Wall Mirror Glass Italy 1960s

Oil on chestnut panel. Central European school, 16th century. The traditional scene shows the Baby Jesus, in the arms of his Mother, with whom he exchanges a tender gaze, preparing to slip the wedding ring onto the finger of Catherine of Alexandria, symbolizing the mystical marriage the young saint desired to enter into with the Divine Child. The saint is depicted, as per her customary iconography, wearing a crown and regal robes and jewels, to emphasize her princely origins. The painting is likely the work of a Flemish artist inspired by Italian models of the 15th and 16th centuries. The panel shows signs of previous restoration.

Multiplo in Feltro 1974

Collage of felt fragments on panel. Signed and dated on the back, with serial number no. 28/75. Dorazio paints abstract-geometric paintings, developing various forms over the years: after an initial production of monochromatic works, he introduced color in the early 1960s, creating geometric compositions on large, free-form patterns, with layers of flat colors. From the second half of the 1960s, he worked on dynamic formal situations enclosed in horizontal grids; from the 1970s, he thickened the texture with minimal, still horizontal, lines of color and line, using various materials. Framed.

Figure in Landscape 1920

Oil on canvas. Signature, date, and location (Venice) at lower left. Work by the Venetian artist Giovanni Caldana, who established himself as a portraitist. Presented here is a portrait of a man in walking attire against the backdrop of Alpine mountain slopes. The work is presented in a period frame.

Big New Year's Eve Party 1960

Mixed media on paper. Signed and dated lower right. A humorous and ironic presentation of the menu for the 1960 New Year's Eve party, by the renowned Russian set designer, painter, and illustrator Nicola Benois, who was the chief set designer at Milan's Teatro Alla Scala from 1935. The work includes a photo of a thank-you note that accompanied the piece, addressed to the friend with whom the artist shared the party. Framed work.

The Man in the Kitchen

Mixed media on paper. Signed lower center. The renowned Russian set designer, painter, and illustrator Nicola Benois, who was the chief set designer at Milan's Teatro Alla Scala from 1935, contributed some of his drawings in 1977 to illustrate Francesco de' Rogati's book, "La cucina dell' uomo solo" (SM editore, 1977). The original drawing, which later served as the cover illustration for the text, printed in a smaller format, is shown here. Framed.

The Man in the Kitchen

Mixed media on paper. Signed lower center. The renowned Russian set designer, painter, and illustrator Nicola Benois, who was the chief set designer at Milan's Teatro alla Scala from 1935, contributed some of his drawings in 1977 to illustrate Francesco de' Rogati's book, "La cucina dell'uomo solo" (SM editore, 1977). Presented here is an original drawing, which was later used as an illustration for the text, printed in a smaller format. Framed.

The Man in the Kitchen

Mixed media on paper. Signed lower center. The renowned Russian set designer, painter, and illustrator Nicola Benois, who was the chief set designer at Milan's Teatro Alla Scala from 1935, contributed some of his drawings in 1977 to illustrate Francesco de' Rogati's book,"La cucina dell' uomo solo" (SM editore, 1977). Presented here is an original drawing, which was later used as an illustration for the text, printed in a smaller format. Framed.

Sketch

Pencil on paper. Signed lower right. Emilio Scanavino, a painter and sculptor originally from Genoa, began his career as a figurative artist, then developed post-cubist characteristics into his work, with forms that gradually became more stylized until they completely dissolved in the early 1950s. Framed.

Sketch for the "Aida" 1974

Charcoal on paper. Signed and dated lower right, with the name of the sitter. Accompanied by a photo certificate from the General Catalogue and Archive of the artist's works. This work is by the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy, a sketch of which is presented here. The work is presented framed.

Sketches for "Aida" 1974

Charcoal on paper. Signed and dated lower right, with the name of the sitter (for Amneris). Accompanied by a photo-certificate from the General Catalogue and Archive of the artist's works. This work is by the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy; a sketch for Princess Amneris is presented here. The work is presented in a frame.

Sketch for the costumes of "Aida", 1974

Charcoal on paper. Signed and dated lower right, with the name of the character (the King in Act I). Accompanied by a photo-certificate from the General Catalogue and Archive of the artist's works. It is the work of the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy; a sketch for the character of the King is presented here. The work is presented in a frame.

Painted ceramics. In the 1970s, the Milanese company "Ceramica Fiori Oscuri" created a series of plates decorated with exclusive designs by ten contemporary painters. The series was limited to 250 pieces. The artists involved were: Gianfilippo Usellini, Domenico Cantatore, Domenico Purificato, Remo Brindisi, Gino Meloni, Virgilio Guidi, Pompeo Borra, Roberto Crippa, Franco Gentilini, and Gianni Dova. All plates bear the artist's signature on the front and the company logo and serial number on the back. In this group, the plates bear different serial numbers, and in particular, the plates with designs by Gianni Dova and Gianfilippo Usellini bear the words "Prova di colore" on the back, indicating that the copy was made before the final print, which was later confirmed for the plate signed by Dova, while Usellini subsequently chose another of his subjects. Borra's plate shows a small trace of restoration at the top; Crippa's plate has been reglued.