Contemporary Painting with Female Portrait F. Cheli Oil 2003

Venetian Carnival 1991

Oil painting on canvas. Signed lower right. On the back further signature, title and date. Giovanna Madoi's painting is part of a "timeless" art, which explores an interior dimension with a profound depth and which has chosen the human figure as its sole guiding theme. His eccentric figures, starting from the surrealist poetics that enjoyed a certain success in Milan in the post-war period, populate his canvases with a humanity made up of solid and firm masses, strong and almost deformed, compact and perhaps a little awkward in their mutual relationships. All created with a material colour, in which there are sudden flashes of blue or red, but above all what stands out is either the mixing of the color with black, or the creation of a solid chiaroscuro with deep, very black shadows which accentuate the nocturnal aspect and unreal overall. The work is presented in a frame.

Mixed technique on canvas. Signed lower right. The painting of Kodra, an Albanian painter trained artistically in Italy and active in the Milanese context, consists of a personal interpretation, of a fantastic kind, of Cubism, with the peculiarity that the decompositions typical of analytical cubism are proposed according to an approach of its own more than synthetic cubism. The seascape depicted here, with sailboats sailing close to a coast, is part of the later production, in which the native country is often evoked.

Print on paper. Rare anti-racist poster which, as indicated below, was published as a supplement to the magazine "MAI" of June '68, in the series "I manifesti di MAI di Giò" (Giorgio Tavaglione). It is a manifesto of the beat movements that spread in Italy in the years 1967-1968: thanks to the use of the mimeograph, which allowed the printing of numerous flyers, posters, poetic anthologies, small plaquettes and especially magazines, the young beatniks they 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. Work in frame.

Pair of Ink Drawings

Ink on paper. One of the two is signed on the lower right. The works of the Russian artist Vyacheslav Sawich Mikhailov are exhibited in prestigious museums such as the Tretyakov Gallery or the Museum of Modern Art in Moscow, the National Museum of Russian Art, the Museum of Nonconformist Art in St. Petersburg. Considered an expressionist author, he creates scenes of intense drama with different techniques. The design proposed here is part of a series of scenes full of dramatically intertwined figures in contortions of the body, with allegorical elements and patches of often red color, evoking blood. In frame.

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.

Portraits of Children, 1930

Photographs retouched with pastels. Signed bottom right. On the back of three of them is the date 11 November 1930. A photographic sequence of the portrait of three children is shown, who slightly change their pose or expression. They are the work of the British photographer Eva Barrett who, after an initial experience as a painter, decided to dedicate herself to photography, thinking that "it was better to be a first-rate photographer than a second-rate [painter]. Having moved to Rome in 1913, she established her laboratory here. Pictorialist, with a small camera, Eva Barrett created her own photographic method that was reminiscent of drawing sketches: she applied a few very light pencil strokes, managing to create subdued images but with particularly dense blacks, thus maintaining the characteristics of photography and portraits. In this way he was very successful and his career took off. Eva Barrett photographed the Italian royal family, the wives and children of foreign ambassadors, as well as received numerous commissions from European royalty in Belgium, Sweden, Greece. The four portraits are presented in style frames.

Thomas's disbelief

Lead glass, with hand painted polychrome glass. The scene from the Gospel is depicted in which Saint Thomas, after having doubted his Resurrection announced by the other disciples, recognizes Jesus who appears to him and asks him to touch his wounds on the Cross with his hand. The work has some slight breaks and some original glasses are missing, which have been replaced. It is mounted in a recent frame.

Bronze plaque with bas-relief figure. The figure of a naked man is depicted, holding an arrow and aiming it at the center of a target: the symbolism is evident, that is, the exaltation of the determination of the man who must go straight to the target; this meaning is well suited to the fascist period to which the plaque dates back, as is the reference to classicism. The plaque is inserted and presented in a contemporary wooden frame.

Glimpse of the Cloister of the Dome of Monreale

Mixed technique, with canvas, wooden panels, metal threads, small beads, etc. At the bottom center is the artist's name, unidentified. It is a three-dimensional and perspective reconstruction of the cloister of the Monreale Cathedral, with the fountain in the foreground. The work is presented in a display case with a gilded frame from the early 1900s.

Composition on 4 Panels, 1978

Mixed media on canvas applied to wooden panels, showing a sequence. On the lower right the artist's initials GB and the numbering of the panels; on the verso of each panel is the signature in full, with the date and the following sequential titles: 'By Bosch', 'Declination of an Owl', 'Transcription' and 'Disappearance for Coquetry'. Gabriella Benedini has defined her as an artist as 'a nomad in search of the profound meaning of things'. Although attracted and interested first by abstract-informal painting, then by Existential Realism and then by the New Figuration, Gabriella Benedini proceeds on a strictly personal quest that cannot be assimilated into any specific current. The entire 1970s were mainly marked by pictorial works that reflected literary cues filtered through her need for growth and confrontation. Then, through her passion for Alchemy, Benedini began to transform anything that came her way into works of art; shells, pages of old books, bottles, everything is combined into a harmonious whole that recalls spaces. Her works therefore become mainly three-dimensional, either to hang on the wall, or they are sculptures, even large ones. The four panels are presented here in a single frame.

City Glimpse

Oil on wood. Signed on the back. Riccardo Viriglio, a landscape painter from Pavia, portrayed urban views mainly of his city and landscape views especially of Lombardy. Here too there is a view of a city square with a portico. In a stylish 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.