Modern Painting Signed E. Agazzi Landscape 1922 - Mountain Landscape, 1922

Female Figure

Pencil on paper. Signed lower right. Celada's painting is capable of blocking reality in time and space, in a way that appears detached, analytical and scientifically exact (colours, reflections, transparencies), but communicating - as opposed to a total unreality - a great narrative pathos. Proposed here is the study in red pencil of a female figure: the woman was always at the center of Celada's production, who both in portraiture and in figure studies presents a female body, firm and classicizing both in forms and in references to the painting of the past, Work presented in a frame.

Landscape with Figure

Oil on the table. Signed lower right. The Neapolitan artist painted landscapes and glimpses of Neapolitan popular life, with a lively and immediate naturalism, in which brightness and a sense of color stand out. Here he shows the exterior of a house in the Neapolitan hinterland, where a female figure sits observing the chickens scratching in front of the henhouse. In frame.

Oil painting on canvas. The large landscape presents a view of a mountain lake, on the shore of which there are some huts; coniferous forests form the backdrop, creating the chromatic contrast between the blue of the sky and that of the water. The painting has a small tear in the canvas in the center. It is in a style frame.

Amarici (Etiopian Figures) 1930s

Pencil on paper. Signature, title and location lower right. In the second half of the 1930s, Contardo Barbieri left as a volunteer for the campaign in East Africa. From this period there are some works that propose oriental subjects, such as these characters of the Ethiopian people called Amharic because they were natives of Amhara, a region of central-northern Ethiopia where the city of Dessié is located. In frame.

Portraits of Children, 1930

Photographs retouched with pastels. Signed bottom right. On the back of three of them is the date 11 November 1930. A photographic sequence of the portrait of three children is shown, who slightly change their pose or expression. They are the work of the British photographer Eva Barrett who, after an initial experience as a painter, decided to dedicate herself to photography, thinking that "it was better to be a first-rate photographer than a second-rate [painter]. Having moved to Rome in 1913, she established her laboratory here. Pictorialist, with a small camera, Eva Barrett created her own photographic method that was reminiscent of drawing sketches: she applied a few very light pencil strokes, managing to create subdued images but with particularly dense blacks, thus maintaining the characteristics of photography and portraits. In this way he was very successful and his career took off. Eva Barrett photographed the Italian royal family, the wives and children of foreign ambassadors, as well as received numerous commissions from European royalty in Belgium, Sweden, Greece. The four portraits are presented in style frames.

Thomas's Disbelief

Stained glass window, with hand painted polychrome glass. The scene from the Gospel is depicted in which Saint Thomas, after having doubted his Resurrection announced by the other disciples, recognizes Jesus who appears to him and asks him to touch his wounds on the Cross with his hand. The work has some slight breaks and some original glasses are missing, which have been replaced. It is mounted in a recent frame.

San Pietro in Verzolo

Oil painting on canvas. Signed lower right. The painting, coming from a private collection in Pavia, is published on page 70 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The landscape, a stretch of countryside with a backdrop of hills, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame. on page 66 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The view of the small village on the outskirts of Pavia, seen from the countryside, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends" to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Bronze plaque with bas-relief figure. The figure of a naked man is depicted, holding an arrow and aiming it at the center of a target: the symbolism is evident, that is, the exaltation of the determination of the man who must go straight to the target; this meaning is well suited to the fascist period to which the plaque dates back, as is the reference to classicism. The plaque is inserted and presented in a contemporary wooden frame.

Rovereto, 1920

Oil on the table. Signed lower left. The title and date on the back in pencil. Riccardo Viriglio, a landscape painter from Pavia, portrayed urban views mainly of his city and landscape views especially of Lombardy. Here is a glimpse of the village of Roveleto, a small village in the Piacenza countryside at the foot of the pre-Apennine hills. The work is presented in a frame.

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.

Portrait of a young commoner

Oil on canvas applied to the table. Signed lower right. Antonio Vallone, a Neapolitan painter close to Morelli's school, specialized in genre portraits, above all of smiling young men and women, street urchins or peasant women typical of his homeland. The work is presented in a period frame.