Antique Painting Luigi Comolli Landscape with Figures Italy 1929 - Landscape with Figures 1929

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 with 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 workshops of this latter location. The work is presented in a period frame. A version of this work appears in Bianca Tosatti's monograph, "I Ferrario maestri di tarsia," published in 2000.

Grotesque with Angels

Fake fresco on canvas. In imitation of classical frescoes, the canvas features a grotesque decoration, characterized by fantasy plant forms intertwined with human figures, animals or bizarrely deformed masks, in this case cherubs and birds, inserted in architectural references, as in this case the fake support base.

Landscape with Figures

Oil on canvas applied to board. Signed lower left. On the back there is a cartouche with expert authentication dated 1944 and signed by a Milanese art critic. In the vast plain, green but with few trees, which recalls the Lombard plains, two farmers work near a pond, close to their farmhouse; in the background you can glimpse the mountain peaks of the Alpine chain. The subject is part of the production of strong naturalistic matrix of the painter, born in Modena but artistically raised in Milan and its surroundings, places that were frequent themes of his landscape production. The painting is presented in a period frame.

Tempera on canvas. Signed Mimy and dated lower right. The scene, set in an elegant living room, features a group of ladies and gentlemen entertaining themselves musically during a reception: while a woman plays the spinet, a young couple dances. The work is presented in a period frame, with a large lack in the upper part.

In Nome della Pace sulla Terra 1969

Oil on canvas. Signature, title, and date in Cyrillic on the back. Viktor Petrovich Rudametkin is a Ukrainian artist who has established himself as a landscape painter and colorist. In this work, using his characteristically vibrant palette, he depicts a peasant mother in the middle of a field of sunflowers, a symbol of life and peace, contrasting with the images of military planes streaking across the sky. Created during the years when Ukraine was part of the Soviet Union, the image can be thought of as a call to peace and a message of hope for the artist's native land, still torn apart by the serious conflict with Russia.

Mother with Child

Oil on canvas. Signed lower right. On the back there is a cartouche of authentication from "Meeting Art Roma"; with the data of the work, and stamp of provenance from the "Centro Artistico Mercurio, Milan". Giuseppe Migneco, originally from Messina but who moved to Milan when he was young, 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-gardes. 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 this work appear his characteristic figures (which could belong to both Sicily and Mexico!) engaged in a very prosaic and realistic activity of popular daily life, that is, a mother who combs and cleans her son's head, probably infested with parasites. The work is presented in a frame.

Figures of Lovers 1975

Oil on canvas. Signed and dated lower right. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or heads of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, often in an erotic attitude. The work comes from the artist's family's private collection.

Figures, 1975 ca.

Oil on canvas. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or those of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies. Here we can perceive some figures, human and animal, probably mythological, engaged in an erotic plot. The work comes from the artist's family's private collection.

Composition, 1933

Oil on canvas. Signed and dated lower right. Partial label of the Galleria Pesaro in Milan on the back. The work belongs to the first period of the French artist ORAZI (a name he wanted written in capital letters), a period still linked to figurative painting, influenced by the historical avant-gardes, in particular by post-impressionism; already in this first phase, research on color has a dominant place in the representation of characters and objects. In this composition, the red and blue colors of the books, the bottle label, the feather, stand out against the soft and homogeneous colors of the other objects, among which the stone mask dominates the left hemifield. The work comes from the artist's family of origin. It is presented in a period 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.

The Shawl Portrait of a Mexican Woman ca. 1950

Oil on canvas. Signed lower right. The French painter ORAZI stayed in Mexico in 1955 and then in 1956-57, which was an exceptionally attractive world for intellectuals and artists of the time. The natural scenery, the customs and traditions of the local population were the themes that converged in the series of paintings called Peintures sur le Mexique, landscapes, compositions and portraits without giving in to the taste for the exotic, with an extremely careful work on the color to represent, without descriptivism, the elements of nature and the figures of men and women, already projected towards abstraction. This pictorial series, composed of 35 pieces, was then exhibited in 1957, upon his return to France, at the Vendôme Gallery in Paris. The painting comes from the private collection of the artist's family.