Swiss Landscape 1857

Colored lithograph. Signed and dated at the bottom left. Jean-Pierre Thènot was a french painter, draftman, engravor and author of painting treatises. The lithograph shows a landscape view with high waterfalls on the right, probably the Staubbach Falls in the canton of Berne, and is animated by figures of shepherds with their flocks and couples on gallant walks; in the centre of the landscape is a chalet. The lithograph is part of a series of landscapes of Switzerland. The art piece comes in a coeval gilded frame.

Ink and watercolor on paper. Flemish School. On the back there is a lebel of a importantant private collection. The scketched drawing shows a view of a valley from a path on a hill that leads to a wood. Displayed in a revival frame.

Landscape with Sheaf

Oil on the table. Signed G. Zocchi lower right. It is probably a late work by the Florentine painter Guglielmo Zocchi, best known for the lively genre scenes of Greco-Roman setting, which earned him great success especially abroad. Landscape production is rare. The painting is presented in a coeval frame with shortcomings.

Libeccio

Oil on table. Signed lower right. On the back, further signature, title and cartouche of the Galleria Dedalo in Milan. Giulio Cesare Vinzio, an artist of Livornese origin, artistically trained in Florence, attending the studio of Giovanni Fattori. In the countryside around Florence he begins to paint landscapes from life, with oxen, peasants, horses as protagonists, landscapes of the Maremma, rendered with bright colors and strong chromatic contrasts. From the beginning of the twentieth century, while exhibiting throughout Italy and abroad, he moved to Piedmont and approached pointillist painting: while continuing to prefer rural landscapes and bucolic realities, he represented them in the atmospheres of twilight, nocturnal, dawns, no longer made with broad brushstrokes, but small strokes divided between them. In 1921 he joined the Labronico Group, which brought him closer to the realist naturalism of the origins. The work presented here offers a glimpse of a Maremma beach, beaten by the libeccio, the wind that blows from the south across the Mediterranean. The technique is that of realism, using large and superimposed brush strokes. In frame.

Oil painting on canvas. Northern European school of the 19th century. This evocative nocturnal view with the full moon illuminating a cemetery, dominated by the large Crucifix on the left and with a bat hovering on the right, fits well into that secular meditation on the theme of the cult of the dead and burial which since the mid-eighteenth century he fascinated Europe, giving rise to an elaboration of a modern concept of cemetery, with the recovery of a dignity - as well as a wholesomeness - of this place. Added to this are the romantic reflections on the man-nature relationship seen as an affirmation of the ineluctable finiteness of the human being as opposed to the infinity that surrounds him; therefore we arrive in painting to represent tombs and cemeteries, symbols of finiteness and transience, always enveloped, almost surrounded by nature, a sign of infinity, of life that continues. As in this work, where the moonlight, which pierces the dark clouds, restores clarity and therefore life to the cemetery. The work, relined and restored, has small drops of colour. It is presented in a late 19th century frame.

Gulf of Maderno

Oil painting on canvas. Signed lower left. Further signature and title on the back. Born in 1905, Gaetano Valbusa worked for over forty years as a worker in the Brescia Mechanical Workshops, until retirement, devoting himself to painting only as a passion. Thanks to his business trips, he was able to portray glimpses of the whole world "en plein air", even if the glimpses of Brescia places are the most recurring subject. Affiliated to the Associazione Artisti Bresciani, he was able to exhibit his works and make himself known by critics . In his canvases the landscapes are permeated with great serenity and tranquility, an elegy of serene memories of real life. The painting proposed here presents a glimpse of a town on Lake Garda. It is presented in a frame.

Lombard Landscape

Oil on board. Signed lower left. Considered one of the most poetic landscape painters of the 1900s, the Lombard painter Ambrogio Vismara transposed his love for his native places into his works, dedicating most of his life to the Lombard landscapes - the mountains, the plains, the hills of his native Brianza production, and evoking almost all of them in autumnal atmospheres and tones. His peculiarity was the use of the spatula instead of the brush, which allowed him to obtain an effect of tonal spots, with a clear contrast of planes. Here is a small glimpse of a pond, with Alpine peaks that can be glimpsed in the background, and which refer to the Lombard plain. Framed in style.

