Bas-relief

Bas-relief in wood, fabric and white tempera, evoking a stylized Crucifix. Mounted on a panel and presented in a display case.

Copinage 2007

Mixed technique on canvas. On the back present the signature, the date and the title. Senegalese artist Soly Cissé creates works that are both pictorial and graphic, rooted in the culture of his hometown and full of autobiographical content. Cissé creates fantastic worlds where figures emerge from chaos and disharmony. His figures blend animal and human forms into strange, unlikely hybrids who wear death masks as if they were deities from a magical world. Sequences of numbers and letters are often inserted, referencing both barcodes and mystical numerology. The work proposed here presents all these elements, which surround a scene of nepotism/favoritism, as the title suggests.

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.

Naturalistic Composition 1927

Mixed media on paper. Signed and dated lower left. The Turin artist Mario Sturani joined the Futurist Movement in his youth. From 1927 he began his collaboration with the Lenci ceramics factory, where he was able to renew the formal and decorative repertoire of Lenci ceramics in an anti-rhetorical key, avoiding the stylistic features of the art of the regime. Even in the field of serial reproduction, Sturani was able to express the inventive freedom of artistic inspiration: on the surfaces of the vases, for example, he transposed the naturalistic subjects dear to him, sometimes transfiguring them into fabulous tones; in other cases a certain déco taste, the dynamic rhythms of Futurist ancestry or the cubist decompositions, like the elegant twentieth century stylizations. Between 1928 and 1930 Sturani painted a series of small paintings, with intimate tones, depicting landscapes or still lifes. For over thirty years Sturani also worked as an entomologist, within the Institute of Agricultural Entomology of the Turin university, and his studies were also widely appreciated by the academic world for the scientific value and the methodological rigor with which they were conducted. . The small drawing presented here belongs to the early production of Sturani, even before the collaboration with the Lenci manufacture. In this small drawing from his early years, Sturani is still affected by his closeness to futurism. In frame.

Bas-relief sculpture, with metal wires, aluminum globe and lamp holder mounted in the shape of a butterfly on a glossy black plastic panel. On the back label of Studio EF, TOp model, Made in Italy.

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.

Tableau doré

Mixed technique on plywood (painting and silver paper sheets). On the back, authentic with stamp and signature of the artist's sister. The work belongs to the series of Tableaux dorés, works created by the Milanese artist Remo Bianco starting from the 1950s. Born and educated in Milan, Remo Bianco was a pupil of De Pisis, in whose studio he frequented the great Italian artists of the twentieth century (Carrà, Sironi, Savinio, Soffici, Soldati, Marini, Cantatore). After the interlude of the war (enlisted, sank with his ship and was taken prisoner in Tunis), he resumed his artistic activity in Milan, participating in the Nuclear Movement and Spatialism, coming to completely detach himself from figurative painting to create works made of brushstrokes mashed potato. At the beginning of the fifties he began to create works, pictorial and sculptural, with different materials and to experiment with different themes and techniques; to this production belong the Tableaux dorés, composed of silvered or gilded aluminum foils on painted bases. The work is presented in a frame.

Burnished and worked copper plate, with decorations in lighter spots, overhangs and holes, mounted on a red-stained plywood panel.

Coke from Mario Schifano

Mixed technique on canvas. Signature lower right that emulates that of Mario Schifano. Further signature with title on the back. It is actually an emulation of the work of the famous exponent of Italian Pop Art, who used the brand of the famous drink as a recurring subject of his productions, making it a symbol of consumerism. It was typical of Schifano's production to choose some commercial subjects, among the best known and immediately recognizable ones (Coca Cola together with the Esso brand are the most popular), to re-propose only a small part of them in a poor and uncertain interpretation, full of drops . The work is presented in a frame.

