Female Figures

Oil on masonite. Signed lower right. From the Campari company collection. Leonardo Stroppa, a painter from Turin, created many figurative subjects, as well as landscapes and floral compositions, often using watercolors or, even when using oil paints, choosing soft palettes and delicate pastel nuances. These, combined with broad brushstrokes and soft edges, give his works a touch of lightness. His figurative subjects include noble figures, such as these two elegant society ladies, engaged in amiable and composed conversation in their drawing room, but also popular figures and scenes of city life, both indoors and outdoors. The work is presented in a frame.

Female Figure with Glass

Oil on hardboard. Signed lower right. From the Campari corporate collection, the elegant lady holding a glass likely pays homage to the renowned aperitif and beverage company. Leonardo Stroppa, a painter from Turin, created many figurative subjects, as well as landscapes and floral compositions, often using watercolors or, alternatively, oil paints. He employed soft palettes and delicate pastel nuances, which, combined with broad brushstrokes and soft edges, give his works a touch of lightness. The work is presented in a frame.

Padua, the Basilica of Saint Anthony

Oil on masonite. Signed lower right. From the Campari company collection. Leonardo Stroppa, who painted primarily figurative subjects and everyday scenes, using soft, nuanced colors, also created several landscapes and cityscapes, enlivened by figures. This work is part of a series of views of famous monuments in important Italian cities, painted with earthier colors (browns and greens stand out) and a more textured feel. The work is presented in a frame.

View of Florence

Oil on masonite. Signed lower right. From the Campari company collection. Leonardo Stroppa, who painted primarily figurative subjects and everyday scenes, using soft, nuanced colors, also created several landscapes and city views, enlivened by figures. This work is part of a series of views dedicated to famous monuments in important Italian cities, rendered in earthy colors (the browns and greens are particularly prominent) and with a strong texture. The work is presented in a frame.

Ligurian Houses

Oil on cardboard. Signed lower right. On the back is a label with a further signature, the address of her studio at Via Monti 54 in Milan, and the title. Cesara Mottironi was particularly active in promoting the spread of painting among women during the interwar years. Cesara, known as Cesarina Mottironi, was an artist who devoted much of her time to teaching oil and watercolor painting, creating and developing specialized schools. Her studio on Via Vincenzo Monti was always open to those who wanted to learn to paint. She was a particularly strong advocate for women's emancipation: as far as we know, her students were almost all women, whom she often introduced to the public and critics. Mottironi also lived and worked extensively in Camogli, capturing several Ligurian views and vistas, such as the one shown here. The work is presented in a frame.

Still Life with Fruit

Oil on canvas mounted on hardboard. Signed lower right. On the back is a label with the artist's studio details in Milan and a stamp from Galleria Bolzani, Milan. Milanese artist Carlo Perindani was known for his views of his beloved Capri, the island where he spent a long time and died, but also for his domestic scenes and still lifes. His compositions, such as the one presented here, are strikingly realistic, with melons, peaches, and pears in vivid, almost photographic colors. Framed.

Alpe Campo, at the foot of Monte Rosa.

Oil on canvas. Signed lower right. Title and signature on the back. Beautiful view of Alpe Campo in Valsesia, a location considered the "balcony of Monte Rosa" for its splendid, expansive view of the renowned Alpine massif. Riccardo Galli, a Milanese artist devoted to painting and illustration, created several landscapes of the Piedmont Alps, as his family was originally from those areas. His landscape painting draws on Lombard naturalism, inspired by a search for reality, rendered with broad brushstrokes. The work is presented in a mid-20th-century frame.

Alpine Glimpse

Oil on canvas. Signature and location (Monza) at the bottom left. In 1881, Monza-born painter Eugenio Spreafico became interested in Verismo and the Scapigliatura movement, joining the Monza Realist group, which included Mosè Bianchi, Emilio Borsa, and Pompeo Mariani. His focus shifted to landscape painting, particularly of Monza and the Lombardy countryside, and to social themes such as farm work, portraying male and female workers immersed in nature, in a close relationship between figure and landscape. Presented here is a glimpse of an Alpine peak overlooking a large green meadow.

Landscape with Peasant

Oil on cardboard. Signed lower left, D. Korompai. The painter's Hungarian surname was Italianized to Corompai after 1915. Corompai devoted himself primarily to sacred painting and landscapes, particularly those of the Veneto and Friuli regions, which he depicted with a use of light and transparency that lends a fresh, vibrant atmosphere. The work is presented in a frame.

Oil on canvas. Interior view of the Church of San Marco in Milan, with figures of devotees praying before the high altar, partially seen at the intersection with the transept on the left. The warm colors and soft lighting beautifully convey the atmosphere of contemplation. Period frame.

My Rocking Horse 1961

Terracotta sculpture. Signature, date, and title engraved on both sides at the bottom. José Pizzo, the name adopted by Italian artist Giuseppe Pizzorni after his permanent move to Caracas in 1947, although initially influenced by Futurism, maintained a strong connection with Classicism, returning to realist-style works. His distinctive working technique, characterized by the marked imprint of his tools on the material, emphasizes the fascination of touch in sculpture.

Oil on canvas. Signed lower left E. Bagnati, referring to Elena Bagnati, a painter active between the late 19th and early 20th centuries. The scene is set outdoors near a washhouse, where a group of women and girls with a baby girl are washing and chatting. The atmosphere expresses, in a post-Impressionist style, a serene and tranquil moment of peasant domestic life. The work is presented in a period frame.

