PAINTINGS OF THE '900

Oil on canvas. Mid-1900s. Trace of signature at lower right. The painting reflects the twentieth-century style and creates a realistic yet idealized landscape with characters reminiscent of classical Italian figurative art: two minstrels playing and singing, three dancing female figures evoking the Three Graces, and the couple in the right corner enjoying a romantic picnic on the grass. The landscape features a central mountain peak overlooking a fortified city along a wide river. Period frame.

Oil on canvas. Traces of signature and date at the lower left (E. Pas... 1928?). A pleasing half-length portrait of a young woman, elegant in a low-cut dress that fades into the background at the sides. Presented in an early 20th-century relacquered frame.

Oil on panel. Signed lower right. On the back are two indications, in pencil and ink, of the depicted location: "Rowen, above Conway," a picturesque Welsh village. There is also a further clearly legible signature of the artist, F. Southan, with the date 1887. The mouse frames in particular the village watermill, in the middle of the countryside, with the small figure of a fisherman. It is presented in a period frame.

Oil on canvas. Signed lower left G. Malvezzi. First half of the 20th century. The landscape features a flat countryside with a wide, calm river flowing through it. In the foreground are two horses pulling a cart, onto which a man is throwing shovelfuls, likely sand. In a guilloché frame from the 1930s.

Oil on cardboard. The panel features decorative motifs popular in the late 18th century: painted in monochrome on a light background, it depicts an amphora-shaped vase at the bottom, from which branches and leaves extend, and, higher up, a medallion featuring a female face. The panel comes from the Campari corporate collection. It has several patches of damp and dirt. It is presented in a period frame, which has several small areas of colour flaking.

Haystack and Cypresses 1962

Color lithograph. Signed lower right; serial number 93/100 appears lower left. On the back is a label certifying participation in the First Triennial of Engraving at the Permanente in Milan in 1969. Close to the Futurist movement, Ardengo Soffici nevertheless engaged in discussions and controversies with it and its representatives, which led him to repeatedly draw closer and further away from this cultural movement. In fact, in his later years, after attempting various avant-garde experiences, he returned to traditional painting. The work comes from the Campari company collection. Framed.

San Gottardo Square, 1971

Oil on panel. Signed lower right. The verso bears a further signature, title, location (Bormio), and date. The work also features a label from the 1971 Bormio Painting Competition and a label from the same city certifying its authenticity. The work comes from the Campari company collection and was likely created specifically for the competition in Bormio, given that the window of the bar depicted features an advertisement for Cordial Campari. The work is framed.

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 Figure with Glass

Oil on hardboard. Signed lower right. From the Campari corporate collection, the elegant lady holding a glass likely pays homage to the renowned aperitif and beverage company. Leonardo Stroppa, a painter from Turin, created many figurative subjects, as well as landscapes and floral compositions, often using watercolors or, alternatively, oil paints. He employed soft palettes and delicate pastel nuances, which, combined with broad brushstrokes and soft edges, give his works a touch of lightness. 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.

Oil on canvas. Interior view of the Church of San Marco in Milan, with figures of devotees praying before the high altar, partially seen at the intersection with the transept on the left. The warm colors and soft lighting beautifully convey the atmosphere of contemplation. Period frame.

Oil on canvas. Signed lower left E. Bagnati, referring to Elena Bagnati, a painter active between the late 19th and early 20th centuries. The scene is set outdoors near a washhouse, where a group of women and girls with a baby girl are washing and chatting. The atmosphere expresses, in a post-Impressionist style, a serene and tranquil moment of peasant domestic life. The work is presented in a period frame.

Interior scene

Oil painting on canvas. Not signed, but on the back there is a dedication "Alla signora Clelia Mazzioli, con stima Gaetano Bellei 23 gennaio 1909". The big scene, set in a popular kitchen, sees a woman reading cards to two girls, who ask for explanations by pointing to the figures that appear and seem to compare them with a text leaning on the chair. The work recalls the painting of Gaetano Bellei, due to the strong realism with which the painter painted above all scenes of daily peasant life; he is considered a master of the depiction of human affections and of human reactions and sensations. The painting has slight drops of color. It is proposed in a stylish frame.

Landscape with Chariot

Oil on canvas. Signed lower right. The artist combines the entrance to a villa (which he had already depicted in other paintings, titled "Villa Cappello in Noventa Padovana") and a caravan in the same landscape: this element was also depicted several times by him due to his interest in gypsy life. Born in Ancona, but having lived for many years in Venice, Carlo is known for his ability to explore a variety of subjects. Son of the Ancona-born painter Giuseppe Cherubini, Carlo stands out for his use of bright, vibrant colors that characterize his painting style. The work is presented in a period frame.

Landscape with Flock

Oil on panel, canvas-covered on the reverse. Signed lower left. Born in Turin, Vittorio Cajani was a talented painter and illustrator of figurative works and scenes of everyday life, especially those of the wealthy bourgeoisie of the late 19th and early 20th centuries, with a particular passion for horses. Here, instead, is a glimpse of a winter landscape, with a flock of sheep passing along the path that runs through the small village, rendered in his signature style, characterized by broad brushstrokes and textured color. The work is presented in a wooden frame from the first half of the 20th century.

Oil on canvas. This large composition, inspired by ancient models, features game resting on the branches of a tree along a path, along with various fruit, especially large bunches of grapes. In the landscape behind it, on the left, stand the architectural ruins of a classical-style temple. The work is presented in a frame.

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.

Gouache on cardboard. The view of the picturesque grotto on the island of Capri is part of a large production for tourism, due to the evocative beauty of the location. The work is presented in a period frame.

Sledding on the Snow

Tempera on cardboard. Signed lower left. Russian artist Egorov has made a name for himself with his views of the Russian winter countryside, blanketed in snow and often animated by horse-drawn sleighs carrying villagers. The work is framed.

Tempera on cardboard. Wide view of a valley crossed by a Roman aqueduct spanning a stream; mountain peaks in the background, while in the foreground a woman and her child walk along the path. The work is part of a large body of Italian landscapes, here likely from central Italy, created for tourism. In a contemporary frame.

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.