Saint George 1992

Oil on panel. Signed bottom right. On the back, with Cyrillic characters, there is the title, the date and the location, Bergamo. The Lithuanian artist, who currently lives and works between Moscow, Italy and the United Kingdom, is considered one of the most important contemporary Russian artists. In his large production there are landscapes, still lifes, many portraits of famous people and his surreal compositions, an expression of his peculiar "dream vision" of reality. Even in this table, albeit in the style of traditional icons, the depiction of the famous St. George is proposed in a surreal key that reminds of De Chirico, in which the dragon is replaced by a goose, the Saint's head is an egg, in the outlines there are figures of sorceresses... a clearly unorthodox interpretation! The panel has a vertical slit. The piece is presented in a frame.

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.

Oil on panel. Northern European school of the late 19th century. In the composition inside a shed, hunted game lies on a level; on the left the muzzle of the hunting dog appears but is turned towards a nest full of chirping birds, located above the shaft of the carriage seen on the right. The painting is presented in a period frame.

Oil on walnut board. Flemish school of the 16th century. The painting presents a landscape characterized by a tall leafy plant in the centre, which vertically divides the scene into two parts, rising from the brown and dark earth in the foreground, towards the horizon of wooded blue hills, which then fade into a chromatic continuum in the sky above, interrupted by the thick foliage of the tree. The scene in the foreground is animated by various figurines of walking characters, scattered across the countryside. The chromatic choices are peculiar, the browns and blues, which together with the type of landscape and the figures refer to Flemish painting; moreover, the use of a walnut panel testifies to a Flemish artist working in Italy, where this pictorial support, unusual in Northern Europe, was used. The painting is presented in a contemporary frame.

Oil on hardboard. Unidentifiable acronym at the bottom left. In English style, the painting presents a country landscape with a hunting dog sniffing out the scent, followed at a distance by the hunter. The painting is presented in a contemporary 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.

Peasant Girl with Hens

Oil on wooden board. Signed lower right. Giuseppe Gheduzzi, an artist born in the family of artists, distinguished himself as a landscape painter but above all for his interiors with figures, stables, antique shops together with fresh orientalist themes and effective seascapes resulting from his frequent stays in Liguria. Shown here is the exterior of a farmhouse, with a female figure feeding the chickens. The painting is presented in a period frame.

Oil on panel. Venetian school of the late 19th century. Signed Carlini on the lower left. Moving family scene, with the fisherman just landed embracing his family - wife, mother, children and dog! - who have come to welcome him, while his colleagues unload the catch and arrange the nets. The colors are intense, especially the earthy ones of the figures, the sand and the boat, which contrast with the blue of the sky and the sea. The painting is presented in a period frame.

In the Sheepfold, 1857

Oil on wooden board. Signed and dated in the center of the left margin. On the back there is a label from an art exhibition held in Sondrio in 1966 and one from the Martina art gallery in Turin. Eugène Verboeckhoven, a Belgian artist, distinguished himself for his paintings of animals, inserted into landscapes or placed in the interiors of stables. He belonged to that school of artists who, starting from the observation of nature, created compositions studied in detail, idealized reproductions of reality. Thanks to his dexterity in depicting animals, many artists called on him to enrich their works with some of his animals and figures. Between 1841 and 1842 he visited Italy, Switzerland and Scotland. The work presented here, an interior of a sheepfold with sheep and chickens scratching around, is presented in a period 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.

Interior of Stable, 1889

Oil on hardboard. Signed and dated 11-30-1889 lower left. Delleani, who initially painted mainly historical subjects, progressively approached landscape painting "en plein air", especially of the places of his origins, the Piedmontese valleys, characterizing his views with chromatic vibrations and warm brightness. In the last decades of his life, however, he also allowed himself to be involved in the orientalist trend, but then returned to his landscape views, creating above all panels rich in warm colors and suggestive atmospheres. Rarer but equally evocative is his production of interiors, such as this one of a stable, where the animated figures, the sheep, appear as almost indistinct spots of color within an environment played entirely on the luminous effects of a single chromatic range. Restored and protected, the painting is presented in a gilded frame from the early 1900s.

Oil on wooden board. The painting pictorially reproduces the famous sculpture by Michelangelo, the Pietà of San Pietro or Pietà Vaticana. The composition of the figures is quite faithful to the reference work, but, as well as being painted in colour, it is placed in an open-air setting that refers to Renaissance painting, with the hill of Calvary emerging in shadow on the left. A coat of arms is painted at the bottom left, evoking a noble patronage. The work is presented in a period frame. It has several spots and small drops of color.

Oil on the table. Northern European school of the 17th century. The scene depicts an episode in the life of Scipio narrated by Tito Livio and Valerio Massimo. Publius Cornelius Scipio, later known as Scipio the African, in 209 BC. during the Spanish campaign, after the capture of Cartagena he received as a personal gift a beautiful virgin, who was in the group of hostages. But he, listening to the pleas of his family, respected her by sending her back to her parents and fiancé, with the only recommendation that her betrothed work for peace between Rome and Carthage. In the representation Scipio is in the center, seated on his throne, and turns to the left, to the suppliant parents of the girl, while with a merciful gesture, he indicates to them to take back his daughter, standing on the right, flanked by her boyfriend. All around, soldiers and followers of the king. The scene is full of figures, bright and colorful, and underlines the positivity of the king, a central and powerful character, but capable of meekness and clemency. The restored painting has been reinforced on the back with wooden strips. It is presented in a stylish frame.

Oil on wooden board. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval frame.

Seated Figure

Oil on wooden board. Signed lower right. The painter Salvatore Sportelli, of Apulian origin but who lived for a long time in Lodi, where he taught (a posthumous exhibition of his was recently held in the city), produced numerous popular figures and genre scenes characterized by a look at post-impressionism. The work is presented in a frame.

Mountain Cabins

Oil on wood. signed lower right. Mario Moretti Foggia lived and worked until his death in Macugnaga, the mountain town in the Ossola Valley that he often depicted in his works, often offering glimpses of mountain huts in the valleys as in this work. Trained at the school of Tallone, Moretti Foggia was predominantly a landscape painter, who proposed realistic views characterized by a very bright and material chromatic palette. The work is presented in a period frame.