Oscar Di Prata

Abstract composition

Oil on pressed cardboard. Signed in the lower right. Brescian painter, but he got his artistic training at the Academy of Fine arts of Venice, and after the second world war he devoted himself initially to the landscape, especially in the aftermath of his trips to Paris and in the Netherlands. From the fifties onwards, his painting turned towards abstraction. Also known for its frescoes and mosaics. In the composition proposal, stands among a group of geometric figures a little glimpse of the mosaic, almost a rest old emerging from a pile of rubble. In the frame.

Erma Zago

Scene with figures

Oil on tablet. Signed in the bottom left of the page. A small glimpse of the city, with women and children in the square in front of a church. Erma Zago, a native of Verona, where he completed his studies of art at the Academy, and subsequently, he moved to Milan, is considered to be a passionate and sincere observer of humanity, sketching and taking in the expressions and movements of the soul and moving them into works of mould impressionist. Among his most popular themes, made with a palette of lively and festive, there are often nurses and children; in particular, he drew his best works from the public gardens in milan, creating paintings of small size but fresh and full of life. Erma Zago traveled a lot, staying in many cities of art: Rome, Venice, Naples, Verona, and others, of which it caught glimpses and views in photographs, which back then in the paintings. The work is presented in a contemporary frame.

The landscape of Pietro Leidi

Oil on cardboard. Signed in the lower right. Brescian painter, a deaf-mute from birth, trained artistically before in Lugano as a disciple of Luigi Rossi, then at the Academy of Florence. Then back to Brescia, and there he opened his own atelier and became part of the "Group of independent Artists of the city. It is known predominantly as a landscape painter, creating landscapes, skies, bright, close-ups, strongly built and coloristicamente meaningful; recurrent, in particular, the glimpses of its land of origin and still of the Alps. His works are held in many important collections, public and private in Milan, Turin, Cremona, Paris, Genoa, Venice, and Brescia. The work in the frame.

The graphics of Bruno Saetti

Landscape with sun

Silkscreen on paper applied to canvas, with retouching by hand. Signed in the lower right. Born and trained in Bologna, Bruno Saetti is dedicated up to 30 years 'to the depiction of the intimate landscapes and interiors with figures. In 1930, he moved to Venice, staying in the lagoon city for the whole life, and here by 1935, she began to practice the technique of fresco painting, creating frescoes in many public buildings. He began here to show the other characteristic element of his research, a cultured and refined chromatic sensibility. The few recurring themes of figures (mother and child, with the happy variant of the interview with the angel; still lifes; landscapes) were articulated and constructed in a variety of carefully designed techniques, and with particular sensitivity to the choice of materials: oils, frescoes torn, and essential oils, with inserts of frescoes, frescoes, with inserts of glass materials, or marble mosaics. The series of landscapes with the great sun resorts numerous in its production, faced each time with different techniques and with different eyes. The work in the frame.

Scene of an interior with female figures

Oil on canvas. The Italian school. Of fine workmanship, though not signed, the painting reflects a moment of the daily life dedicated to the sewing and the embroidery: the woman who occupies all of the left field, seated and relaxed in a moment of pause, follows the work of embroidery of two little girls, while of the background to the right, another young woman spins wool. On the back of the frame there is writing in pencil "Ferrari". The work is presented in a golden frame coeval.

Portrait male

Pietro Ubertini De Rossi,1776

Oil on canvas.The piedmontese school. In the lower right is an inscription that identifies the character: Pietro Ubertini De Rossi, age 60" and the date of the work of 1776. This character was the father of the more famous Giovanni Bernardo De Rossi, professor of oriental languages at the university of Parma and a great expert in the jewish literature of the medieval. The work, the first canvas, is presented in full frame style.

Virgin Mary with Baby Jesus on Throne between two Saints, 17th Century

Oil on canvas. Lombard School. The painting surely refers to an ecclesiastical commision. An agreement between Mother's look and the one of the two Saint toward the blessed Baby, while the moltitude of little angels above the figures is looking upward where the divine light is shinig. The already restored painting is presented in a vintage frame that has some gilding remains.

Panel Painted Leather

Panel composed of three elements in leather worked to impression and painted in polychrome. The central panel depicts the Madonna enthroned with the Child flanked by A bishop Saint and Saint Anthony Abbot: the two side panels are decorated with racemes foliaceous, with flowers king fruit, and a parrot in the center on both sides. The panel has lacerations on the left side, and the edge ruined.

