The canvas depicts King David playing the harp. Depicted with Ethiopian features, the painting underlines the direct descent of the people from the Davidic lineage. 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.

Ethiopian art, c. 1935

The canvas depicts the meeting between the queen of Sheba and king Solomon. The queen is represented seated on a throne, in the center of the scene, and to the left appears the following, which brings rich gifts to the king. Solomon is sitting on his throne, characterised by the image of the lion on the side, behind him entered his court. In the underlying part, the musicians emphasize the character of the feast of the meeting. 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.

Ethiopian art, c. 1935

The painting, oil on canvas, is in reality most likely a scene that overlaps various typical subjects that are very much reproduced in traditional Ethiopian art of the early 1900s. A recurring theme is that of slave hunting. A painting similar to ours for the arrangement of the scenes and narration is in the Bremen museum and takes up the story of Iyassu, prince of the Amhara population, who fights after the death of Menelik II the people of the Gimirra, who occupied the southern part of Ethiopia. The painting contrasts the Amhara, dressed and with the commanders with a sort of fringed hat, to the "barbarians" Gimirra, half naked, who are killed and emasculated. The expedition ended with the acquisition of about 20,000 new slaves. In fact, in our painting there are also quotations that refer to the action of Ras Tafari, who in 1928, after the coronation a negus, represses the revolt of the Oromo, in the province of Uollo. A further mention is in the presence of numerous rifles, which recall the battle of 1930 with the definitive defeat of Gugsa Oliè and the subsequent appointment of Ras Tafari as emperor. So the painting, made around 1935 for an Italian client, adds up these themes in our opinion. It is part of a group of seven works, which arrived in Italy at the end of the 1930s; 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 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.

The garden of the house of Camerano Casasco

Watercolor and ink on paper. Signed and dated September 14, 1952 in the lower left corner; location at the bottom right. On the back this title of the work of the famous Russian set designer, painter and draftsman, who since 1935 was the main scenographer of the Teatro Alla Scala in Milan. In an exposed frame.

Ethiopian art, c. 1935

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.

Oil on oval board. Signed on the lower left corner. Inscription, signature and date 1925 on the back. Gallant scene in a garden: the setting shows neoclassical references but the painting technique is closer to impressionism. The painting comes with gilded frame from the biginning of the 19th century. Light color drops.