Ancient 3 Lights Wall Lamps Italy '900 Gilded Metal Glass Pendants - Italy early 20th century

The Scribano

Oil on cardboard. Signed at the bottom right. Beautiful painting by the painter from Bergamo (Italy). Romualdo Locatelli studied at the Carrara Academy and then, driven by a strong passion for trips, he traveled a lot in Italy and abroad in Africa and Orient. During the World War II he moved to Manila in the Philippines, where he stayed until his death. His works belong to public and private collection all around the world, especially in Orient where he probably made his better works and is still known as the "famous Romualdo". His natal city Bergamo dedicated him many exhibition. The painting depicts an oriental subject, a character of the Oriental popular life typical of the places the artist visited. The face of the depicted person was cleaned because it had extremely pronounced facial features compared to the shade given by the hat. The features were inappropriate considering the man's race (before and after cleaning in the pictures). Presented in frame. 20th century.

Horse and donkey

Oil on cardboard. Signed lower left. Tito Pellicciotti, originally from Abruzzo, was trained at the Academy of Fine Arts in Naples under the guidance of F. Palizzi, from whom he derived his attention to animal figures, which he reproduced both in the calm of the stable and free and grazing. He also painted landscapes, genre paintings, peasant heads, particularly intense, and from 1920, after a stay in North Africa, also Arab subjects. His painting is also distinguished by the choice of bright colors. Also in this small painting the animals appear as protagonists of the scene, reproduced free to graze. The painting is presented in a period frame.

Oil on wooden board. 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 Inspection

Oil on canvas. Signed lower right. On the reverse side further signature with declaration of authenticity, and title. Cataloguing of the work in magazines and publications is also cited. 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 competitions 1970

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 board. 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.

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.

The Rise of Pulcinella 1971

Oil painting on canvas. Signed and dated lower right. Further signature, title and handwritten 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. This is exactly the subject of the painting proposed here: some Pulcinellas climb a ladder leaning into thin air, one of them floats in the air, and in the meantime they play with some naked women, surrounded by colored circles, balloons, also floating around . The Chagallian reference is evident in these male and female figures, although the mask of Pulcinella refers specifically to the Neapolitan area. The painting is presented in a frame.

Pulcinella's Games

Oil (mixed) on canvas. Signed and dated lower right. Additional signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter, pupil of Gennaro Villani and later friend and collaborator of Umberto Lilloni, participated in the renewal of Neapolitan painting with his own personal style, without straying from tradition. Endowed with fertile invention and remarkable representational ability, he left behind a rich and varied production. Recurring in his production are landscape or urban views, populated by numerous figures, often, in the Neapolitan setting, by Punchinello, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall.