Large Female Portrait 1929

Oil painting on canvas. Signed Sr. P. Corazzi (not identified) and dated 1929 in the lower left corner. The large portrait of a lady is presented in a beautiful gilded and worked coeval frame.

Majocchi Eugenia bosons

Portrait of a Child with a Cat 1931

Watercolor and pastels on paper. Signed and dated lower right. Pupil of Camilo Rapetti, Paolo Sala, Riccardo Galli, graduated from the Academy of Fine Arts in Milan, her hometown, where she participated in numerous exhibitions. He mainly dealt with landscapes and portraits, especially of Milanese high society characters. In 1924 she was awarded at the Female Portrait Exhibition held at the Royal Villa of Monza. The painting is presented in a styled frame, with small cracks.

Luigi Zinelli

Along the Canal

Oil painting on canvas. Signed lower right. On the back on the frame in pencil further signature and title, with the Milanese address of the artist's studio. The foreshortening offers the view of a canal outside the town, where women are intent on washing clothes. The painting is presented in a coeval gilt frame.

Fishing Village

Oil painting on canvas. French school. This small marine glimpse, with the fishing village perched close to the rocks, recalls the northern coasts of France, with the English cliffs on the other side of the Channel. Frame in style.

Decorative Panel

Oil painting on canvas. Probably made as an over door, the panel inscribes an oval floral decoration, which surrounds a vase full of colorful flowers, with garlands and branches.

Decorative Panel

Oil painting on canvas. Probably made as an over door, the panel inscribes an oval floral decoration, which surrounds a vase full of colorful flowers, with garlands and branches.

Norman port

Oil painting on canvas. It is a copy of the famous works of Albert Nolet, the French artist of the second half of the 19th century known for his marinas and port views, with their misty and decadent atmospheres. The work is signed at the bottom left to imitate the signature of Nolet. Small tears and holes.

Giampietro Maggi

Houses among the Trees

Oil painting on canvas. Signed lower right. On the back further signature, title and probable date '63. In the countryside, a group of houses hidden among the trees is reflected in the pond in the foreground. Born in Milan in 1934, Giampietro Maggi graduated from the High School of the Brera Academy. He has participated in numerous national and international reviews, obtaining coveted awards. His production includes many landscapes and glimpses of his Milan, but also the figure scenes and still lifes always refer to popular life and everyday life. The painting is presented in a frame, with small shortcomings.

Giampietro Maggi

Houses of Railing in Milan 1969

Oil painting on canvas. Signed lower right. Further signature, title and date on the back. Glimpse of ancient Milan, with its multi-colored railing houses. Born in Milan in 1934, Giampietro Maggi graduated from the High School of the Brera Academy. He has participated in numerous national and international reviews, obtaining coveted awards. His production includes many landscapes and glimpses of his Milan, but also the figure scenes and still lifes always refer to popular life and everyday life. The painting is presented in a frame, with some shortcomings.

Giampietro Maggi

Still Life 1967

Oil painting on canvas. Signed lower right. Further signature on the back, with title and date. The composition offers a set of vegetable elements (pears and apples) and objects of daily life with an ancient flavor, such as the inkwell and the coffee grinder. Born in Milan in 1934, Giampietro Maggi graduated from the High School of the Brera Academy. He has participated in numerous national and international reviews, obtaining coveted awards. His production includes many landscapes and glimpses of his Milan, but also the figure scenes and still lifes always refer to popular life and everyday life. The painting is presented in a frame, with some small defects.

Valente Absence

Portrait of a Child

Mixed technique on canvas. Signed lower right. Painter-xylographer-sculptor, originally from Ragusa but artistically trained in Rome, Valente Assenza established himself until the 1960s mainly as a portraitist, in great demand by important personalities of social and political life, both Italian and foreign. Subsequently his true vocation matured, that for sacred art, which led him to create numerous paintings and altarpieces, especially in his Sicily. Of his painting, the search for meaning in "colors mixed with deep delicacy and chromatic balance" is highlighted, transmitting with them the poetic and joyful sense of his art. Work presented in a contemporary frame.

Giuseppe Ajmone

Along the Sesia 1970

Oil painting on canvas. Signed and dated lower right. On the back, the title with further date. Giuseppe Ajmone, an artist from Valsesia trained at the Brera Academy of Fine Arts in Milan, was one of the signatories of the Manifesto of Realism of 1946. In addition to still lifes and landscapes, dominant in his first artistic period, Ajmone is interested in the trend of the nudes that will characterize a large part of his pictorial production made from the mid-sixties to today. The proposed landscape is a glimpse full of suggestion of his Sesia. The work is presented in a frame.

