G. Francesco Gonzaga Oil on Canvas Italy 1961 - The Vases on Blue Background, 1961

Glimpse of a Barn

Oil on wooden hardboard. Signed lower left. The farmyard of a farmhouse, where hens scratch around in the shade of a large leafy oak, is rendered in the characteristic pictorial style of Leonardo Bazzaro, who uses quick and broad brushstrokes, with soft outlines, to create an enveloping atmosphere of peaceful everyday life. Milanese by birth and training, Leonardo Bazzaro is considered a lively exponent of Lombard impressionism, dedicated to chromatic and luministic research. His very fruitful production of works was dedicated in the early years to Milanese interiors, but then attracted by open-air painting, he moved to landscape views and in particular he was attracted by the color of the Venetian lagoon, which led him to stay for a certain period in Chioggia. The painting is presented in a coeval frame.

Oil painting on canvas. The great style scene, takes up the pictorial compositions of the seventeenth and eighteenth centuries, the so-called architectural whims, which placed ancient architectural structures, often in ruins, within an Italian landscape animated by popular figures. The same subject is found in this large canvas with a strong decorative impact. It is presented in a stylish frame.

View of Vienna from the Belvedere

Mixed media (acrylics and oils) on canvas. Painted between the 1960s and 1970s. It is a copy of one of the many views of Vienna painted between 1758 and 1761 by Bernando Bellotto, better known as Canaletto. They are kept in the Kunsthistorisches Museum of Vienna. The large view, enlivened by numerous figures in the typical style of both the 18th century's Venetian painting and Canaletto himself, is taken from the upper Belvedere of the same named palace. It was the summer residence of Prince Eugene of Savoy, which was built on a hill on the southern part of the city center. A series of large Baroque buildings appear in the background behind the gardens. In particular, the Karlskirche (church of S. Carlo Borromeo) with its monumental dome and the Schwarzenberg Palace with exaggerated proportions. So as the Orangerie and the Lower Belvedere of the Palace. Finally, on the right there is the Salesian Convent. Behind all this monuments, further still in the background, it is possible to see the fortified city center and the spiers of the Stephansdom (St. Stephan's Cathedral). The painting's frame is from the first half of the 1900s.

Oil on canvas. Signed lower left. Adolfo Dumini was a Florentine artist who privileged genre scenes of purely popular taste. In this scene, a woman in traditional dress plays the tambourine in the street, while next to her the son holds out his hat to ask for begging. The brightly colored dresses and the gestures of the woman enliven the scene, against the rather dark background of the rocky walls of the town. The painting is in good condition.

Ethiopian art, c. 1935

The canvas depicts the meeting between the queen of Sheba and king Solomon. The queen is represented seated on a throne, in the center of the scene, and to the left appears the following, which brings rich gifts to the king. Solomon is sitting on his throne, characterised by the image of the lion on the side, behind him entered his court. In the underlying part, the musicians emphasize the character of the feast of the meeting. It is part of a group of seven works, which arrived in Italy at the end of the '30s; were purchased directly on-site , as we have reconstructed from the correspondence and from the family photos, from the lawyer xxx, grandfather of the owners, who was sent as a legal representative of a company of Italian production in 1935 in Ethiopia, and from here it was driven out in 1938 by general Graziani, because it was considered anti-fascist. The paintings remained in the family collection, in the palace of the family, and are now presented in all their expressive force. Ethiopia has a very particular history: it is situated between Africa and Asia, and between the Mediterranean and the Indian Ocean, was a crossroads and meeting point of different cultures, stimulated also by the constant and intense trade flows. Five centuries before Christ, stabilized the dynasty of Aksum; in this kingdom, in the fourth century after Christ, christianity was established as state religion, in his version, the coptic orthodox. The sacred texts of the medieval speak also, however, a direct relationship with one of the ten Hebrew tribes, after fleeing to Ethiopia, from which sprang the royal family through the queen of Sheba. And in fact, in Ethiopia still live today), the line of the Falascià, black jews, whose first historical mention dates back to 600 after Christ. Ethiopia was then a bastion of jewish-christian, with african influences, but to be considered almost the southern edge of the mediterranean culture.