Giannetto Fieschi

The prodigal son,1968

Mixed technique on canvas. Signed at the top, with signature broken in two, the incipit in the upper right corner, the last letters on the left. At the back present another signature, the date and the title of the work; this also label of the Galleria d'arte 32, Milano. The scene refers to the parable of the prodigal son, also known as the merciful Father. Giannetto Fieschi, Italian painter of noble origin, born in the Val Brembana but he got his artistic training in Genoa, he undertook, during his long stays abroad (Paris, Barcelona, New York), studies of semantic graphics. After an early informal-space has recovered the figurative element, anticipating the trends of pop art. In his compositions, introduces strong suggestions surreal sign of the decadent and poetic eschatological-symbolic, dealing with themes ranging from violence, to the knowledge of and eros. It is busy every form of art , including mail art, calligraphy, is the author of books of drawings and essays on the contemporary religious art and the ethical value of mural painting is considered to be the intellectual of art. The work comes from an important collection in brescia. It is presented in a frame.

Jocund Bagpipe

The departure of the fishermen,1945

Oil on canvas. In the bottom right present the signature, the date and venue,Milan, italy. Giocondo Bagpipes, a neapolitan painter of the first 900, is considered to be a happy follower of the famous school of the "Riviera di Posillipo", The “School of Posillipo”: a group of neapolitan painters, who relied mostly on tablets or small canvases, of shots fast, synthetic, but enchanting, in the Gulf of Naples. Bagpipes on distinguished himself for the production of marine, inspired by popular characters and imbued with a romantic atmosphere and impressions of the impressionist. The work, already restored and ritelata, is presented in full frame style.

Giannetto Fieschi

Lord, why me leave?,1996

Mixed technique on cardboard. To the rear the present signature and the date; this is also the title. It is a Crucifixion represented in the moment in which the dying Christ launches his last cry to the Father: "Eli,Eli, lama sabactani?" (in aramaic, in fact, "my god, my God, why me leave?"): these words are listed in the work, in the aramaic language, to outline the figure of the Christ. Giannetto Fieschi, Italian painter of noble origin, born in the Val Brembana but he got his artistic training in Genoa, he undertook, during his long stays abroad (Paris, Barcelona, New York), studies of semantic graphics. After an early informal-space has recovered the figurative element, anticipating the trends of pop art. In his compositions, introduces strong suggestions surreal sign of the decadent and poetic eschatological-symbolic, dealing with themes ranging from violence, to the knowledge of and eros. It is busy every form of art , including mail art, calligraphy, is the author of books of drawings and essays on the contemporary religious art and the ethical value of mural painting is considered to be the intellectual of art. The work comes from an important collection in brescia. It is presented in the frame of legon covered with damask of ancient taste.

The composition of Giannetto Fieschi

Idealism,1966

Mixed technique on canvas. Signed in the upper right. In the bottom right of this dedication, and the date 1966. At the back of the title. Giannetto Fieschi, Italian painter of noble origin, born in the Val Brembana but he got his artistic training in Genoa, he undertook, during his long stays abroad (Paris, Barcelona, New York), studies of semantic graphics. After an early informal-space has recovered the figurative element, anticipating the trends of pop art. In his compositions, introduces strong suggestions surreal sign of the decadent and poetic eschatological-symbolic, dealing with themes ranging from violence, to the knowledge of and eros. It is busy every form of art , including mail art, calligraphy, is the author of books of drawings and essays on the contemporary religious art and the ethical value of mural painting is considered to be the intellectual of art. The work comes from an important collection in brescia. It is presented in a frame.

The group of thirteen engravings of the SEVENTEENTH century

Scenes from Gerusalemme liberata

Engravings on paper. All have a number and the first three (according to the progressive numbering) are also engraved in the plate, the monogram G. F. The scenes of the subject to be epic, reminiscent, probably, of the poem of Tasso "Jerusalem delivered"; the series and the format you assign them to an illustrated edition of the poem: the first, with illustrations of the same size are proposed here, was published in 1590 with engravings by Agostino Carracci and Giacomo Franco (1556 -1620); the latter was signed 11 prints of the series; two only are the prints signed by the Carracci, but the critical attributes to the artist in bologna and the remaining seven prints and also the title page. The engravings are proposed here, while not corresponding to those of the first edition cited above, the are very close in style and quality, and the monogram would suggest a second edition of the James Franco. However, the masterpiece of the Rate had such intellectual ferment and a lot of popularity to generate a series of representations iconographic in a variety of styles and eras. The incisions proposals are presented in a frames-style.

