Ancient Sculpture of a Girl Trubetskoy Italy '900 Ancient Bronze - Italy, XX Century

Roman Landscape

Oil painting on canvas. signed lower left. Further signature and title on the back. Born and lived in Rome, Sdruscia was an interpreter of the so-called Roman School, mainly creating glimpses of his city, in a pictorial style that looks to the great masters of the period, such as Guidi and De Pisis. The work is presented in a frame.

Woman at the Spinning Wheel

Tempera on paper. Signed lower left. Probably a sketch, due to the rapid drafting and unfinished contours, this work presents a young woman sitting spinning at a spinning wheel. The artist Gino Simonetti, painter but also writer, born in the Piacenza area, lived and worked mainly in Turin. the work is presented in a period frame.

Oil painting on canvas. Signed lower left. Inside a rural kitchen, a peasant family allows themselves a moment of celebration: the father plays the mandolin, listened to by the little girl who seems to want to dance, assisted by her mother, and by the other women of the house, smiling as they carry out their domestic tasks. The production of the Neapolitan painter Giuseppe Giardiello always looked to the folklore of Neapolitan rural and peasant life, painting, with intimate and delicate tones, both scenes of domestic life and landscape views animated by figures. The work is presented in a contemporary frame.

Three figures

Oil painting on canvas. Signed lower left. On the back there is a stamp of the historic Galleria Palmieri in Milan (now no longer existing). The work proposes the typical characters of Franz Borghese';s satirical painting: these are figures that recall, in gestures and clothes, the subjects of 1910, portrayed with almost caricatured, sarcastic features and poses. Borghese's production in fact, after an initial period characterized by a dark and deep, almost dramatic painting, from the 1700s turns into a painting of satire and sarcasm, accentuated by a bright chromatic palette, which aims in particular at the bourgeoisie of the turn of the century. The three figures in this work, two men and a lady, are depicted sideways as they walk in single file in their elegant street clothes: the serious expressions, the distant gazes, seem to underline mutual indifference, as well as the boredom and vacuity of their life, which contrast with the bright and lively colours. The work 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 on canvas, applied on hardboard in the second half of the 1900s. The painting takes up the pictorial ways of the eighteenth century, with a decorative cut. In a peaceful landscape, with an architectural structure on the right and the green valley with the river opening on the left, two figures walk along the path, a woman with her bundle of clothes and the wayfarer with a saddlebag and a stick. The work is presented in a chronicle style.