Contemporary Painting Signed Nino di Salvatore Italy 1994 - Spazio Gestaltico Curvo 128 1994

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.

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.

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.

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.

Fantastic Vision with Figures

Oil on canvas. The signature of the painter Franco Rognoni appears at the bottom right, but the work has not been recognized as authentic by the artist's archive. It also well reflects Rognoni's pictorial style, characterized by figures, both men and houses drawn in black with a few precise strokes, and then filled with color that fades into the background. In the canvas, an elegant male figure appears, leaning impassively and indifferently on the flowered railing of a terrace overlooking a city; below him, at the bottom left, another face emerges (the same man?) wearing a military helmet and placed on a darker, less sunny city background: whether it is the man at war who recalls the time of peace or vice versa, the reference to the alternation in life of peace and war, of serenity and drama is evident. The work is presented in a 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.

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.

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.

Torrefazione Caffè Pernigotti, 1924

Color lithograph. Signed and dated 1924 top right. Printed by the printer Barabino & Graeve of Genoa. This is an advertising poster for the well-known Pernigotti company of Novi Ligure, today renowned above all for the famous Gianduiotti chocolates, but which began with the production of various confectionery and similar products. Ettore Mazzini, a Genoese portrait and landscape painter, also created various advertising illustrations for important Ligurian companies (we recall the poster for the naval, thermal, electrical and mechanical constructions of the Ansaldo group of Genoa). The poster presented is in good condition, with humidity stains and a cut in the paper. Framed.

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.