Antique Painting The Campo San Salvador in Venice XX Century - Copy from G. Antonio Canal

View of the Village at Sunset

Oil on cardboard. Signed lower right. Gheduzzi was best known for his work as a set designer at the Teatro Regio in Turin, but he also established himself as a landscape painter, painting en plein air in the style of the Rivara school, a Piedmontese imitator of the more famous Barbizon landscape school. This glimpse of a country village, illuminated by the rosy reflections of the sunset sky, exudes a captivating atmosphere. The work is presented in a carved and gilded wooden frame, with some minor losses.

Val Vogna

Oil on canvas. Signed lower right. The back features a label from the 1928 Venice Exhibition. Mountain view of the Val Vogna, a small, wild side valley of the Valsesia. Trained at the Brera Academy under Tallone, Milanese artist Lodovico Zambeletti successfully devoted himself to landscape subjects, for which he expressed a particular sensitivity, although he also painted genre and environmental figures and was an important portraitist. The painting has slight paint loss; it requires restoration. Framed.

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.

Oil on canvas. Signed lower right "J. Dupont da Velzquez". This is a copy of Diego Velazquez's famous masterpiece, painted around 1657 and housed at the Prado Museum. Until the mid-20th century, the painting was titled "The Tapestry Factory of Santa Isabel in Madrid": only in 1948 did studies by art historian and critic Diego Angulo Íñiguez identify a connection between the painting and the ancient Greek myth of Arachne. In the foreground, several spinners work in a bare, dimly lit room, with a soft light reflected from the background. Five women are depicted: on the left, in the dim light, the eldest spinner operates the reel; in front of her, on the right, in full light, a young girl is collecting thread on the reel; They are respectively the representations of Athena, still hidden under false guise, and the human Arachne, during their contest. The other three women are merely surrounding elements; the central one is merely a static silhouette. In the background, central and illuminated by a powerful beam of light emerging from the left, and enlivened by the bright colors of the tapestry and the robes, is the scene of the goddess's revelation to the woman. Compared to the original, this copy, while faithful in the figures and details depicted, is painted with more nuanced brushstrokes and less defined outlines, as well as less vibrant colors. The work is presented in a frame.

Portrait of a Girl, 1940

Oil on canvas. Signed and dated lower left. Attilio Corsetti was primarily a landscape painter, dedicating several views of Liguria, but he also painted several portraits. He adhered to the "Novecento" movement, which expressed a reaction to the avant-garde in favor of a return to tradition. The work is presented in a contemporary wooden frame.

Gouache on cardboard. The view of the Bay of Naples at night, illuminated by the erupting Vesuvius volcano, is part of a large production for tourism, due to the evocative beauty of the location. The work is presented in a period frame.

Tempera on cardboard. The broad view spans a harbor in a large gulf, likely that of Naples; seen from the heights of the hills behind, it features two popular figures ascending a wide path in the foreground. The painting is part of a large series of landscape paintings for tourism. Presented in a contemporary frame.