Madonna with Child Gilded Glass Italy 1940s-1950s

Male Portrait in Profile

Oil on cardboard. signed lower right, with a dedication "to friend G. Rutelli". Of humble origins, Angelo Dall'Oca Bianca, even once he became an established and appreciated artist, frequenting the Italian and international artistic-cultural environment, always maintained the bond with his city, a continuous source of inspiration for his artistic production, and for its poor; in 1939 he built the Dall'Oca Village in Verona, for the benefit of the poor of the city, and in 1941 he made a will, leaving all his money and his paintings to the city of Verona for charitable works. His painting was always of a purely realist mold, influenced above all by his contact with Giacomo Favretto who allowed him to enrich his painting technique with bright colors and a large and vaporous style, and by the use of photography as a memory for the representation of truth. . The work, a portrait of a male figure seen in profile, is lively in the colors. It is presented in a stylish frame.

Landscape with Houses 1875

Oil on the table. Signed and dated lower right. Further signature and date on the back. Artist from the province of Pisa, trained first at the Academy of his city and later at that of Florence, thanks to contacts with Telemaco Signorini and Giovanni Fattori, Francesco Gioli landed on painting from life with a rural subject, creating works - such as the one presented here - which constitute the expression of Tuscan Naturalism, in which he managed to convey the nostalgia of the past and the discomfort with the advance of progress. At the beginning of the twentieth century he oriented his production on Florentine views, giving particular emphasis to the atmospheric and luministic rendering in an impressionist sense. The work is presented in a contemporary frame.

Face of Madonna 1942

Oil on the table. signed and dated lower right. The painting takes up the models of 15th century Tuscan painting, showing the Madonna half-length with a landscape in the background. Aldo Marzi was a Sienese artist who divided his activity between painting and teaching at the Art Institute of his city. It is known above all for having made some of the banners for the Palio di Siena. The work is presented in a style frame.

Composition with flowers

Oil on wooden table. Signed top right. Late 1950s. It is the work of the Milanese painter Piero Gauli, who joined the current group, creating a painting characterized by a strongly expressionist style, full of colors and rich in reds of Venetian ancestry, who digs the material like a hard-working sculptor. The painting is presented with a brass profile, inserted in a contemporary wooden frame.

Nude of a Woman

Oil painting on canvas. Signed lower right. Istvan Mero was a Hungarian impressionist painter who trained first in Budapest, then in Paris and Munich. His pictorial production often proposes popular figurative subjects, such as this female portrait depicting a young naked woman caught between the sheets, ... reading a newspaper, losing all erotic meaning to emphasize rather a moment of domestic intimacy. Restored and relined, the painting is presented in a contemporary frame with small lacks.

Landscape with fossil

Oil painting on canvas. Signature, date and title on the back. It is the work of the Milanese painter Giulio Scapaticci, of the artists of the pictorial-political current who at the turn of the 1950s-1960s was defined as “Existential Realism”. Immediately considered an artist sensitive to existential issues, he began to paint the Milan of the 50s and 60s with its typical railing houses, the peeling windows that open onto a darkly colored urban landscape, the gray industrial suburbs and desolate, quartered oxen and fish hanging on nails. In the mid-1970s, he leaves Milan and moves to the Oltrepò Pavese, where his painting is transformed, goes beyond the previous dark and monochromatic introspective experiences and in his paintings appears a rural world made of more lively and luminous tones: farmhouses, still natures, still lifes, insects, rivers, resting sandy loops. Back in Milan, from the 1980s he returns to depict a more painful humanity, with insects that transform and settle to cover sensations of solitude and voluntary silences. The work proposed here is part of the production attributable to the years of Oltrepò Pavese. The scene is divided into two distinct panels: on the left a glimpse of the countryside dominated in the background by the black profile of an industrial city, with the silhouette of an insect in the foreground; on the right, the corpse of a fish, the fossil of the title. The colors are light, but a greyness dominates that emphasizes the gloom of the scene. The painting has a slight damage in the upper right. It is presented in a frame.

Insect in the landscape, 1973

Oil painting on canvas. On the back you can find the signature, the title and the date of the work. It is the work of the Milanese painter Giulio Scapaticci, of the artists of the pictorial-political current who at the turn of the 1950s-1960s was defined as “Existential Realism”. Immediately considered an artist sensitive to existential issues, he began to paint the Milan of the 50s and 60s with its typical railing houses, the peeling windows that open onto a darkly colored urban landscape, the gray industrial suburbs and desolate, quartered oxen and fish hanging on nails. In the mid-1970s, he leaves Milan and moves to the Oltrepò Pavese, where his painting is transformed, goes beyond the previous dark and monochromatic introspective experiences and in his paintings appears a rural world made of more lively and luminous tones: farmhouses, still natures, still lifes, insects, rivers, resting sandy loops. Back in Milan, from the 1980s he returns to depict a more painful humanity, with insects that transform and settle to cover sensations of solitude and voluntary silences. The work proposed here is part of the production attributable to the years of Oltrepò Pavese, with the large Lombard farmhouse on the left, a glimpse of the sunny plain and, in the foreground, an insect. The work is presented in a frame.

Glimpse of a snowy town

Oil on hardboard. Signed lower right. Born in 1905, Gaetano Valbusa worked for over forty years as a worker in the Brescia Mechanical Workshops, until retirement, devoting himself to painting only as a passion. Landscape painter, thanks to business trips he was able to portray "en plein air" glimpses of the whole world, even if the glimpses of the places in Brescia are the most recurring subject. Affiliated to the Brescian Artists Association, he was able to exhibit his works and make himself known by critics. In his canvases the landscapes are permeated with great serenity and tranquility, an elegy of serene memories of real life. The glimpse proposed here is presented in a frame.

60-70 years ceiling lamp; chromed aluminum.

Oil on canvas. The painting, made in the first half of the 1900s, takes up the landscape works in the subject and in the pictorial mode: in a landscape rich in vegetation and with peaks in the background, a young commoner asks for charity from some travelers who rest on the roadside , near a stone arch. The canvas has undergone aging and is presented in a late 19th century frame.

Little terns with flowers

Screen printing. Signature in pencil lower right; serial number 86/200 lower left. Norberto Proietti, better known only as Norberto, was a painter and sculptor originally from Spello, a city that greatly influenced his pictorial training, inspired by the Giottesque frescoes of the Collegiate Church of Santa Maria Maggiore and the Basilica of St. Francis of Assisi. After working for years in the family tailor's shop in Rome, from 1961 Norberto decided to devote himself exclusively to art, becoming one of the most famous naive artists, known for his miniature friars against the backdrop of medieval landscapes, immersed in the countryside or in the towns. Umbrian or Roman, often in the middle of wheat fields. In the field of sculpture, he is known for the works made by modeling olive wood and for the Peace Pilgrim, placed in front of the upper Basilica of San Francesco d'Assisi, dedicated to the patron saint of Italy. The work is presented in a frame.

Ceiling lamp, brass, decorated glass.