The Country Road

Oil on hardboard. Signed lower left. Having moved as a child with his family to Milan in 1898, still very young, Raoul Viviani enrolled at the Brera Academy, where he studied under the guidance of Giuseppe Mentessi (1857-1931). At the same time he attended the nude school of the Artistic Family, with which he exhibited for the first time at the age of 17, immediately enjoying great success with the public and critics, as a landscape painter with a strong personality and modernity and for his highly original style characterized from strong chromatic experiments. In 1912 he participated in the Venice Biennale and subsequently participated in numerous national and international exhibitions. From 1926 he began his career in the field of art criticism, writing for various newspapers, but his opposition to fascism led him to choose voluntary exile: in 1931 he moved to Uruguay, where he founded and directed the Academy of Montevideo Fine Arts. Returning to Milan in 1937, he resumed his activity as a painter and as a critic. In the 1950s he moved to Rapallo for health reasons and remained there until his death. Extremely original landscape painter, who engages in oil painting but also in watercolor and engraving, is very close to pointillist painting, however, developing his own personal technique, characterized by very thin filaments of color in the form of thin commas, which define the structures of the its landscapes. With his transfer to Liguria, the Ligurian landscape becomes the protagonist of his works and also his mute technique, moving away from the original pointillism to open up to a broad and summary brushstroke, which finally leads to a production of still lifes from violent and contrasting colors. In this work in which the technical characteristic of Viviani is well appreciated, along the country path that runs along the canal, a figure of a woman appears, which constitutes an exception in his production, usually lacking in figurative elements. Work in 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.

Oil on the table. The picturesque landscape has a wide path in the foreground on the right which winds between fronds and green meadows, where flocks graze; a small family of peasants passes along the path, all engaged in the transport of goods: even the girl carries a large bundle on her head, while the mother carries the basket with her newborn son in the same way! In the background, the plain extends wide to fade towards the distant hills and into the clear and rarefied sky, which gives off an almost pink light. The fir table of the painting has undergone restoration and parqueting. The work is presented in a mid-1900s frame.

Paintings under glass, on a convex glass surface. The two oval paintings offer landscapes enlivened by figurines of people intent on various activities: in one the setting is in the mountains, with small chalets below by the stream and below rocky peaks; in the other instead at night, a placid river flows near wooded banks, illuminated by the full moon. The paintings are presented in contemporary gilded frames, to be restored due to deficiencies.

Oil painting on canvas. Central European school of the eighteenth century. Under a blue sky, a large, rather barren landscape is depicted, with the edge of a wood opening onto a rocky valley, with a river flowing between the rocks and snow-capped peaks in the background; in the foreground, scattered, some figures of shepherds with their flocks. On the stretcher at the back of the work, a cartouche refers to Poussin, the artist representing seventeenth-century classicism whose pictorial methods inspired the author of the painting. The painting, relined, is presented in a period frame.

Glimpse of Mandello Lario 1909

Oil on canvas. Signature and location (Mandello) lower left. On the back additional signature, date and title in full. Riccardo Pellegrini, a Milanese painter, was a pupil of Domenico Morelli and was educated in the climate of romanticism. He was a landscape painter and genre painter, but he also created valuable still lifes, with bright colors and a precise and realistic drawing. His landscape production drew on the various places he visited and lived, in Italy and abroad, especially in Spain and France. In this landscape, Pellegrini offers a glimpse of the mountain that overlooks the town on the shores of Lake Como: a barren and bare mountain, albeit inhabited, with the hut on the top and a female figurine that fills the buckets at the stream of flowing water. between the rocks; the colors are those of the winter mists, divided almost transversely between the gray-blue of the upper part, with clouds laden with rain that dominate the peaks on the other side of the lake (which can be sensed, without being seen), and the green-brown of the land that occupies the lower half, with the branches of the bare trees stretched out to connect the two halves. The quiet of the mountains, the title of the work, clearly shines through and pervades the mind of the observer. The painting is presented in a contemporary frame.

Oil on canvas. French school of the seventeenth-eighteenth century. The external scene is divided into two strongly contrasting parts: on the left, on the dark and gloomy background of a rocky wall, there are some ancient ruins, bases and fragments of columns with fallen damaged statues; on the right instead, against the background of a blue sky and gray from the clouds, the mountainous landscape opens onto a path, from which some figures emerge, a lively woman carrying a laundry basket and holding a child by the hand, a wanderer with his bundle of shoulders. It seems a metaphor between the past, now dead and dark, and the present, alive and lively. Restored and relined, the painting is presented in an early 20th century frame.

