Oil painting on canvas. Signed in the lower right corner and on the back (Verschafeldt). Light losses of color. In coeval frame with missing parts. Early 20th century.

Colored boats, Porticello, 1929

Oil on the table. On the back, a title block with the author's signature, title, location and date. Born in Sicily in 1882, but artistically trained in the USA where he had moved while still a child with his family, Guarino was a painter and engraver, who painted the places of his life with large brushstrokes and bold colors. The work is presented in a contemporary frame.

An hour ago 2000

Oil on the table. On the back there is a label of the Galleria Marescalchi in Bologna with the title, the date, the technical data of the work and the catalog number (cat. 91). Born in Viareggio, Alessandro Tofanelli first graduated from the Lucca art institute, and then moved from 1977 to 1980 in Milan to attend the Brera Academy in Milan, collaborating in those years as an illustrator for several magazines published by Rizzoli and Mondadori. It immediately began to establish itself, winning national awards; his pictorial works are exhibited in important Italian and foreign art galleries and are part of important private and public, national and international collections. Tofanelli has always combined his pictorial activity as a professional photographer and video documentary maker. Numerous are in fact his video works broadcast by the RAI networks, as well as his photographic services have been hosted in specialized publications. In all his artistic forms, Tofanelli expresses the strong bond with nature: immersed in it, a friendly nature, he lives it, breathes it, makes it his, interprets it giving it voice and paints it, transforming it into poetry and representing it in a a world that seems imaginary, but is rather a world that was, a world in itself, a reality bordering on dreams, an Eden in which life is simple and marked by the slow rhythm of daily gestures, and is identified in objects of everyday life in which the presence of Man can be perceived, telling his life and history without ever depicting him. The work is presented in a frame.

Landscape

Oil on board. Signature and date at the bottom left. On the back there is a stamp of "Domenico De Bernardi-Besozzo" and authenticity. De Bernardi's painting is part of the 19th and 20th century Lombard landscape tradition. He always lived in Besozzo, his birthplace in the province of Varese, but travelled extensively in and out of Italy, gathering impressions and searching for new landscapes to revive them in his work. In particular, he gained new inspiration from a trip to Libya in the 1930s, from which he returned with a more lively and Mediterranean palette. Landscape painting was his favourite genre, but he was also often attracted to 'still life' with equally significant results. The small landscape presented here is a view of hills with higher peaks in the background, perhaps the artist's native pre-Alpine areas; a small village fills the centre of the scene, in which the widespread fences of the crops stand out in particular. The painting comes in a coeval frame.

Nettuno, Sea View

Oil on panel. Signed and located bottom left. The seascape is a view from the village on the Roman coast: on the rocky beach, a small child figure plays on his knees. In a fast and effective style, the small painting reminds of the production of Baldomero Galofre, a Catalan artist who lived in Rome from 1870 to 1882, while studying at the Spanish Academy of Fine Arts. Presented in a frame from early 20th century.

Composition of Flowers and Fruits 1959

Oil on the table. Signed and dated lower right. Colorful flowers in a white vase, and some fruit scattered across the table, are rendered with large, overlapping brushstrokes, in bright colors on a light background to create a bright and vibrant effect. Teonesto Deabate was a Turin artist who devoted himself not only to painting, but also to other forms of applied art: ceramics, interior decoration, illustration. His pictorial production belongs above all to the post-war period and is made up of landscapes, still lifes but also figures, made in watercolor oil: in it the search for light-color relationships is fundamental, to create sensations of finesse and sensitivity through subtle tonal combinations and elegant arabesques. The work is presented in a frame.

S. Lucia Flower Market

Oil on wooden table. Signed lower right. On the back the title in pencil. It is a lively and intense glimpse of the Pallonetto di S. Lucia, the well-known Neapolitan terraced alley which, together with those of San Liborio and Santa Chiara, constitutes the three Pallonetti of Naples; striking and peculiar the contrasts of lights and colors Oscar Ricciardi was a prolific Neapolitan painter considered by some to be the head of Neapolitan Impressionism; he painted as main subjects marine, beaches, glimpses, landscapes and Neapolitan customs and traditions of his city. In his works the intense chromatism, the study from life, the abandonment of drawing and the limpid and clear light that pervades the scenes, reveal the knowledge of Impressionism, due to the presence in Naples of Giuseppe De Nittis. The painting is presented in a gilded frame from the early 1900s.

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 board. No signature. The painting shows a misty and faded glimpse of the Darsena of Milan all played out in brown and ochre tones. Small drops of colour. In a revival frame.

Carriages

Oil on the table. signed lower right. On the back the scroll of the Salvetti Art Workshop in Milan. Palermitan painter, Francesco Camarda distinguished himself for figure painting, dedicated to portraits and the nude, and above all for animalist painting, in the wake of the realist production of the Palizzi brothers. He was able to express a painting with a lively and fresh color. In this small table, the Camarda offers a glimpse of the city animated by lively and colorful walking carriages. The work is presented in a style frame.

Oil on sessile oak board. Flemish School. The painted building is a farmhouse with straw pitched roof, typical of Nordic countries: it is an inn, as indicated by the hung garland, call for travelers; the door is open and inside we can see a costumer sitting at the table while a wayfarer is coming inside. Outside a fisherman on the wharf overlooking a pod. All around a thick vegetation. Displayed in frame.

Pastoral Scenes

Oil on panel. Decorated with pastoral scenes on a monochromatic light green background, with couples, children, farmers depicted during moments of rest and conversation, in the guise of the models from the 18th century. Probably wooden panels from the doors of furniture, the paintings have been recently mounted on wooden frames. They present some paint losses and spots, especially where the background is.

Oil on the table. Italian school of the second half of the 19th century. The painting, a garland of multicolored and variegated flowers, effectively takes up the pictorial ways of the seventeenth century. The wood has large openings and cuts at the joints of the boards. The painting is presented in a gilded frame from the early 1900s.

Oil on the table. Spanish school of the seventeenth century. The gaze of this little girl is intense and penetrating, portrayed half-length in a delicate pink dress embellished with a lace collar, but with her hair held back in a lively and fluffy red cap, which gives a mischievous touch to the portrait. On the back there is an old attribution in pencil to Jacopo Chimenti known as Empoli. The painting is presented in an antique, gilded 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 on the table. Northern Italian (Venetian?) School of the 18th century. The shape of the table suggests that the painting was part of a furnishing set, inserted in a composite wall structure together with other mythological-allegorical scenes. The painting represents a mythological episode narrated in Ovid's Metamorphoses: Mercury prepares to put Argus to sleep with the persuasive melodies of his flute, and then kills him at the command of Jupiter. Argos, the shepherd with a hundred eyes and endowed with great strength, had been commissioned by Juno to watch over the young Io, loved by Jupiter and transformed by him into a heifer. In this representation, placed within a bucolic landscape, Mercury can be identified with his hat and winged shoes, while playing his flute, and Argus sitting watching the white heifer behind him: as in many representations of this myth, also in works of great fame, Argo is depicted as a simple shepherd, without a hundred eyes and without special gifts. The bucolic rather than dramatic dimension underlines the decorative intent of the panel, which seeks to evoke lightness rather than pathos. The work is in good condition.

Oil on oval board. Signed on the lower left corner. Inscription, signature and date 1925 on the back. Gallant scene in a garden: the setting shows neoclassical references but the painting technique is closer to impressionism. The painting comes with gilded frame from the biginning of the 19th century. Light color drops.

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.