Glimpse with Figures

Oil painting on canvas. Northern Italy School. It is a small glimpse of a river channel that flows between the houses; particular is the presence of two figures: a boatman who passes under the bridge with his little boat, while over the bridge passes a populace who is pulling the donkey pulling the cart by the halter. The painting needs restoration due to several color losses, the largest of which corresponds to the parapet of the bridge on the left. It is presented in a coeval gilded frame.

Female Portrait

Oil painting on canvas. Lombard school. Portrait of a lady, which highlights the beautiful lace of the dress and the crucifix around the neck. The painting, in good condition, is presented in a coeval gilded frame, with small drops in the gilding.

Claudio Bernacchi

Glimpse of Church with Sellers 1858

Watercolor on paper. Signed and dated below. The pretty watercolor portrays a glimpse of the city at the entrance to a church, where street vendors have set up their lively stall. Few biographical data of the Lombard painter Claudio Bernacchi are known, but his name often appears in the second half of the 19th century as a painter and architect in the creation of Milanese works (such as the Pavilion built in 1857 on the Loreto square on the occasion of the entry into Milan of the Austrian Emperor Francesco Giuseppe and his wife), as well as as a teacher of ornaments at the Brera Academy. The painting is presented in a gilded frame from the end of the 19th century, with some shortcomings.

Madonna with Child

Oil painting on canvas. By amateurish but pleasant hand, the painting offers a domestic altar dedicated to the Madonna and Child, depicted in a framed bas-relief placed on a small table and completely surrounded by lively and variegated shoots of flowers. The canvas is presented in a coeval gilded frame. A few small holes in the canvas and drop of color.

Silvio Poma

Lake Iseo

Oil painting on canvas. Signed lower right. On the back is the title. The lake foreshortening, animated by popular figures, boats and the small village, is typical of the production of Silvio Poma, the painter from the province of Bergamo who is considered one of the protagonists of Lombard realist landscape and who, in particular, reproduced glimpses of the lakes and of the Lombard countryside. The work is presented in a contemporary frame.

Landscape With Figures And Knights Oil On Canvas 18th Century

Oil on canvas. In the large scene set outside, the laboratory of a blacksmith stands out on the left side, who is intent to work on horseshoes with his helpers while the owner of the horse attends; in the centre, other knights arrive with their servants who are headed to the craftsman; on the right some popular figures are resting on the roadside. In the background, a large river landscape opens up on the right, while on the left there is the access to the village, dominated by a dilapidated building, with various popular figures intent on their activities: the woman who is about to breastfeed a child, while the other son runs away up the staircase, another woman hanging the clothes on the balcony of the house built on stilts on the rock, while a man climbs the ladder. It probably is a piece by a Flemish author working in Lombardy. Some references to clothing and construction certainly indicate the Northern European contamination, while other details indicate it was realized in a Lombard location. The painting comes from a prestigious historical residence of a Lombard noble family Still on the first canvas, it has some cuts and a hole in the lower band; some patches on the back from an old restoration. It is presented in a thin coeval frame.

Landscape With Horses Resting

Oil on canvas. The large scene is set at the entrance of a village near a stop for horses: numerous horsemen are standing with their animals, which are looked after by the servants and the peasants who fill the manger with hay; one of the servants, on the right, lets the animals drink in the nearby stream. In the background, the houses of the village arranged along the river, which then flows into the hilly landscape on the right. It probably is a piece by a Flemish author working in Lombardy. Some references to clothing and construction certainly indicate the Northern European contamination, while other details indicate it was realized in a Lombard location. The painting comes from a prestigious historical residence of a Lombard noble family Still on the first canvas, it has some cuts in the lower band. It is presented in a thin coeval frame.

Female Portrait

Oil painting on canvas. Effective portrait of a middle-class woman who flaunts the cameo brooch on the jabot. The painting is presented in a beautiful coeval gilded and worked frame, with coping and lateral floral friezes.

The Eucharist

Oil painting on canvas. Depicted in the foreground, a priest gives the Eucharist to a devotee, who receives the host in a collected attitude. Relined and restored, with very small drops of color. The painting is presented in a carved and gilded frame from the end of the 19th century.

Portrait of a lady Oil on Canvas 19th Century

Oil on canvas. Portrait of a british middle-class woman. Displayed in a mid-18th century frame. The painting has a light rip in the middle, on the left side of the lady's bonnet, and small color drops.

Bernard Aubertin Contemporary Art Application on Metal Cardboard

Dessin de Feu, 1974

Application of burnt matches on metal cardboard. On the back ther is the tag of the Centro Gallery in Brescia with work's data and artist's signature. Aubertin is considerated the "monochrome painter" that focused his artistic researches above red colore, meant as fire, energy: from 1958 he started makink his famous red monochrome canvases, known as Tableaux Feu ( Fire Paintings), animating them with various elements such as nails ( Tableaux Clous), metal wire (Tableaux Fil de Fer), metches (Parcours d'allumettes) and several material such as candles, nets, iron nets. In his metaphysical conception of painting he meant to traspose soulk's energy, spiritual being, on canva through the color red. Startin from 1960s Aubertin introducted in his repertory also fire, physical manifestation of his red color. He made several abstract compositions using matches that , onece fired up, created spontaneous variations made by the flame. Between 1980s and 1990s his artistic prodution turned to performances in which himself burned pianos and cars, while in the last years of his life red was replaced with white, black and gold. The board comes along with authenticity released by the Archive Bernard Aubertin' Works. N. Archiving DFEA47-1000237523.

