Oil painting on canvas. Northern Italian school of the seventeenth century. The two protagonists, kneeling Mary and the Archangel Gabriel, fill the scene, the background of which is just blurred in the divine light that radiates from the Holy Spirit descending from heaven. The only furnishing elements are the sewing basket and the ball on the floor, which brings back the humanity of Mary, while the angel holds the lily, symbol of purity, in his hand. Restored and relined, the painting has some small drops of color and marked cracking. It is presented in a gilded frame from the end of the 19th century.

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.

Oil painting on canvas. Unidentified signature lower right (Solini?). The man is portrayed with a headdress and home clothes, while holding in his hands an object that could be a snuffbox, to underline the dimension of domestic rest. The painting is presented in a frame from the early 1900s.

Oil painting on canvas. At the bottom right are the initials SM and the date '51. Perhaps of the French school, the painting is probably part of a series of portraits of popular figures placed in sparse and deserted landscapes, with chromatic connotations of a romantic taste. In this one, a beggar wrapped in a tattered blanket stretches out his hand on the path. Presented in a stylish frame. Small drops of color at the top.

Oil on canvas. At the bottom right are the initials SM and the date '51. Perhaps of the French school, the painting is probably part of a series of portraits of popular figures placed in sparse and deserted landscapes, with chromatic connotations of a romantic taste. In this, a wayfarer, an elderly woman of the common people leaning on a stick, is counting the coins she has received in her hand... or perhaps those she wants to donate? Presented in a period frame, the painting has some small drops of color and a small hole in the centre.

A Sacrifice to Venus

Watercolor on paper. At the bottom left the name Giuseppe Cades, Although on the back, in addition to the attribution, the title "The oath of the Vestal Virgin". A girl is offering garlands of flowers to the statue of the goddess Venus, traditionally painted in a discrete way. She's holding the veil with one hand to cover the loins. The other hand covers the breast and the head with the hair gathered and adorned with flowers. Behind the girl, a young woman watches the scene, while a third peers from behind the column of the temple: therefore it seems to be a scene of supplication to the goddess, asking her to favor the love of two young men: according to both Greek and Roman tradition, the young before the wedding woman devoted themselves to this goddess, which was considered as the protector of marriage and conjugal fidelity. The work seems to be very close to the production of Giuseppe Cades, who in the 1780s and 1790s became one of the best known and appreciated personality in the Roman artistic world. He was a draftsman and an engraver too. The work is framed

View of Vienna from the Belvedere

Mixed media (acrylics and oils) on canvas. Painted between the 1960s and 1970s. It is a copy of one of the many views of Vienna painted between 1758 and 1761 by Bernando Bellotto, better known as Canaletto. They are kept in the Kunsthistorisches Museum of Vienna. The large view, enlivened by numerous figures in the typical style of both the 18th century's Venetian painting and Canaletto himself, is taken from the upper Belvedere of the same named palace. It was the summer residence of Prince Eugene of Savoy, which was built on a hill on the southern part of the city center. A series of large Baroque buildings appear in the background behind the gardens. In particular, the Karlskirche (church of S. Carlo Borromeo) with its monumental dome and the Schwarzenberg Palace with exaggerated proportions. So as the Orangerie and the Lower Belvedere of the Palace. Finally, on the right there is the Salesian Convent. Behind all this monuments, further still in the background, it is possible to see the fortified city center and the spiers of the Stephansdom (St. Stephan's Cathedral). The painting's frame is from the first half of the 1900s.

Architectural Capriccio with Figures

Inkwell on paper. Venetian school from the second half of the XVIII century. It is a sketch with a glimpes of the Doge's Palace in Venice, which is seen from the arches of an opposite building. It also features sketching figures. The drawing comes from an important italian private collection. It is framed.

Four Women 1986

Etching and aquatint on paper. Signed in pencil lower right; serial number 54/95 lower left. The work, created in 1986, proposes one of the most recurring themes in Renato Guttuso's production, the woman, which he always proposes in a passionate way in the tone, incisive and marked in the sign, to capture the gaze in an erotic and sensual emphasis . Inspiring muse and undisputed protagonist of many works by the artist from Bagheria was Marta Marzotto, whose features are also found in this work. They are four women and yet she is only one; they are close to each other almost touching, yet each ignores the presence of the one next to it. There is no narrative intention in Guttuso, but the women chase each other on the surface of the sheet as in a study book, notes for the great compositions on which the artist works. Therefore, as is characteristic of the studies, what interests Guttuso here is to follow the unfolding of the signs until they are recomposed in a synthesis that transforms them into a complete image. The etching delicately traces contours and internal lines that a few strokes of aquatint barely color; or play freely on the intricate masses of hair that have always been a typically and exclusively graphic element for Guttuso. The lithograph is mounted on a panel with a visible frame.

Hill Landscape with Cottage

Oil painting on canvas. Signed lower right. A glimpse of rolling hills characterized by the brilliance of the green color, in a wide range of shades enhanced by soft edges, surmounted by the blue sky and interrupted only by a cottage, which also incorporates the same colors of the earth and the countryside. It is the work of the young Milanese artist Amerigo Canegrati, who had great fame in the Thirties, and is considered among the representatives of the Lombard pictorial trends of the Italian twentieth century; his painting expresses deep coloristic qualities both in landscape paintings and in compositions and figures. The work is presented in a style frame.