The canvas depicts King David playing the harp. Depicted with Ethiopian features, the painting underlines the direct descent of the people from the Davidic lineage. It is part of a group of seven works, which arrived in Italy at the end of the 1930s; they were purchased directly on site, as we have reconstructed from the correspondence and family photos, by the lawyer xxx, grandfather of the owners, who was sent as the legal representative of an Italian production company in 1935 in Ethiopia, and from there he was expelled in 1938 by General Graziani because he was considered anti-fascist. The canvases remained in the family collection, in the family palace, and are now re-proposed in all their expressive power. Ethiopia has a very particular history: located between Africa and Asia, and between the Mediterranean and the Indian Ocean, it was a crossroads and meeting point of different cultures, also stimulated by the constant and intense trade flows. Five centuries BC the Aksum dynasty was established; under this reign, in the fourth century after Christ, Christianity was established as the state religion, in its Coptic Orthodox version. The medieval sacred texts also speak, however, of a direct relationship with one of the ten Jewish tribes, who took refuge in Ethiopia, from which the royal lineage was derived through the queen of Sheba. And in fact in Ethiopia the Falascià lineage still lives today, black Jews whose first historical records date back to 600 AD. Ethiopia was therefore a Jewish-Christian bulwark, with African influences, but to be considered almost the southern edge of Mediterranean culture.

Ethiopian art, c. 1935

The painting, oil on canvas, is in reality most likely a scene that overlaps various typical subjects that are very much reproduced in traditional Ethiopian art of the early 1900s. A recurring theme is that of slave hunting. A painting similar to ours for the arrangement of the scenes and narration is in the Bremen museum and takes up the story of Iyassu, prince of the Amhara population, who fights after the death of Menelik II the people of the Gimirra, who occupied the southern part of Ethiopia. The painting contrasts the Amhara, dressed and with the commanders with a sort of fringed hat, to the "barbarians" Gimirra, half naked, who are killed and emasculated. The expedition ended with the acquisition of about 20,000 new slaves. In fact, in our painting there are also quotations that refer to the action of Ras Tafari, who in 1928, after the coronation a negus, represses the revolt of the Oromo, in the province of Uollo. A further mention is in the presence of numerous rifles, which recall the battle of 1930 with the definitive defeat of Gugsa Oliè and the subsequent appointment of Ras Tafari as emperor. So the painting, made around 1935 for an Italian client, adds up these themes in our opinion. It is part of a group of seven works, which arrived in Italy at the end of the 1930s; were purchased directly on site, as we have reconstructed from the correspondence and family photos, by the lawyer xxx, grandfather of the owners, who was sent as legal representative of an Italian production company in 1935 in Ethiopia, and from there he was expelled in 1938 by General Graziani, because he was considered anti-fascist. The canvases remained in the family collection, in the family palace, and are now re-proposed in all their expressive power. Ethiopia has a very particular history: located between Africa and Asia, and between the Mediterranean and the Indian Ocean, it was a crossroads and meeting point of different cultures, also stimulated by the constant and intense trade flows. Five centuries BC the Aksum dynasty was established; under this reign, in the fourth century after Christ, Christianity was established as the state religion, in its Coptic Orthodox version. The medieval sacred texts also speak, however, of a direct relationship with one of the ten Jewish tribes, who took refuge in Ethiopia, from which the royal lineage was derived through the queen of Sheba. And in fact in Ethiopia the Falascià lineage still lives today, black Jews whose first historical records date back to 600 AD. Ethiopia was therefore a Jewish-Christian bulwark, with African influences, but to be considered almost the southern edge of Mediterranean culture.

Ethiopian art, c. 1935

The canvas represents daily life and its flow through work in the fields, a central element of survival. In the upper row we see the first plowing, which is followed, after the arrival of the rains, by a second preparation of the soil. In the second row, we see the seeds extracted from the granaries; they are carried in sacks and sown, with subsequent hoe covering; the row closes with the sprouting of seedlings. In the third row the farmer watches over and protects the sown from wild animals; follows the scene of the harvest and the threshing, which ends with the putting away of the fruit of the work in the granary. In the fourth row a woman prepares the flour, and bakes a focaccia; then she washes her husband's feet and he reciprocates by offering her the first bite; the scene ends with the whole family in bed. It is part of a group of seven works, which arrived in Italy at the end of the 1930s; they were purchased directly on site, as we have reconstructed from the correspondence and family photos, by the lawyer xxx, grandfather of the owners, who was sent as the legal representative of an Italian production company in 1935 in Ethiopia, and from there he was expelled in 1938 by General Graziani because he was considered anti-fascist. The canvases remained in the family collection, in the family palace, and are now re-proposed in all their expressive power. Ethiopia has a very particular history: located between Africa and Asia, and between the Mediterranean and the Indian Ocean, it was a crossroads and meeting point of different cultures, also stimulated by the constant and intense trade flows. Five centuries BC the Aksum dynasty was established; under this reign, in the fourth century after Christ, Christianity was established as the state religion, in its Coptic Orthodox version. The medieval sacred texts also speak, however, of a direct relationship with one of the ten Jewish tribes, who took refuge in Ethiopia, from which the royal lineage was derived through the queen of Sheba. And in fact in Ethiopia the Falascià lineage still lives today, black Jews whose first historical records date back to 600 AD. Ethiopia was therefore a Jewish-Christian bulwark, with African influences, but to be considered almost the southern edge of Mediterranean culture.

