Alcide Davide Campestrini

Glimpse of Nervi 1931

Oil on cardboard. Signed lower left. On the back there is the title with the date of creation and the declaration of authenticity of the son Ernesto. Alcide Davide Campestrini, a painter from Trentino but artistically trained at the Brera Academy in Milan, where he also taught, had a vast and varied production in which there are religious subjects, landscapes, portraits and genre scenes from the late nineteenth century, some military scenes of intent patriotic of the early twentieth century, as well as decorations of villas and palaces (especially in Trentino), on which the artist worked after the war. He has been defined as a "wanderer of painting", who crossed different styles and genres, declining painting and drawing between Neo-Impressionism and timid hints of "abstract" figuration, with also forays into realism and social denunciation. The small glimpse is presented in a stylish frame.

Alcide Davide Campestrini

Preparatory sketch 1913

Oil on cardboard. On the back there are the place and date of construction, with the declaration of authenticity of the son Ernesto. Alcide Davide Campestrini, a painter from Trentino but artistically trained at the Brera Academy in Milan, where he also taught, had a vast and varied production in which there are religious subjects, landscapes, portraits and genre scenes from the late nineteenth century, some military scenes of intent patriotic of the early twentieth century, as well as decorations of villas and palaces (especially in Trentino), on which the artist worked after the war. He has been defined as a "wanderer of painting", who crossed different styles and genres, declining painting and drawing between Neo-Impressionism and timid hints of "abstract" figuration, with also forays into realism and social denunciation. The sketch presents an exterior view of the columns of a temple. It is framed in style.

Ernesto Alcide Campestrini

From the Lungomare Lavagna 1972 terrace

Oil on hardboard. Signed lower left. On the back the title, date and location of the landscape. The Milanese artist, son of the famous painter Alcide Davide Campestrini, devoted himself to still life, figure painting and the alpine landscape, with a technique linked to his father's school and to the late nineteenth-century tradition. In a stylish frame.

Ernesto Alcide Campestrini

Snow at the Milan Park 1947

Oil on hardboard. Signed lower left. On the back there is the title with further signature and date; There is also a specification of the title, which recognizes the park bridge depicted. The Milanese artist, son of the famous painter Alcide Davide Campestrini, devoted himself to still life, figure painting and the alpine landscape, with a technique linked to his father's school and to the late nineteenth-century tradition. The painting is presented in a styled frame.

Neapolitan view

Oil on plywood. Signed V. Parente lower right. Pleasant view of the Neapolitan staircase, rendered with broad strokes and brushstrokes, with indefinite contours, and bright colors. In the frame of the early 1900s.

Life in the fields

art of ethiopia, 1935 ca.

The canvas represents daily life and its flow through work in the fields, a central element of survival. In the upper row we see the first plowing, which is followed, after the arrival of the rains, by a second preparation of the soil. In the second row, we see the seeds extracted from the granaries; they are carried in sacks and sown, with subsequent hoe covering; the row closes with the sprouting of seedlings. In the third row the farmer watches over and protects the sown from wild animals; follows the scene of the harvest and the threshing, which ends with the putting away of the fruit of the work in the granary. In the fourth row a woman prepares the flour, and bakes a focaccia; then she washes her husband's feet and he reciprocates by offering her the first bite; the scene ends with the whole family in bed. It is part of a group of seven works, which arrived in Italy at the end of the 1930s; they were purchased directly on site, as we have reconstructed from the correspondence and family photos, by the lawyer xxx, grandfather of the owners, who was sent as the legal representative of an Italian production company in 1935 in Ethiopia, and from there he was expelled in 1938 by General Graziani because he was considered anti-fascist. The canvases remained in the family collection, in the family palace, and are now re-proposed in all their expressive power. Ethiopia has a very particular history: located between Africa and Asia, and between the Mediterranean and the Indian Ocean, it was a crossroads and meeting point of different cultures, also stimulated by the constant and intense trade flows. Five centuries BC the Aksum dynasty was established; under this reign, in the fourth century after Christ, Christianity was established as the state religion, in its Coptic Orthodox version. The medieval sacred texts also speak, however, of a direct relationship with one of the ten Jewish tribes, who took refuge in Ethiopia, from which the royal lineage was derived through the queen of Sheba. And in fact in Ethiopia the Falascià lineage still lives today, black Jews whose first historical records date back to 600 AD. Ethiopia was therefore a Jewish-Christian bulwark, with African influences, but to be considered almost the southern edge of Mediterranean culture.

Hailč Selassie blessed by our Lady

art of ethiopia, 1935 ca.

