Capodimonte Mirror Ceramic Italy XX Century - Italy Mid 20th century

Mixed technique on canvas. Signed lower right. The painting of Kodra, an Albanian painter trained artistically in Italy and active in the Milanese context, consists of a personal interpretation, of a fantastic kind, of Cubism, with the peculiarity that the decompositions typical of analytical cubism are proposed according to an approach of its own more than synthetic cubism. The seascape depicted here, with sailboats sailing close to a coast, is part of the later production, in which the native country is often evoked.

Glimpse of Mandello Lario 1909

Oil on canvas. Signature and location (Mandello) lower left. On the back additional signature, date and title in full. Riccardo Pellegrini, a Milanese painter, was a pupil of Domenico Morelli and was educated in the climate of romanticism. He was a landscape painter and genre painter, but he also created valuable still lifes, with bright colors and a precise and realistic drawing. His landscape production drew on the various places he visited and lived, in Italy and abroad, especially in Spain and France. In this landscape, Pellegrini offers a glimpse of the mountain that overlooks the town on the shores of Lake Como: a barren and bare mountain, albeit inhabited, with the hut on the top and a female figurine that fills the buckets at the stream of flowing water. between the rocks; the colors are those of the winter mists, divided almost transversely between the gray-blue of the upper part, with clouds laden with rain that dominate the peaks on the other side of the lake (which can be sensed, without being seen), and the green-brown of the land that occupies the lower half, with the branches of the bare trees stretched out to connect the two halves. The quiet of the mountains, the title of the work, clearly shines through and pervades the mind of the observer. The painting is presented in a contemporary frame.

The Boutique of the Antiques dealer 1944

Oil on cardboard. Signed and dated lower right. On the back the title and further signature. This subject is unusual for Dino Rossi, a painter who devoted himself mainly to landscape painting "en plein air", drawing on the subjects from his numerous travels around the world. Of an impressionist style, he said of his painting: "Thirty percent I take my weight from reality, seventy percent I put it there", thus letting fantasy, his temperament, his nature take the lead in his works. prevailing over the data of reality. Here is proposed a glimpse of the interior, of an antique shop where the objects for sale invade every space, in a warm and welcoming disorder, in which it is the artist's gaze, rather than the correct perspective , to frame and create relationships between things.The work is presented in a frame in style.

Surreal Landscape 1974

Mixed technique on wood. Signed and dated lower right. Further signature and date on the back (1973, not coinciding for one year with that on the reverse). Bruno Artioli, an artist originally from Nocera Umbra, was above all a landscape painter, who interpreted both with a classic naturalism and with a geometric purity in an abstract key. In this second interpretative key, Bruno Artioli's views go beyond phenomenal reality to acquire a completely objective character, devoid of any particularism, the elements of the landscape end up being reduced to pure forms and pure colors. The work presented is part of this conception of the landscape, sparse, geometric, clean in every line as well as in the subdivision of the colors, which each maintain their own identity and occupy a well-defined space. In frame.

Painting with a Mythological Subject

Oil painting on canvas. Early 1900s. Inspired by 16th-17th century painting, the painting proposes the myth of Leda, wife of Tindaro king of Sparta; falling in love with her, Zeus turned into a swan to possess her by deception. Leda is voluptuously lying on rich fabrics, in the middle of a wood, near a stream, while she welcomes the swan in her lap, with whom she exchanges an intense look. On the left, Cupid watches the scene. The painting is presented in a styled frame. The painting is presented in a styled frame.

Figure of Woman with Scarf

Oil painting on canvas. Signed lower left and back. Influenced in his Parisian years by contact with Expressionism, Fantuzzi placed a marked emphasis in his works on the expression of emotions, of moods. His figures are therefore summary, never completely defined, rather deformed into elongated forms, the faces anonymous, and placed in solitary and melancholy settings; On the other hand, color dominates in his canvases in its most marked ranges, usually the cold tones of blues, greens and purples, which create sometimes violent contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communication in interpersonal relationships, themes that also emerge well in this work, in which a female figure closed in her black raincoat walks in a lonely street, in front of a club. when closing it gives off a bright light, but muffled by the lowered shutter. The work is presented in a frame.

Oil painting on canvas. Signed in the lower right corner and on the back (Verschafeldt). Light losses of color. In coeval frame with missing parts. Early 20th century.

Along The Sesia 1970

Oil on canvas. Signed at the bottom right. On the back there is the title with date. Giuseppe Ajmone was an artist from Valsesia that studied at the Brera Academy in Milan; he was one of the signatories of the Manifesto of Realism in1946. Ajmone preferred to paint still lifes and landscaped but he was also very fasinated by the nudes that had characterize most of his pictorical production from the 1960s untill now. The landscape in question shows a suggestive glimpse of Sesia. The painting comes with frame.

Motion, 1982

Oil on cavas. SIgned on the lower right corner. Title and signature on the back. Giuseppe Ajmone, artist from Valsesia who studied at the Brera Academy of Fine Arts in Milan, had been one of the firmatories of the Manifesto of Realism in 1946. Along with still lives and landscapes, during his first artistic period, Ajmone was very interested in nudes that represent most of his pictorical prodution from 1960s until todai. Framed.

Bertoldt Brecht 1973

Mixed media on paper. Below you will find the signature, the date and the title of the work. Bellandi, born in Milan in 1931, was a very talented painter and set designer. In the 1950s he joined Existential Realism, a very active artistic movement in Milan, becoming one of the exponents of this current. Bellandi is an artist gifted with talent and creativity, a lover of freedom of expression and beauty, and performs works of interesting reading with intense but harmonious chromatic tones. Expressive intensity is also found in this portrait of the famous poet, which seems almost a sketch for the "test" of the nose at the bottom. In frame.

Old Milan the Verziere

Oil painting on canvas. Signed lower left. On the back on the frame the title and further signature. It is a pleasant and lively glimpse of the Verziere (now Largo Augusto), the Milanese market where it was possible to buy fruit, vegetables, flowers and various other foodstuffs; in the center stands the Colonna del Redentore, also known as Colonna del Verziere. Castelfranchi, Genoese by birth but Milanese by adoption, starting from the 1930s painted numerous glimpses of the Milanese city, in oil and watercolor. The work is presented in a frame.

The Vases on Blue Background, 1961

Oil painting on canvas. Signed and dated lower left. On the back there is a further signature, date, and handwritten writing with the title of the work and the location (From the Milan studio). There is also a label from the Gussoni Gallery in Milan relating to the personal exhibition of the artist in 1962. Self-taught Milanese artist, Giovan Francesco Gonzaga declared "my true teacher is Nature", and faithful to it, he devoted himself mainly to scenes with horses (a passion inherited from his experience in the Savoia Cavalleria during the war) to landscapes and still lifes , always depicted "en plein air". Vittorio Sgarbi wrote about him: "Giovan Francesco Gonzaga's wisdom lies in the design, which is strong and decisive ..... The images vibrate with restlessness, in the sign of man's struggle against himself, in the hell of a a story that always seems to repeat the same drama. But if the preparatory drawing is admirable, the color of this artist has a regality and a sensitivity that come from a musical perception of the color, where the palette is expressed in sudden, variations and rhythms buttons ". In this composition the color blue dominates, represented in a wide range of shades that define and differentiate the vases, of all different shapes, the candlestick and the backgrounds: the chromatic games create a lively but personal, intimate, and the artist seems to express through the sense of sight, his moods, his inner perceptions of the reality that surrounds him. The painting has two small patches on the back. It is presented in a stylish frame.