Lamps, Brass and Glass, Italy 1960s-1970s Sergio Mazza for Artemide

Pair of wall lamps; nickel-plated brass, glass.

Lamp, Colored and Milk Glass Chromed Metal, Italy 1960s-1970s

Floor-table lamp with double lighting; colored glass and milk glass, chromed metal.

Achille Beltrame

View of the lagoon of Venice

Oil on plywood. Signed in the bottom left of the page. In the glimpse faded, the sky and the sea merge and blend together, separated only at the thin line of the horizon in which we recognize the profile of the city, and the monochrome is interrupted only by the line of the earth that is projected in the middle horizontally. A pupil of Hayez, and Bertini at the Brera Academy in Milan, Achille Beltrame and as a painter, he created hundreds of paintings in oil, watercolor, tempera and pencil. His most popular and the most important is, however, that as an illustrator, in particular for his collaboration with the Domenica del Corriere, who made of his colour plates the hallmark of the magazine. The proposed work is presented in full frame style.

Female face

Oil on canvas. Signed L. Esposito in the bottom right. The pleasant face of a young woman, adorned in only a red rose at the neckline of the white shirt and fluffy. that fades into the background. It is presented in a frame worked from the early '900.

Edoardo Dalbono

Marina with fishing

Oil on tablet. On the back there is a label of provenance from the famous "Galleria Pesaro", and the timbre of the participation of a postumous exhibition dedicated to the artist. Neapolitan painter, but also a museologist and professor of visual arts, Dalbono was formed in the context of the movement of verismo in neapolitan that made reference to the School of Resin. Loved the landscape, which portrayed from real life, preferring the hours of the dawn with its play of light; but also produced many of the genre scenes, subject-bourgeois, who have always background Naples, its scenery and its landscapes, told with soft atmospheres, steeped in poetry. The picture proposed is presented in the frame style.

Francesco Paolo Michetti, attributed to

Glimpse of vegetation

Oil on tablet. On the back there is the words "Study of the F. P. Michetti composed the 1868/72, Carlo Siviero": the attribution to the Michetti of this small but delicate glimpse of the green is made, therefore, by the well-known painter and scholar neapolitan (1882-1953), who had written critical articles, essays, monographs, mainly dedicated to the exponents of neapolitan art. The Michetti, a native of the Abruzzi, he studied painting at the Academy of Fine Arts of Naples, where he formed his style is realistic and naturalistic, but the rural Abruzzo, with its unspoilt nature, was always his source of inspiration. In contemporary frame.

The face of a Girl

Oil on panel. The Italian school.Lively portrait of a young woman, which stand out, the hat feather and hoop earrings , which gives it an appearance gitanesco. Presented in a stylish setting.

Loredano Rizzotti

Milan:old railings

Oil on canvas. Signed in the bottom left of the page. The milanese artist, Loredano Rizzotti has chosen in 1982 to place his own atelier in Milan in the area of the Naviglio Grande, a place of inspiration and deep right from the first pictorial expressions, with striking images of railings and balconies, courtyards and scenes of daily life that have long characterised its initial style. In this first period is to place the proposed work. While reaching a broad recognition at national and international level, evolve, and vary the styles and subjects of his works, which are, however, related to some main strands: after the railings, the gates, books, travel, musical instruments. In the frame.

Landscape with Shepherds and Herds,1842

Oil on canvas. School north-european. In the bottom left of this signature is not identifiable, and the date 1842.The wide landscape of the romantic taste: on the left, in the foreground, the figures of the shepherds in a moment of rest at the edge of the wood with the beasts at pasture; on the right opens to the spacious countryside and rolling hills, overlooked by a sky stormy, dark and gloomy, though in the distance filter within the sun creates a play of lights. The restored work and ritelata, is presented in a gilded frame in the style.

Guido Casciaro

Glimpse of the country

Oil on plywood, applied to a panforte. In the lower left is the signature, the date (16 July 1922) and the location of the place St. Archangel. Beautiful view of the neapolitan artist, a painter and professor of the Institute of Fine Arts of her city, which was essentially a landscape artist, and produced, in particular, views of the surroundings of Naples, Irpinia (Nusco) and the Apulia region. The view may be that of the village of S. Arcangelo Trimonte (province of Benevento, old village in irpinia is characterized by old stone houses. The work is in the frame.

Giuseppe Palizzi

Shepherd with cattle

Oil on canvas.Signed in the bottom left of the page. Giuseppe Palizzi, he attended the Royal Institute of Fine Arts of Naples by entering in contact with the painters of the Posillipo School, and privileging in its initial production landscapes storci. Following the transfer to Paris, it was influenced by the Barbizon school and his paintings, he turned to a landscape in a realistic, albeit one tinged with romantic notes, particularly inspired by the campaigns of paris and the Fontainebleau forest and is populated with figures in pastoral work. The painting proposed is part of this production. Small fall color. Ritelato, is presented in the frame instile.

Domenico Morelli

Arabic figure

Oil on panel. Signed in the lower right. On the back the stamp of the Galleria d'arte G. Cerruti in Milan. Domenico Morelli, a painter of naples, as well as the political of the new Kingdom of Italy (senator in the XVI legislature), he initially in the production of historical subjects die romantic; following contact with the macchiaioli and friendship with Filippo and Giuseppe Palizzi, came gradually to adopt a style less academic and more freely, especially in the use of color, creating a personal style that harmoniously combines the verismo and late-romanticism to models neoseicenteschi. From 1874 to 1883, and about, Domenico Morelli, painted pictures, having as subject scenes in the eastern, although never having been in those places, thus in the current of the Italian orientalists . The proposed work is presented in the frame of the end '800.