On the Inner Floor
On the Inner Floor
Acrylics on board. Accompanied by authentication on autographed photo of the author, with stamp of the Verlato Gallery in Milan. The work presented here is part of the rich series of works called by the artist Cristalli, due to the reference to the geometries of these minerals, which he considers containers of energy and light. On a three-dimensionally shaped board with asymmetrical protruding points, recalling the structure of a crystal, Jori paints elements that emerge from the background, with chromatic choices that all refer to the same range but with different shades, to emulate the reflections of light. The work comes from an important Milanese private collection.
Island of Statues
Island of Statues
Oil on plywood. Signed lower right. Complete with authentication on photo of the daughter. The work is part of Salvatore Fiume's series of paintings known as City of Statues and Islands of Statues, in which the influence of Italian Renaissance painting is evident, as well as that of the metaphysical works of Italian masters such as Giorgio de Chirico, Alberto Savinio and Carlo Carrà. Cities and Islands are made up of architectural elements in humanoid forms, which bring together painting, sculpture and architecture. Salvatore Fiume was a multifaceted artist, painter, sculptor, architect, writer (he published novels, short stories, tragedies, comedies and poems) and set designer (he collaborated with the Teatro alla Scala in Milan, with Covent Garden in London and with the Teatro Massimo of Palermo). After training at the Royal Art Institute of the Book of Urbino, he moved to Milan where he forged relationships with important intellectuals of the time, including Quasimodo and Buzzati. He began his activity as Art Director in Ivrea, but soon moved to Canzo to devote himself full time to painting, his true passion, while also engaging in some experiments in the sculptural and architectural fields. On the occasion of its first exhibition, in 1949 at the Borromini Gallery, it achieved great success with the public and critics. Fiume traveled extensively and exhibited all over the world, assimilating the uses, customs, cultures and atmospheres of each place where he stayed and re-proposing them in his works. In 1993 he went to Polynesia to visit and be influenced by the places where the famous Paul Gauguin lived and created great masterpieces. Salvatore Fiume's mature works are strongly influenced by Gauguin's art and exotic atmospheres: warm tones, strong chromatic contrasts, simple shapes, fantastic themes and almost metaphysical settings. The protagonists of this creative period are often curvy and sensual Mediterranean and oriental women. Today Salvatore Fiume's works are preserved in important private collections and Italian and foreign museums, including the Vatican Museums, the Hermitage in St. Petersburg, the MoMA in New York, the Pushkin Museum in Moscow. The work is framed.
Oil painting on canvas. Lombard school of the seventeenth century. The gentleman is portrayed standing, life-size, inside the house; he rests his right hand on a small table covered with red velvet, under a window that opens onto a large river landscape. Near his feet, on the left, the faithful dog, also in a dignified and composed pose; the rich golden and worked metal collar stands out at its neck, embellished with a pendant with a hard stone. The black suit in which the man is dressed almost completely merges with the dark and dark background of the room, if not for the reflections on the sleeves of the light that enters through the window and for the delicate white lace of the ruff and cuffs that frame the rosy complexion of the face and hands. The qualitative rendering of the work is remarkable, in particular in the face, well defined in its features and expressive, as well as in the anatomical features of the animal, whose gaze is as intense and penetrating as that of the owner. The portrait is part of that extensive portrait production that from the end of the sixteenth century becomes, in Lombardy in particular with Moroni, no longer just an official and elite presentation of important characters, but a representation of people in their naturalness, in their true essence, portrayed in less static poses and in less official environments. Restored and relined, the painting is presented in a beautiful carved and gilded wooden frame from the early 1900s.