Oil on canvas. Signed top left. Further signature, Rome location and date on the back. Domenico Morelli and was formed in the climate of romanticism. He was a landscape painter and genre painter, but he also created valuable still lifes, with bright colors and a precise and realistic drawing. In this composition, in the center a large lobster lies between a group of fish on the left and some vegetables on the right, among which some turnips stand out in particular; further on the back, a green ceramic jug and aromatic plants whose dark green color blends into the burnished background. The painting is presented in a carved wooden frame from the early 1900s.

Trompe L'Oeil, 1993

Oil on canvas. Signed and dated bottom right. Additional writing in cyrillic characters and label on the back. Beautiful piece by the Russian artist that reprises the composition of the trompe l'oeil of 17th and 18th century, placing it in a rural Russian setting. It portrays a corner of a wall, covered in floral wallpaper, on which there is a shelf covered by an embroidered cloth, on which there are a sheaf of wheat, some metal urns, some dolls in traditional costumes, and many small vases, baskets, deadwood, stubs of candles; above the shelf, a picture frame. The painting is presented in a frame.

Turkeys

Oil on plywood. Signed lower right. On the back there is a title block with the indication N.9 and the title. An artist from Livorno of the Labronico Group, Giovanni Lomi dedicated himself to the production of figures and landscapes, expressing a strong lyricism especially in the marinas. He was also a decent baritone and knew how to combine the love for music with that for painting. Growing up in the countryside in a family of poor social extraction, he developed a love for nature and animals, which were often the subjects of his works. The work is presented in a style frame.

Sur le Canapé d'Argent pâle 1911

Color lithograph on vellum paper. The title at the bottom left. On the passepartout the name and the wording "original lithographie". It is planche n.10 of the "Amour" series, created in 1899 by the French artist and inspired by the love poems Denis wrote for his future wife, Marthe Meurier. Some replicas of the initial series were made, of which the one on tissue paper dated 1911. Maurice Denis, French painter, was artistically formed in coincidence with the birth of the symbolist movement that strongly influenced him, imposing himself for his simplicity and for his philosophy of a art that was a synthesis between the external world and the artist's spirituality. In his earliest works, the pictorial style was naturalist and neo-impressionist, but over time tended towards a pure decorativism, characterized by areas of flat color and clear outlines. In 1888, at the Julian Academy in Paris, Maurice Denis founded with Paul Sérusier, Pierre Bonnard and Paul Ranson, the group of painters Nabis (Prophets), a group that drew on the works and poetics of Paul Gauguin in their aesthetic ideals. , for the overcoming of Impressionist naturalism through a return to primitive and Japanese art. Of the Nabis meetings, usually held in the editorial office of the magazine "Revue Blanche" or at the Ranson Academy, Denis particularly appreciated the mystical climate, the esoteric jargon and the nickname that each painter received from the group: Denis was called "the Nabi by the nice pictures". As "Nabi" Maurice Denis painted intimate, enigmatic pictures and the themes of his painting, of a religious nature or situations of everyday life, were brought into an ideal and unreal dimension, in an atmosphere of warm and serene intimacy, obtained with an extremely delicate feature. A constant in his life was the profession of the Catholic faith, which always had a priority role for him. He received numerous commissions for the decoration of churches and this made him return to the great tradition of mural painting by performing solemn frescoes of monumental structure, inspired by a literary Catholicism. The religious fervor led Maurice Denis to found, in 1919, the Ateliers d'Art Sacré, dedicating a lot of time to prayer, so much so that he became the tertiary of San Domenico, without isolating him from the world, for which he participated in the social life of the time. In addition to his vast production as a painter, Denis was a great draftsman and illustrator. Until his death Maurice Denis continued to paint in a modern interpretation of the great ancient painting, supported by his strong artistic vein, continuously fueled by his travels, many of them in Italy, which led him to come into direct contact with the Pre-Raphaelites and the neoclassicals.