Hospitalization of the Trident 1916

Oil on cardboard. Signed lower right. On the back there is the name with the title, which locates the small glimpse in Macedonia in 1916, during the First World War. Alfonso Corradi, born in Emilia but trained and then lived in Milan, was a student of ornaments at the Brera Academy and for some years he also devoted himself to scenography. He specialized in landscape and embarked on an exhibition career concentrated above all in Milan. The subject proposed here, although of a landscape nature, is part of a rare production of a series of small pictures, almost sketches, which leads back to the First World War, in particular to the military expedition of an Italian body to Macedonia in 1916, sent by the government to the aim to counter the Austro-Hungarian and Bulgarian forces during the First World War and to control that territory. Moreover, there is no documentation of the painter's direct participation in this war campaign. The painting is framed.

Landscape with Mountains

Oil on wooden table. Signed lower right. On the back, the scroll of the "Salvetti Art Workshop" in Milan. Stefano Bersani, Lombard artist and poet, devoted himself to the painting of life, even the most humble and common; in fact, among his works, in addition to various Lombard landscapes, such as this one proposed which has the Alpine chain as a background, also scenes of the fields with figures of peasants, farm animals, folk figures. He participated in many competitions, exhibited in numerous Lombard galleries and was in great demand in noble houses, where he was also an interior painter. The work is presented in a contemporary frame.

Piedmontese landscape

Oil on the table. Signed lower right. On the back this label of the Bolzani Gallery in Milan, with the title of the work. Born in Crespellano (BO) in 1889 by the painter Ugo Gheduzzi, Giuseppe learned the rudiments of art from him together with his brothers Cesare, Mario and Augusto. After his debut in Vignola in 1907 with the painting Alpine landscape, Giuseppe Gheduzzi refined his training in Turin at the Albertina Academy as a pupil of Andrea Marchisio and Paolo Gaidano. Leaving the Academy, he collaborates with his father for the realization of the scenographies of the Teatro Regio. Giuseppe is a skilled landscape painter: he paints Venetian glimpses and panoramas, views of the Piedmont lakes and valleys and of the Ligurian Riviera. But, unlike his brother Cesare, he also excels in interior paintings with figures and orientalist themes: his genre scenes and paintings depicting interiors of craftsmen's shops, antique dealers and stables are particularly appreciated by the public and critics. During his life Giuseppe participated in many reviews of the Promoter of Fine Arts in Turin and in the Circolo degli Artisti in Turin, and made several personal exhibitions. He died in Turin on 21 May 1957. This view of the Piedmont countryside is also part of his vast landscape production, with a solitary figurine walking along the path. The work is presented in a contemporary frame.

Oil painting on canvas. The large landscape foreshortening offers a view of a lake enclosed by mountain peaks, which evoke Lake Como; in the foreground, on the slope from which the view opens, a corner of the garden with buried flowers and potted plants, to create a corner of color in contrast with the dominant ranges of blue and green. The painting has a small patch on the back. It is presented in a stylish frame.

Oil painting on canvas. North European school of the 19th century. The romantic taste pervades this nocturnal landscape, illuminated by the light of the full moon, barely veiled by scattered thin clouds; on the country path, which runs alongside the torrential course of a river, two figures of wayfarers can be glimpsed, a child holding a woman's hand. The painting is presented in a gilded frame from the end of the 19th century.

Trees on the shore of the lake

Oil on canvas. Signed lower right. On the back there are: stamp of the Galleria Annunziata in Milan and label of participation in the exhibition at the same, further exhibition cartouche of 1951 at the Art Gallery the Skyscraper of Legnano, two other stamps of further art galleries. The painting is accompanied by authentication on photo with stamp of the general catalog of works by A. Del bon and catalog number. Born in Milan and trained at the Brera Academy as a pupil of di Alciati, Angelo Del Bon made his debut in Monza in 1924 at the female portrait exhibition. In 1926 he participated in the second exhibition of the Italian twentieth century, but he immediately departed from this movement and its heaviness and static nature, seeking rather a greater lightness of hues and shifting interest from form to color, to arrive at an essentially chromatic definition of the picture. , also on the suggestions of post-impressionism. From 1930, the year in which he was again present at the Venice Biennale, the dialogue with nature and the clear description of the Lombard landscape began, aiming for a clearer and brighter definition of the surrounding space. Starting from 1932, he reached a total zeroing of the surface values, introducing large patches of white and defining his own peculiar technique, which involved applying a consistent layer of zinc white to the canvas, subsequently proceeding with pure color mixtures. and scrapings to let the preparation emerge from the bottom. Del Bon obtained works of absolute clarity and brightness, accentuated by the use of pastel colors, which characterized his paintings from 1933 onwards. He mainly painted Lombard landscapes; from 1941 he began the series of still lifes and flowers. In 1940 he set up the Annunciata gallery with his friend Grossetti, to which Del Bon exclusively gave all his production. The work is presented in a style frame.

