The Shawl Portrait of a Mexican Woman ca. 1950

Oil on canvas. Signed lower right. The French painter ORAZI stayed in Mexico in 1955 and then in 1956-57, which was an exceptionally attractive world for intellectuals and artists of the time. The natural scenery, the customs and traditions of the local population were the themes that converged in the series of paintings called Peintures sur le Mexique, landscapes, compositions and portraits without giving in to the taste for the exotic, with an extremely careful work on the color to represent, without descriptivism, the elements of nature and the figures of men and women, already projected towards abstraction. This pictorial series, composed of 35 pieces, was then exhibited in 1957, upon his return to France, at the Vendôme Gallery in Paris. The painting comes from the private collection of the artist's family.

Italy, End of the XIX Century

Balloon-shaped chandelier in metal and sheet metal worked in repoussé and gilded. Sheet metal decorations that hint at the future Liberty style. Fourteen lights arranged in pairs, glass pendants and necklaces. Italy, last quarter of the 19th century.

Italy, Early XIX Century

Empire chest of drawers, early 19th century, Lombardy. With a characteristic shape, four rectangular plinths support the piece of furniture with two full columns on the pilaster strips to support the entablature under the top in which a drawer is inserted, on the front between the columns there are three more drawers. Built in walnut and poplar, it is then covered with a walnut slab and walnut pedulle, gilded bronze capitals and embellished with brass-plated frames as is customary in Lombardy. Missing parts

Ruggero Verity
Casa Editrice Marzocco

Sideboard with swing doors, exposed drawers and flap for the bar compartment. Exotic wood veneer with polyester finish, decorative designs on lacquered wood, back-treated glass top with marble effect, brass leg tips.

Italy, Mid XIX Century

Walnut bench, paneled back, wavy armrests culminating in a curl supported by a turned upright, turned front legs. Italy, mid-19th century.

Italy, Mid XX Century

Pair of three-light wall lamps, wooden structure covered with brass sheet, wrought iron decoration and palm leaf decoration. Italy, mid-20th century.

Coffee table with enamelled metal structure and smoked glass top.

Service trolley with removable tray top and bottle holder in mahogany veneered wood and enamelled metal.

Armchair, spring padding, fabric upholstery, wooden legs. Decent condition, to be renovated.

Portrait of a Woman 1951

Oil on canvas. Signed and dated lower left. The date of the work places this work in the period in which ORAZI was already projecting himself towards a less realistic painting, creating a portrait characterized by very marked physiognomic features, almost geometric, and a color scheme that plays on the variation of a single color range. The figure portrayed is that of an elderly woman, belonging to the peasant world.

Italy, XX Century

Wooden game box with 925 silver sheet applications. Inside, chessboard with wooden pawns and chessmen, dice, playing cards and poker chips.

France, Second Half XX Century

Porcelain basket painted with gold and pink decoration. Manufacturer's mark under the base.

Informal Composition 60s

Mixed tecnique on cardboard. From the second half of the 1950s ORAZI moved from figurative to abstract painting, with a progressive evolution that started from flat compositions (like the one presented) to works in relief, which culminated in the series called Peinture en Relief (Painting in Relief). The work comes from the artist's family collection.

Mexican Peasant Figure 1956

Oil on canvas. Signed and dated 1956 lower left. The French painter ORAZI stayed in Mexico in 1955 and then in 1956-57, which was an exceptionally attractive world for intellectuals and artists of the time. The natural scenery, the customs and traditions of the local population were the themes that converged in the series of paintings called Peintures sur le Mexique, landscapes, compositions and portraits without giving in to the taste for the exotic, with an extremely careful work on the color to represent, without descriptivism, the elements of nature and the figures of men and women, already projected towards abstraction. This pictorial series, composed of 35 pieces, was then exhibited in 1957, upon his return to France, at the Vendôme Gallery in Paris. The painting comes from the private collection of the artist's family.

Stephen King
Sperling & Kupfer

"Attenti alla lama, avverte Stephen King introducendo una delle venti storie che sono raccolte ne 'Il bazar dei brutti sogni'. E ha ragione. La lama è sempre presente, qualunque sia lo stile che Stephen King sceglie. Si tratti dell'antica zampata con cui si apre il libro, in 'Miglio 81'(macchine assassine, avete presente?), o della struggente bellezza del racconto di chiusura, 'Tuono estivo' (un post-apocalittico, come 'L'ombra dello scorpione', con un guizzo di rivolta che non si spegne neanche con la vecchiaia). Venti storie che toccano tutta la gamma delle emozioni, come King sa fare: l'ironia, la ferocia, la malinconia, l'amore. E la paura, certo. Vi spaventerete per un bambino cattivo che uccide e per piccoli demoni che si nutrono del dolore. Vi interrogherete sulla vita dopo la morte (e se il purgatorio fosse un ufficio polveroso? Se l'angelo delle tenebre fosse un bellissimo ragazzo?); imparerete a temere anziani giudici in grado di prevedere la scomparsa degli altri e giornalisti di gossip in grado di provocarla. Uomini in soprabito giallo vi attenderanno in salotto e anziani pastori tenteranno la vostra onestà, mentre da qualche parte nelle terre selvagge uno sceriffo si interrogherà sulla giustizia." (Loredana Lipperini)

Wall mirror, mirrored glass, and clear glass edge.

Canvas bag with print by Niki de Saint Phalle, great French painter and sculptor (1930-2002). Rare item.

AA.VV.
Scalpendi Editore

AA.VV.
Tilgher

Montreal Museum of Fine Arts
Montreal Museum of Fine Arts

Movies are unquestionably one of the cutting-edge media in 20th-century artistic production, a discipline that has contributed more than any other to fashioning the visual culture of our contemporaries and of the artists of our day and age. The Center Pompidou continues its policy of publicizing trail-blazing references to cinematographic culture by presenting the exhibition Hitchcock and Art which first went on show in the Montreal Museum of Fine Arts and whose Paris debut is marked by an adaptation and some significant additions, primarily by the arrival of works from the collections held in the Musee' National d'Art Moderne. Keeping faith with the Centre's multidisciplinary vocation of exploring and valorizing relationships between the different fields of modern and contemporary artistic creation, the exhibition aims at establishing a dialogue and revealing correlations between a leading, complex and universally known opus of cinematography work on the one hand and artistic movements on the other, from Romanticism to Surrealism, as well as architecture or graphic design, which left such a profound mark as they nourished Alfred Hitchcock's imagery and aesthetic. Hitchcock and Art provides the Centre with a chance to offer the public not only the exhibition, but also Hitchcock's complete repertoire of films.

Antoine de Saint-Exupéry
WSOY

AA.VV.
Feltrinelli

Paul Feyerabend
Laterza