Oil painting on canvas. Neapolitan school of the mid-18th century. The painting proposes the Greek myth of the sacrifice of Iphigenia, the daughter of King Agamemnon, leader of the Achaean expedition that was to leave for Troy. As the Greek fleet was unable to take to the sea due to unfavorable winds, the soothsayer Calcante predicted that, due to an offense the king had inflicted on the goddess Artemis, it now opposed their departure until the king did not. sacrificed his young daughter on the altar. Iphigenia courageously accepted the sacrifice and spontaneously ascended the altar, but at the last moment Artemis, pitying, exchanged her for a fawn and took the girl alive in Tauris, where she became a priestess of the goddess who had saved her. The great scene, set outside the Greek camp by the sea (the anchored ships in the background on the left, the tents on the right), sees in the center the goddess Artemis who exchanges the young and beautiful Iphigenia for the fawn, while the priest Calcante he is already holding the sacrificial knife; on the right the desperation of King Agamemnon and his wife Clytemnestra. The painting is in stylistic ways close to the production of Fedele Fischetti (1732-1792), the Neapolitan artist who devoted himself mainly to allegorical / mythological scenes, in particular in his first works from the 1860s. The work presented here was auctioned at Sotheby's in April 1998. Restored and relined, it is presented in a style frame.
Oil painting on canvas. Neapolitan school of the eighteenth century. Of great impact and of good executive quality, the work refers in the ways to the works of Leonardo Coccorante (1680-1750), a Neapolitan artist known for his highly detailed large-scale landscapes characterized by classical architectural ruins, thus confirming the hypothesis of work in the Neapolitan area. The whole scene is occupied by imposing architectural structures, in Baroque style, among which various figures move. In particular, in the center in the foreground, some soldiers on horseback, in ancient Roman armor, lead a squad of infantry armed with spears and preceded by trumpeters; all are intent on admiring the city they are entering, while around them, citizens intent on their activities observe them. Restored and relined, the painting still has some color losses. It is presented in a stylish frame.
Snowy Landscape with Figures 1872
Snowy Landscape with Figures 1872
Oil on canvas. Signed, dated 1872 and located in Parma in the lower right corner. It is a large winter landscape with a strong scenic impact, which fits well into the scenographic traditionalism of the painting of Mentore Silvani, a native artist of Traversetolo (Parma), a landscape painter but also known as a set designer. In the scene, sprinkled with the white of a short snowfall that creates that typical rarefied and silent winter atmosphere, between bare and dry trees, a dirt road winds its way through by a traveler; on the right a dilapidated building with a wash house where a woman draws water; in the center a small column on which a sacred image is mounted. Trained in his hometown, Silvani participated in the exhibitions of the Encouragement of Parma starting from 1864, and it is mainly in his city that his works are found today (at the Municipality of Parma, the National Gallery, the Paolo Toschi artistic high school ); however, he also exhibited in Milan (1872) and Florence (1875). Trained as a scenographer at the school of Gerolamo Magnani, Silvani held this position in Parma but also in Venice starting from 1871. His pictorial production, which includes mainly rural landscapes of the Parma countryside, is always characterized by fidelity to reality. The work proposed here is presented in a contemporary frame.
Marble sculpture depicting a gentleman. Behind, engraved signature of the author and date of production.
Marble sculpture depicting a gentleman. Signature of the author and date of production engraved on the back.
Oil on canvas. Mid 19th century. The large scene tells an unidentified historical episode, set in the Renaissance period, in which an archbishop listens to the plea of a young man in arms, accompanied by his mother, who supports his plea. The setting is inside the reception hall of the high prelate, presumably in the bishop's palace, which from the loggia in the background overlooks the Cathedral, whose dome can be glimpsed; the bishop is surrounded by his subordinates and guards, while different people of the people attend. Particular is the presence of the man sitting in the foreground on the left, who looks towards the viewer and points to the scene, as if he were telling it. The atmosphere is played on the contrasts between lights and shadows, between the bright colors of the dominant characters compared to the dull and suffused tones of the surrounding figures, who literally tend to disappear into the shadows at the limits of the scene. The work is part of that large nineteenth-century production that drew on the historical or literary subject, re-proposing it in a romantic key. The painting, restored and relined, is presented in an important frame from the second half of the 19th century, with some shortcomings.
