes; in 1941 he began the series of still lifes and flowers, to which this work belongs. Presented in a frame.

Regrets

Oil on the table. Signed lower left. Further signature and title on the back. Remo Squillantini, illustrator and painter, has created images capable of effectively conveying his vision of the world, a profoundly melancholic vision, which the artist is able to convey with sensitivity and ironic poetry. Squillantini proposes a bored humanity, devoid of values ​​and aspirations; his characters are anonymous extras who crowd the stage of everyday life, aged men and faded women, with no more dreams, desires, illusions. The work is presented in a frame.

Mountain View

Oil on the table. 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. Here an Alpine view is proposed, with huts in the foreground and the snow-capped massif rising majestically in the background. 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.

Oil on cardboard. Unidentified signature, of a French name, lower right. Numerous figures on the beach are busy arranging the fishing boats on the shore, some perhaps are pulling one aground. The painting is post-impressionist. The work is presented in a 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.

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.

Mountain Cabins

Oil on wood. signed lower right. Mario Moretti Foggia lived and worked until his death in Macugnaga, the mountain town in the Ossola Valley that he often depicted in his works, often offering glimpses of mountain huts in the valleys as in this work. Trained at the school of Tallone, Moretti Foggia was predominantly a landscape painter, who proposed realistic views characterized by a very bright and material chromatic palette. The work is presented in a period frame.

The Portrait of the Queen

Oil painting on canvas. At the bottom right there is an unidentified signature. The large canvas presents an interior scene, set in an eighteenth-century court: in the richly furnished room with velvet curtains, sculptures and large paintings on the walls, a queen (identified by her ermine-edged cloak) poses for the painter who is her portrait, surrounded by the court, smiling ladies and gentlemen, and a prelate, who instead seems rather dissatisfied. The work looks at the production of the painter Arturo Ricci (1854 -1919), who specialized in genre scenes set in eighteenth-century courts. The painting is presented in a frame assembled with elements from the early 1900s.