Modern Painting Signed Ludovico Zambeletti Val Vogna XX Century - Val Vogna

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.

Glimpse of a Village with a Fruit Seller

Oil on canvas. Signed lower right. View of a neighborhood crossed by a small bridge over a canal; central to the street is the figure of a fruit and vegetable vendor, sadly awaiting the arrival of customers on the threshold. Paolo Baroni produced both landscape and folk paintings, as well as drawings, caricatures, and decorative works. Traces of repairs are visible on the back of the canvas. It is presented in a contemporary frame.

Padova, il Bacchiglione, 1942

Oil on canvas. Signed lower center. On the back is a label from participation in the XXII Venice Biennale in 1942, and another from the 1943 exhibition of contemporary art, also in Venice, both bearing the title. Fioravante Seibezzi belongs to the large group of post-Impressionist artists of the Burano school. He primarily painted views of the lagoon city and other cities in the Veneto region. Presented here is a view of the Bacchiglione River, one of the main rivers in the Veneto region, which runs through a large stretch of the Po Valley, passing through two major cities, Vicenza and Padua. Presented in a contemporary frame.

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.

Interior with Figures and Animals, 1917

Oil on canvas. Signed and dated lower right. In Giuseppe Solenghi's extensive production, rich in lyricism expressed with delicate and refined tones and strokes, the urban landscapes of Milan or the Venetian lagoon views prevail, but there are also several glimpses of the countryside, mainly Lombardy, as well as rustic interiors. In this work the artist portrays the interior of a peasant house, where humans and animals coexist: the scene is pervaded by a serene atmosphere of family everyday life, in which the warm light of the sun filtering through the open door creates plays of light and shadow on the earth tones of the interior. The painting is presented in a mid-20th century frame.

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.

Gouache on cardboard. Wide view of the Bay of Naples, taken from the hill north of the city, with a commoner walking along the path. Framed in period style.

The Little Girl and the Sheep

Oil on canvas. Signed lower right. Cesare Laurenti was a multifaceted artist, highly influential in the history of applied arts in Italy between the 19th and 20th centuries, ranging from easel painting to mural decoration, sculpture, illustration, architecture, engraving, monumental ceramics, restoration, technical experimentation, and the antiques trade. His early work was influenced by Domenico Morelli, whose pupil he was in Naples; some of his rural scenes, featuring shepherdesses and flocks, such as the one presented here, are inspired by a realist taste. His artistic career later shifted toward a more symbolist style, experimenting with various artistic techniques. The work is presented in a period frame.

Portrait of a Lady

Crayons on cardboard. Signed lower right. Piero Galanti, an artist from Brescia, primarily painted landscapes, still lifes, and portraits. In his portraiture, Galanti favored depicting his subjects in solemn poses, in keeping with the tradition of official portraiture, taking pleasure in the preciousness of silks and velvets. The work is presented in a contemporary frame.

Portrait of a Boy

Crayons on cardboard. Signed upper right. Piero Galanti, an artist from Brescia, primarily painted landscapes, still lifes, and portraits. In his portraiture, Galanti favored depicting his subjects in solemn poses, in keeping with the tradition of official portraiture, taking pleasure in the preciousness of silks and velvets. Contemporary frame.

The Shepherdess

Oil on canvas. A beautiful figure of a young girl in traditional pastoral costume, elegant in her gold-fringed vest, her hat with a peacock feather, her earrings, her water bottle on her belt, and her hooked staff held firmly in her hands: it seems more like a portrait in folk costume than a real figure of the people. Pesenti became famous for his views of interiors, often of churches, but also for genre scenes with popular figures. The painting has been restored in the past. It is presented in a period frame.

City View

Oil on wood. Signed lower center and on the back. Aldo Bressanutti, a Friulian painter and engraver over a century old, has created numerous views of Friulian and Istrian cities, rendered with an initially hyperrealist style that then evolved, starting in the 1970s, into a surrealist approach. This aerial view of a small town likely dates to the 1960s. Despite its faithfulness to real-world geometry, the color palette and illustration-like style stand out. The work is presented in a frame.