Alcide Davide Campestrini

A glimpse of Nervi, 1931

Oil on cardboard. Signed lower left. On the back there are the title with the date of creation and the declaration of authenticity of the son Ernesto. Alcide Davide Campestrini, a painter from Trentino but artistically trained at the Brera Academy in Milan, where he also taught, had a vast and varied production in which there are religious subjects, landscapes, portraits and genre scenes from the late nineteenth century, some military scenes of intent patriotic of the early twentieth century, as well as decorations of villas and palaces (especially in Trentino), on which the artist worked after the war. He has been defined as a "wanderer of painting", who crossed different styles and genres, declining painting and drawing between Neo-Impressionism and timid hints of "abstract" figuration, with also forays into realism and social denunciation. The small glimpse is presented in a stylish frame.

Liberty lantern chandelier

20th Century - 1900

Liberty lantern chandelier, in glazed ceramic and painted with floral motifs, from which wrought iron arms branched off with phytomorphic motifs inhabited by cherubs, a similar process also present in the ropes that support the chandelier. The hat is in milky glass and is adorned in the upper part with fabric tassels, also present on the corollas.

Alcide Davide Campestrini

Preparatory sketch 1913

Oil on cardboard. On the back there are the place and date of construction, with the declaration of authenticity of the son Ernesto. Alcide Davide Campestrini, a painter from Trentino but artistically trained at the Brera Academy in Milan, where he also taught, had a vast and varied production in which there are religious subjects, landscapes, portraits and genre scenes from the late nineteenth century, some military scenes of intent patriotic of the early twentieth century, as well as decorations of villas and palaces (especially in Trentino), on which the artist worked after the war. He has been defined as a "wanderer of painting", who crossed different styles and genres, declining painting and drawing between Neo-Impressionism and timid hints of "abstract" figuration, with also forays into realism and social denunciation. The sketch presents an exterior view of the columns of a temple. It is framed in style.

Portrait of a Gentleman, Oil on Canvas, Central-European School, 1700

Oil on canvas. Central-European School. Gentleman's portrait who's austere pose is liven up by the play of colors : the flowery silk of the waistcoat stands out whi the white lace jabot surounded by the other fabrics' colors, the green tail, the blue and ochre cape. Also the rosy face and the red lips stands out. Already restored. DIsplayed in a late-19th century frame.

Ernesto Alcide Campestrini

From the Lavagna seafront terrace 1972

Oil on hardboard. Signed lower left. On the back the title, date and location of the landscape. The Milanese artist, son of the famous painter Alcide Davide Campestrini, devoted himself to still life, figure painting and the alpine landscape, with a technique linked to his father's school and to the late nineteenth-century tradition. In a stylish frame.

Balloon Chandelier

20th Century - 1900

Four-light balloon chandelier, in bronze, is adorned with glass pendants and necklaces.

Portrait of a Canon Oil on Canvas Center-Italian School 18th Century

OIl on canvas. Center-Italian School. The prelate is waring a traditional habit and he is holding a boog of prays of which is keeping the mark by putting his finghers between the pages undelining the priority of spiritual moments in his life; down on his left thare is a clock on a pile of books: it is a fair "memento mori" that is a reminder of the time passing and it reminds to dedicate life to important things as praying. The painting had been restored and displayed in a ancient frame that had been gilded again.

The Nativity

Oil painting on canvas. North-Italy school. Traditional depiction of the birth of Jesus, in the dark stable, where the colors of the garments and the incarnates of the figures stand out, illuminated by the only source of light coming from the Baby Jesus. At the top right there is the coat of arms of the client family. On the first canvas,

Pair of Liberty Applique

XIX Century - 1800

Pair of Liberty wall lamps, in wrought iron and sheet metal worked with phytomorphic motifs; originally gilded, as can be seen from some points, they were later painted green.

Guido De Zan

The Pirelli skyscraper 2010

Stoneware sculpture. Under the base present the signature, the date of creation and the title. Guido De Zan is a Milanese ceramist who for over thirty years has been creating shapes and sculptures in stoneware and porcelain in his workshop next to the columns of San Lorenzo. De Zan loves photographing buildings in Milan with passion: a recurring subject in his photographs is the Pirelli skyscraper. Its flattened, almost two-dimensional shape, with the two large fronts that almost touch each other make him feel close to the shapes of his ceramics. In 2010, on the occasion of the 50th anniversary of the construction of the symbolic skyscraper of Milan, De Zan decided to undertake a research path that could combine his work and his passion for photography. He therefore began the creation of a series of ceramics inspired by the building. First small sketches, then vases and finally sculptures that reproduce the distinctive features of the simple and essential architecture of Gio Ponti's work.

Ernesto Alcide Campestrini

Snow at the Milan Park 1947

Oil on hardboard. Signed lower left. On the back there is the title with further signature and date; There is also a specification of the title, which recognizes the park bridge depicted. The Milanese artist, son of the famous painter Alcide Davide Campestrini, devoted himself to still life, figure painting and the alpine landscape, with a technique linked to his father's school and to the late nineteenth-century tradition. The painting is presented in a styled frame.