First Steps Bronze Sculpture by Antonio Ugo - Italy Early 1900s

Winter landscape

Pastels on paper applied to canvas. Signed lower left. The large landscape is completely dominated by the play of colour: divided into two hemifields given by the sky and the earth (a mountainous land where sporadic fir trees sprout), it sees the pinkish blue of the sky prevail above, under the greenish blue of the snow on the ground , two shades of the same color range that then meet in the skyline of the mountains. Cinotti was a landscape painter who was an exponent of Italian Divisionism, whose painting is characterized by a material and pasty application with touches of spatulated color. In coeval frame.

Autumn Flowers

Oil on canvas. Signed lower right. On the back is a Galleria Spirale label with the title. A certificate of authenticity from the same gallery is included. Giuseppe Ajmone, an artist from Valsesia who trained at the Brera Academy of Fine Arts in Milan, was one of the signatories of the 1946 Manifesto of Realism. In addition to still lifes and landscapes, which dominated his early artistic career, Ajmone also developed an interest in nudes, which have characterized much of his painting from the mid-1960s to the present. Shown here is a floral arrangement in a vase. The work is presented in a frame.

Oil on canvas. German school of the mid-20th century. At the bottom right is the signature W. Purschke and the location Munchen. The scene is set inside the study of a high prelate: sitting at his desk he listens to two men who show him a route on a map; at the top left is placed on a shelf a model of a ship: perhaps the bishop is also the owner of the ship, who discusses the next trip with its owner. From the window, closed by a worked grille, you can glimpse the village, with houses with a characteristic Nordic appearance. The painting is presented in a period frame.

Inlay made of various woods. The inlay depicts the figure of a cellist in eighteenth-century dress. Francesco Ferrario was an accomplished cabinetmaker, influenced by the Neoclassical and Art Nouveau movements. Having trained in drawing at the Brera Academy, after collaborating with the finest artists of the time, he opened a workshop in Milan, first on Via Tenca, and then in 1927 on Corso Sempione. A label on the back of the work places it among the works produced at this latter location. The work is presented in a period frame.

Genre Scene at Court

Oil on canvas. Signed lower right. Antonio Zavaga was an Italian painter between the 19th and 20th centuries, specialized in 18th-century style painting, mainly of a gallant and salon setting. The scene of this work is also set in a rich 18th-century style hall: a lady and a gentleman sit at a table playing chess, while the lady-in-waiting brings tea and another gentleman watches amused. The work is presented in a painted frame from the late 19th-early 20th century.

Seashore with Boats and Figures

Oil on canvas. Signed lower left. Son of an artist, Cesare Gheduzzi established himself as a landscape painter. Although he lived in Turin, he spent a long time on the Ligurian Riviera, creating wide views of the sea, coastal landscapes and fishermen at work, which he reproduced with fidelity and elegance, while favoring cold colors to create an emotional detachment and favor the scenographic effect (inherited from his father who was a set designer for the Teatro Regio in Turin). It is presented in a contemporary frame.

Oil on canvas. The scene of the well-known evangelical episode of the adoration of the wise men is set in an unusual setting: the Holy Family is not in a hut or a stable, but in front of the architectural remains of an imposing marble building; placed on top of a hill, it sees in the background a flat landscape rich in vegetation and inhabited by villages with numerous bell towers. The figures of the kings and the family are depicted with delicate lines, bright but shaded colors, detailed details; moreover in the right corner of the scene appears an emaciated, poor, indistinct figure, a beggar who, hidden in the shadow of the palace, bows to pay homage to the little Jesus, on a par with the rich and powerful kings in his humble devotion. On the back of the canvas there are traces of small restorations. At the bottom right there is a slight cut. The work is presented in a period frame.

Sant'Ilario 1945

Oil on canvas. Signed and dated lower left. Title on the back of the frame. The painter Mario Guerzoni distinguished himself as a landscape painter, proposing glimpses of different parts of Italy, often coastal views. Sant'Ilario is located in the Riviera di Levante, in the Golfo Paradiso, on the slopes of the Ligurian Apennines. Framed.

Pian Rosa

Oil on board. Signed lower right. On the back in pencil a further signature and the location Pian Rosa. The title identifies the large glacier visible in the background, in the gap that opens between the plants of the plain in front of the Alpine chain. Pian Rosa (or Plateau Rosa) is a glacier located in the Swiss Valais in the Pennine Alps, just beyond the Italian-Swiss border, in the Matterhorn group. Luigi Comolli, an artist from Milan, distinguished himself for his landscape painting, mainly of northern Italy, and for his still lifes. The impressionist influence can be found in his works, drawn from his formative path in Paris in his youth. The work is presented in a frame.

Glimpse of Wooden Landscape

Oil on hardboard. Signed lower right. On the back in pencil, further signature and the location Oleggio Castello, a small town in the province of Novara. Luigi Comolli, an artist from Milan, distinguished himself for his landscape and still life paintings. His works show the impressionist influence, drawn from his formative experience in Paris in his youth. The work is presented in a frame.

Scene with Figures, 1950 ca.

Oil on canvas. It belongs to a group of works called Jeux de Symboles, created from 1945 to 1950 approximately, in which ORAZI's painting moves towards the production of the so-called Peinture du Mouvement, characterized by the work on the dynamic effects of the human body (and animals) in motion, emphasized by the strength of color. Color dominates this scene, strong, acid, bright color, which outlines almost geometric human and animal figures, with marked and clear contours, in which two different ethnic groups seem to be recognized in comparison. The canvas has small losses of color. It comes from the artist's family collection.