Oil painting on canvas. Nineteenth century. A suggestive glimpse of the Venice lagoon, with fishing boats with lively sails in the center, and in the background the profile of the city on which the bell tower of the basilica of San Marco stands out on the right. The subject for the colors and the warm atmospheres, the sharpness and the minute description of the details, recalls some works of the painter Antonietta Brandeis (1848-1926), a well-known Ukrainian landscape painter who studied art in Venice and was the author of paintings with detailed architectural glimpses of Italian cities. Not attributable to her (who usually signed her works), but refers to an equally effective contemporary author. The painting is presented in a frame from the early 1900s.
Renaissance style white marble sculpture depicting the bust of a child. The costume with its folds and finely carved sleeves with embroidery highlight the good sculptural ability of the anonymous artist.
River Landscape with Shepherdess Child and Herds
River Landscape with Shepherdess Child and Herds
Oil on canvas. The painting is accompanied by the expertise of two art historians, dr. Dario Succi and Dr. Federica Spadotto. Both confirm the attribution of the painting to Giuseppe Zais, "the master from Belluno unanimously recognized as one of the most original and genuine interpreters of the great landscape painting of the Venetian seventeenth century." In the landscape, under the branches of a tree that frames the left and with the background of blue mountains, a shepherdess and her little son stand out in the foreground, making their animals (sheep and cows) water from the river. the Zais, after an initial training in his native country at the school of his fellow countryman Marco Ricci, who moved to Venice in 1732, soon became part of the ranks of lagoon landscape architects, appreciated and hired for large decorative works in the palaces of the city. In the 1970s the Zais abandoned this production and chose to devote himself only to small works, which reflected an adhesion to the world of the humble and a contemplative dimension of the past, rarely subjects present in the paintings of important clients. The work presented here can be considered an example of this last creative phase, according to art historians in the 70s of the eighteenth century: the Zais proposes a rather barren foothill landscape, where the shepherdess followed by her little son play the their assignment, without any concession to an ideal beauty, but rather with a reminder of a precise, hard, simple real life, made up of effort and affection at the same time. Even the colors of the canvas enhance the artist's empathy for the world he depicts: the warm golden-brown tones of the landscape, illuminated by the blue of the distant peaks reverberating that of the sky, envelop the human and animal figures in the foreground, which they emerge thanks to material brushstrokes and brighter but not bright colors, especially in the fleece of animals and in women's clothes. Peculiar of the Zais are also the faces, round and full, with features that are repeated always identical in the peasant figures of his works, associated with turned bodies, dressed in clothes that look like papier-mâché. The work shows signs of restoration, although still on the first canvas. On the back there is an inscription in German with the name of the previous owner and the date "Christmas 1977". It is presented in a gilded frame from the early 1900s, with small cracks and lacks.
Marble sculpture depicting the bust of a man. Signature of the author "F. Parisi" engraved at the base.
Terracotta sculpture of Madame Du Barry.
Headless stone sculpture of a bishop.
Arnoldo Soldini. Oil on cardboard. Signed on the at the bottom on the right. The painting, depicting country houses seen from above, with snowy mountains and clouds in the background, belongs to the typical and exclusive landscape production of the important author from Brescia, who always depicts the native places known to him. On the back, a label of the Galleria Campana of Brescia from 1978. Since then it has been in a private collection. Presented in a beautiful contemporary frame.
Oil on canvas. North-European School. This is a funny allegorical scene of profane love, that wants to prove how everyone, of any social class and every age, can fall into the trap of falling in love. The background of the canvas is occupied by an enormous keepnet, the basket net used in some kinds of fishing, above its opening sits a putto playing the violin; the keepnet is crowded with couples, while a parade of other couples walks in front of them to reach the entrance. Between them, there are couples of old and young people, rich and poor people, nobles, bourgeois and proletarians. Everyone has a content and light expression, they share looks of love or they benevolently look at the happiness of the others. Inside the keepnet, there is even a couple of royals, that correspond, for their features and clothing, to the Elector Palatine of Rhineland, John William of the Palatinate-Neuburg and his second wife Anna Maria Luisa de' Medici. On the back of the painting, there is a label bearing a historical attribution to Jan Frans Douven (1656-1727), the Dutch artist who moved to Düsseldorf in 1682 as the official painter at the Court of the Elector Palatine of Rhineland, mostly representing scenes of the daily life of the prince and his second wife. The label would confirm the scope of the attribution to an artist of the 17th-18th century in Northern Europe. The painting comes from a historical collection in Milan. It shows some traces of restorations and a patch. Frame in style.
