S. Consadori View from Grado Oil on Canvas Italy XX Century - Grado

Face

Mixed technique on canvas. Signed lower right. In the vast artistic production of Giacomo Manzù, an excellent sculptor, there are also rare paintings on canvas and numerous drawings on paper, among which the human face is one of the most recurring subjects, in particular that of his wife Inge Schabel, inspiring muse and model favorite of the artist. The face drawn here, although barely sketched with a few strokes made in mixed technique, expresses an intense expressiveness. The work is presented in a frame.

Oil painting on canvas. Signed lower right and on the back. 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 vase full of daisies, which moreover reflects all the artist's expressive capacity, and his skilful use of colour. The work, coming from a private collection, is presented in a frame.

The path of San Rocco (Camogli)

Oil on cardboard. Signed lower left. On the back this title in pencil. An extremely original landscape painter who experimented with oil painting but also with watercolors and engraving, Raul Viviani came very close to pointillist painting, however developing his own personal technique, characterized by very thin filaments of color in the shape of thin commas, which define the structures of his landscapes. With his transfer to Liguria, which made the landscape of that region the protagonist of his works, his technique changed, moving away from the original divisionism to open up to a broad and summary brushstroke, which finally resulted in the last period in a production of nature death with violent and contrasting colors. This landscape can also be placed in the Ligurian period, which offers a glimpse of a well-known Ligurian locality, still rendered in the characteristic style of Viviani, made of brushstrokes in thin filaments, superimposed on spots of lively color, in the chromatic ranges of the colors of nature. In frame.

Still life

Oil on the table. Signed upper right. An extremely original landscape painter who experimented with oil painting but also with watercolors and engraving, Raul Viviani came very close to pointillist painting, however developing his own personal technique, characterized by very thin filaments of color in the shape of thin commas, which define the structures of his landscapes. With his transfer to Liguria, which made the landscape of that region the protagonist of his works, his technique changed, moving away from the original divisionism to open up to a broad and summary brushstroke, which finally resulted in the last period in a production of nature death with violent and contrasting colors. This still life, a composition of vegetables and a vividly colored bottle, can be placed in this period. The work is presented in a frame.

Oil painting on canvas. Signed in the lower right corner and on the back (Verschafeldt). Light losses of color. In coeval frame with missing parts. Early 20th century.

Stratosphere 1962

Oil on canvas. On the back there is the title, date and signature of the artist. Present cartouche from the Falchi Gallery in Milan. Felice Canonico was born in Messina, where he made his debut as a self-taught person, making himself noticed within the circuit of city exhibitions; then follows a period of training in Florence with Ardengo Soffici and Pietro Annigoni. From '51 to '60, he collaborated with the major construction sites in Messina. Moving to Milan, he attended the Blu gallery, coming into contact with the most innovative artists of the time: Fontana, Burri, Vedova, Borlotti, Santomaso. He exhibits in Rome, Venice, Paris, London, Stuttgart, Copenhagen, Los Angeles, also winning several prizes. In his long and versatile activity he experiments with the most diverse and alternative artistic techniques. The work is presented in a frame.

Venetian Glimpse With Masked Figures

oil on plywood. Signed at the bottom right. View of a bridge that crosses a canal in the middle of the woods; above the bridge there are masked figures, below is a gondola. Born into a family of artists and artistically trained in Venice, Paoletti later moved to Milan, where he continued his career, devoting himself not only to painting but also to illustrating magazines. The Venetian theme remained a recurring theme in his painting: maintaining the link with Venetian vedutista painting of the late 19th century, Paoletti translated the views of his city into forms of colour and lights. Coeval frame.

Venetian Glimpse With Masks

Oil on plywood. Signed at the bottom right. Glimpse of a venetian house with access to the canal near which there is a gondola; two figures of venetian masks are gettin inside the house. Paoletti was born and trained in Venice by a family of artists and later moved to Milan where he dedicated himself to painting and illustration. The theme of Venice also remained recurrent in his pictorial production: maintaining the link with the Venetian vedutista painting of the late '800, Paoletti translates into forms of color and light the views of his city. The painting comes in a coeval frame.

Still Life With Apples 1932

OIl on plywood. Signature and date at the top right. The composition shows some apples spread on the table with other elements: a plate, a jug and the glass, the chalice, some jars. The Tuscan artist Luigi Bini was a painter, ceramist and sculptor, who did not feel bound by traditional techniques but liked to experiment with new ones. His paintings, which include portraits and figure studies, were mainly done in pastel and tempera in order to achieve lively and soft chromatic transitions through broad brush strokes. The painting comes in a contemporary frame.

The Euphoria 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 Pulcinellas dance playfully and wildly with the women, in a party of colour. The work is presented in a frame.

Pulcinella's climb 1973

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. The work is presented in a frame.

The Landing of the Sirens 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 Pulcinellas joyfully welcome a large group of women disembarking from an arriving ship. The work is presented in a frame.