Gaetano Valbusa Oil on Canvas Italy XX Century - Gulf of Maderno

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.

Roman Landscape

Oil painting on canvas. signed lower left. Further signature and title on the back. Born and lived in Rome, Sdruscia was an interpreter of the so-called Roman School, mainly creating glimpses of his city, in a pictorial style that looks to the great masters of the period, such as Guidi and De Pisis. The work is presented in a frame.

Woman at the Spinning Wheel

Tempera on paper. Signed lower left. Probably a sketch, due to the rapid drafting and unfinished contours, this work presents a young woman sitting spinning at a spinning wheel. The artist Gino Simonetti, painter but also writer, born in the Piacenza area, lived and worked mainly in Turin. the work is presented in a period frame.

Still life

Oil on the table. Signed upper right. An extremely original landscape painter who experimented with oil painting but also with watercolors and engraving, Raul Viviani came very close to pointillist painting, however developing his own personal technique, characterized by very thin filaments of color in the shape of thin commas, which define the structures of his landscapes. With his transfer to Liguria, which made the landscape of that region the protagonist of his works, his technique changed, moving away from the original divisionism to open up to a broad and summary brushstroke, which finally resulted in the last period in a production of nature death with violent and contrasting colors. This still life, a composition of vegetables and a vividly colored bottle, can be placed in this period. The work is presented in a frame.

Portrait of a young commoner

Oil on canvas applied to the table. Signed lower right. Antonio Vallone, a Neapolitan painter close to Morelli's school, specialized in genre portraits, above all of smiling young men and women, street urchins or peasant women typical of his homeland. The work is presented in a period frame.

Portrait of a Street Boy

Oil on canvas applied to the table. Signed lower right. Antonio Vallone, a Neapolitan painter close to Morelli's school, specialized in genre portraits, above all of smiling young men and women, street urchins or peasant women typical of his homeland. The work is presented in a period frame.

Road to Cervasca 1981

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Giovanni Balansino presents a glimpse of a country road near a village that he identifies in Cervasca, a small mountain town in the Cuneo area, animated by two barely sketched figurines that blend into the natural environment, due to the overlapping of the applied colors with rapid brush strokes and undefined contours. The work is presented in a frame.

Pulcinella Holidays 1981

Oil (mixed) on canvas. Signed and dated lower right. On the back another signature, the title, the technique, and an autographed dedication by the artist to a friend. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work Cortiello represents the holidays of the Neapolitan mask as a playful moment in the company of the ever-present naked women. The work is presented in a frame.

Spring, 1985

Oil on cardboard. Signed lower right. Further signature, date, title and handwritten declaration of authenticity on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, the title is from the white flowering of the trees that surround the country house. The work is presented in a frame.

The Park 1979

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Il Balansino presents a glimpse of a city park, with a small terraced relief, animated by a couple of barely sketched figurines that blend into the natural environment, due to the overlapping of colors applied with rapid brushstrokes and with indefinite contours. the work is presented in a frame.

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them., which this glimpse includes of a town in the Lombard plain. In frame.

Crayons on paper. In the lower right, inconsistent signature and date 1930. In an orderly countryside, a cottage stands on the left with clothes hanging in the sun on outdoor lines; on the right, a man on crutches walks along the road, while another lights a cigarette on the bank above. In the center, a light pole divides the scene in two. The work is presented in a period frame.