Poster printed in Cologno Monzese in 1967, in a limited edition of 500 copies. This is copy no. 7/500, enhanced by the dedication and autograph signature of the graphic designer Giorgio Tavaglione, author of the poster. It is the first manifesto of the beat movement and of the Italian underground culture, promoted in Milan since 1966. On that date, the magazine "Mondo Beat" was born, with director Melchiorre Gerbino, inspired by the pacifist protest movements of the Dutch PROVO, and close to the movements Italian anarchists. The young beatniks created an alternative information channel that represented the primary vehicle for disseminating the principles that animated the beat movement, as opposed to the official cultural and communication circuits. Within the magazines, and in general in the various beat activities, poetic writing assumed an essential role as an integral part of the practice of dissent, since it represented one of the main forms of expression and affirmation of a different ideal of life, as well as of a different idea of collectivity. Giorgio Tavaglione was one of the best-known artistic exponents of the beat movement: as a complete self-taught Giò he designed the posters, flyers and covers of the first Italian underground magazines of the 1960s; disappeared for years after a trip to India, he subsequently reappeared as a draftsman of tarot cards and talismans in the creation of which he transferred his excellent graphic quality, his typical meticulous and imaginative, esoteric and visionary style. The work is framed.

Studi per le "Persecuzioni" 1964

Group of four mixed techniques on paper, individually signed and dated 8/10/64, and further signature with title under the framed composition. These are preparatory sketches for the works that the artist exhibited at the exhibition, designed and created in 1967-68 with his friend Amilcare Rambelli at the Galleria del Grattacielo in Milan. Giorgio Bellandi, born in Milan in 1931, was a very talented set painter. Passionate about art from a very young age, he attended the Brera Academy and became an active part of the Milanese artistic environment of those years. Bellandi worked as a set designer at the Teatro alla Scala in Milan and made his debut as a painter in the 1950s by joining the existential realism, a very active artistic movement in Milan in the second half of the 1950s, becoming one of the exponents of this current. Existential Realism was originally based on the search for something different, an alternative both to informal painting and to the effects of existentialism, especially political, which had taken hold due to the damage caused by World War II. Ideologically these artists had in common the refusal towards authoritarianisms and towards social and political conformisms, in an environment oriented overall to the left. Bellandi is an artist gifted with talent and creativity, a lover of freedom of expression and beauty, and performs works of interesting reading with intense but harmonious chromatic tones. Passionate about Lake Como, he often came to the Lario in search of relaxation and inspiration. In '64 he participated in the Venice Biennale and in '65 he was invited to the IX Quadriennale in Rome. Very active painter, he realizes many exhibitions in national and international territory, up to the illness which unfortunately was fatal to him, in 1976.

Painted decoration of wardrobe doors

Oil on wooden table. Signed on the first lower right door. It is the pictorial decoration of the eight doors of a wardrobe, made to measure for the client's family, which make up a large abstract scene - almost a scenography! - in very delicate pastel colors, in which deconstructed, dreamy, floating figures are glimpsed. Giorgio Bellandi, born in Milan in 1931, was a very talented set painter. Passionate about art from a very young age, he attended the Brera Academy and became an active part of the Milanese artistic environment of those years. Bellandi worked as a set designer at the Teatro alla Scala in Milan and made his debut as a painter in the 1950s by joining the existential realism, a very active artistic movement in Milan in the second half of the 1950s, becoming one of the exponents of this current. Existential Realism was originally based on the search for something different, an alternative both to informal painting and to the effects of existentialism, especially political, which had taken hold due to the damage caused by World War II. Ideologically these artists had in common the refusal towards authoritarianisms and towards social and political conformisms, in an environment that was generally oriented to the left. Bellandi is an artist gifted with talent and creativity, a lover of freedom of expression and beauty, and performs works of interesting reading with intense but harmonious chromatic tones. Passionate about Lake Como, he often came to the Lario in search of relaxation and inspiration. In '64 he participated in the Venice Biennale and in '65 he was invited to the IX Quadriennale in Rome. Very active painter, he realizes many exhibitions in national and international territory, until his illness which unfortunately was fatal to him, in 1976. It is possible to carry out the intervention of detachment of the doors from the cabinet from the structure and their reassembly on a unitary panel.