Work of Ugo Carrega, Engraving and Enamel on Board, Contemporary Art

Wanders in Thought..., 1990

Engraving and enamel on board. Signature and date on the back. Carrega was a poet and artist from Genoa but active mostly in Milan, one of the main exponents of the visual poetry even if he prefered to call it "New Writing" that is an experimental writing that puts together different signs of extraction. He also founded in 1965 the magazine "Tool: symbolic writing notebooks" that is an experimental poetry in which signs of differen nature, oral and graphic, act equally. The piece in question is an example of that idea of art.

Scope Of Vittorio Ranieri Tempera On Canvas Second Half '800

Landscape With Birds And Game

Tempera on canvas. In a fantasy landscape, on a completely blue background in which plant elements are inserted around a stream, various ornithological species are represented, depicted in their natural movements in nature. Scientific interest in the study of animal species grew during the second half of the 18th century, culminating, in particular for ornithological research, in Buffon's work "Historie naturelle des oiseaux" of 1770, which then became a reference point in the following decades for the reproduction of naturalistic settings in decorative terms and contributed to amplifying the commercial interest in chinoiserie work in Europe. Carlo Antonio Raineri and his son Vittorio are also included in the group of decorators who worked in Lombardy and Liguria between the eighteenth and nineteenth centuries, among the great European decorators who followed the taste of the time for exotic furniture, declining it according to the Lombard naturalistic tradition . In particular, they stood out for their ability to prune exotic fantasies from the excess and create a decorative scenario in compliance with the ornithological and naturalistic treatment. Their workshop had a wide following and contributed to a large production of this decorative genre. The large piece proposed here was probably part of a decorated boiserie, and was only mounted on a Ligurian frame in the mid-1900s. It is presented in a decorated frame in style.

Scope Of Vittorio Ranieri Tempera On Canvas Second Half '800

Landscape With Birds And Game

Tempera on canvas. In a fantasy landscape, on a completely blue background in which plant elements are inserted around a stream, various ornithological species are represented, depicted in their natural movements in nature. Scientific interest in the study of animal species grew during the second half of the 18th century, culminating, in particular for ornithological research, in Buffon's work "Historie naturelle des oiseaux" of 1770, which then became a reference point in the following decades for the reproduction of naturalistic settings in decorative terms and contributed to amplifying the commercial interest in chinoiserie work in Europe. Carlo Antonio Raineri and his son Vittorio are also included in the group of decorators who worked in Lombardy and Liguria between the eighteenth and nineteenth centuries, among the great European decorators who followed the taste of the time for exotic furniture, declining it according to the Lombard naturalistic tradition . In particular, they stood out for their ability to prune exotic fantasies from the excess and create a decorative scenario in compliance with the ornithological and naturalistic treatment. Their workshop had a wide following and contributed to a large production of this decorative genre. The large piece proposed here was probably part of a decorated boiserie, and was only mounted on a Ligurian frame in the mid-1900s. It is presented in a decorated frame in style.

Female portrait

Pencil on paper. Effective portrait of a lady, with beautiful rendition of the chiaroscuro obtained in pencil. It is presented in a coeval gilded frame.

Young woman with ball of yarn

Oil on the table. Delicate portrait of a young woman intent on making a ball of wool: on the left you can see the ancient tool for winding wool, which the woman rotates with one hand. It is a scene of intimate domestic work, proposed in delicate and suffused colors, with the only contrast of the background of the ocher-colored wall and the roses of the tablecloth. It is presented in a style frame, which bears a metal plate with the name of the artist Mosè Bianchi of Monza, not considered appropriate.

Mario Vellani Marchi

Marcellina with the Bandaged Hand 1942

Ink on paper. At the bottom right there is the signature MVM, with the Burano location and the date (19 Sept. 1942); at the bottom left the title. Trained artistically in his hometown, Modena, Vellani Marchi in 1924, after his debut at the Venice Biennale with some lithographs and etchings of landscape subjects, made his first stay in Burano, where he will also return later giving life with Guido Tallone and others. artists to an association called "Buranella school". From this moment the landscapes, the figures and the characteristic views of the island much loved by the painter, will constitute a recurring theme in his production. He then moved permanently to Milan, where he approached the world of publishing by collaborating with newspapers and magazines and established himself as a painter, draftsman and illustrator and participated in the most important exhibitions, not only national. After the war, he also collaborated with the Teatro alla Scala creating numerous sets. The drawing is presented in a frame.

Edoardo Covino

Mountain village with figures

Oil painting on canvas. At the bottom right there is the inscription "To dear friend Giuseppe Balestra - Edoardo Covino, 4 May 1896". Edoardo Covino was a Turinese landscape architect active between the end of the 19th century and the beginning of the 20th century; he is particularly counted among the mountain landscape architects. The painting is presented in a gilded style frame.

Landscape with Figures, Oil on Canvas, Italian School 17th Century

Oil on canvas. Landscape of rugged lands an barren mountains where a needle-like plant stands out poorly; we can see some figures of wayfare in the lower part. The painting had already been restored and turns ot to have been painted darker with an oxidised protective paint. Displayed in a ancient gilded frame with rear reinforcement.

Neoclassical Decorative Element Painting 18th Century

Tempera on canvas. Decorative element from a Lombard mansion house depicting a fake marble relief composed of a rhomboid frame enclosing a basket of fruit leaning on a lion's head. Garlands of leaves outside. The Neoclassical taste favored the sculptural plasticity over the pictorial expressiveness and the predominance of shape over color. The canvas is presented in frame. Light losses of color and stains of moisture. Last quarter of the 18th century.