Mirror Glass Italy 1950s-1960s

Oil painting on canvas. The view frames the internal facade overlooking the Botanical Garden of Villa Bisignano, one of the villas surveyed and protected by the Vesuvius Villas Authority of the Golden Mile (a group of 122 buildings built between the 18th and 19th centuries in the municipal of Herculaneum and Torre del Greco, an area historically known as the Golden Mile), in the Barra district of Naples. Behind the background Vesuvius erupting, while in the foreground on the right the figurines of a woman with some kids in uniform...perhaps on a school trip! It is a classic Grand Tour view, presented in a period frame. .

Oil painting on canvas. Signed below V.Lasco. It is a period copy taken from the famous painting by Jean-Léon Gérôme (1824 -1904), painted in 1866 and kept today at The Clark Museum, Williamstown in the United States. Gérôme replied to this theme numerous times, probably more with historical intent than denunciation. The scene, set in the East, depicts the abominable slave trade, at the moment of the evaluation of the "goods": the customer on the left checks the health conditions of the woman who suffers helplessly in her nakedness, under the gaze of the master-seller on the right. THE painting has minor damage, in particular a small cut at the bottom. It is presented in a coeval frame, with some shortcomings.

Old Naples's View 1933

Oil painting on canvas. Signed and dated lower left. Ricciardi was a prolific Neapolitan painter considered by some to be the seed of Neapolitan impressionism; he painted seascapes, beaches, views, landscapes and Neapolitan customs and traditions of his city as his main subjects. In his works the intense chromaticism, the study from life, the abandonment of the drawing and the limpid and terse light that pervades the scenes, reveal the knowledge of Impressionism, due to the presence in Naples of Giuseppe De Nittis. This glimpse of Naples has been repeatedly replicated by the artist, and in one of these works also appears the title "Impression of old Naples", absent here. It is an intense glimpse of the atmosphere of an old popular Neapolitan street, enlivened by a market populated by human figures, with old peeling walls decorated with hanging clothes and planters. The work is rather dark, a brown monochromatism prevails, interrupted only by the brighter colors of the human figures; the only source of light comes from the artificial lights turned on in the shop down the street. The work has a slight damage in the upper right corner (small cut of the canvas). It is presented in a coeval frame.

Landscape with Galant Scene

Oil painting on canvas. Signed lower right. In a bucolic landscape with green meadows, the slow river, rolling hills, under leafy trees, a shepherd boy gives a nest with a white dove to the young lady, while the companion watches with his bagpipes on his lap; behind the female figure, a pillar supports a lion figure in stone. Of the Piedmontese painter who lived in Sestri Levante, Gioacchino Aluffo, we mainly know the frescoes and mural restoration works of some Ligurian churches. The work is presented in a coeval frame, early 1900s.

Oil on canvas cardboard. Signed lower right. It is a small glimpse of a Venetian canal, in an area of low historical importance, above which the bell tower of the Basilica of San Marco appears on the 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. The work, coming from a private collection, is presented in a frame.

Print on paper. The poster bears the inscription "Long live the sixth anniversary of the democratic front" at the top, and below the female figure lifting a basket of fruit, the initials "Women's Organization DFLP" The poster was designed by Helmi El-Touni (1934 ) Egyptian artist who made several drawings and posters in support of civil rights organizations and the Palestinian cause. The poster was published in 1975. It is presented in a visible frame.

Oil on canvas. Signed lower right. The glimpse of the view is taken from a landing stage on the Grand Canal and is centered on the Basilica of Santa Maria della Salute. The church with the bank on which it is located create a horizontal dividing line between sky and sea, shaded in the same chromatic ranges which are then interrupted only in the mooring in the foreground. 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. The work, coming from a private collection, is presented in a frame.

Oil on canvas cardboard. Signed lower right. Immersed in the snow, the little country church appears along the path, at the foot of the Alpine mountain ranges. 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. Coming from a private collection, the work is presented in a frame.

Landscape with Glimpse of Small Town

Oil on cardboard. Signed lower right. In Giuseppe Solenghi's extensive production, the urban landscapes of Milan or the glimpses of the Venetian lagoon prevail, but there are also various glimpses of the countryside, mainly from Lombardy. In this glimpse of the countryside, which from the top of a hill widens the gaze on the wide valley animated by small villages, framed by flowering trees, we find the exemplary pictorial technique of Solenghi which uses a rather material color but applied with quick brushstrokes, with delicacy of colors. The work is presented in a frame.

Still Life

Tempera on canvas. Chaekkori, which translated literally means "books and objects", is a type of painting of the Still Life genre belonging to the end of the Korean dynastic period called Choson (1392 -1910), in particular which developed from the second half of the 18th century to the first half of the '900, which was widely successful in all social states, to express the love for the culture of the Korean population. It is characterized by the depiction of various objects that define the man of letters, in particular books are always present, as in this one proposed here, in which a goose pen for writing is placed side by side, a set of porcelain bowls, a fan folded in its case. Relined and restored, the painting is presented in an early 1900s frame.

Oil painting on canvas. Signed upper right. 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 of multicolored roses in a vase: the colors stand out, in particular the pink background which creates a suggestive romantic effect, recalling the different shades of roses. The work, coming from a private collection, is presented in a frame.

Glimpse of the Pianura Padana

Oil on canvas. Signed lower left and on the back. Here is a glimpse of a flat countryside, with rows of trees near a body of water and mountain slopes faded away in the background, which recall the Po valley. The play of colours, with the transparent colors typical of the Pastorio, evoke autumn. 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. Coming from a private collection, the work is presented in a frame.