Composition with Fish and Lemons 1936

Oil on the table. Signed and dated top right. Artist of Venetian origin but artistically trained in Milan, Dudreville passed from a youthful pointillist phase, to an abstract painting and finally, from the 1920s, to a realist one as he stretched towards a greater adherence to the essence of things. He defined his painting of the latter period as "Flemish", wanting to sanction with this intimist indication his distance from the triumphalism and optimism of the Italian twentieth century and his search for an objective relationship with nature. Blind in one eye, he did not actively participate in wars and in 1942, to escape the bombings, he retired to Ghiffa, on Lake Maggiore, where he remained until his death. In the work presented here, on a dark background, a group of fish is placed on a plate covered with a large leaf, together with a cut lemon: one finds in it perfectly that "Flemish" spirit, understood as realistic adhesion and the most possible objective to the represented nature. the work is presented in a style frame. On the back there is a stamp from an important private collection.

Oil on canvas. Lombard school of the late 17th-early 18th century. The rich composition offers a large bouquet of colorful flowers in an embossed vase, next to two large pumpkins and mixed fruit (grapes and peaches): with different intensities of color, the various naturalistic elements emerge from the completely dark background, creating effects of lights and shadows. Restored and relined, the painting is presented in an early 20th century frame.

Oil painting on canvas. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, fruit bowl with peaches, a cut pumpkin and a goldfinch that picks grains from the bunch of grapes placed on the table. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period frame.

Sill Life With Grapes, Figs and Apples 1932

Oil on canvas board. Signature and date at the top right. The composition features autumn fruits, grapes and apples in the embossed metal fruit bowl, figs on the placemat. The Tuscan artist Luigi Bini was a painter, ceramist and sculptor, who did not feel bound to traditional techniques but loved to experiment with new ones. His paintings, which include portraits and figure studies, were mainly done in pastel and tempera in order to achieve lively and soft chromatic transitions through broad brush strokes. The painting comes in a contemporary frame.

Oil on cardboard applied on canvas. Italian School. The two compositions show different elements: on has different fruit in the foreground with colorful flowers; the other one shows a plate from which are fallinf flowers and fruit. They had been restored and need to be cleaned. They come with frames.

Oil on canvas. Lombard school of the late 17th-early 18th century. The rich composition offers a large bouquet of colorful flowers in an embossed vase, next to a bowl full of porcini mushrooms and a bunch of grapes: with different intensities of color, the various naturalistic elements emerge from the completely dark background, creating effects of lights and shadows. Restored and relined, the painting is presented in an early 20th century frame.

Still life 1940s-1950s

Oil painting on canvas. Signed top right. The composition, on a background of curtains, presents on the right a jewelery box, on the left a half-length statue of a Madonna and Child, in front of which there is a drawing on paper and a decorated metal bowl. The pictorial production of Walter Benoldi, a Parma painter, is characterized by these compositions rich in different elements, among which a small painting is often inserted. The work is presented in a contemporary gilded frame.

Still Life With Apples 1932

OIl on plywood. Signature and date at the top right. The composition shows some apples spread on the table with other elements: a plate, a jug and the glass, the chalice, some jars. The Tuscan artist Luigi Bini was a painter, ceramist and sculptor, who did not feel bound by traditional techniques but liked to experiment with new ones. His paintings, which include portraits and figure studies, were mainly done in pastel and tempera in order to achieve lively and soft chromatic transitions through broad brush strokes. The painting comes in a contemporary frame.

Oil on canvas. Italian School. Still life with fruit (watermelon, pears, peaches and pomegranates) and vegetables (pumpkin, califlowers) standing on a surface; on the right there is the ladder of a hemhouse with an hem inside. The painting needs to be cleaned and restore because of some drops of color. Revival frame.

Oil on canvas. From a private collection in which they were combined as a pendant, the two compositions are actually different in manufacturing and technique, as well as in the size of the canvases. The slightly larger canvas (71 x 91 cm), in oil, features two different wicker baskets filled with white and red grapes, surrounded by other fruit (pears and peaches) and with a curious squirrel sniffing the air; the dark background is empty. The second canvas (64 x 88 cm) is made with the lean oil technique, which makes it very close for pictorial effect to a tempera on canvas; the composition is made up of variegated flowers and fruit (watermelon, grapes, peaches), and is placed in an external environment, albeit not very defined (the clouds on the left). Both canvases need cleaning; the first shows traces of previous restoration and relining (patch on the back), while the second, in her very worn first canvas, has very widespread small holes and drops of color. Both works are presented in white lacquered frames, albeit different in shape.

Oil on canvas. In the beautiful composition you can see, resting on an inlaid wooden sideboard, a basket full of cherries, some of which are scattered on the top, and a plate full of red currants, mixed with leaves and a few cherry blossoms. A goldfinch rests on the handle of the basket; to frame the composition, on the right a large bouquet of multicolored flowers in a vase, on the left a red curtain. The bright colors of the fruits, the flowers and the curtain stand out, while the support cabinet blends into the dark background, as does the little bird, distinguishable from the dark background only by the white plumage on the wings and the red outline of the eyes. The work is part of the large 17th century Emilian production of this highly decorative type of subject. The painting, restored and relined, has a marked crack and drops of color along the edges.

