Modern Drawing Signed Salvatore Fiume Marker on Paper - Figures

Figure with Flowers

Oil on canvas. Signed lower left. Additional signature, stamp, and declaration of authenticity on the back. Influenced by Expressionism during his Parisian years, Fantuzzi placed a strong emphasis on the expression of emotions and moods in his works. Color dominates his canvases in its boldest palettes, typically cool tones of blue, green, and purple, creating sometimes stark contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communicating in interpersonal relationships; he often paints poorly defined figures and eyeless faces. Framed.

Figure with Flowers

Oil on canvas. Signed lower left. Additional signature, stamp, and declaration of authenticity on the back. Influenced by Expressionism during his Parisian years, Fantuzzi placed a strong emphasis on the expression of emotions and moods in his works. Color dominates his canvases in its boldest palettes, typically cool tones of blue, green, and purple, creating sometimes stark contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communicating in interpersonal relationships; he often paints poorly defined figures and eyeless faces. Framed.

Pensionati Toscana

Oil on canvas. Signed lower left. Further signature and title on the back. The painting of Livorno-born painter Giuseppe Da Vicchio is oriented toward technical completeness, the study of "real life" and the absorption of emotions, atmospheres, and human values. The primary subjects of this period are landscapes, but this painting also reflects a study and interest in pensioners, farmers, and fishermen, subjects that would later become characteristic of his work. The work is presented in a period frame.

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.

Priests with Demon 1968

Marker on paper. Signed and dated lower right. A greeting card from the artist, autographed by the artist, is attached below the drawing. Known as "the painter of dreams" Gianfilippo Usellini uses his art to narrate episodes of everyday life and, above all, childhood memories. His work is characterized by simple colors and forms, yet rendered with an ironic, suspended language that, while drawing on fifteenth-century art, translates into magical, suspended, surreal, fairytale-like atmospheres. His favorite themes have always been "libraries, porticos, courtyards, nuns, priests, children, cardinals, judges, mermaids, dogs, cats, lovers"...everything and everyone, he said, because "they are the image of modern man." 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

Pencil on paper. Signed lower right. Emilio Scanavino, a painter and sculptor originally from Genoa, began his career as a figurative artist, then developed post-cubist characteristics into his work, with forms that gradually became more stylized until they completely dissolved in the early 1950s. 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.

Sketches for "Aida" 1974

Charcoal on paper. Signed and dated lower right, with the name of the sitter (for Amneris). 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 for Princess Amneris is presented here. The work is presented in a frame.

Sketch for the costumes of "Aida", 1974

Charcoal on paper. Signed and dated lower right, with the name of the character (the King in Act I). Accompanied by a photo-certificate from the General Catalogue and Archive of the artist's works. It is the work of 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 for the character of the King is presented here. The work is presented in a frame.

Sketch for the costumes of "Aida", 1974

Charcoal on paper. Signed and dated lower right, with the name of the sitter (for Amneris). 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 for Princess Amneris is presented here. The work is presented in a frame.