Painting by Giorgio Nannei  - Untitled 1984/86

Self-portrait 1987

Oil on canvas. Signed lower left. On the back is a label from the Ponte Rosso Gallery, containing the title and date of the work. There is also a label certifying participation in the 1990 exhibition at the Permanente in Milan. The work comes from the Campari corporate collection. The painting of Attilio Rossi, who was also an important graphic designer and cultural promoter, ranged from abstract art to hyperrealism, reaching the frontiers of the most advanced figurative art. In the final period of his career, to which the work presented here belongs, his docks, still lifes, and self-portraits gave way to the great cycle of metaphysical painting. The work is presented in a frame.

Ride in the Woods 1955

Oil on canvas. Signed lower left. The work was exhibited at the 1955 exhibition at the Palazzo della Permanente in Milan (participation label on the back). Born in Palermo but trained in Milan, Gian Rodolfo D'Accardi debuted in the 1930s, achieving widespread success throughout Italy. His work ranges from landscapes to portraits, still lifes to masks: vaguely post-impressionist in nature, his art expresses itself with vibrant, harmonious colors and imaginative forms, imbued with poetic intensity. Among his favorite subjects is the vast and varied series of horses and riders in the woods, to which the work presented here also belongs. The work comes from the Campari company collection. Presented framed.

The Darsena 1966

Oil on canvas. Signed and dated upper left. Small label at lower left with the title and an exhibition number. From the Campari corporate collection. Attilio Rossi, who was also an important graphic designer and cultural promoter, ranged from abstract art to hyperrealism, reaching the frontiers of the most advanced figurative art. In his final period, to which the work presented here belongs, his docks, still lifes, and self-portraits gave way to the great cycle of metaphysical painting. The work is presented in a frame.

Procession I, 1982

Oil on canvas mounted on hardboard. Signed and dated lower right. Title on the back. From the Campari corporate collection. Venezuelan artist Fernando Wamprechts is considered an exponent of "neo-expressionism" a pictorial movement that reclaims the human figure, but through a simplified and often elementary figuration, combined with a violent and highly expressive palette, to convey a tragic sense of humanity and history. In his works, set in a scenographic space dominated by many white spaces, his stylized figures emerge like splashes of color, suspended without gravity and perspective. The work is presented in a frame.

Guitar Player

Mixed media on panel. Signed upper left. Robbiate-born painter Antonio Manzoni distinguished himself with a pictorial production influenced by Expressionism, depicting reality—both landscapes and figures—with an extremely synthetic interpretation, an almost brutal exercise in reduction. This is reinforced by a personal technique that involves a highly textured support on which the artist then redraws the figures, creating an almost two-dimensional effect. Color is also used according to an emotional and spiritual interpretation, without any connection to reality. In this case, the protagonist is a human figure, a guitar player, who emerges from the dark background through lines and convolutions of the brush drawn on the textured surface.

Fluorescent Polychrome Dynamics, 2019

Fluorescent paper on black cardboard. The back features a label from the artist's studio with the title, description, and date of the work. The work is published in the artist's catalog "Geometrie cromo-cinetiche" on page 26 (attached to the work). A graduate in Industrial Design, Dario Zaffaroni's artistic career traces its roots back to the 1960s. Visual perception is the cornerstone of his work. In the Cromodinamiche Fluorescenti series, he works with shapes, geometric reliefs, and fluorescent cut-out paper: the fluorescence acts as a powerful visual stimulus, almost as if it were a draw for attention. The geometric shapes, in their mathematical rigor, seem imprisoned in colored stripes that intersect like laces, bars, constraints. But as soon as the observer shifts their perspective, the forms free themselves and acquire dynamism and energy, inviting them to play with variations in tone, light, refractions, shadows, and shapes that result from the observer's movement relative to the artwork. The artwork is housed in a display case.

The Medical Herb Seller

Oil on canvas. West Africa. The naive-style painting depicts a woman selling medicinal herbs, holding a sign indicating the ailments she cures. These types of paintings, often used as advertisements for market stalls, reference traditional African values of motherhood, fertility, and prosperity, but transposed into a contemporary cultural context.

Big New Year's Eve Party 1960

Mixed media on paper. Signed and dated lower right. A humorous and ironic presentation of the menu for the 1960 New Year's Eve party, by the renowned Russian set designer, painter, and illustrator Nicola Benois, who was the chief set designer at Milan's Teatro Alla Scala from 1935. The work includes a photo of a thank-you note that accompanied the piece, addressed to the friend with whom the artist shared the party. Framed work.

Figures of Lovers 1975

Oil on canvas. Signed and dated lower right. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or heads of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, often in an erotic attitude. The work comes from the artist's family's private collection.

Figures, 1975 ca.

Oil on canvas. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or those of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies. Here we can perceive some figures, human and animal, probably mythological, engaged in an erotic plot. The work comes from the artist's family's private collection.

Garda Landscape 1953

Oil on panel. Signed and dated lower right. On the back are certificates of participation in the 20th National Biennale of Milan in 1957, with title. From the Davide Campari collection, Milan. Renzo Biasion, in addition to being a painter, was also a writer, engraver, and art critic. His painting work primarily includes landscapes and interior views. The work is presented in a frame.

Female Figures

Oil on masonite. Signed lower right. From the Campari company collection. Leonardo Stroppa, a painter from Turin, created many figurative subjects, as well as landscapes and floral compositions, often using watercolors or, even when using oil paints, choosing soft palettes and delicate pastel nuances. These, combined with broad brushstrokes and soft edges, give his works a touch of lightness. His figurative subjects include noble figures, such as these two elegant society ladies, engaged in amiable and composed conversation in their drawing room, but also popular figures and scenes of city life, both indoors and outdoors. The work is presented in a frame.