Landscape with River and Figures

Watercolor on paper. Signed lower right. Giuseppe Gabani, who was a Cavalry officer and participated in many uprisings of the Risorgimento, stood out in particular for his equestrian subjects, battle scenes, orientalism, made with vivacity of color and pictorial emphasis. Here instead we have a delicate watercolor of his, which offers a landscape with a river flowing in the countryside and walking figurines: in Gabani's production there are actually many of these landscapes, calm in colors and rather pervaded by peace and tranquility. In coeval frame.

Lake Como, S. Martino di Bellagio

Oil painting on canvas. Signed lower right. On the back the title. View of Lake Como, seen from the Lecco side of the lake, in correspondence with the small church of San Martino di Lierna, a small Romanesque church located along the medieval road that descends from the village of Casate to the village of Grumo. It is the work of the Milanese artist Fortunato Zangli, who distinguished himself as a landscape painter. The work is presented in a frame lacking external strips.

Grado

Oil on canvas. Signed lower left. Further signature and title on the back. It is a landscape glimpse of the lagoon from the beach with the mooring piers of the Friulian town, in the warm and bright colors and in the suspended atmosphere typical of Silvio Consadori's painting. Born and trained artistically first in Brescia, his hometown, then at the Carrara Academy in Bergamo, Consadori discovered Burano in 1935, immediately joining the circle of artists who spent long periods on the island. He was initially a painter of genre scenes (the interiors of cafés and maternity hospitals were among his most recurring subjects), while after the war he devoted himself constantly to sacred painting. Starting in the 1950s, his great cycles of frescoes with sacred subjects, which culminated in 1971 in what he himself defined as "the most complete result of my fresco painting": twelve frescoes in the church of San Giuseppe al Trionfale in Rome. In the last years of his life he spent long periods not only in Milan, where he taught at the Brera high school, but also on Lake Garda and Burano, where he died in 1994. Framed work.

Glimpse of the Lombard countryside

Oil painting on canvas. Signed lower right. It is the work of the artist born and lived in Milan Vespasiano Quarenghi, who distinguished himself for his glimpses of the Lombard countryside, depicted from different angles and in different seasons, with a technique that is still influenced by impressionism. In a stylish frame.

Landscape with Glimpse of Small Town

Oil on cardboard. Signed lower right. In Giuseppe Solenghi's extensive production, the urban landscapes of Milan or the glimpses of the Venetian lagoon prevail, but there are also various glimpses of the countryside, mainly from Lombardy. In this glimpse of the countryside, which from the top of a hill widens the gaze on the wide valley animated by small villages, framed by flowering trees, we find the exemplary pictorial technique of Solenghi which uses a rather material color but applied with quick brushstrokes, with delicacy of colors. The work is presented in a frame.

Valtellina

Oil on cardboard. Signed at the bottom left. Title on the back. Raul Viviani was a writer, art reviewer, painter, draftman and engraver that studied in Milan where he made his debut at a very early age winning over the critics. He painted mostly divisionist landscapes pervaded with poetry and suspended atmosphere that gave uniqueness to his art pieces, It comes with frame.

Brescia hills

Oil on canvas cardboard. Signed lower right. Beautiful landscape of the Brescian hills, with the very green central hill that opens onto the cultivated plain, gradually fading from the greens to the distant blues up to that of the sky. Bonatti, originally from Mantua but trained and lived in Milan, was a figure and portrait painter, but he also produced various Lombard and Ligurian landscapes. The work is presented in a coeval frame.