Norman port

Oil painting on canvas. It is a copy of the famous works of Albert Nolet, the French artist of the second half of the 19th century known for his marinas and port views, with their misty and decadent atmospheres. The work is signed at the bottom left to imitate the signature of Nolet. Small tears and holes.

Copy From Giovanni Sottocornola Oil On Canvas 1920s 1930s

Lights And Work

Oil on canvas. At the bottom right, the words "Da Sottocornola". Almost contemporary copy of the famous painting by Giovanni Sottocornola, which was presented to the Permanente in 1914 and won the Cassani Prize. The piece portrays Maria, the artist's daughter, while she is intent on sewing. In the years following 1898, the Milanese painter devoted himself to intimate portraits and genre scenes, mostly with female and childhood subjects, inspired by family affections and his own domestic environment, frequently portraying his wife and daughters. The panting presents some paint losses along the right margin. Framed.

Antonio De Simone Gouache On Paper

The Astrea Ship 1904

Gouache on paper. Signed and dated 1904 bottom right. On the left, the name of the ship. Antonio De Simone belongs to the category of the Marinist masters, a category that was born in the 16th century and was received with great fervour in the Countries with great seafaring traditions, from the Netherlands to England, from France to Spain, in Italy and almost everywhere in the rest of the European continent, using everything related to seafaring as a subject. The highest popularity of this art genre was achieved in the 19th century and continued until the 1940s, in the last period of sailing and the advent of steamships. In Italy, the artists from the Campania and Liguria schools of painting and sea produced many paintings, some of which are called "portraits of ships": the production of the Neapolitan brothers De Simone is a part of this group. They specialized in painting portraits of important and famous luxury ships, both sailboats and steamboats. The gouache is presented in a frame.

Pietro Cortellezzi Mary With Child Fresco 1930s 1940s

Madonna with Child

Fresco. Pietro Cortellazzi studied in Milan but came from the province of Varese, he became an affirmed fresco artist in the Lombard and Venetian churches. In particular, one of his fresco cycles of the Four Seasons can be found in the hall of honour of Palazzo Marino in Milan, reaized for the restoration of the damage caused by the bombings of 1943; another cycle in the church of the Saints Gervasio and Protaso. The piece is framed.

Giuseppe Valsecchi Oil On Canvas 20th Century

Big Fluvial Landscape With Figure

Oil on canvas. At the bottom right thare is a signature with dedication to his wife and date, 36' even in roman numbers XV (fascist dating). Giuseppe Valsecchi was an artist from Lecco who, even if he shared the human and social effort of the milanese mouvement Corriere ( to which took part Guttuso, Treccani, Sassu), he didn't neglect a more evocative and itimate vein that can be caught both in his production of portraits and lanscapes inspired by the views from the windows of his homes. Small color drops. The landscpae shows a glimpse of a river in the countryland; on the right there is a fisherman.

Great Tapa Of New Guinea 19th Century

Woven from bark and decorated. Splendid example of art-craftsmanship, which refers to one of the most ancient methods to obtain clothes without resorting to weaving or weaving, but using the internal bark of certain species of trees. It’s a method that’s been practiced in Central Africa, in Southeast Asia, in Japan, in North America and from Mesoamerica to the Andes, to the Amazon and the Great Chaco regions. The term Tapa denotes in particular all the bark tissues of Oceania, but in reality it is a word native to Fiji. Depending on the area where these bark tissues are produced, different tree species are used: while in Africa the fig tree is used, in Indonesia and in the Pacific islands the bark most used is that of the paper mulberry tree, with which the highest quality fabrics are produced, which remain white and can be decorated in different ways. If once the bark fabric was worn daily, even simply wrapped around the body, over the centuries it has been replaced by cotton, but still today it is preferred to western fabrics for ritual and ceremonial occasions; above all, these fabrics continue to be important goods of exchange, gifts of value in occasions of births, birthdays, marriages (with exchanges between the relatives of the groom and those of the bride), funerals and ceremonial presentations to the royal family. Added to this is the production generated by the thriving tourist market of this fabric. The tapa presented here is decorated with repeated geometric motifs, which evoke the huts and the village road. The upper edge is not straight, but shaped with large triangular fringes. It is placed on a panel covered with a plexiglass case.

Oil on Canvas Attributed To Attilio Pratella 19th Century

Costal View of Naples Bay

Oil on canvas. Signed Att. Pratella at the bottom right. On the back there is a declaretion of belonging to the neapolitan artist. The subject is close to Pratella's production who preferred marine landscapes of the Naples Bay, his home town. It is part of a wide group of painting of uncertain attribution that for a stylistic quality that does not conform to the hand of Pratella. Good qualiti and pleasant atmosphere. The painting comes with frame.