Trompe L'Oeil, 1993

Oil on canvas. Signed and dated bottom right. Additional writing in cyrillic characters and label on the back. Beautiful piece by the Russian artist that reprises the composition of the trompe l'oeil of 17th and 18th century, placing it in a rural Russian setting. It portrays a corner of a wall, covered in floral wallpaper, on which there is a shelf covered by an embroidered cloth, on which there are a sheaf of wheat, some metal urns, some dolls in traditional costumes, and many small vases, baskets, deadwood, stubs of candles; above the shelf, a picture frame. The painting is presented in a frame.

Enamel on rounded metal plate. On the back cataloging label, of the Smalti De Poli of Padua, which refers to the artist Paolo De Poli (1905-1996): this is a tribute to the Paduan artist who distinguished himself for his works in fired enamel on metal. In frame.

Urba Flower 2016

Mixed media: on painted wood fabric flower in a geometric field. Signed and dated on the back. The artist says of himself: "It is the great love for art that pushed me to make concrete emotions and colourful visions that have always lived in my lively imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".

Indiscreet Lock 2019

Mixed media: plexiglass artpiece with fabric inserts and oil finishings. datend and signed on the back. The artist says of himself: "It is the great love for art that has driven me to realise emotions and colourful visions that have always lived in my lively imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".

Untitled, 1970

Oil on canvas. Signed and dated on the back. Eclectic and versatile artist. Libico Maraja was an illustrator and graphic designer of great importance, but also a painter considered among the best interpreters of Como's rationalism (his adopted city) and in part also of Futurism; her personal artistic research led her to create refined forms of abstract art. Work presented with frame.

Oil on plywood

Charles Moody (1979), oil on plywood. Signed on the back. The work was exhibited at the solo exhibition "Borderland" at the Gallery 8 in Milan Corso Venezia, as evidenced by the paper to the back lable. Charles Moody graduated in 2003 at the Art Institute of Boston and, after three years in Milan, chooses to live in New York. In his art the focus at trial (conceptual art, process art) rather than to the image content and it is in this scrap that painting is at its best. An art that was created by the approval of television images (almost never films) and in particular from popular soap operas. Moody's work goes beyond the mass media image by customizing the selection for special images that, in his view, offer a potential narrative; are images of transition, moments of transition from one scene to the next. The artist uses a manual oil painting to reproduce the low quality of the tv picture extolling the "blurring" of blur. We are facing a loss of spatial dimension, in a temporality confused-diffuse-intangible which is difficult to recognize the boundaries ("Borderland"). In these perceptual distortions, in which time dilates expands, each painting represents a "indiscernibilità" in which the recognition of the object that takes second place. The time of Moody is neither Chronicle nor history but suspension. (From "Charles Moody, Borderland", curated by Gianni Romano, exhibition catalogue, CorsoVeneziaOtto, November-December 2009)

The Fall of St. Paul 2003

Acrylic on canvas. Signed and dated lower right. On the back: further signature of the artist with the technical data of the work, certificate of authenticity of the work signed by the artist, his autograph dedication to a friend priest and autograph description of the work data. Also attached is a brochure of the painter's personal exhibition, with several "Homages" to painters of antiquity, including this work. The recurring motif of these works is the horse, which in the production of the Parmesan artist Roberta Musi is a recurring theme in a sweetly obsessive way, which has led her to retrace the historical / artistic iconography linked to this animal backwards: he has taken up the works of Vitale da Bologna and Paolo Uccello, Cosmé Tura and Delacroix, or of the Parmigianino proposed here, reinterpreting them with wide margins of freedom and introducing deep breaths of vitality into them. In particular, this work pays homage to the homonymous painting by Parmigianino, made in 1527 and kept in the Kunsthistorisches Museum in Vienna. The work is presented in a frame.