"Tempera grassa" on canvas. North Italian School. It is believed that the first large pieces were part of the decorative apparatus of a big palace. The technique used, a greasy tempera applied on canvas with a really light preparation and a quick hatching without precise references to the figures, underlines the fast execution, aimed at obtaining pieces for purely decorative purposes in a short time. The four portraits depict the figures of kings, recognizable by different royal attributes (crowns, sceptres, royal garments), but represented as commanders, with armours and/or weapons. The peculiarity is that the characters belong to different eras and places, as if it was an homage to the great royal figures of history. The identification of the characters is uncertain, although it is possible to hypothesize some names: the king with the poor metal crown, but with very pointed cusps, who holds a sword with a hilt in the shape of a bird's head and who is covered with a mantle of rough cloth and a simple armour from which fur elements appear, could be Attila, king of the Huns; the oriental figure, with a turban adorned with precious gemstones, could be an Ottoman sultan, such as Suleiman; the warrior with the Ancient Greek armour, with the helm surmounted by a dragon and a breastplate richly decorated with friezes, could be Alexander the Great; lastly, the young king in a full plate armour and the crowned "hat of arms" helmet, used during the late Middle Ages, refers to a 15th century ruler, who is placed in one of the royal families derived from the Sacred Roman Empire by the necklace with the imperial eagle. The four paintings, still in their original canvas, show signs of restorations and integrations, with some small patches on the back. They come from a historical collection from Bologna. They are presented in frames in style.
Oil on canvas. North Italian School. Inserted in a late Renaissance landscape, the composition of the figures is arranged according to an ascending diagonal towards the left and more precisely culminating with the three crosses on Calvary in the distance; the body of Christ is in the middle, lying, albeit also obliquely, behind him there are three figures: St. John, Mary in the centre, and a pious woman, the only one depicted in seventeenth-century clothes- probably a portrait of a person close to the client. The piece can be placed in the Lombard-Venetian cultural production of the first half of the 16th century, more precisely in the pictorial activity that flourished between Brescia, Garda and Verona, which found its maximum expression in the mannerist ways of Giovanni Demio (1500-1570 ca). In particular, some elements are found in the piece, especially in the shapes of clothing and poses (for example of Saint John), which refer to models of Raphaelesque mold that were widely used, thanks to the mediation of engravers such as Marcantonio Raimondi (1480 -1534 ca ), who contributed to the distribution of the pieces of the masters. The painting, restored and relined, has extensive renovations. It is presented in an antique frame, that can be dated around the 17th century, repainted.
Oil on canvas. Lombard school. The rich lady portrayed is accompanied by the identifying inscription at the top right which reads "Eleonora Lampuniana Nupta N.V. Bartolomei De Cornu 1478": it is therefore Eleonora Lampugnani wife of Bartolomeo Del Corno. The Lampugnani family is an ancient patrician family of Milan (the name derives from the Lampugnano neighbourhood), with residences in Legnano and Busto Arsizio, and to which Filippo Maria Visconti (Duke of Milan) assigned the fief of Trecate in the fifteenth century; the noblewoman's husband belonged to the noble Piedmontese Corno family (originally called Del Corno). The noblewoman is portrayed standing, in a splendid richly embroidered dress, embellished with lace; she lays her hand on a precious box inlaid with ivory, probably a coin cabinet, a symbol of wealth and power, surmounted by a vase with flowers, a symbol of vanity. The painting has an ancient restoration on the hands, which are of lower quality than the face, the clothes, the glass jar. The painting comes from an antique Lombard collection. The date 1478, reported in the inscription, is not very consistent with the sixteenth-century clothing: according to the story of the family of origin of the painting, the date that appeared before the last restoration was 1578, and therefore it would be a modification mistakenly made by the restorer.