Bill Davis Mixed Media Contemporary Art - Urba Flower 2016

Untitled, 1961

Mixed media on paper and cardboard. Signed and dated '61 top right. The composition - because such are the works of the artist originally from Bari but lived in Paris - presents some objects from the world of toys (the two plastic bottles) assembled together with nails, painted tape, waxed paper, trimmings, on a based on paper and cardboard, to create an imaginative landscape, a sort of scenography for a childish world. The work is presented in a frame..

Female Figure on Horseback

Oil on the table. Signed top right. Maurizio Goracci, aka Mago, is a Roman painter of figurative subjects. The work depicts a naked woman wrapped in a pink cloth, sitting on a grazing horse: MaGo's figures, although well defined, are always placed in a surreal background, shaded in ranges of acid colours, which gives a sense of the fantastic . The work is presented in a frame.

Sardines Fishing

Multiple bas-relief in silver. Signature engraved at the bottom. On the back, label of the "Alla Chiave" Gallery in Mestre, with the number of the specimen 140/200, and photo of the artist at work. Giuseppe Migneco, originally from Messina but who moved to Milan at a young age, was one of the major representatives, together with Aligi Sassu, Renato Birolli, Bruno Cassinari, Renato Guttuso, of the Corrente group open to the European artistic avant-garde. In favor of a painting of social commitment, he investigates reality with a critical, objective, historical eye. His characters with hard, square faces, marked by hard work and rendered with bright and strong tones, recall his Sicily with violent and clear features, but also the social realism of the Mexican muralists. In frame.

Indiscreet Lock 2019

Mixed media: plexiglass artpiece with fabric inserts and oil finishings. datend and signed on the back. The artist says of himself: "It is the great love for art that has driven me to realise emotions and colourful visions that have always lived in my lively imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".

Tribute to Nannarella 2017

Mixed media: dripped panitn and paper on wooden base. Signed and dated on the back. The artist says:" It is my great love for art that has driven me to realise emotions and colourful visions that have always lived in my vivid imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".

Trees in the Snow, 1978

Oil painting on canvas. Signed and dated lower right. The painting, coming from a private collection in Pavia, is published on page 73 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The lake landscape well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a style frame. It is published on page 75 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The landscape well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Via di paese, 1941

Oil painting on canvas. Signed and dated lower right. The painting, coming from a private collection in Pavia, is published on page 59 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The view of the town well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Controluce collinare, 1960

Oil on cardboard. Signed and dated lower right. The painting, coming from a private collection in Pavia, is published on page 70 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The landscape, a stretch of countryside with a backdrop of hills, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production painting by the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

L'ora delle Messi, 1974

Oil painting on canvas. Signed and dated lower left. The painting, coming from a private collection in Pavia, is published on page 74 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. The hilly landscape well expresses the subdued intimacy associated with the rigorous realism that characterize the pictorial production of the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame

San Pietro in Verzolo

Oil painting on canvas. Signed lower right. The painting, coming from a private collection in Pavia, is published on page 70 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The landscape, a stretch of countryside with a backdrop of hills, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame. on page 66 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The view of the small village on the outskirts of Pavia, seen from the countryside, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends" to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Philosopher

Oil on cardboard. Signed lower right. Coming from a private collection in Pavia. The painting proposes a subject taken up several times by Primo Carena, both with groups of several characters inserted in a landscape, and with a solitary figure as appears in this painting, which belongs to the production of the 1950s. The man on the beach, in the seated pose leaning with his elbow on a marble capital, and in the cloth resting on his legs, recalls the elderly character sitting in a work by De Chirico, the Salute to the Argonauts, and well underlies the reference to painting metaphysics that the painter from Pavia wanted to express in his figure paintings of the 1950s and 1960s. The work is presented in a frame.

Roman Landscape

Oil painting on canvas. signed lower left. Further signature and title on the back. Born and lived in Rome, Sdruscia was an interpreter of the so-called Roman School, mainly creating glimpses of his city, in a pictorial style that looks to the great masters of the period, such as Guidi and De Pisis. The work is presented in a frame.