Ras Tafari Maconnen, crowned emperor Hailč Selassič I, is held in the womb from the virgin mary and is blessed from on high by the Holy Spirit. It is part of a group of seven works, which arrived in Italy at the end of the '30s; were purchased directly on-site , as we have reconstructed from the correspondence and from the family photos, from the lawyer xxx, grandfather of the owners, who was sent as a legal representative of a company of Italian production in 1935 in Ethiopia, and from here it was driven out in 1938 by general Graziani, because it was considered anti-fascist. The paintings remained in the family collection, in the palace of the family, and are now presented in all their expressive force. Ethiopia has a very particular history: it is situated between Africa and Asia, and between the Mediterranean and the Indian Ocean, was a crossroads and meeting point of different cultures, stimulated also by the constant and intense trade flows. Five centuries before Christ, stabilized the dynasty of Aksum; in this kingdom, in the fourth century after Christ, christianity was established as state religion, in his version, the coptic orthodox. The sacred texts of the medieval speak also, however, a direct relationship with one of the ten Hebrew tribes, after fleeing to Ethiopia, from which sprang the royal family through the queen of Sheba. And in fact, in Ethiopia still live today), the line of the Falascià, black jews, whose first historical mention dates back to 600 after Christ. Ethiopia was then a bastion of jewish-christian, with african influences, but to be considered almost the southern edge of the mediterranean culture.

Domenico De Bernardi

Landscape

Oil on the table. Signed and dated lower left. On the back this stamp "Domenico De Bernardi -Besozzo", for authentication. De Bernardi's painting is part of the Lombard landscape tradition of the nineteenth-twentieth century. He always lived in Besozzo, his hometown in the province of Varese, but he traveled a lot, in Italy and outside of Italy, collecting impressions and searching, to relive them in his work, new landscapes; in particular he picked up new suggestions from a trip to Libya in the thirties, from which he returned with a more lively and Mediterranean palette. Landscape was the genre he preferred, but he was also often attracted, with equally significant results, to 'still life'. The small landscape presented here is a glimpse of hills on which higher peaks stand out in the background, perhaps precisely the pre-alpine areas of the artist's origin; a small village fills the center of the scene, in which the widespread cultivation fences stand out in particular. The work is presented in a contemporary frame.

Luigi Bini

Still Life with Apples 1932

Oil on plywood Signed and dated upper right. The composition presents several apples on the table scattered together with other elements: the plate, the jug and the glass, the goblet, some jars. The Tuscan artist Luigi Bini was a painter, ceramist and sculptor, who did not feel tied to traditional techniques but loved to experiment with new ones. His pictorial works, among which portraits and figure studies prevail, were mainly made in pastel and tempera to achieve lively and soft chromatic passages through large brush strokes. The work is presented in a contemporary frame.

The Sources of Boario Terme

Watercolor on paper. Years 20-30 ca. Signed A.C. Leveque lower right. On the back the title. The glimpse of the well-known spa is depicted intensely animated by the colorful crowd, strolling along the avenues in front of the symbolic building of the spa, the Liberty dome of white marble, which extends to the sides in the balcony supported by columns with Ionic capitals. The painting is presented in a contemporary frame.

Marina with Fishermen

Oil on canvas cardboard. Signed lower left (badly identifiable signature). Bright glimpse of the sea, with fishing boats approaching the shore, withdrawing their nets. The uniformity of the color of the sky and the sea, of the same shade of blue, creates a homogeneous background against which the brighter colors of the boats stand out. In frame.

Luigi Bini

Still Life with Grapes, Figs and Apples 1932

Oil on canvas cardboard. Signed and dated top right. The composition features autumn fruits, grapes and apples in the embossed metal fruit bowl, figs on the placemat. The Tuscan artist Luigi Bini was a painter, ceramist and sculptor, who did not feel tied to traditional techniques but loved to experiment with new ones. His pictorial works, among which portraits and figure studies prevail, were mainly made in pastel and tempera to achieve lively and soft chromatic passages through large brush strokes. The work is presented in a contemporary frame.

Luigi Bini

Mountain Landscape

Oil painting on canvas. Signed lower left. Great glimpse of mountain slopes and snow-capped peaks, with huts. The Tuscan artist Luigi Bini was a painter, ceramist and sculptor, who did not feel tied to traditional techniques but loved to experiment with new ones. His pictorial works, among which portraits and figure studies prevail, were mainly made in pastel and tempera to achieve lively and soft chromatic passages through large brush strokes. The proposed work is presented in a style frame.

Luigi Bini

Flowers 1929

Oil painting on canvas. Signed and dated '29 in the lower right corner. Vibrant vase composition of multicolored chrysanthemums. The Tuscan artist Luigi Bini was a painter, ceramist and sculptor, who did not feel tied to traditional techniques but loved to experiment with new ones. His pictorial works, among which portraits and figure studies prevail, were mainly made in pastel and tempera to achieve lively and soft chromatic passages through large brush strokes. The work is presented in a style frame.

