Oil painting on canvas. Italian school of the eighteenth century. In the portrait of this gentleman, the dressing gown made of an elegant floral fabric stands out in particular, in shades of brick red that recall the color of the wig. The severity of the pose and the austere gaze of the character almost contrast with the almost frivolous elegance of his clothing. The painting, restored and relined, is presented in a frame from the early 1900s.

Chioggia

Oil on the table. Signed lower left. Milanese by birth and training, Leonardo Bazzaro is considered a lively exponent of Lombard impressionism, dedicated to chromatic and luministic research. His very fruitful production of works was dedicated in the early years to Milanese interiors, but then attracted by open-air painting, he moved to landscape views and in particular he was attracted by the color of the Venetian lagoon, which led him to stay for a certain period in Chioggia. As in all of his production, also in this glimpse of the landscape of Chioggia we find a rapid, broad brushstroke, with a strongly material use of colour; the impressionist imprint is evident in the play of light and color. The work is presented in a partial frame.

Oil on paper applied to canvas. The four works propose pastoral subjects, animated by shepherds with their herds and their faithful dogs, sometimes at rest on the side of the road, in two scenes also flanked by fruit sellers. The works are inspired (as well as by the citation on the back of one of them) by the production of Francesco Londonio, the Milanese artist of the 18th century who made a name for himself for his rural and pastoral scenes, in a repertoire of tasty snapshots of peasant life. The four paintings are presented in contemporary gilded frames, with small defects.

Female Face 2001

Oil painting on canvas. Dated and signed on the back. Born in Seregno, Danilo Martinis was trained with Osvaldo Minotti. Painter and designer, he has furnished prestigious residences all over the world, his works are particularly appreciated in the United Arab Emirates and in Russia. He loves to express his thoughts through graphic-figurative images rendered through geometric effects and chromatic games, using mainly female figures as interpreters. In this work he proposes a close-up of a female face, enhancing its expressiveness through the play of colors in the ranges of yellow.

The Wanderers

Oil on pressed cardboard. Signed lower right. On the back the title. Originally from Mantua but artistically trained at the Brera Academy, as a pupil of Cesare Tallone, Lino Baccarini exhibited at the Milanese Biennale and then throughout Italy, distinguishing himself above all as a portraitist, even with famous personalities. The work proposes a landscape of cultivated plain, with a line of wagons of wanderers that advance slowly on the road in the middle of the fields. It is presented in a stylish frame.

Oil painting on canvas. The landscape reproduces a countryside near the sea coast; on the left the houses, in the center some human figurines, on the right two grazing goats: the romantic atmosphere, supported by the broad sky with pinkish-white clouds, is typical of a "postcard" from the Grand Tour. The work is presented in coeval frame.

Oil painting on canvas. In a Mediterranean-type coastal landscape, due to the vegetation characterized by the palm tree and the agave plant in the foreground on the right, an architectural stone structure is found on the right in which the Castle of Terracina can be recognized, while on the left the lake opens up of the Circeo and far away barren peaks rise; in the foreground on the left is a male figure intent on quenching his thirst from the leather skin; with the other hand he leans on the long rifle, while a characteristic headdress is placed on the ground, which evokes the one worn by nineteenth-century brigands. The scene is set at sunset, as the absolutely orange sky evokes, which gives it a romantic and suggestive atmosphere. The work, restored and relined, is presented in a frame from the early 1900s.

The Landing of the Sirens 1976

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work, the Pulcinellas joyfully welcome a large group of women disembarking from an arriving ship. The work is presented in a frame.

Oil painting on canvas. The painting, created for decorative purposes on an octagonal canvas, presents a wide and slow river in the middle of the countryside, to the bank of which a wide staircase leads, decorated with statues and marble vases, evidently the access to the garden of a villa. Restored and relined, the painting is applied to a new frame with tie rods. It is presented in an adapted style frame.

Cherubs playing with cards

Oil on canvas. The depicted scene is set in a closed environment with a wide window which provides a glimpse of landscape. Three cherubs are sitting on benches and they are playing with cards, trying to build a castle. The painting has been restored. 18th century.

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. The biblical episode depicted refers to the story of Daniel, the prophet in the court of King Darius the Mede who, for having prayed to his God, was condemned to be thrown into the lions' den. But God saved Daniel, sending an angel to close the jaws of the beasts, and the king pardoned Daniel by instead condemning those who had denounced him. The subject has been depicted several times in art, for the fascination linked to history but also for its exotic flavor due to the presence of wild beasts; in particular we remember the version by Rubens of 1615, where the prophet is depicted naked in the underground pit, while he prays ardently, surrounded by a crowd of ferocious lions. The work presented here instead proposes a version centered on the dialogue between the prophet and the angel, who face each other, standing out with the vivid colors of their robes against the dark background of a prison; there is only one lion, meekly crouching at the angel's feet, and therefore the spiritual and salvific dimension of the biblical event prevails. According to the famous art historian Maurizio Marini, a specialist in the painting of Caravaggio and Baroque art, who had had the opportunity to view the painting years ago, the work could be attributable to Antonio Maria Vassallo (1620 -1664) for the compositional and chromatic choices. The painting, restored and relined, is presented with a listello frame.

Female Portrait

Oil on canvas. Signed at the bottom right. Portrait of a young woman in a black evening dress, enlivened by the large flowered shawl she wears draped over one shoulder. The work of the Romagna artist Alberto Salietti. Although he spent almost all his artistic career in Milan and Liguria, Alberto Salietti - painter, engraver, mosaicist and fresco painter - remained a point of reference for painters from Romagna, especially between the two wars. After moving with his family to Milan, Salietti attended the Brera Academy of Fine Arts until 1914. After the Venice Biennial in 1924, he joined the Novecento movement and became its secretary in 1925. In 1926 he exhibited at the "First exhibition of the Novecento italiano" and in 1927 was one of the founders of the "Group of seven modern painters" together with Funi, Sironi, Tosi, Carrà, Marussig and Bernasconi. As a portraitist and landscape painter, Salietti - who patiently drew on post-impressionist, secessionist and Novecentista influences - made an original contribution to Italian art between the two wars, distinguishing himself by his joyful and optimistic adherence to reality. The painting comes in a frame.

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them., which this glimpse includes of a town in the Lombard plain. In frame.

Face of a Young Commoner

Oil painting on canvas. Signed lower left. The artist Giovanni Madonini was a portrait painter but above all of popular characters, often depicted intent on small activities and with bright colors. Work presented in frame.

Oil on canvas. Lombard school of the eighteenth century. An almost garland-like composition of variegated flowers, which occupy the entire pictorial field, against a dark background from which they emerge by themselves, without any other furnishing element. Restored and relined, the painting is presented in a frame in the early 1900s style.

Mixed media on canvas. The large scene, painted in the unique reddish-pink range, features two large figures on the right, while the entire left side is occupied by a desert landscape, with the waves of the dunes fading into the distance. The two figures depict a seated horseman, wearing a turban and Saracen dress, being fed by a maiden in Western dress, who is handing him a tray laden with food, while on the shelf below is a basin of water, ears of corn and various fruits. This could be one of the many representations of the story of Angelica and Medoro, recounted by Ariosto in Orlando Furioso, which tells of the love between the Christian maiden and the Saracen knave wounded in a clash, who then fled together to Catai, thus triggering Orlando's madness. The work is presented in a frame.