Glimpse of Mandello Lario 1909

Oil on canvas. Signature and location (Mandello) lower left. On the back additional signature, date and title in full. Riccardo Pellegrini, a Milanese painter, was a pupil of Domenico Morelli and was educated in the climate of romanticism. He was a landscape painter and genre painter, but he also created valuable still lifes, with bright colors and a precise and realistic drawing. His landscape production drew on the various places he visited and lived, in Italy and abroad, especially in Spain and France. In this landscape, Pellegrini offers a glimpse of the mountain that overlooks the town on the shores of Lake Como: a barren and bare mountain, albeit inhabited, with the hut on the top and a female figurine that fills the buckets at the stream of flowing water. between the rocks; the colors are those of the winter mists, divided almost transversely between the gray-blue of the upper part, with clouds laden with rain that dominate the peaks on the other side of the lake (which can be sensed, without being seen), and the green-brown of the land that occupies the lower half, with the branches of the bare trees stretched out to connect the two halves. The quiet of the mountains, the title of the work, clearly shines through and pervades the mind of the observer. The painting is presented in a contemporary frame.

Oil on canvas. Lombard School. It belongs to an important milanese family. Portrait of a gentleman that is holding a chain with a coat of arms in his hand. The painting shows some color drops and comes with coeval gilded frame.

Synoxis of Saints with Mary and Christ in glory and Archangels.

Tempera on wood with metal riza, gilded in correspondence with the halos. The icon sees in the lower half a group of six saints, whose name is indicated in Greek characters, while in the upper part there are Mary and Jesus in Glory, flanked by archangels. The saints depicted are, from left to right: St. Gregory the Great, St. Basil the Great, St. John the bishop, St. Peter the apostle, St. Paul the apostle, St. Andrew the apostle, all important saints in the Orthodox commemorative liturgy. The figures are inscribed in a floral decoration. In the church of the first centuries, the synaxis (from Gr. Sýnaxis: assembly) was the meeting of the faithful for the reading of the sacred books and for the Eucharistic celebration. Sinassi therefore alludes to the presence of a group of people (angels, saints and saints, metropolitans and monks) who surround a central representation, therefore in iconographic art it corresponds to a group of saints or angels that surround Christ or the Madonna to glorify them. In the Orthodox liturgy such icons are usually exhibited and celebrated on the day following that of an important feast in which these Saints were co-protagonists. The icon has small diffuse color drops. Wooden reinforcement on the back. The riza is currently disassembled from the table, it requires a small intervention to get back into shape for reassembly.

The Boutique of the Antiques dealer 1944

Oil on cardboard. Signed and dated lower right. On the back the title and further signature. This subject is unusual for Dino Rossi, a painter who devoted himself mainly to landscape painting "en plein air", drawing on the subjects from his numerous travels around the world. Of an impressionist style, he said of his painting: "Thirty percent I take my weight from reality, seventy percent I put it there", thus letting fantasy, his temperament, his nature take the lead in his works. prevailing over the data of reality. Here is proposed a glimpse of the interior, of an antique shop where the objects for sale invade every space, in a warm and welcoming disorder, in which it is the artist's gaze, rather than the correct perspective , to frame and create relationships between things.The work is presented in a frame in style.

Pastels on paper. Early 19th century. The father, mother and three children appear in the family group, two of whom are holding toys. On the back there is writing that identifies the family portrayed in that of the Breno marquises. The writing also says "one of the children (with the vest) is Domenico, husband of Giulia Caronesi". The painting is presented in a contemporary gilded frame, with shortcomings and small years.

Surreal Landscape 1974

Mixed technique on wood. Signed and dated lower right. Further signature and date on the back (1973, not coinciding for one year with that on the reverse). Bruno Artioli, an artist originally from Nocera Umbra, was above all a landscape painter, who interpreted both with a classic naturalism and with a geometric purity in an abstract key. In this second interpretative key, Bruno Artioli's views go beyond phenomenal reality to acquire a completely objective character, devoid of any particularism, the elements of the landscape end up being reduced to pure forms and pure colors. The work presented is part of this conception of the landscape, sparse, geometric, clean in every line as well as in the subdivision of the colors, which each maintain their own identity and occupy a well-defined space. In frame.

Figure with flowers

Oil on canvas. Signed lower left. On the back further signature and dedication with declaration of authenticity. Influenced in his Parisian years by contact with Expressionism, Fantuzzi placed a marked emphasis in his works on the expression of emotions, of moods. His figures are therefore summary, never completely defined, rather deformed into elongated forms, the faces anonymous, and placed in solitary and melancholy settings; On the other hand, color dominates in his canvases in its most marked ranges, usually the cold tones of blues, greens and purples, which create sometimes violent contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communication in interpersonal relationships, often expressed in solitary figures like the one presented here, a woman with a bunch of flowers in her hand, on a fiery red background, devoid of other figures. The work is presented in a style frame.