Gustav Klucis Figure Modern Art Constructivist Russia XX Century - Figure

Figure in Rest 1969

Pen on paper. Signed lower right. Accompanied by photo authentication from the Mario Tozzi Archive. In Maestro Tozzi's extensive production there are many drawings, such as this one presented here, made with different techniques (ink, pastel, pencil, sanguine), dedicated to the human figure: in his dry and stylized style, Mario Tozzi outlines stylized, refined figurines in their silent and discreet geometry, favored by the absence of color, which brings out the forms on the white paper. Even in his pictorial production, Mario Tozzi's favorite subjects are, classically, figures and still lifes, but both figures and death are a set of solid geometric elements, the sphere, the cylinder, the cone, etc. The bodies are elementary, essential in the lines and details, powerful, statuesque, composed of just modeled solids, while the still lifes are a celebration of Euclidean geometry such as the jugs, bowls, flasks which are paradigms of volume and geometric rigor . Mario Tozzi's compositions are influenced by Cubism for certain cuts, by Metaphysics for certain architectural insertions and by Abstractism for the insertion of geometric figures. The work is presented in a frame.

Mountain Landscape

Oil painting on canvas. Signed lower left. The Milanese painter Gino Federici specialized in Alpine views, as in this view, where in the foreground a flock of sheep drinks water from a stream, in the wide valley, under steep peaks. The painting is presented in a contemporary frame. It shows signs of previous restoration.

Mixed media on canvas. Signed lower right. After his initial Futurist phase, Sordini's painting allowed the material to take center stage and became increasingly rarefied. His interest in the sign grew and became more defined—a slender and sparse sign, primary yet sinuous, and in a soft, delicate, almost impalpable palette. Sordini "uses a completely graphic technique to create sparse, subtle traces of color on the canvas, dominated by a single hue, that evoke memories of filamentary anthropoid images".

Relief Painting '58-'68

Mixed media on canvas, with material applications. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, devoted himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerged from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, was the exploration of nature, its components and its phenomena (flowers, plants, sands, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. The work is presented in a frame. From a collection of the artist's family.

Relief Painting, 1958-1968

Mixed technique on canvas, with material and plate applications. On the back there is a label from a Parisian art transport service, with the artist's name: ORAZI's works participated in numerous exhibitions in the French capital, both personal and collective. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, dedicated himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerge from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, is the exploration of nature, its components and phenomena (flowers, plants, sand, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. Often in these works there is a reference to volcanic activity and the material it produces, sometimes expressed in titles such as "Lava Flow", "Volcanic Sands", Volcanic Beaches". The work is presented in a frame. Coming from the artist's family collection.

Relief Painting '58-'68

Mixed media on canvas, with material applications. Signed lower right. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, devoted himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerged from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, was the exploration of nature, its components and its phenomena (flowers, plants, sands, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. The work is presented in a frame. From a collection of the artist's family.

Jehovah Ordonnant de sa Main Puissante une Famille Cosmique, 1970

Oil on canvas. Signed and dated lower right. In ORAZI's abstract pictorial phase, his strong inclination to create circular shapes, often knotted or concentric, is often expressed. This tendency becomes central in the pictorial phase of the years 1970-1977, called Ligne Circulaire, in which he abandons creations in relief and the reference to the shapes and impressive events of nature, to instead depict the harmonious dimension of the universe, the birth and movement of the planets, the vastness of the firmament. The colors soften, are rich and at the same time tender. In some paintings ORAZI also depicts fascinating representations of Mother Earth embracing her creatures (insects, birds, flowers) or of the Moon. Or as in this work, he expresses a direct reference in the title to divine creation, depicting "God who orders the cosmic family with his powerful hand". The work comes from the artist's family collection. It is presented in a frame.

Tête-Paysage 1970 ca.

Oil on canvas. Signed lower left. The painting belongs to ORAZI's production from 1970 to 1977. 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): the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, or as in this work, hide a head or a face, often "faunesco". The work comes from the artist's family's private collection.

Flower's Vase

Oil on canvas. Signed lower right. Accompanied by a photo certificate issued by the Milanese art gallery. Anna Gumlich-Kempf established herself as a painter of still lifes of flowers and fruit. In this composition, the explosion of colors of the flowers stands out against the monochrome background. Their vague, ill-defined outlines, yet their multiple, variegated forms, give the composition a lively, dynamic feel. The painting is presented in a period gold frame.

Handwritten and autographed letter by the artist, dated 1951. The letter is addressed to Gino Ghiringhelli, founder of the historic Il Milione art gallery in Milan. In this letter, Rosai tells the gallery owner the titles of his paintings to be reproduced in the catalog, drawing sketches to match the title and date of production. In the composition presented here, the collector from whom the work originates has combined the letter with the cover and pages of the catalog with the aforementioned reproductions. The composition is presented in a frame.

Horse in a 1950s Landscape

Marker on rice paper, glued to cardboard. Signed at the bottom. Below is a dedication from the artist (Greetings dear - Aligi). The work is accompanied by a photo certificate from the Sassu Foundation, archive number PNV49. The protagonist of this drawing is once again the horse, the artist's favorite animal. He was fascinated by the energy and dynamic strength of these animals, which represented life itself and freedom, which Sassu expressed through the twisting of their figures. Sassu's works, which include painting, sculpture, and ceramics, showcase the power of horses in scenes of racing, battles, or immersed in nature, often with an emphasis on dynamism and plastic energy. Framed work.

Landscape with Figures and Cattle

Oil on canvas. The work, signed Sorolla lower right and dated 1928, harks back to the style of Joaquim Sorolla y Bastida (1863-1923), the renowned Valencian painter who chose to reflect the Mediterranean light in the everyday scenes of his city, in a unique style known as luminism. His works are characterized by their plein air painting, depicting simple people often framed in fishing and sea scenes, capturing customs and traditions, as well as the freedom with which they reflect light and color. In particular, the urban beaches of Valencia, animated by numerous figures, including bathers and others, were a recurring setting in many of his paintings. In this work, the scene is indeed that of a beach, where figures with some cattle pass by, while beached boats and bathers can be glimpsed in the background. The work, which is effectively pictorial, despite being very close to Sorolla's manner and style, is not recognized as authentic by the artist's official archive. It is presented in a period frame.