Painting by L. Tommasi Oil on Wooden Board Italy XIX-XX Century - Little Girl

Coastal Landscape

Oil painting on canvas. Signed lower right. A highly original landscape painter who tried his hand at oil painting but also at watercolor 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 its landscapes. With his move to Liguria, which made the landscape of this 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 led in the last period to a production of nature death with violent and contrasting colors. This painting can also probably be traced back to the Ligurian period, given the subject, although without a title to locate the view. The work is presented in a frame.

Love

Fresco technique on canvas. The panel, probably part of a series with identical decorations, takes up the neoclassical style: a vertical sequence of decorative elements with volute vases, a female face with particular earrings, flowers, birds, hanging pendants with portraits, and above, inside a cartouche, the word Love, a virtue to which we want to praise, the only element of difference with the known sister panel. The painting has several drops of color.

Fresco technique on canvas. The panel, probably part of a series with identical decorations, takes up the neoclassical style: a vertical sequence of decorative elements with volute vases, a female face with particular earrings, flowers, birds, hanging pendants with portraits, and above, inside a cartouche, the word Love, a virtue to which we want to praise, the only element of difference with the known sister panel. The painting has several drops of color.

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.

City view

Oil on board. signed lower left. The writing "from the 19th century" also appears, which corresponds to the setting of the subject. The large view resumes a moment of intense city life along the banks of a river, in correspondence with a bridge that crosses it: stalls, street vendors, carts, transport boats and numerous figures fill the scene with color and life, under a blue sky in which bell towers, an arch and a votive altar stand out. The Milanese painter Pierangelo Basorini made a name for himself as a landscape painter, loving to portray glimpses of the city often set in time in an era prior to his own. The painting is presented in a period frame.

Ligurian Beach

Oil on canvas. Signed lower left. It is a glimpse of the Ligurian Riviera, near a cove, surmounted by houses close to the coast. Berto Ferrari, born and always lived in Liguria, was a skilled and sensitive marine and landscape painter of the post-impressionist tradition, who painted the beauties of the Ligurian Riviera and numerous views of the Apennine hinterland. The painting has drops of color and traces of restoration. It is in a coeval frame.

Mixed media (pencil and watercolor) on paper. Signed at the bottom. On one of them there is also the date (1946 and 1947). It is a small collection of sketches on paper, six faces of children and women and four landscapes, still with pencil strokes and incomplete watercolor paints, in the typical ranges of Mantovani, those clear and transparent colors that are considered one of its characteristic features. Lugi Mantovani, Milanese by birth and training, established himself in the artistic panorama and became an active part in the Milanese cultural cenacles of the city, to which he dedicated his production, consisting mainly of landscapes and city views. The paintings, of different sizes, are presented in style frames, with small lacks (one missing the glass).

Landscape with Ancient Style Figures

Oil on hardboard. Signed lower right. Born in Milan in 1913, and trained at the Brera Academy (of which he later became a teacher), Adriano Gajoni became passionate about the study of seventeenth-century Lombard painters and Dutch and Flemish painting of the seventeenth century, from whose meticulous realism he let himself be inspired. Of strict figurative observance, Gajoni preferred landscapes, portraits and above all still lifes, which he expressed in fairy-tale and allegorical compositions. He mainly practiced oil painting on wood and hardboard. Also this painting proposes a landscape of ancient taste: in the countryside, on the path that runs along a wide river, a pastoral figure passes on his donkey, followed by his small herd. The work is presented in a style frame.

Watercolor on paper. 1920s-1930s. Signed A.C. Leveque at the bottom right. Title on the back. Glimpse of a famous bath station animated by a colorful crowd strolling along the avenues in front of the spa's landmark building, the white marble Art Nouveau dome, which extends to the sides into the balcony supported by columns with Ionic capitals. The painting comes in a coeval frame.

The Old Milan

Oil painting on canvas. Signed lower right. On the back of the frame there is a label with the title. Self-taught Milanese artist, Giovan Francesco Gonzaga declared "my true teacher is Nature", and faithful to her, he dedicated himself mainly to scenes with horses (a passion inherited from his experience in the Savoy Cavalry during the war) to landscapes and still lifes , always depicted ";en plein air". Vittorio Sgarbi wrote about him: "The wisdom of Giovan Francesco Gonzaga lies in the drawing, which is strong and decisive..... The images vibrate with restlessness, in the sign of man's struggle against himself, in the hell of a a story that always seems to repeat the same drama. But if the preparatory drawing is admirable, this artist's color has a royalty and sensitivity that come from a musical perception of color, where the palette is expressed in sudden changes and rhythms buttons". In this work Gonzaga offers a glimpse of his Milan, where a ray of sunlight illuminates the facade of a building making it emerge from the shadows of the narrow street that branches off at the corner. The work is presented in a period frame.

Clerics with Fishes

Oil on the table. Signed lower right. It is the work of the Rapallo artist Pietro Ardito, who established himself as a cartoonist and caricaturist, painter and designer. Also in his pictorial works the matrix is ​​the caricature one: prelates and clerics often find themselves as subjects, as in this scene in which Ardito proposes a nice procession of clerics following a bishop....returning from a day of fishing, with fish trophies clearly visible. In frame.

The Seeding 1979

Oil on glass. Signed and dated lower right, with the symbol of the artist, the stylized figure of a man in a wheelchair. On the back label with further signature and data of the work. The naive style painting proposes a moment of peasant life, or rather the sowing of the small field; the farmer works in the small plot of land, almost a vegetable garden, with the hens pecking around him, and green hills all around, illuminated by a huge, sparkling sun. It is a work on glass by the painter Mario Previ, who has been living and painting in a wheelchair since the age of eighteen, due to a tetraplegia resulting from a dip in his Taro. He said of himself : "The world, the passage of time, from this point of view (the wheelchair) teach many things. You learn to wake up every morning with a purpose, even if your body is in pain, if every gesture generates suffering and depend on others and giving up could be an easy solution. And instead, art, painting, together with the serenity of my world, of friends, give me incredible energy. They saved me, giving me the strength to live" . In 1974, three years after the accident, inspired by a television broadcast on Yugoslav naive painters, in particular by the works on glass of Mijo Kovacic, Previ began to paint and to learn the art of self-taught painting on glass, up to to be known and appreciated for his paintings. In his naif Mario Previ tells a reality that has almost disappeared, real stories even if in a fairytale tone, he revives lost traditions, slices of life that belonged to other generations, those of peasant civilization (from which, however, he comes), but what most emerges from his visions are the "forë", those that could once be heard in the "firossi" the traditional evenings of the hamlets of Parma dedicated to getting together to tell anecdotes, stories and historical curiosities, often in front of the fire in the fireplace, when outside it was cold and snowing. The work is presented in a frame.