Glimpse of Venice Oil on Cardboard Italy XX Century

Campione d'Italia, View Towards Porto Ceresio

Mixed technique on paper. On the back the title, with the artist's production number; also purchase inscription signed by his brother Silvio and dated 1938. Mario Bezzola was a Milanese painter, as well as a critic of 19th-century Italian art, who distinguished himself above all for his landscape production. The glimpse of the Lombard landscape is very nuanced and delicate in the chromatic choices. It is presented in a coeval frame.

Crayons on paper. In the lower right, inconsistent signature and date 1930. In an orderly countryside, a cottage stands on the left with clothes hanging in the sun on outdoor lines; on the right, a man on crutches walks along the road, while another lights a cigarette on the bank above. In the center, a light pole divides the scene in two. The work is presented in a period frame.

Glimpse of Lake with Fog 1944

Mixed technique on paper. Signed and dated lower right. Mario Bezzola was a Milanese painter, as well as a critic of Italian XIX century art, who distinguished himself above all for his landscape production. This glimpse of the lake wrapped and confused in fog, in which the surrounding hills can be glimpsed, like greenish spots, is suggestive. It is presented in a coeval frame.

Winter Sunset - Cortina D'Ampezzo

The foreshortening presents the well-known ski resort as a small village lost in the middle of a blanket of snow, dominated by the Dolomite massif of the Tofane. The rendering of the colors is suggestive, with the rosy peaks at the first setting of the sun. The painting has widespread vertical fissures of color due to the wood of the panel. In frame.

Glimpses with Boats 1936

Mixed technique on paper. Signed and dated lower right. Mario Bezzola was a Milanese painter, as well as a critic of Italian nineteenth-century art, who distinguished himself above all for his landscape production. Sunny and luminous, this marine glimpse, which sees a small inhabited island in the centre, surrounded by small boats with orange sails which are reflected in the water. It is presented in a coeval frame.

Oil painting on canvas. Unidentified signature lower right. The woman is portrayed in a pose that expresses a thoughtful state: sitting on the ground, her eyes closed, her head slightly bowed; behind and around her, fabrics and cushions, to evoke the alcove. The chromatic tones are almost uniform, in the range of beiges - bluish browns, among which even the rosy complexion stands out delicately. The painting has traces of restoration. It is presented in a stylish frame.

Oil on wooden board. Signed lower right. Title and location on the back. Enrico Intraina was a Milanese artist who mainly produced landscapes and glimpses of his places, remaining linked to Lombard Naturalism. The painting is presented in a coeval frame.

Flowers in vase 1972

Oil on canvas board. Signed lower left. The composition of some flowers in a simple terracotta vase is characterized by the use of a strongly material colour, typical of the Gussago artist Eugenio Levi. Presented in a stylish frame.

Oil on Plywood

Oil on plywood. Signed B.Roncaglia and dated 1968 on the lower left corner. Half view of alpine valley with a pod under trees' shades. Comes with 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.