Painting by José Ciuha - Hierarchs 1971

Untitled

Oil on linoleum, with applications in polystyrene covered with foil. Signed on the back. Accompanied by authentication from the Aldo Mondino Archive. The eclectic Turin artist Aldo Mondino has articulated his artistic research through continuous metamorphoses that have made his production polymorphic: an incessant attempt to find a personal response to the transformations that were taking place in the Seventies, trying to make the history of art coexist with images of mass consumption, personal fantasies, religion, classicism, mysticism, travels to the East, friends and kitsch. His obstinate need to experiment with materials – such as coffee, sweets, sugar, chocolate castings from his beloved Piedmont, marshmallows imported from America, bronze, flowers, strictly blue Bic pens, ceramics and Heraclite carpets – demonstrates his ability to make art, craftsmanship, common life, nature and religion dialogue. All seasoned with the use of irony, to unmask conventions with grace. In the 1980s Aldo Mondino undertook a journey between Morocco and Palestine that left a real mark on him, so much so that it generated the series of works of the Dervishes, dancing subjects painted on linoleum, who practice the ritual dance characteristic of the Turkish tradition by performing fluid and circular movements. The work is presented in a frame.

We created Atypical Systems 1963/74

Serigraphs and photos. The work consists of three silk-screened cartoons (in cardboard box) with the text in English (original title "We have created atypical systems") and six photos portraying the artist, individually framed. On the back of the three serigraphs in English, numbered in sequence, there are the edition number 13/15, the date 1974 and the artist's signature; they also accompany three unsigned serigraphs with the text in Italian. Cioni Carpi, Milanese artist, engaged in conceptual and minimalist art, produced works in which imagination, sensitivity, expressive flair were fundamental. His creativity was also expressed in photography, installations, video, drawing, writing, the artist's book, as well as painting. The dimensions indicated are those of the single frame.

Interior scene

Oil painting on canvas. Not signed, but on the back there is a dedication "Alla signora Clelia Mazzioli, con stima Gaetano Bellei 23 gennaio 1909". The big scene, set in a popular kitchen, sees a woman reading cards to two girls, who ask for explanations by pointing to the figures that appear and seem to compare them with a text leaning on the chair. The work recalls the painting of Gaetano Bellei, due to the strong realism with which the painter painted above all scenes of daily peasant life; he is considered a master of the depiction of human affections and of human reactions and sensations. The painting has slight drops of color. It is proposed in a stylish frame.

Trame di Vita 2011

Acrylic on wood and collage of various materials. On the back, under the protective cardboard, there is an artist's label with the signature and the title of the work. Clara Bartolini, a multifaceted artist (she has tried her hand at painting, photography, collage, sculpture, assembly, always looking for new materials and new creative paths, but also with poetry, scenography, she is a stylist) said of this series of her works called Trame: "I have always worked with thread, a very representative symbolic element, it assures me of the return, it shows me the paths already taken, it keeps alive the thought on what is important in my life. Ariadne's thread, the fil rouge, the thread of the speech and, why not, mending the tear, putting a patch on it and much more. Thread (I have also been a stylist) has always had a great importance in my life. It often appears in my works, in cotton, copper, brass, iron, nylon. In order not to lose the thread...". The work is presented in a frame.

Trame di Vita 2011

Acrylic on wood and collage of various materials. On the back, the artist's label with the signature and the title of the work. Clara Bartolini, a multifaceted artist (she has tried her hand at painting, photography, collage, sculpture, assembly, always looking for new materials and new creative paths, but also with poetry, scenography, she is a stylist) said of this series of her works called Trame: "I have always worked with thread, a very representative symbolic element, it assures me of the return, it shows me the paths already taken, it keeps alive the thought on what is important in my life. Ariadne's thread, the fil rouge, the thread of the speech and, why not, mending the tear, putting a patch on it and much more. Thread (I have also been a stylist) has always had a great importance in my life. It often appears in my works, in cotton, copper, brass, iron, nylon. In order not to lose the thread...". The work is presented in a frame.

The Ancient Triskelion 1997

Mixed media on board. Signed and dated lower right. On the back, further signature, date and title. Driven by an intense intellectual curiosity that has characterized every moment of his experience, not only creative, but also human and professional, the Ancona artist Giorgio Villa has developed his own principles of thought and action, on rigorous bases of a scientific-mathematical approach, nourished by a profound poetic inspiration and a deep-rooted sense of beauty. The search for a path to follow, free from patterns or cultural ties characterizes his art; Villa moves in the sphere of imagination, feelings and the poetry of images. Each work is the fruit of a meditated inspiration, moment by moment, allowing space for reflection, for the considered gesture, analyzing the relationships between space and matter, between colors and shape, to identify the perfect synthesis, which makes a work of art unique and unrepeatable. In this work Villa depicts the Triskelion, or the ancient symbol formed by three spirals joined at a central point, more generally three intertwined spirals, or, by extension, any other symbol with three protuberances and a triple rotational symmetry.

Untitled 1958

Oil on canvas. Signed and dated lower right. The work of strong emotional impact proposes an almost monochromatic purple background, in which a few black and white strokes are inserted to define a silhouette curled up on the left, perhaps a human form, collected and closed in on itself. Born in 1934 in Viareggio, where he still lives, the painter and sculptor Mario Francesconi is considered one of the few survivors of Dadaism, which since the end of the 1950s has gone through the seasons of Italian and European art in a distinctly personal search for forms and techniques. Starting from his first solo show in 1959 he develops an artistic path that goes through different phases, often attributable to a passion for poor and recycled materials. His artistic activity moves between the areas of painting, sculpture, collage and installation and borders on the adjacent areas of poetry and literature, also thanks to friendships and professional relationships with some of the most significant figures of the intellectual world. Italian of the second half of the last century, from Emilio Villa to Cesare Garboli, from Leonardo Sciascia to Mario Luzi, from Cesare Zavattini to Pier Paolo Pasolini, from Alfonso Gatto to Sandro Penna to Venturino Venturi. The work is presented in a frame.

Nude

Mixed media on paper. Signature and title of the work at the bottom. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops from 19th-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

The Conversation 1992

Mixed media on paper. Title at the bottom. On the back, the artist's stamp with signature, date, and title. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent place within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops from 19th-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Segnali 1991

Mixed media on paper. Title on the bottom left. Artist's stamp on the back with title, date and signature. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent place within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops from 19th-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Studio, 1993

Mixed media on paper. On the back, the artist's signature, the title, the date and a dedication to a friend. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.