Murano Mirror Italy XX Century - Early 20th century

Winter Landscape with Sleigh

Oil on canvas. Signed lower left. A landscape where sky and earth blend in shades of white and grey, inhabited and animated only by some shaded figures with a sled pulled by a horse. The work well expresses the ability of the Russian artist Ivan Karpoff, who moved to Italy as a young man and remained there until his death, to tell a Lombard landscape, with a Slavic sensitivity, transferring typical elements of his homeland. The painting is presented in a frame.

Small Glimpse with Figures

Watercolor on paper. Signed in pencil on the lower right. The Russian-Scottish artist William Walcot, architect, graphic designer and printmaker, painted numerous glimpses of the European or South African cities where he lived, in a style that made him the leading exponent of Russian Art Nouveau. In the small painting proposed here we can see some figures probably of street vendors, gathered under an umbrella, near an urban road crossed by a gig. In a stylish frame.

Glimpse of the Lombard countryside

Oil painting on canvas. Signed lower right. It is the work of the artist born and lived in Milan Vespasiano Quarenghi, who distinguished himself for his glimpses of the Lombard countryside, depicted from different angles and in different seasons, with a technique that is still influenced by impressionism. In a stylish frame.

Female Portrait 1913

Mixed media on paper. Signed and dated lower right. Born in Milan in 1880, Aldo Mazza was an illustrator, advertiser and painter. Close to the pointillist current, he created numerous portraits of women and children, but also urban landscapes and floral compositions. The design proposed here is presented in an exposed frame.

Oil painting on canvas. The large composition, unsigned, offers a set of foods on the table of a simple kitchen: a large basket filled with vegetables from the garden, also scattered on the floor below, a plate with cheeses, two fish already cleaned; then stands out, on the rear wall, the altar with the sacred image ... flanked by a braid of garlic! The painting is presented in a gilded frame from the first half of the 20th century.

Crucified Christ, 1958

Oil on hardboard. Signed and dated lower left. Painter, sculptor and architect, Carlo Bonomi, after training at the Brera Academy, opened a studio in Milan together with Carlo Carrà, Giannino Castiglioni and Barilli. His painting is characterized by bright colors - yellow, red and burnt - spread with material substance, as if he sensed a third dimension in painting. He has created works of monumental size, full of figures, seen in their everyday life: humble and industrious people, with deep religious and human motivations. He has never forgotten, on the contrary, he has rather exalted his popular extraction. In this work the artist proposes a half-length Christ, his eyes closed, his arms forming a whole with the pole of the cross, in continuity with it also in the color, while the background of an intense blue, although also 'it mottled with brown, creates a strong contrast. In frame.

Sant'Elpidio a Mare 1934

Oil painting on canvas. Signed lower left. Further signature, title and date on the back. Vico Viganò, a native of the province of Milan, was a painter but above all an engraver, an art in which he obtained the greatest awards. His painting is characterized by strong colors, rendered with large and material brushstrokes; he mainly created landscapes, of the places he lived. This work portrays a glimpse of a farmhouse in the countryside of Sant'Elpidio a mare, a locality in the Marche region, with animals scratching around in the farmyard. The work is presented with a stylish frame, with small shortcomings.

Egg seller

Oil on hardboard. Signed lower right. On the back, further authenticated signature, with the title and location of the artist's studio. The affable and wrinkled face of an old farmer is portrayed, offering his eggs with a simple and dignified gesture. Campestrini, born and lived in Milan where he also taught at the Brera Academy, distinguished himself above all as a painter of figures, preferring to portray the faces of villagers, villagers, fishermen. He also created landscapes, alpine or of the Ligurian countryside, as well as views of Milan. Although he had been a pupil of Bignami, he remained far from the clamor of the avant-gardes. He himself liked to define himself as a "figurist painter who devotes himself in particular to the mountain subject, to the religious one and other landscape themes". The work is presented in a style frame.

Vase with Flowers, 1957

Oil on the table. Signed and dated lower left. It is the work of the Milanese painter Piero Gauli, who joined the current group, creating a painting characterized by a strongly expressionist style, full of colors and rich in reds of Venetian ancestry, who digs the material like a hard-working sculptor. The painting is presented with a brass profile, inserted in a contemporary wooden frame.

Colored boats, Porticello, 1929

Oil on the table. On the back, a title block with the author's signature, title, location and date. Born in Sicily in 1882, but artistically trained in the USA where he had moved while still a child with his family, Guarino was a painter and engraver, who painted the places of his life with large brushstrokes and bold colors. The work is presented in a contemporary frame.

Portrait of a child

Oil on canvas. Signed lower right. Palermitan painter, Francesco Camarda distinguished himself for figure painting, dedicated to portraits and the nude, and above all for animalist painting, in the wake of the realist production of the Palizzi brothers. He was able to express a painting with a lively and fresh color. In this small canvas is proposed the portrait of a child sitting on a chair, hooded to frame the plump and smiling face, the direct gaze, the plump little hands resting on the knees in a proud and resolute pose. The work is presented in a contemporary frame.

Women in prayer

Engraving, monotype. Bottom in pencil, on the right the signature, on the left the title. The Venetian artist Tullio Silvestri constantly expressed in his production the modules of late nineteenth-century lagoon painting, with its symbolist implications, characterized by a loose and rapid sign, in "direct action". He created many monotypes, of which he was a skilled performer. He loved depicting moments of the country's life, facts and popular figures; he painted processions, glimpses, tavern figures, buskers, portrayed ironers, peasant women, lacemakers, card players and, as in the monotype proposed here, women in prayer. The work is presented in a frame.