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.

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.

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.

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.

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.

Glimpse of the Angel Fiessi

The garden in winter,1938

Oil on cardboard. Signed in the lower right. TO the rear is this authentic, signed by the author with the words "having regard to the 28-4-75, authentic,1938". Angel Fiessi, a native of Brescia, he was always very attached to his hometown and the towns around lake Iseo, which he attended for a long time; landscape painter, he dedicated a great part of its production to evoke the places he loved, and the emotions that stirred up, permeating his paintings of poetry and sweetness. The work was presented in the frame .

The landscape of Angel Fiessi

View mountain

Oil on masonite. Signed in the bottom left of the page. At the back present another signature, dedication, and the location of the place from which opens the view: this is Corna blacca, one of the peaks of the piccole Dolomiti, brescia, very dear to the natives of this area. Angel Fiessi, a native of Brescia, he was always very attached to his hometown and to the towns of lake Iseo and the surrounding mountains, which he attended for a long time; landscape painter, he dedicated a great part of its production to evoke the places he loved, and the emotions that stirred up, permeating his paintings of poetry and sweetness. The work was presented in the frame.

Landscape of the mountain 1968

Oil on plywood.In the bottom left of this signature, B. Roncaglia, with the date 1968. View of mountain valley with a pond in the shade of the fir trees. Presented in the frame.

Landscape, attributed to Giovanni Cappelli

Oil on canvas. AT the back there is written "under the master John Cappelli authenticated by Paola Silvestani Hats". THE Hats, he was born in Cesena and studied at the Academy of Fine Arts of Bologna, in his early works proposed figures and environments of a poor, working-class life, bracciantile or marinara, through a realistic style. Since 1959, s i moved to Milan and in contact with the underground city Hats abandons rural stakeholders to focus on the overwhelming reality of the suburbs of milan, telling the condition of humanity degraded and marginalized set in the poor interior or in the dismal and oppressive suburbs of milan. Only starting from the Seventies, these tensions dissolve in precious recoveries of color and in a way that has been called “from the darkness to the light”. The work is presented in a contemporary frame.

The landscape of Angel Fiessi

Oil on isorel. Signed in the bottom left of the page. On the back there is a pencil inscription S. Vigilio and the date 1967. Angel Fiessi, a native of Brescia, he was always very attached to his hometown and the towns around lake Iseo, which he attended for a long time; landscape painter, he dedicated a great part of its production to evoke the places he loved, and the emotions that stirred up, permeating his paintings of poetry and sweetness. The locations depicted, a cottage with areas for relaxation, overlooking a small basin of the lake, and dominated in the background by the mountains, is definitely a town of the bresciano so dear to him; St. Vigilius, quoted at the back with the date, however, is the patron saint of Brescia, and is solemnly celebrated in Iseo in its recurrence. The work was presented in the frame.

Drawing of César

Teapot,1982

Pencil drawing and ink stamps. with handwritten dedication of the artist. It is made on the verso of the catalogue of an exhibition dedicated to the artist, at the"Espace niçois d'art et de culture" of Nice. César Baldaccini, better known just as César, was a French sculptor, a native of Marseille, a follower of the full creative freedom and leader of the trends in 'material', characterized by the compressions and expansions radical of objects, with the reaction of figures and animals metals fantastic.

Holy Scene of Enedina Pinti

The adoration of the shepherds, 1907

oil on canvas. Signed and dated 1907 in the lower right corner. The sacred representation catches the intimate moment when the sheperds are visiting Baby Jesus just born under the vigilant and loving look of his parents. The painting belonges to Enedina Zambrini Pinti, painter from Campania that mostly worked in Florance, considerated the last apprentice of Giovanni Fattori. The painting comes with a frame.

Romeo Borgognini

Face of Virgin Mary

Mixed technique on paper. Signed on the left side. Romeo Borgognoni, born in Ravenna but artistically formed in Pavia, wes specialized in landscapes painting, mainly inspired by the countryside and glimpses of Pavia, but also known as a figure painter and a portraitist; he use both the technique of oil and watercolors and pastels. At the beginning his paintings were very realistic, but later he was drag by the impressionist atmopheres making glimpses and landscapes sensitive to light and the atmospheric influence. The main theme moves away from his most known prodution: it is a face of Mother Mary traditionally represented where pastel colors and the lightly outlined profiles intensify the sence of inner reality and the expressive kindness. It is displayd in an oval gilded frame surmounted by wa bow and flowery inserts.

Giuseppe Solenghi

Chioggia

Oil on canvas. Signed in the lower right. Giuseppe Solenghi, milanese artist and source of training (he was a pupil at the Accademia di Brera, Cesare Heel and Ernesto Bazzaro), is especially known for its vibrant and teeming with glimpses of the streets of Milan and landscapes of the countryside of lombardy, but as his master, Ernesto Bazzaro, he loved to represent the lagoon of Chioggia. The work presented in contemporary frame.

Landscape Romolo Leone Italy 20th century

Half View of a Farmhouse, 1930s-1940s

Oil on cardboard. Signed on the lower right corner. Romolo Leone was a Neapolitan landscape painter whose main themes were farmhouses and the crowded steets of the cities in which he lived, Naples, Rome and Paris; He was student of Giuseppe Casciaro whose artistic influence will be found in his entire production; he was also member of the Flegreo Group, movement thant aimed to give value to Neapolitan painting around Italy and abroad. The painting comes along with frame.