Oil painting on canvas. Roman school of the 17th century. The landscape, large and airy, pervaded by a "classical", timeless atmosphere, fits into the classicizing current of ideal views taken from the Roman countryside, introduced to Rome with great success during the 17th century following the example of Carracci, Domenico, Albani and the French Poussin, Dughet, Lorrain, and continued into the following century with artists such as Andrea Locatelli. This type of landscape paintings aimed to exalt the principles of beauty, reason, order and measure typical of the classical world, to celebrate the value of history, the trust inherited from the ancients in the virtues of man and his possibilities. In the nature of these landscapes, which is not abandoned to chaos, but is composed, orderly, not disturbed by violent or disorderly elements, human figures are placed, dressed in the old style as in this painting, in which a couple dressed in classic tunics she converses amiably sitting (or rather, half-reclining almost as if they were on a triclinium) in the middle of a shady and green countryside, near a quiet river; in the distance you can glimpse the buildings of a city and your gaze is then lost in the orderly and peaceful continuity of the rolling hills of Lazio. The painting, restored and relined, is presented in a period frame.

Landscape with River and Figures 1878

Watercolor and pencil on paper. Signed and dated lower left. We know of several landscape views of the English countryside by the English painter Henry Clifford Warren, mostly painted in watercolour. Here is a view of a wooded countryside crossed by a wide river, with a shepherd leading his cows to graze on the hill in the foreground. Presented in a frame.

Oil painting on canvas. At the bottom left there is a signature traced very lightly and not decipherable. There is a plaque on the frame attributing the work to Jean-Baptiste François Pater (1695-1736), which is considered inconsistent. The landscape develops near the mouth of a river into the sea; on the left there is the landing directly to a group of houses; on the right a rowboat is leaving the tree-lined shore, with two scantily clad figures. Relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in the foreground, in a barren countryside landscape with traces of snow, the figures of a small family descending from a sort of sleigh stand out. made of wood, filled with straw and pulled by a horse. Restored and relined, the painting is presented in a gilded wooden frame in style, with several defects.

Crayons on paper. In the lower right, inconsistent signature and date 1930. In an orderly countryside, a cottage stands on the left with clothes hanging in the sun on outdoor lines; on the right, a man on crutches walks along the road, while another lights a cigarette on the bank above. In the center, a light pole divides the scene in two. The work is presented in a period frame.

Oil painting on canvas. 19th century European school. In the style of Neoclassicism, the painting shows a Nordic landscape with a small column holding the herm of the god Bacchus: at his feet a girl, dressed in the classical style, offers flowers to the god, according to a ritual of classical antiquity, propitiatory to the marriage. This type of neoclassical painting wanted to represent the idealization of ancient Italy, portraying its classical vestiges. The painting has been relined; has a marked crack.

Oil on canvas. Northern Italian School of the 18th century. The broad landscape shows in the centre a herdsman who has just passed with his cattle over the small bridge over the stream, which flows through the wooded countryside; in the background, again in the centre, a farmhouse and several country buildings. Restored and retouched, the painting is presented in a stylish frame.

Landscape with Figures and Bread Oven

Oil painting on canvas. Signed lower left. The landscape view shows in the foreground a mountain path that leads to a bread oven, where a woman prepares the bundles of wood for the fire, while a traveler approaches on the back of a donkey; in the valley the viaduct over the river that leads to the village, surmounted by other barren peaks. Micheroux, belonging to the Posillipo school, or the nineteenth-century school of Neapolitan artists dedicated to landscape painting, created several glimpses of the Campania hinterland, but little is left of his production and little is known about his life. The painting has some small drops of color. It is presented in a late 19th century frame.

Oil painting on canvas. On the back there is a dedication with the date 1862 and the signature "Per Monsignor F. di Mombello, devotamente Petrus Lucatello decisit". The extremely serene and peaceful landscape presents a stretch of rocky sea coast, inhabited by figures of fishermen and commoners, with the ruin of a stone arch. The painting is presented in a late 19th century frame.

Oil on canvas. Landscape of Northern Italy, with large mountains covered in snow on the background, there is a small castle at their feet, and the wide river is in the foreground, with some fishermen on its shores. The painting has some paint losses and evident craquelure. It is presented in a frame in style.

Oil on wooden board. The small glimpse represents a wooded glimpse, leafy and shaded, in which various figurines stroll and enjoy themselves. The signature AJ Garnier appears at the bottom center, which refers to the French artist Alfred Jean Garnier (1848 -1908), enameller, painter and engraver. The painting is presented in a period frame.