Painting by Eugenio Levi - Flowers in vase 1972

Lombard Landscape

Oil on board. Signed lower left. Considered one of the most poetic landscape painters of the 1900s, the Lombard painter Ambrogio Vismara transposed his love for his native places into his works, dedicating most of his life to the Lombard landscapes - the mountains, the plains, the hills of his native Brianza production, and evoking almost all of them in autumnal atmospheres and tones. His peculiarity was the use of the spatula instead of the brush, which allowed him to obtain an effect of tonal spots, with a clear contrast of planes. Here is a small glimpse of a pond, with Alpine peaks that can be glimpsed in the background, and which refer to the Lombard plain. Framed in style.

Nude Concept

Crayons on paper. Signed lower right; further signature on the back, with the title. Delicate female nude, with soft colors, by the Venetian painter Eugenio Polesello, best known for his landscapes. In frame.

Figure with Tambourine 1927

Drypoint print. Signature printed lower left. Further signature in pencil at the bottom, with serial number 67/125. In the vast production of Ardengo Soffici we also find various human figures, which well express his choice to return to traditionalism, after having attempted various avant-garde experiences. 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.

Mixed technique on paper. Signed lower 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 is portraiture, which nevertheless expresses his ability to use color as a delicate transparency, which brings out the effects of light and shadow generated by human expressions even in the faces. The work is presented in a frame.

Oil on canvas board. Signed lower 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 variegated flowers in vases, which nonetheless reflect all the artist's expressive capacity and his skilful use of colour. The work, coming from a private collection, is presented in a 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.

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.

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.

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.

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

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.