Giuseppe Palanti

Portrait of a young man

Oil on canvas. Signed in the lower right. Giuseppe Palanti was a painter, advertising designer, illustrator, set designer, quality and Italian teacher of visual arts at the Academy of Brera in Milan. In his paintings include several portraits of important characters of the era, including Pope Pius XI and one of the official portraits of Benito Mussolini. Many of his portraits of female characters. The work presented is the portrait of a little boy who, in spite of the serious expression and the dress in the adult, reveals in the face, rosy and beardless, almost feminine, and his gaze a little lost and uncertain, his youth. The painting is presented in the frame of the end '800 that presents some of the shortcomings.

Maternity in a Landscape, Oil on Canvas, 20th Century

Oil on canvas. Anonymous author. Good quality. The great composition shows a popular maternity: the young woman is sitting with her child in a meadow of daisies; in the background, behind the village, there are hils and mountains that recall the pre-alpine landscape. Fair conditions. COmes with coeval frame that has some missing parts.

Glimpse of the country

Oil on panel. School north-european. It is the view of a town on the sea, where stands the small fortress that overlooks the seafront and gives access to the country; in the background the bell tower in the style of purely nordic. On the frame is affixed to the label of attribution to Henry, Darien. The work is in a contemporary frame.

Group of seven Studies of Figures in Anna's Mouth

Pastels on paper. The daughter of the well-known painter of vigevano Luigi Bocca, an important representative of the painting a realistic pavese and his one and only teacher, Anna's Mouth himself as still very young, exposing his essays to important exhibitions such as the Biennale di Brera in Milan. In his painting, prevail, still lifes, landscapes, and human figures, as in this group of sketches, depicting mostly nude, male and female. All signed lower right, lead however dates and locations are different, ranging from the works of the years of youth (1919,1922) to a few of a more advanced age (1969). Two of them also carry a dedication. The drawings are executed on paper, probably coming from the album from the drawing, of which there were holes to tear up. The sizes vary: the largest has dimensions 58 x 49 cm, the other approximately 40 x 30 cm. In the frame.

Ernesto Alcide Campestrini

The good fruit

Oil on masonite. Signed in the bottom left of the page. To the back another signature and title of the work. And' a still life in which the autumn fruits (grapes and oranges) which give the title to the work, stand out for the vivid colors in the midst of other objects (books, the knife, the print behind it). Ernesto Alcide Campestrini, milanese artist who trained at the Academy of Brera and the school of the father Alcide David, devoted himself to the still life, the painting of the figure and to the alpine landscape, the trentino, and in particular, to a technique related to the paternal school and to the tradition of the late nineteenth century. In the frame.

Giuseppe Pessina

"At Serina,Bergamo"

Oil on canvas. Signed in the bottom left of the page. The '40 years approximately. Giuseppe Pessina, milanese by birth and training, is known as a landscape painter, which he immortalised in his paintings and views of the Alps of lombardy, especially of the nearby valleys of bergamo. The painting is presented in a contemporary frame guilloche.

The landscape of Eso Peluzzi

On The Tanaro,1950

The landscape of Eso Peluzzi. On The Tanaro, 1950. Oil on plywood. Signed in the lower right. At the back of this label from the artist's studio with the number of the work, 478, the execution date of 1950 and the title. In the frame.

Illustration of the tale "the Thorny journey"

Mixed technique on paper applied on cardboard. Signed Albert in the lower right. At the back there is the title, which identifies the scene as an illustration of the story "Thorny journey" written by Giorgio Scerbanenco, the famous writer ,essayist and journalist (1911-1969) origin ukraine, author of numerous tales of character, a detective story. L' illustration proposal is probably part of an illustrated book, as it is also deduced from the inscription at the back "News 42".

Francesco Marino

The beach of Mergellina

Oil on plywood. Signed in the lower right. On the back there are the stamp and label of the Galleria d'arte Mediterranea, Naples, with the data of the work. The neapolitan painter, he was known for landscapes of flavor of the impressionists, mostly set on the coast of his native city. In frame with glass case.

Romantic Scene, Oli on Board, 1925

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.

Scene of daily life in the village

art of ethiopia, 1935 ca.

The canvas represents a scene of daily life in the village. The centre of the scene is occupied by the church, surrounded by a low stone wall. It converge some of the faithful and a priest, characterized by a black coat and a white turban. The scene is crossed diagonally by a small river, in which two boys are bathing. The edges of the river with the activities of those who plow the field, of women who carry wood and water, a group of shepherds, guys who collect the fruit. 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.

