Swatch Skin Pink Lustrous Pink SFZ110 Vintage Switzerland 2005 - Switzerland, 2005

The Orange Seller

Oil on canvas. West Africa. This naive-style painting depicts an orange seller in an urban market. These types of paintings, often used as advertisements for market stalls, reference traditional African values of motherhood, fertility, and prosperity, transposed into a contemporary cultural context.

Untitled, 1992

Mixed technique on paper. Signed lower center. The artist's stamp with the signature and date of the work is on the back. Caccioni, an artist born, trained, and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent place within the contemporary art scene. His research primarily utilizes unusual materials such as acetates, PVC, and, more recently, stage backdrops from 19th-century plays, upon which he paints forms drawn from personal memory and influences from diverse cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that shapes the work and is capable of expressing thoughts; working through superimposition, the images are constructed by adding or subtracting color across various supports. Framed.

Female Portrait, 1894

Oil on cardboard. Signed and dated lower right. The reverse bears a dedication: "If one day I acquire a good name, it will be the sketch of a famous man!! If I remain in the shadows... the memory of a friend. Verona, May '94". The painter Giovanni Bevilacqua, originally from Verona but who lived in Genoa, made his name primarily as an interior fresco painter. This small tribute to a friend delicately portrays a female face. The painting is presented in a contemporary frame.

Oil on canvas. Early 1900s. This high-quality painting was created by an anonymous artist inspired by the works of Vittorio Reggianini (1858-1938), who enjoyed enormous success with his interior and living room scenes, depicting women or children engaged in everyday, often recreational, pursuits, like these two ladies enjoying tea and chatting amiably. The painting is presented in a contemporary frame.

China, XX Century

Bamboo etagere. Three lacquered and painted chinoiserie shelves, minor wear. China, 20th century.

Figures with Flowers

Oil on canvas. Signed lower left. A signed declaration of authenticity is 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, typically in cool tones of blue, green, and purple, creating sometimes violent 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.

Oil on canvas. The work, painted in the style of early 17th-century Spanish painting, is actually from the late 19th century. It depicts a noblewoman wearing a ruff, the stiff, decorative, pleated collar typical of both men's and women's clothing from the 16th and 17th centuries. The work has been previously restored and relined. It is presented in a mid-19th-century gilded frame, inserted into a larger 20th-century frame.

The Queen of Ice Cream 2021

Oil on canvas. Signed lower right. Fabio D'Aroma is an artist with an eclectic and surprising path, whose art stands out for the intersection of classical painting tradition and a contemporary approach. Regarding his painting style, D'Aroma has said: "I like to define it as a sort of pop surrealism with a classical foundation. I draw inspiration from the great Italian masters, but I reinterpret them with an irony that reflects the present". His figures, often grotesque in style but created with a surprising pictorial technique, are animated by a desire to provoke, often eliciting profound reflections on important, if not dramatic, themes, but with a smile.

Sole Produttore

Silkscreen, applied to a metal plate. Signed lower right, titled at the bottom. Edition 446/500. The sun has been a theme dear to Giò Pomodoro since the 1950s, a theme the artist never abandoned, developing it particularly from the second half of the 1970s until a few years before his death, when, in 2000, he donated a monumental white marble sun to the City of Genoa, located right at the mouth of the harbor, on the Ponte dei Mille. The Producing Sun is a metaphorical representation of society's equitable exploitation of the sun's generative power. Passionate about astronomy, geometry, and poetry, Gio's Pomodoro has always been fascinated by the vital and symbolic potential of the image of the star. In these works, the artist represents it through a stylized circular shape, which is broken to accentuate the potential of elementary geometric forms (the circle, the square, the triangle) to open up to different dynamic tensions. Around these basic shapes, Pomodoro then inserts writings consisting of words that refer to referential concepts, such as real, possible, collective—in this case: "It moves, turns, builds a common harvest"—combined with other inscribed shapes that indicate physical structures, such as the hinge, the wheel, and the seed.

Figure of a Man

Oil on canvas. Signed lower right. Antonio Valdoni, a painter from Trieste who worked in Milan, primarily established himself as a landscape painter. In this work, he instead depicts a man-at-arms wielding a trident. Valdoni, who served in Garibaldi's ranks during the Wars of Independence, expresses all the pride of a soldier here, even though it dates back to an earlier era. The painting was previously mounted on a new stretcher, with reinforcements on the canvas. It is presented in a frame constructed from late 19th-century frame parts.

Mixed technique on paper. Initials AS at lower right. A bouquet of roses stands out against a blue background. The painting is presented in a contemporary ebonized frame, decorated with gilded carvings.

Saint Bernard of Clairvaux

The sculpture described here, carved from a block of Swiss pine in the early 17th century, depicts Saint Bernard of Clairvaux. The composition is reminiscent of the early 16th-century engraving by Marcantonio Raimondi, who depicted the Saint in monastic habit, holding a crosier, a Bible in his hand, and a demon in chains at his feet. The sculpture was intended for a niche and therefore unfinished on the back. The standing saint is depicted in slight motion, holding an open Bible in his right hand and the beginning of the chain that binds the demon at his feet in the other. Unfortunately, the central section of the chain is missing, but it is completed with a collar; the demon is subdued by the Saint, who rests his foot on it. Although the colors and gilding have some gaps and soot, we can see that the saint's complexion is rosy, while the demon is reddish, almost brown, due to exposure to the flames of the infernal world. Note the Saint's splendid robe, which, despite depicting a monastic habit, is lacquered in shades of red with gold embroidery on the inside and gold with bluish embroidery on the outside. The robe is no longer the humble hermit's, but that of the saint in celestial glory, bathed in light, in sharper contrast to the figure of the devil.