Still Life 1948

Oil painting on canvas. Signed and dated lower left. A Milanese artist descended from a cadet branch of the Gonzaga nobles of Mantua, Giovan Francesco took part in the Second World War with the Savoy Cavalry when he was still twenty years old, participating with the “Fantasma” squadron in patrol actions in the Russian steppe. The months spent in close contact with the horse during the war sparked in him a real passion for horses, which became the privileged subject of numerous paintings, sculptures and poems. Self-taught artist, he declared "Nature is my true teacher", and faithful to it, after horses, he devoted himself mainly to landscapes and still lifes, always depicted "en plein air". Vittorio Sgarbi wrote about him: "The wisdom of Giovan Francesco Gonzaga lies in the design, 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, the color of this artist has a regality and a sensitivity that come from a musical perception of the color, where the palette is expressed in sudden, variations and rhythms buttons ". His works appear in various museums, including that of the Pinerolo Cavalry, the Historical Museum of the Guardia di Finanza in Rome, the Tel Aviv Museum, the Art Museum of Los Angeles, in public and private collections in Italy, France, Spain, Luxembourg, Indonesia, China, Japan, Singapore and America. In this still life, the elements of a moment of everyday life appear on a table, that of an afternoon tea: two silver teapots, the cup with the spoon and the lace napkin, a saucer with lemon resting on some photos; on the red background wall, a framed print. The intense chromatism and the expressive power of the elements stand out. The work is presented in a frame.

Watercolor on cardboard. On the back there is the date 1892 and an unidentified signature. The composition presents a series of objects placed on a small table surmounted by a mirror: two books, one of which is open, a painted ceramic vase and a hookah. It is presented in a gilded tray frame from the 19th century.

Oil on canvas. The floral composition is part of the large production of this subject that spread in Italy and Europe starting from the seventeenth century, with purely decorative purposes. The painting proposed here has traces of previous restorations and has been relined, but needs further cleaning. It is presented in an antique relacquered frame.

Still Life with carpets, jewels, fruit and a mirror

Oil on canvas attributable to Antonio Gianlisi. According to the different depicted objects such as a shirt thrown on an armchair, some jewels, a dressing table with mirror, some fruit and a tray with a pitcher and glasses, the still life could be located in the private room of a rich woman. Restored and relined, presented in an antique coeval frame. 18th century-19th century.

Still Life 1987

Natural wood inlay. Signed lower right. on the back this certificate of authenticity of the work signed by the artist, with the data of the work (technique, title and date of realization). It is a work carried out with the "knife" technique by the well-known master of Anagni (FR) Carlo Turri: combining the Renaissance style with the taste and creativity of high contemporary craftsmanship, he has created his works entirely by hand, using techniques of the fifteenth century and paying particular attention to chromatic research and three-dimensionality. Its tradition has been continued by his daughter Rita who, in the Anagni laboratory, applies classical and modern ornamental motifs not only on paintings but also on boiserie, furnishing and design elements. The work is inserted in the frame.

Still Life with Vase and Violin

Oil on hardboard. Signed top 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. In this still life, a ceramic flower vase painted with eighteenth-century figures is composed on a plane together with a violin, books and a letter; in the background a heavy curtain. Although the subjects and the composition are of an ancient taste, the colors are definitely lively and modern. The work is presented in a style frame.

Still Life 1946

Oil painting on canvas. Signed and dated in the lower right corner. Additional signature, date and title on the back; also present stamps of the Russian art gallery. Composition of bottles and goblets, which stand out against a two-tone background, with warm yet opaque colors. Born and artistically trained in Florence, Ugo Vittore Bartolini moved to Milan in 1934, or having obtained the chair of drawn figure at the Art School of the Brera Academy. In the following years he participated in numerous national reviews and exhibitions, including several times at the Venice Biennale. If starting from the thirties he established himself above all as a landscape painter, from the second post-war period Bartolini decidedly approached sacred subjects, but he also created series of female nudes and still lifes. His style is simple and communicative, his paintings have a warm and refined chromatism. The work is presented in a style frame.

Still Life with Mimosas abd Violin 1934

Oil on canvas. Signed and dated at the top right. The composition features a vase of mimosas in an inner corner, richly draped and woven, which together with another empty vase rests on a small canvas painted with an abstract composition; a violin with its bow rests on the left of the canvas. The pictorial production of Walter Benoldi, a painter from Parma, is characterised by these compositions rich in different elements, among which musical instruments often recur. The painting comes in a coeval frame.

The blue coccoma, 1960

Oil on canvas. Signed and dated lower left. Further signature, date and title on the back. A Milanese artist descended from a cadet branch of the Gonzaga nobles of Mantua, Giovan Francesco took part in the Second World War with the Savoy Cavalry when he was still twenty years old, participating with the “Fantasma” squadron in patrol actions in the Russian steppe. The months spent in close contact with the horse during the war sparked in him a real passion for horses, which became the privileged subject of numerous paintings, sculptures and poems. Self-taught artist, he declared "Nature is my true teacher", and faithful to it, after horses, he devoted himself mainly to landscapes and still lifes, always depicted "en plein air". Vittorio Sgarbi wrote about him: "The wisdom of Giovan Francesco Gonzaga lies in the design, 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, the color of this artist has a regality and a sensitivity that come from a musical perception of the color, where the palette is expressed in sudden, variations and rhythms buttons ". His works appear in various museums, including that of the Pinerolo Cavalry, the Historical Museum of the Guardia di Finanza in Rome, the Tel Aviv Museum, the Art Museum of Los Angeles, in public and private collections in Italy, France, Spain, Luxembourg, Indonesia, China, Japan, Singapore and America. In this still life, the colors are especially enhanced: the three elements - the blue coccoma, that is an enameled jug, a cut lemon and a glass of milk -, well spaced and proposed in contrasting colors, stand out against the two shades of green of the background. The work is presented in a frame.