Vintage Wall Mirror Italy 1960s Teak Wood Brass Frame

Pyramids 1976

Composition in three pieces, photographic and mixed technique. On the back there is a label from Galleria Studio 47 with the data of the work (title, date and technique); the inventory number of the work is also present. It is also accompanied by an authentication on photo signed by the artist. From the early 1970s, the Modenese artist Franco Guerzoni began a personal research dedicated to the exploration of the world of archeology and memory; Guerzoni likes memories, in the most positive sense of the term: personal memories and collective memories, constantly poured into his works which thus become dense with stratifications of matter and thoughts, sedimented by time and by the mind in the bed of the river of art. What emerges is a multitude of stories that the tireless artist has always collected starting from the first experiments with photography, passing through the study of archeology, up to artist's books and works with plaster. The work is presented in a frame. It comes from an important Milanese private collection.

The Forgotten Parts 1991

Mixed technique on paper. On the back the signature, the date and the title of the work. Also accompanied by photo authentication, with exhibition label at the Galerie CC in Graz. From the early 1970s, the Modenese artist Franco Guerzoni began a personal research dedicated to the exploration of the world of archeology and memory; Guerzoni likes memories, in the most positive sense of the term: personal memories and collective memories, constantly poured into his works which thus become dense with stratifications of matter and thoughts, sedimented by time and by the mind in the bed of the river of art. What emerges is a multitude of stories that the tireless artist has always collected starting from the first experiments with photography, passing through the study of archeology, up to artist's books and works with plaster. It comes from an important Milanese private historical collection.

Oil painting on canvas. The Saint can be identified as St. Joseph by the flowered stick on the top, a symbol of his virtue when he agreed to marry the pregnant Mary by the work of the Holy Spirit. Furthermore, according to tradition, Giuseppe is presented as an already elderly man, dressed in simple clothes. The painting has small holes and drops of color. It is presented in a coeval frame.

Shuffle the 1980 Cards

Graphite on paper. On the back there is a label from Galleria Studio 47, showing the data of the work (title and date). From the early 1970s, the Modenese artist Franco Guerzoni began a personal research dedicated to the exploration of the world of archeology and memory; Guerzoni likes memories, in the most positive sense of the term: personal memories and collective memories, constantly poured into his works which thus become dense with stratifications of matter and thoughts, sedimented by time and by the mind in the bed of the river of art. What emerges is a multitude of stories that the tireless artist has always collected starting from the first experiments with photography, passing through the study of archeology, up to artist's books and works with plaster. The work is presented in a Plexiglas case. It comes from an important Milanese private historical collection.

Oil painting on canvas. At the bottom left there are the two initials AC, perhaps followed by an illegible surname. The Saint, framed by a rich curtain, is identified as Cecilia by the presence of the organ, an instrument she played and which had her erected as patroness of music; she is richly dressed for her wealthy Roman status and holds the palm of martyrdom. The painting has small drops of color and stains. It is presented in a mid-1900s frame.

Figure 1979

Pencils on paper. Signed and dated lower right. Ironic, playful, theatrical artist Aldo Spoldi is a painter, sculptor, musician, writer, professor at the Brera Academy and a member of the Pataphysics Society, initially defined as the science of imaginary solutions by its creator, the French writer and playwright Alfred Jarry, and often regarded as a logic of the absurd, an eccentric metaphysical scheme and a parody of metaphysics. Spoldi's production, in all its forms, follows this pataphysical vision of reality. , accruing its variations in the wake of changes in the weather. This figure of a man on a bicycle appears almost visionary, due to its lack of parts, as if the character were dissolving. The work is presented in a frame.

Sounds Silence 1992

Graphite on paper. Signed and dated lower right. Accompanied by a photo with the data of the work (title, date, dimensions, technique) and the archive number of the collection. Using above all watercolor and graphite, Davide Benati gives life to a universe of fluctuating, transitory and fleeting forms, expressed through a cultured painting, made up of suggestions and literary and personal memories; his figures draw on the world of nature, where flowers and leaves become a pure pictorial organism, where spatiality prevails. The work comes from an important historical private collection in Milan. It is presented in a frame.

Oil painting on canvas. Northern Italian school of the eighteenth century. The landscape, set on the banks of a wide river, sees in the center some figures of peasants intent on picking fruit from a tree: a girl holds the ladder while the boy cuts off a bunch, on the left another couple places the fruit collected in a tub. All around a vast green countryside and some farmhouses. Restored and relined, the painting is presented in a period frame.

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.

Study of a Young Figure

Mixed technique on paper; drawing cut out and applied on cardboard. Signed lower right. It is a small study, probably to be included in a larger scene, of the figure of a child carrying a basket of vegetables on his head, still undefined but sketched with traces of green; the boy is dressed only in a short shirt. Neapolitan painter, but also museologist and teacher of figurative arts, Dalbono trained in the Neapolitan verismo movement which referred to the School of Resina. He loved the landscape, which he portrayed from life, preferring the hours of dawn with its play of light; but he also produced many genre scenes, with popular bourgeois subjects, animated by different figures and always with Naples as a background, its views and its landscapes, told with suffused atmospheres, full of poetry. The painting is presented in a period frame.