King David plays the harp

The canvas represents king David playing the harp. Pictured with the features of the ethiopians, the painting emphasizes the direct descent of the people from david's lineage. 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.

Battle scene

art of ethiopia, 1935 ca.

The paintings, oil on canvas, is actually very probably a scene that overlaps several typical subjects and much played in the scope of the art ethiopian traditional of the early '900. A recurring theme is the hunt for slaves. A painting similar to ours) for the provision of the scenes and the narration is in the museum of Bremen, and resumes the events of Iyassu, the prince of the population is Amhara, which is fighting after the death of Menelik II, the people of the Gimirra, which occupied the southern part of Ethiopia. The painting contrasts with the Amhara, clothes, and commanders with a kind of hat to the fringes, to the "barbarians" Gimirra, half-naked, killed, and agency. The expedition ended with the capture of about 20,000 new slaves. In reality, in our painting also appear citations that refer to the action of Ras Tafari, who, in 1928, after the coronation of negus, represses the revolt of the Oromo, in provoncia of Uollo. A further quotation is in the presence of numerous guns, which recall the battle of the 1930's with the final defeat of Gugsa Oliè and the subsequent appointment of Ras Tafari as emperor. Therefore, the painting, made around 1935 by a client Italian, the sum in our opinion, these issues. 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.

Aleksander Zyw, Oil on Canvas, Contemporary Art

Abstract Composition

Oil on canvas. Signed on the lower right corner and on the back. Aleksander Żyw was born in Lida,Belarus, in 1905. Studied at the Academy of Fine Arts in Varsavia under the leading of Tadeusz Pruszkowski. In 1934 he won a scholaraship that allowed him to travel all over europe and built his personal style deifined neo-impressionist. After taking part at the Secon World War with the polish army, he lived in EdinburgH, Scotland, till 1960 then he moved to Italy till he died in Castagneto Carducci (Li). His starting prodution was mostly about landscapes inspired by his ypung military experience, but starting from 1950s he began to work with austerity and exploring the natural world, in particular his elements, taking objects as starting point for dark image, sometimes very abstract and expressed with light colors, greys, browns, blue-greys and blue-greens. The painting in question belongs to this second prodution. Comes with frame,

Painting of Angelo Fiessi, Oil on Cardboard, 20th Century

View of the City

Oil on cardboard applied on hardboard. Signed on the lower right corner. Angelo Fiessi, born in Brescia, had always been related to his home town and to the places around Iseao Lake where hi went often; landscapes painter that dedicated most of his production evoking his beloved places and the emotions that thoese place raise, permeating his paintings with kindness and poetry.

Partial View of Angelo Fiessi, Oil on Plywood, 20th Century

View from the Window

Oil on plywood. Signed on the lower right corner. Angelo Fiessi, born in Brescia, had always been related to his home town and to the places around Iseao Lake where hi went often; landscapes painter that dedicated most of his production evoking his beloved places and the emotions that thoese place raise, permeating his paintings with kindness and poetry. The painting comes with frame.

View of Angelo Fiessi, Oil on Hardboard

Partial View of the Town with Loggia, 1928

Oil on hardboard. Signed on the lower right corner. Place, signature and date written on the back. Angelo Fiessi, born in Brescia, had always been related to his home town and to the places around Iseao Lake where hi went often; landscapes painter that dedicated most of his production evoking his beloved places and the emotions that thoese place raise, permeating his paintings with kindness and poetry. In the painting in question we can see a partial view of a street faced by a noble palace with a beautiful columns loggia. The painting comes with frame.

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.

Life in the fields

art of ethiopia, 1935 ca.

The canvas represents the daily life and its flow through the work in the fields, the central element of survival. In the top row we see the first ploughing, followed, after the arrival of the rains, a second preparation of the soil. In the second row, we extract the seeds from the granaries; they are carried in sacks and seeded, with subsequent overlay of a hoe; the row ends with the sprouting of the seedlings. In the third row, the farmer watches over and protects from the wild beasts of the sown; then follows the scene of the gathering and typing, which closes with the store in the granary, the fruit of the work. In the fourth row, a woman prepares in the flour, and bakes a cake; lava and then the walk to her husband and he reciprocates by offering her the first bite of food; 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 '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.

The queen of Sheba meets king Solomon

art of ethiopia, 1935 ca.

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.