Ugo Celada of Virgil

Female portrait

Oil on plywood. Signed lower left. Born in 1895 in Virgilio, in the province of Mantua, - hence the addition to the surname of the toponym probably in homage to the Latin poet-, Ugo Celada first studied at the Academy of Fine Arts in Mantua and then moved on to the Brera Academy in Milan as a pupil of Cesare Tallone. After the interlude of the First World War, in which he participated as a volunteer, he devoted himself completely to pictorial research, also staying in Paris to study and deepen the new artistic trends. Already in 1920 he participated in the Venice Biennale, immediately revealing his tendency to a lenticular realism, played on the transparency of the bright and clean color, and on the meticulous search for precision. Still lifes, nudes, portraits, trompe l'oeil, were inserted by him in almost surreal contexts but very close to reality, in enigmatic atmospheres defined with a clear and precise design. At the beginning of the 1930s Celada definitively broke with the twentieth century current and indeed founded an anti-twentieth century Manifesto in Mantua, in which she attacked the monopoly of the regime culture, and rather approached Magic Realism and the New Objectivity of the contemporary Sciltian. Since then he avoided any exposure (he was one of the few successful artists not to be compromised with the fascist culture and its celebration), living thanks to the orders of the Milanese bourgeoisie who adored him, and dedicating himself exclusively to a pictorial research based on the objective description of the reality, resulting in the founding of the Objectivist Painters movement in 1959. He continued to paint until old age, dying in Varese at the age of one hundred. Celada's painting is capable of blocking reality in time and space, in a way that appears detached, analytical and scientifically exact (colors, reflections, transparencies), but communicating - as opposed to a total unreality - a great narrative pathos. The portrait of a lady presented here reveals Celada's ability to portray the person with an almost photographic realism, albeit surrounding her with an aura of surrealism, thanks to the monochromatic background devoid of any reference to the surrounding reality. The work is presented in a frame.

Ugo Celada of Virgil

Male portrait

Oil on plywood. Signed lower left. Born in 1895 in Virgilio, in the province of Mantua, - hence the addition to the surname of the toponym probably in homage to the Latin poet-, Ugo Celada first studied at the Academy of Fine Arts in Mantua and then moved on to the Brera Academy in Milan as a pupil of Cesare Tallone. After the interlude of the First World War, in which he participated as a volunteer, he devoted himself completely to pictorial research, also staying in Paris to study and deepen the new artistic trends. Already in 1920 he participated in the Venice Biennale, immediately revealing his tendency to a lenticular realism, played on the transparency of the bright and clean color, and on the meticulous search for precision. Still lifes, nudes, portraits, trompe l'oeil, were inserted by him in almost surreal contexts but very close to reality, in enigmatic atmospheres defined with a clear and precise design. At the beginning of the 1930s Celada definitively broke with the twentieth century current and indeed founded an anti-nineteenth century Manifesto in Mantua, in which she attacked the monopoly of the regime culture, and rather approached Magic Realism and the New Objectivity of the contemporary Sciltian. Since then he avoided any exposure (he was one of the few successful artists not to be compromised with the fascist culture and its celebration), living thanks to the orders of the Milanese bourgeoisie who adored him, and dedicating himself exclusively to a pictorial research based on the objective description of the reality, resulting in the founding of the Objectivist Painters movement in 1959. He continued to paint until old age, dying in Varese at the age of one hundred. Celada's painting is capable of blocking reality in time and space, in a way that appears detached, analytical and scientifically exact (colors, reflections, transparencies), but communicating - as opposed to a total unreality - a great narrative pathos. In the portrait presented here the strong realism of the reflections of the glasses and of the details of the character stands out (the vein on the forehead, the hint of a beard, the displaced tie), while on the other hand the aseptic monochrome of the background places the person in an indefinite context, surreal. The work is presented in a frame.

Laura Bellini

Marine glimpse

Oil on tablet. Signed lower left. About 1930s-40s. Laura Bellini, born in Ancona, was artistically formed and achieved her artistic success in Rome, where her works were purchased by the Presidency of the Rome Quadriennale, by the Ministry of Industry and Commerce and by numerous Roman collectors. It is considered one of the last exponents of the Roman School. The small glimpse presented here is suggestive, a coastal view full of villages, taken from the rocks. It is presented in a contemporary gilded frame.

Walter Benoldi

Still life 1940s-1950s

Oil painting on canvas. Signed top right. The composition, on a background of curtains, presents on the right a jewelery box, on the left a half-length statue of a Madonna and Child, in front of which there is a drawing on paper and a decorated metal bowl. The pictorial production of Walter Benoldi, a Parma painter, is characterized by these compositions rich in different elements, among which a small painting is often inserted. The work is presented in a contemporary gilded frame.

Rodolfo Paoletti

Venetian Glimpse with Masks

Oil on plywood. Signed lower right. View of a Venetian house, with access from the bridge on the calle, near which a gondola is moored; two figures of Venetian masks are entering the house. Born and artistically trained in Venice, from a family of artists, Paoletti later moved to Milan, where he continued his career dedicating himself to illustration magazines as well as painting. The Venetian theme also remained recurrent in his pictorial production: maintaining the link with the Venetian landscape painting of the late 19th century, Paoletti translates the views of his city into shapes of color and light. The painting is presented in a contemporary frame.

Attilio Andreoli

Female Portrait

Oil painting on canvas. Signed lower right. Trained at the Brera Academy as a pupil of Cesare Tallone and Vespasiano Bignami, Attilio Andreoli preferred historical and biblical subjects in his production, with which he built his fame, but also made several portraits. His technique was peculiar: he used only the spatula, to spread very thick and enameled color mixtures, which he then finished with small and precise touches of the steel blade. The portrait of a young woman presented here, in which the technique is clearly evident, is presented in a mid-20th century frame.