Maurizio Bottarelli Acrylic On Canvas 20th Century

Untitled 1973

Acrylic on canvas. Signature, date 1973, technique and place of execution (Bologna) on the back. There is also a partial label from the Cultural Association of Art of Milan. Born in Fidenza (Parma) and artistically trained at the Accademia di Belle Arti of Bologna, Maurizio Bottarelli has travelled a lot abroad (London, United States, Austria, Australia,...), looking for inspiration for his work in the place he visited. His language is peculiar for the never ending dialogue, that crosses through all of his production, between the two main character elements of the canvases, the matter and the colour, based on experimentation, the search, the stratification of matter - pigments, paper, glue, paint, solvent - that were all made possible by his exceptional technical ability. His landscapes, inspired initially by his travels, are more and more projected towards abstraction, until they disregard any reference to real locations. Just like his portraits of human figures (the "heads"), they are representations that could be defined as universal of humankind and the human condition, that are investigated in the marked, suffering faces, contracted in a grimace of fear or pain, as a true "topography of pain". All of his production is presented in more than a hundred exhibits in Italy and abroad; he participated in all the most important collective and thematic exhibitions that document contemporary art in Italy from the sixties till now.

Enrico Felisari Oil on Board 20th Century

City Glimpse 1930

Oil on board. Signature with dedication and date at the bottom right. Enrico Felisari was born and raisd in Cremona but he moved to Milan where he worked several years preferring to a pictorical production of human figures and heads studies creating a series of anatomical plates appreciated by the Ministry of Education and used by him in his courses at the Ambrosian Academy of Painting, which he directed for ten years. He also devoted himself to the landscape and floral arrangements, as well as some subjects of sacred art. He used different techniques, from pastel to oil to mixed techniques, creating delicate works in interpretation and colors. The small tablet presented here proposes a less frequent theme in its production, a glimpse of a barren city (the columns in the background resemble those in front of the Memorial of the Fallen of Milan), where, however, stand out as protagonists, albeit stylized, human figures. The painting is presented in a frame.

Vincenzo Caprile Oil on Canvas 20th Century

Bagno Rosso at S.Giovanni

Oil on canvas. Signed at the bottom right. On the back ther is the label of the Art Gallery of Milan; title on the frame. The town mentioned refers to the beach of San Giovanni in Teduccio, district of Naples east until 1925, until the middle of the century agricultural area. The painting offers a glimpse of a popular beach, with dry boats and animated by female figurines under an umbrella. Ben is part of the pictorial production of Vincenzo Caprile, the Neapolitan painter who, trained artistically at the School of Fine Arts in Naples, was able to also approach the School of Resin, Italian pictorial current developed in the wake of verismo and similar to the movement of the macchiaioli, where he could experience the rendering from the truth of the landscape and nature. Although he also established himself in the painting of portraits, becoming the official portraitist of the Savoy, Caprile always preferred landscape painting and portraits of popular figures: in particular he was the interpreter of his native city, Naples, which depicted views of the city and the countryside, the scenes of popular genre, the characteristic characters and especially the beautiful people. Through an agile brushstroke, a bright and tender color, capable of delicate nuances, well interpreted also through the pastel technique, Caprile established himself as a fashion painter with a wide production. The painting is presented in a contemporary frame.

The Baragia (Civiglio) 1944 Oil on Board

Oil on board. Signed A.Schereschewsky at the bottom right. On the back ther is the title and another signature" Aglaia Schereschewsky, widow.." It is a glimpse of the hills around Civiglio, a small village close to Como, that rises on a hill that faces the city and the lake. The signature recalls the polish post-impressionist artist Wladimir Schereschewsky (1863-1943) that lived for a long time in Italy and he had a daughter whose name was Aglaia born in 1893 and died in 1978. The painting come with frame.

Amapielo Tettamanti Oil on Canvas 20th Century

Glimpse of Factory with Workers

Oil on canvas. Singed at the bottom left. Another signature on the back of the frame. The glimpse of the factory acts as background to the group of outgoing workers and is part of the production after the 50s of Ampelio Tettamanti. The artist, originally from Laveno on Lake Maggiore was trained at the Brera Academy in Milan, after the war, during which he militated in the ranks of the Communist Party very close to the resistance movements, closely tied his artistic activity to the Milanese group and the homonymous Galleria "15 Borgonuovo", which gathered the protagonists of the Milanese realist movement. In the 1950s he began producing works inspired by the urban suburbs, the world of workers and the figures of labourers, and the social content in general, which from that time became recurring subjects in his work. The painting comes with frame

Enrico Felisari Oil on Canvas

Mail Portrait 1940s-1950s

Oil on canvas. Singed at the bottom right. Enrico Felisari was born and raised in the province of Cremona but later he moved to Milan where he worked for several years; he privileged mostly paintings od human figures, portrais, heads' studies, making even a serie of anatomical boards that had been apprieciated by the ministery of education and used by the courses of painting at the Ambrosiana Academy where he taught 10 years. He also dedicated his production to landscapes and floral compositions as well as some subjects of sacral art. He used different techniques, from oil pastels to mixed medias, creating delicate works in interpretation and colors. The painting has light drops of color. Revival frame.

Ubaldo Oppi, Oil on Plywood, 1930s

The Bagpipe Player

Oil on plywood. 1930s. Signed on the rear right corner. Ubaldo Oppi, born in Bologna, had a passionated life: he studied painting firstly in Vienna then moving around Europe stopping for a long time in Pris where he frequented Picasso; back in Venice he started to expose. In 1915 he left the front joning the alpine troops and fought until 1918 when he was deported to Mauthausen. During the first postwar he moved to Milan where, thanks to Margherita Sarfatti, he approached the movement of the Seven Painter on the italian 1900sto which he had been related for a short time. He took part to several Biennali in Venice and abroad and in 1926 e took parto to the Exposition on Italian 1900s at the Permanente palace in Milan. In 1928 he coverted to Catholicism and started including religious subjects in his prodution that until that time was mostly focused on figures and portraits. In 1942 he resumed service in the Army but soon he had to go back to Venic because of his health problemns and died on October 25th 1942. The painting in question is a genre subject, an old musician. Comes with coeval frame and needs to be restored.

Female Portrait Oil on Canvas 1910

Oil on canvas. At the bottom right there is the signature of E.Siletti and date 1910. The big portrait of the lady is placed on a monochromatic background where we can see just the glimpse of an armchair and a small table on which the woman is resting her hand. Fair ocnditions.

Landscape with Figures Oil on Plywood 20th Century

Tempera on plywood. The landscape show a blue night atmosphere with a full moon and the glimpse of a wood crossed by a river on which shore there is a couple of farmers talking. It is displayed in a revival frame.