G. Valbusa Oil on Hardboard Italy XX Century - Glimpse of a snowy town

'Odin A Bloodhound'

Oil painting on canvas. English school late 1800s - early 1900s. It is a copy of the 1873 graphic preserved in the British Museum in London, and derived from a work by Sir Edwin Landseer (1802 -1873), an English painter and sculptor of the Victorian era known for his paintings of fairies and his scenes with animals. Of the dog, a hound as the English name bloodhound suggests, the head and shoulders are depicted, turned to the right, with eyes raised to look at the master. The painting is presented in a coeval frame, with numerous shortcomings.

Oil on canvas. Signed S. Ronzoni in the bottom right-hand corner. The foreshortening is set outside the village, near the small stream crossed by a small bridge; on the embankment on the right there is a covered market, populated by numerous figures, among which stands out in the foreground the female figure who, well closed in her coat with a red scarf, returns with a full purse. With broad brushstrokes and blurred outlines, the artist creates a pleasant scene divided into two parts, with the natural landscape on the left, dominated by the colours blue and green, and the environment of popular life, where the bright colours of the clothes stand out in patches against the grey and off-white tones. The painting is presented in a frame.

Brescia hills

Oil on canvas cardboard. Signed lower right. Beautiful landscape of the Brescian hills, with the very green central hill that opens onto the cultivated plain, gradually fading from the greens to the distant blues up to that of the sky. Bonatti, originally from Mantua but trained and lived in Milan, was a figure and portrait painter, but he also produced various Lombard and Ligurian landscapes. The work is presented in a coeval frame.

Grado

Oil on canvas. Signed lower left. Further signature and title on the back. It is a landscape glimpse of the lagoon from the beach with the mooring piers of the Friulian town, in the warm and bright colors and in the suspended atmosphere typical of Silvio Consadori's painting. Born and trained artistically first in Brescia, his hometown, then at the Carrara Academy in Bergamo, Consadori discovered Burano in 1935, immediately joining the circle of artists who spent long periods on the island. He was initially a painter of genre scenes (the interiors of cafés and maternity hospitals were among his most recurring subjects), while after the war he devoted himself constantly to sacred painting. Starting in the 1950s, his great cycles of frescoes with sacred subjects, which culminated in 1971 in what he himself defined as "the most complete result of my fresco painting": twelve frescoes in the church of San Giuseppe al Trionfale in Rome. In the last years of his life he spent long periods not only in Milan, where he taught at the Brera high school, but also on Lake Garda and Burano, where he died in 1994. Framed work.

Oil on wooden board Unidentified signature lower right. In imitation of Renaissance painting, the painting presents the three figures seated in a meadow with a large and gentle landscape in the background; Mary holds the prayer booklet in one hand, but her gaze is directed to the two children, Jesus in her arms and John sitting on the ground, who both hold in one hand the stick surmounted by the Cross, the iconographic symbol of the Passion. The painting is presented in a coeval frame.

Oil on canvas applied to plywood. Signed lower left. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. Less frequent in his production are floral subjects, such as this composition in a vase of wild flowers, among which poppies and cornflowers stand out, with a bulb abandoned on the table top. The work, coming from a private collection, is presented in a frame.

Landscape with Houses 1966

Oil painting on canvas. Signed and dated lower left. It is a glimpse of houses at the entrance to the town, rendered with a marked geometric dimension and a material use of colour, as characteristic of the painter from Gussago (Bs) Eugenio Levi, whose pictorial poetics was always inspired by "things" and places he lived. The work is framed in style.

Oil painting on canvas. Signed in the lower right corner and on the back (Verschafeldt). Light losses of color. In coeval frame with missing parts. Early 20th century.

Costal View of Naples Bay

Oil on canvas. Signed Att. Pratella at the bottom right. On the back there is a declaretion of belonging to the neapolitan artist. The subject is close to Pratella's production who preferred marine landscapes of the Naples Bay, his home town. It is part of a wide group of painting of uncertain attribution that for a stylistic quality that does not conform to the hand of Pratella. Good qualiti and pleasant atmosphere. The painting comes with frame.

Lake Como, S. Martino di Bellagio

Oil painting on canvas. Signed lower right. On the back the title. View of Lake Como, seen from the Lecco side of the lake, in correspondence with the small church of San Martino di Lierna, a small Romanesque church located along the medieval road that descends from the village of Casate to the village of Grumo. It is the work of the Milanese artist Fortunato Zangli, who distinguished himself as a landscape painter. The work is presented in a frame lacking external strips.

Flowers

Oil on hardboard. Signed lower right. On the back there is a paper label with the data of the work. A beautiful bouquet of daisies fills a vase, placed in front of a drapery that creates a play of white and green colors. The painting is presented in a beautiful 1950s frame, box-like with a raised gilt edge.

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.