Pair of Wall Lamps Brass Italy XX Century - Italy, XX Century

Oil on tablet. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval frame.

The 1970 inspection

Oil painting on canvas. Signed lower right. On the back further signature with declaration of authenticity, and the title. Also mention the cataloging of the work in magazines and publications. Originally from Gattinara in the Vercelli area, Dedo Domenicone loved to depict small animal creatures, often reinterpreted in a fantastic key, and placed in an almost dreamlike environment. The work is presented in a frame.

The Park 1979

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Il Balansino presents a glimpse of a city park, with a small terraced relief, animated by a couple of barely sketched figurines that blend into the natural environment, due to the overlapping of colors applied with rapid brushstrokes and with indefinite contours. the work is presented in a frame.

Paris 1976

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work the setting is in Paris, which he often portrayed in glimpses of city life full of color and animation. The work is presented in a frame.

Pulcinella at the 1970 races

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without departing from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work Cortiello the artist depicts very particular horse races, where the jockeys are his typical naked women, cheered on by cheering Pulcinella. The work is presented in a frame.

Paris 1972

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work the setting is in Paris, which he often portrayed in glimpses of city life full of color and animation. The work is presented in a frame.

Cervignano del Friuli 1930

Oil on tablet. Signed lower left. On the back there is a further signature, with the title and the date of creation (July 1930). This small glimpse of the Friulian village located along the course of the Aussa river (or Ausa, according to the dialectal term), is part of the extensive landscape production of Carlo Sartorelli, who explored various Italian regions. The work is presented in a period frame.

View of the Naviglio in Milan

Oil on plywood. Signed lower left. The small glimpse of a Milanese canal well expresses the production of Giovanni Riva, who was a painter, sculptor and ceramist. Born and educated in Turin, where he always lived, Giovanni Riva participated in numerous national reviews and exhibitions, including the Venice Biennale of 1940 and 1942. Among his production as a ceramist, the faces of many Lenci dolls are particularly remembered. In painting he devoted himself above all to glimpses of Turin, Milan and Venice, rendered with great spontaneity and immediacy, as well as genre scenes. The systematic study of ancient art, the adherence to the Renaissance ideals of the sculpture of Donatello, Michelangelo and Giambologna pushed Giovanni Riva towards the adoption of an expressive code similar to the taste of the romantic nineteenth century, rather than to futurist dynamism or surrealist visions . The work is presented in a frame.

Mixed technique on canvas. The large scene, painted in the single range of red-pink, sees two large figures on the right, while the entire left side is occupied by a desert landscape, with the waves of the dunes disappearing in the distance. The two figures represent a seated knight, with a turban and Saracen dress, being refreshed by a girl in Western dress, who is handing him a tray loaded with food, while on the underlying surface there is a basin of water, ears of corn and various fruits. It could be one of the many representations of the story of Angelica and Medoro, told by Ariosto in Orlando Furioso, which tells of the love between the Christian girl and the Saracen infantryman injured in a battle, who then fled together to Cathay, thus unleashing Orlando's madness. The work is presented in a frame.

Female Nude, 1965

Oil on cardboard. signed lower right. On the back is the artist's autograph dedication to 'friend and colleague Giovanni Balansino'. Born and artistically trained in Florence, Ugo Vittore Bartolini moved to Milan in 1934, having obtained the chair of figure drawing at the Liceo Artistico dell' Accademia di Brera. If, from the 1930s onwards, he established himself mainly as a landscape painter, after the Second World War, Bartolini moved decisively towards sacred subjects, but also produced series of female nudes and still lifes. His style is simple and communicative, his paintings have a warm and refined chromatism. The work is presented in a frame.

The Olona

Oil on hardboard. Signed lower right. Further signature and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Balansino presents a glimpse of the Olona river, a watercourse entirely in Lombardy, as it flows through the villages of the Lombard plain. The work is presented in a frame.

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them., which this glimpse includes of a town in the Lombard plain. In frame.