Interior scene

Oil painting on canvas. Not signed, but on the back there is a dedication "Alla signora Clelia Mazzioli, con stima Gaetano Bellei 23 gennaio 1909". The big scene, set in a popular kitchen, sees a woman reading cards to two girls, who ask for explanations by pointing to the figures that appear and seem to compare them with a text leaning on the chair. The work recalls the painting of Gaetano Bellei, due to the strong realism with which the painter painted above all scenes of daily peasant life; he is considered a master of the depiction of human affections and of human reactions and sensations. The painting has slight drops of color. It is proposed in a stylish frame.

Anemones

Oil on canvas, signed lower left by Carlo Cherubini. The work's title is noted in pencil on the back of the frame. Born in Ancona, but having lived for many years in Venice, this artist is known for his ability to explore a variety of subjects, from female nudes to masked figures to landscapes. Son of the Ancona-born painter Giuseppe Cherubini, Carlo stands out for his use of vibrant, luminous colors that characterize his painting style. The work is presented in a period frame.

Landscape with Chariot

Oil on canvas. Signed lower right. The artist combines the entrance to a villa (which he had already depicted in other paintings, titled "Villa Cappello in Noventa Padovana") and a caravan in the same landscape: this element was also depicted several times by him due to his interest in gypsy life. Born in Ancona, but having lived for many years in Venice, Carlo is known for his ability to explore a variety of subjects. Son of the Ancona-born painter Giuseppe Cherubini, Carlo stands out for his use of bright, vibrant colors that characterize his painting style. The work is presented in a period frame.

San Marco Dock

Oil on cardboard, signed lower left by Riccardo Viriglio, a renowned painter from Pavia specializing in cityscapes and Lombard views. This work depicts the Darsena di San Marco, an ancient port basin located along what is now Via San Marco in Milan, an important arrival point of the Martesana Canal and the city's second largest river port. The painting is presented in a period gilded frame.

Mountain View with Grazing Cows

Oil on canvas. Signature, location (Monza), and a dedication to a friend appear at the bottom left. In 1881, Monza-born painter Eugenio Spreafico became interested in Verismo and the Scapigliatura movement, joining the Monza Realist group, which included Mosè Bianchi, Emilio Borsa, and Pompeo Mariani. His focus shifted to landscape painting, particularly of Monza and the Lombardy countryside, and to social themes such as farm work, portraying workers immersed in nature, in a close relationship between figure and landscape. Here, a glimpse of a snow-capped Alpine peak is depicted, with cows grazing in the green valley below. The canvas has a few small stains.

Glimpse of the Lombard countryside

Oil on canvas. Signature and location (Monza) at the bottom right. In 1881, Monza-born painter Eugenio Spreafico became interested in Verismo and the Scapigliatura movement, joining the Monza Realist group, which included Mosè Bianchi, Emilio Borsa, and Pompeo Mariani. His focus shifted to landscape painting, particularly of Monza and the Lombard countryside, and to social themes such as farm work, portraying workers immersed in nature, in a close relationship between figure and landscape. Presented here is a glimpse of the verdant and expansive Lombard countryside.

Landscape with Flock

Oil on panel, canvas-covered on the reverse. Signed lower left. Born in Turin, Vittorio Cajani was a talented painter and illustrator of figurative works and scenes of everyday life, especially those of the wealthy bourgeoisie of the late 19th and early 20th centuries, with a particular passion for horses. Here, instead, is a glimpse of a winter landscape, with a flock of sheep passing along the path that runs through the small village, rendered in his signature style, characterized by broad brushstrokes and textured color. The work is presented in a wooden frame from the first half of the 20th century.

Oil on canvas. This large composition, inspired by ancient models, features game resting on the branches of a tree along a path, along with various fruit, especially large bunches of grapes. In the landscape behind it, on the left, stand the architectural ruins of a classical-style temple. The work is presented in a frame.

Oil on canvas. Signed lower right "J. Dupont da Velzquez". This is a copy of Diego Velazquez's famous masterpiece, painted around 1657 and housed at the Prado Museum. Until the mid-20th century, the painting was titled "The Tapestry Factory of Santa Isabel in Madrid": only in 1948 did studies by art historian and critic Diego Angulo Íñiguez identify a connection between the painting and the ancient Greek myth of Arachne. In the foreground, several spinners work in a bare, dimly lit room, with a soft light reflected from the background. Five women are depicted: on the left, in the dim light, the eldest spinner operates the reel; in front of her, on the right, in full light, a young girl is collecting thread on the reel; They are respectively the representations of Athena, still hidden under false guise, and the human Arachne, during their contest. The other three women are merely surrounding elements; the central one is merely a static silhouette. In the background, central and illuminated by a powerful beam of light emerging from the left, and enlivened by the bright colors of the tapestry and the robes, is the scene of the goddess's revelation to the woman. Compared to the original, this copy, while faithful in the figures and details depicted, is painted with more nuanced brushstrokes and less defined outlines, as well as less vibrant colors. The work is presented in a frame.

Portrait of a Girl, 1940

Oil on canvas. Signed and dated lower left. Attilio Corsetti was primarily a landscape painter, dedicating several views of Liguria, but he also painted several portraits. He adhered to the "Novecento" movement, which expressed a reaction to the avant-garde in favor of a return to tradition. The work is presented in a contemporary wooden frame.

Gouache on cardboard. The view of the Bay of Naples at night, illuminated by the erupting Vesuvius volcano, is part of a large production for tourism, due to the evocative beauty of the location. The work is presented in a period frame.

Tempera on cardboard. The broad view spans a harbor in a large gulf, likely that of Naples; seen from the heights of the hills behind, it features two popular figures ascending a wide path in the foreground. The painting is part of a large series of landscape paintings for tourism. Presented in a contemporary frame.