Painting by Giorgio Sacchetti - In my Studio 1943

Antignano Vecchie Case al Sole 1966

Oil on canvas. Signed and dated lower right. Title, further signature, and stamp of Galleria Bolzani, Milan, on the back. Giuseppe Comparini is a Florentine painter of clear Macchiaioli lineage. His aim was to depict on canvas the changing light at different times of the day. He created works in which the themes he addressed—views, landscapes, farmers at work, the Tuscan countryside—while imbued with realism, are based on plays of light that lend a significant touch of lyricism. The diffusion of his work is closely linked to his partnership with the Milanese gallery owner Guido Bolzani (1957), who regularly hosted exhibitions of the artist. Framed work.

Motivo a Burano 1967

Oil on canvas. Signed lower right. Title on the back, stamp of Galleria Bolzani, Milan, and the artist's studio address. The Venetian painter Eugenio Polesello devoted himself primarily to landscapes, which he executed with clear tones and simple color schemes, always reminiscent of his Venetian training. Framed.

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.

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, 1930 ca.

Oil on canvas. Signed lower right. Ivan Karpoff, of Russian origins but raised and artistically established in Italy, was appreciated for his painting oriented towards the Italian impressionistic realism of the late 19th century; he devoted himself mainly to landscapes and portraits. In this work he offers a glimpse of the countryside and hills overlooking a lake, with two peasant figures intent on harvesting. On the back of the canvas there is a dedication: "Campanini... to the Manara spouses Luciano and Adriana, Milan 28 October 1939 XVII". The painting is presented in a mid-1900s frame.

Oil on panel. Signed lower right R.lo Pellegrini. It is probably a work by Romolo Pellegrini, who lived between the 19th and 20th centuries, an artist of landscapes and still lifes with delicate colors. Here we see a bright, flat countryside, with a flock of sheep grazing in the meadows, watched over by the shepherd. The work is presented in a contemporary frame, with missing parts.

Landscape with Mill

Oil on cardboard. Signed lower right. Carlo Vittori, an artist from Cremona, mainly portrayed the landscapes of his Po Valley. Here he proposes a countryside inhabited by a mill, to which the water arrives through an overhead canalization. The painting is presented in chronicle.

Sketches for Aida

Mixed media on paper. Seven signed and dated sketches, and, at the top, a reproduction of the artist's signature. These are works by the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. From a private collection in Milan. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy. A series of seven signed and dated sketches from this work is presented here. Framed

The Man in the Kitchen

Mixed media on paper. Signed lower center. The renowned Russian set designer, painter, and illustrator Nicola Benois, who was the chief set designer at Milan's Teatro Alla Scala from 1935, contributed some of his drawings in 1977 to illustrate Francesco de' Rogati's book, "La cucina dell' uomo solo" (SM editore, 1977). The original drawing, which later served as the cover illustration for the text, printed in a smaller format, is shown here. Framed.

The Man in the Kitchen

Mixed media on paper. Signed lower center. The renowned Russian set designer, painter, and illustrator Nicola Benois, who was the chief set designer at Milan's Teatro alla Scala from 1935, contributed some of his drawings in 1977 to illustrate Francesco de' Rogati's book, "La cucina dell'uomo solo" (SM editore, 1977). Presented here is an original drawing, which was later used as an illustration for the text, printed in a smaller format. Framed.

The Man in the Kitchen

Mixed media on paper. Signed lower center. The renowned Russian set designer, painter, and illustrator Nicola Benois, who was the chief set designer at Milan's Teatro Alla Scala from 1935, contributed some of his drawings in 1977 to illustrate Francesco de' Rogati's book,"La cucina dell' uomo solo" (SM editore, 1977). Presented here is an original drawing, which was later used as an illustration for the text, printed in a smaller format. Framed.

Sketch for the "Aida" 1974

Charcoal on paper. Signed and dated lower right, with the name of the sitter. Accompanied by a photo certificate from the General Catalogue and Archive of the artist's works. This work is by the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy, a sketch of which is presented here. The work is presented framed.