Peasants at rest

Oil on canvas. Signed lower right "Guabello". The scene is very bright and the impressionist style, offers a glimpse of the large on the u field in the phase of earing, in the centre of which a tree, tall and leafy, gives shelter to the farmers and the oxen during the break. The painting is presented in a golden frame coeval.

The work of Migneco

Figure,1963

Mixed technique on paper. Signed and dated in the lower right. Joseph Migneco, a painter and engraver of the origins of messina but moved a young man in Milan, was one of the largest rappresentantiGiuseppe Migneco, sources of messina but moved a young man in Milan, was one of the main representatives of the group of Current, together with Aligi Sassu, Renato Birolli, Bruno Cassinari, Renato Guttuso, Giuseppe Migneco, sources of messina but moved a young man in Milan, was one of the main representatives, together with Aligi Sassu, Renato Birolli, Bruno Cassinari, Renato Guttuso, the Current group of open to the avant-garde european art. For a painting of social engagement, investigates the reality with a critical eye, objective,historical. His characters are the faces of hard,squared, marked by hard work, and made with bright tones and strong, reminiscent of Sicily and features the violent, and the net, but also the social realism of the muralists of the mexican. His works all around the world. open to the avant-garde european art. For a painting of social engagement, investigates the reality with a critical eye, objective,historical. His characters are the faces of hard,squared, marked by hard work, and made with bright tones and strong, reminiscent of Sicily and features the violent, and the net, but also the social realism of the muralists of the mexican. His works all around the world.together with Aligi Sassu, Renato Birolli, Bruno Cassinari, Renato Guttuso, open to the avant-garde european art. For a painting of social engagement, investigates the reality with a critical eye, objective,historical. His characters are the faces of hard,squared, marked by hard work, and made with bright tones and strong, reminiscent of Sicily and features the violent, and the net, but also the social realism of the muralists of the mexican. His works all around the world.

Russian Icon, Tempera on Board 17th Century

Abraham

Tempera on Board. Patriarch Abraham is represented, comprehensible from the writing on the halo. In the traditional iconography Abraham is often represented inside specific Biblical scenes as Isaac's Sacrifice or The visit of the three angels, episodes seen by the Christian culture as prefigurations of Jesus Christ?s figure and life. Instead this is a portrait of the old white-haired patriarch the is pointing with one hand to the Scroll of the Law that is holding in the other hand. An hint of landscape is behind the figure.

Pair of Architectural Capricci with Ruins and Figures, 18th Century

Oil on Canvas. Venetian School. Frequent in the venetian painting of 18th century are this kind of scene where ruined architectural elements, often elements of classical taste, insered in a countryside landscape, become the setting fore scenes with popular figures: soldiers and ploughmen appear near large stone's blocks with ruins of capital and statues, at the entrance of ruined temples. The alredy restored paintings are presented in gilded frames of the late '800.

The landscape of Martin Sweet

The church of Costalunga (BS),1945

Oil on canvas. Signed in the bottom left of the page. To the back on the frame this localization of the landscape, and the date of realization. Martin Sweet, bresciano of very humble origins, he was formed artistically at the school of figure from the real open, in a room of the former convent of S. Barnaba of Brescia by Virgil Old, a merchant, and a painter, the nephew of the landscape painter Giovanni Battista Bosio. From the ex-convent of S. Barnaba passed all the future protagonists of the painting of brescia and Martin Sweet, had the opportunity to know and receive the artistic environment of brescia. Rather than the figure from the true, the Sweet preferred, however, to devote himself to the views of the landscapes of the Ronchi, or animals that scovava in the farmhouses of the countryside around the city. The work was presented in the frame worked.

Portrait of a British Navy's Officer, Oil on Canvas 18th Century

Oil on canvas. Portrait of a young official of the British Navy from the late '700 who is wearing the typical "red coat"; The imptant honor, represented with a star with eight points and a central cross with the colors of the british empire, is enhanced in the middle. The painting, still with the original canvas, has several mends and traces of restoring on the back. There is also a small cut on the lower left corner and small color drops. Presented in a style frame,

Arturo Tosi, attributed to

Flowers

Oil on cardboard. To the rear there is a written agreement with Tosi, with the title of the work. Moreover, although it is of good quality, the style of painting does not seem suited to the production of the artist, it is thought rather a good imitation.