R. Pellegrini Oil on Canvas Italy 1909 - Glimpse of Mandello Lario 1909

Interior scene

Oil painting on canvas. Not signed, but on the back there is a dedication "Alla signora Clelia Mazzioli, con stima Gaetano Bellei 23 gennaio 1909". The big scene, set in a popular kitchen, sees a woman reading cards to two girls, who ask for explanations by pointing to the figures that appear and seem to compare them with a text leaning on the chair. The work recalls the painting of Gaetano Bellei, due to the strong realism with which the painter painted above all scenes of daily peasant life; he is considered a master of the depiction of human affections and of human reactions and sensations. The painting has slight drops of color. It is proposed in a stylish frame.

Sestante 14 1989

Color screenprint on paper. Signed in pencil lower right, numbered n. IV/XV bottom left. It is accompanied by photo authentication from the "Il borghetto" art house in Milan. The work was part of the "Sestante" series, consisting of 16 different serigraphs. In 1982 Alberto Burri created Sestante, a large cycle of seventeen cellotexes and an iron sculpture, which was exhibited from May to September of the following year in the space of the former Giudecca shipyards in Venice. The evocation of the old nautical instrument, which was used by travelers to establish the position of a given point with respect to the horizon, is a tribute to the maritime destiny of Venice. The paintings are Burri's umpteenth challenge: in their combinations the shapes and colors of the "sextant" create an inexhaustible cycle where there is not the slightest repetition. Within the same painting, or in the juxtaposition of one to the other, the kaleidoscope of shapes allows square and curvilinear structures to coexist, together with large chromatic backgrounds and dense visual patterns. In 1989 the artist proposed the cycle again as a graphic work, creating the "Sestante" series. The art historian Bruno Corà said that "in Burri's case, speaking of graphics does not mean speaking of a lesser production compared to paintings, but only of a different and parallel artistic modality, in conception and execution, in short such as to be able to be included with absolute importance in the production of the great painter, alongside all his other revolutionary innovative pronouncements". The work is presented in a frame.

Embroidery on cotton fabric. Japan, Meiji period (1868 -1912). The large panel in embroidered cotton fabric offers a naturalistic subject: eagles and other birds are depicted among stylized mountains, and pine and wisteria branches. The embroidery is presented in style frame.

Portraits of Children, 1930

Photographs retouched with pastels. Signed bottom right. On the back of three of them is the date 11 November 1930. A photographic sequence of the portrait of three children is shown, who slightly change their pose or expression. They are the work of the British photographer Eva Barrett who, after an initial experience as a painter, decided to dedicate herself to photography, thinking that "it was better to be a first-rate photographer than a second-rate [painter]. Having moved to Rome in 1913, she established her laboratory here. Pictorialist, with a small camera, Eva Barrett created her own photographic method that was reminiscent of drawing sketches: she applied a few very light pencil strokes, managing to create subdued images but with particularly dense blacks, thus maintaining the characteristics of photography and portraits. In this way he was very successful and his career took off. Eva Barrett photographed the Italian royal family, the wives and children of foreign ambassadors, as well as received numerous commissions from European royalty in Belgium, Sweden, Greece. The four portraits are presented in style frames.

Still Life with Game

Oil painting on canvas. Signed lower right. On the back, gallery cartouche with the data of the work. Alfio Paolo Graziani chose the faithful transposition of reality onto his canvases, creating almost hyper-realistic compositions due to the precision in reproducing the various materials and surfaces, as well as the effects of the light incident on them. Nicknamed "Prince of Flowers" for the abundant production of floral compositions, he also created landscapes, portraits and still lifes, such as the work presented here, which presents a hunter's corner, where the hunted prey is added, scattered disorderly on a support surface, the remains of the hunting trip (the rifle, the horn, some shells, the remains of some provisions). The work is presented in a contemporary frame.

Oil painting on canvas. At the bottom left there is an unidentified signature. Large composition of variegated flowers, placed outdoors on bare, deserted ground. The colors of the flowers are applied with a certain material consistency, making them stand out and emerge from the almost monochromatic background. The painting has some dirt splashes in the lower left corner. It is presented in a contemporary frame.

Oil painting on canvas. Signed Bertolotti lower right. It offers a glimpse of a forest, with sparse, tall plants and an undergrowth full of rocks covered by a green lawn; through the trees, a gash opens up in the center, flooded with light, framing rugged mountain peaks. The painting, with a strong scenographic impact, is presented in a contemporary frame.

Oil painting on canvas. The composition looks at the productions of the 17th century and offers a table richly laden with fruit trays, baskets of cherries, baskets with peaches and bunches of grapes with decorative vine leaves, terrines with seeds, and glasses, surmounted by a curtain and placed on a fabric. Color was used in a highly material manner in some points, to underline for example the stems of grape leaves, or to create reflections of light on the fruit. The painting presented in a style frame.

Thomas's disbelief

Lead glass, with hand painted polychrome glass. The scene from the Gospel is depicted in which Saint Thomas, after having doubted his Resurrection announced by the other disciples, recognizes Jesus who appears to him and asks him to touch his wounds on the Cross with his hand. The work has some slight breaks and some original glasses are missing, which have been replaced. It is mounted in a recent frame.

San Pietro in Verzolo

Oil painting on canvas. Signed lower right. The painting, coming from a private collection in Pavia, is published on page 70 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The landscape, a stretch of countryside with a backdrop of hills, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame. on page 66 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The view of the small village on the outskirts of Pavia, seen from the countryside, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends" to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.