D. Rossi Oil on Cardboard Italy 1944 - The Boutique of the Antiques dealer 1944

Oil on canvas cardboard. At the bottom right there is an inconsistent attribution signature, and the location Venice. It is a Venetian corner facing the sea, probably overlooking the Giudecca Canal, with a quay crowded with various female figures, dressed in clothes from the first half of the 1900s, perhaps waiting for a boat. A moored gondola can be seen to the left. The work is presented in a coeval frame.

Figure with flowers

Oil on canvas. Signed lower left. On the back further signature and dedication with declaration of authenticity. Influenced in his Parisian years by contact with Expressionism, Fantuzzi placed a marked emphasis in his works on the expression of emotions, of moods. His figures are therefore summary, never completely defined, rather deformed into elongated forms, the faces anonymous, and placed in solitary and melancholy settings; On the other hand, color dominates in his canvases in its most marked ranges, usually the cold tones of blues, greens and purples, which create sometimes violent contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communication in interpersonal relationships, often expressed in solitary figures like the one presented here, a woman with a bunch of flowers in her hand, on a fiery red background, devoid of other figures. The work is presented in a style frame.

Textile Reproduction

Textile reproduction in silk, in two tones Made from a design by T. Strazza, as shown below on the left. The faithful reproduction of Leonardo's painting is part of a flourishing Lombard manufacturing production, which re-proposed the masterpiece in different formats. The work is exposed in a contemporary wooden frame.

Red Figure

Oil on canvas. Signed at the bottom left. On the back there is another signature. Eliano Fantuzziwas born in Modena but gew up and studied in Verona; when he was still young he moved to Paris fascinated firstly by the enlightenment trends and then by the expessionist trends; there he started started building his career. After having served for some years in the French Army he came back to Italy in 1943 but in 1948 he wass requested by the emir Inìbim Saud to decorated the saudina palace in Taif eher he stood until 1952 frescoing the reception hall. Once back to Italy he exposed at shows and bienals. Influenced by the Expessionism during his stay in Paris he placed a strong emphasis on the expression of emotions. His figure are then not well defined but distorted in elongated forms with anonymous faces, placed in solitary and melancholic settings; the colour in its most marked ranges dominates in his canvases, usually the cold tones of blues, greens and violets, which create sometimes violent contrasts. Fantuzzi’s main themes are the solitude of the metropolis and the difficulty of communication in interpersonal relationships. The painting is presented in a frame.

Sudden Thinking, 1984

Oil on cardboard. signed top center and dated bottom right. Further signature, date and title on the back. The work belongs to the last period of the painter of Marche origins Renato Bontempi, who first trained in Luca but then lived in Milan. From the initial figurative production, Bontempi progressively moves towards an abstract painting, to which the picture proposed here belongs. In Cronice.

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.

Portrait of a young lady

Oil on canvas. Signed bottom left. Francesco Ghisleni was an artist from Bergamo, who lived and worked in his hometown. His landscapes and views of his homeland are well known. This piece is the portrait of a young woman at the stables. Coeval frame.

Oil painting on canvas. Signed in the lower left corner. The woodland landscape hides a little house covered with snow. A winter red sky on the background. The painter is Giovanni Cavalleri, known as 'Il Rana'. He used to paint many pleasant mountain landscapes. The canvas has a light tear in the middle. In coeval guilloche frame. 20th century.

Female Figure with Basket of Flowers

Oil on canvas. Signed lower right. On the back there is a sales label in Hungarian. Waldek, a European artist whose life there is no news, painted mainly female figures, young and smiling, intent on domestic activities. The work is presented in a style 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.

Barn door in carved wood, Dogon style. The Dogon of Mali are among the oldest surviving African cultures, known throughout the world for their creation of carved wood doors, panels and shutters. These objects have various uses in their society: firstly they are made as a closure of the granaries (hence the name), secondly they are exchanged as gifts for birthdays, weddings, bring good luck. These doors are also used for rites of passage and, when used as part of the architecture, the symbols engraved on them give clues to the function of the dwelling they protect.

Landscape with Figures and Architecture

Oil on cardboard. Signed lower right. Born in Treviso but moved with his family to Milan from an early age, Lucio Cargnel inherited his passion for painting and music from his father Vittore Antonio. As for his father, in Lucio Cargnel's painting an important role is played by the study of light, but associated with the search for a highly scenographic image, with lights and shadows that chase each other among the architectures, expressed through soft, nuanced colors. Among his works are renowned landscapes and glimpses of cities, even imaginary ones, as well as streets, squares and canals; the places of his choice are Milan, Venice and the Ligurian Riviera. In frame.