Scene with Figures, 1950 ca.

Oil on canvas. It belongs to a group of works called Jeux de Symboles, created from 1945 to 1950 approximately, in which ORAZI's painting moves towards the production of the so-called Peinture du Mouvement, characterized by the work on the dynamic effects of the human body (and animals) in motion, emphasized by the strength of color. Color dominates this scene, strong, acid, bright color, which outlines almost geometric human and animal figures, with marked and clear contours, in which two different ethnic groups seem to be recognized in comparison. The canvas has small losses of color. It comes from the artist's family collection.

The Shawl Portrait of a Mexican Woman ca. 1950

Oil on canvas. Signed lower right. The French painter ORAZI stayed in Mexico in 1955 and then in 1956-57, which was an exceptionally attractive world for intellectuals and artists of the time. The natural scenery, the customs and traditions of the local population were the themes that converged in the series of paintings called Peintures sur le Mexique, landscapes, compositions and portraits without giving in to the taste for the exotic, with an extremely careful work on the color to represent, without descriptivism, the elements of nature and the figures of men and women, already projected towards abstraction. This pictorial series, composed of 35 pieces, was then exhibited in 1957, upon his return to France, at the Vendôme Gallery in Paris. The painting comes from the private collection of the artist's family.

Portrait of a Woman 1951

Oil on canvas. Signed and dated lower left. The date of the work places this work in the period in which ORAZI was already projecting himself towards a less realistic painting, creating a portrait characterized by very marked physiognomic features, almost geometric, and a color scheme that plays on the variation of a single color range. The figure portrayed is that of an elderly woman, belonging to the peasant world.

Mexican Peasant Figure 1956

Oil on canvas. Signed and dated 1956 lower left. The French painter ORAZI stayed in Mexico in 1955 and then in 1956-57, which was an exceptionally attractive world for intellectuals and artists of the time. The natural scenery, the customs and traditions of the local population were the themes that converged in the series of paintings called Peintures sur le Mexique, landscapes, compositions and portraits without giving in to the taste for the exotic, with an extremely careful work on the color to represent, without descriptivism, the elements of nature and the figures of men and women, already projected towards abstraction. This pictorial series, composed of 35 pieces, was then exhibited in 1957, upon his return to France, at the Vendôme Gallery in Paris. The painting comes from the private collection of the artist's family.

The Ancient Triskelion 1997

Mixed media on board. Signed and dated lower right. On the back, further signature, date and title. Driven by an intense intellectual curiosity that has characterized every moment of his experience, not only creative, but also human and professional, the Ancona artist Giorgio Villa has developed his own principles of thought and action, on rigorous bases of a scientific-mathematical approach, nourished by a profound poetic inspiration and a deep-rooted sense of beauty. The search for a path to follow, free from patterns or cultural ties characterizes his art; Villa moves in the sphere of imagination, feelings and the poetry of images. Each work is the fruit of a meditated inspiration, moment by moment, allowing space for reflection, for the considered gesture, analyzing the relationships between space and matter, between colors and shape, to identify the perfect synthesis, which makes a work of art unique and unrepeatable. In this work Villa depicts the Triskelion, or the ancient symbol formed by three spirals joined at a central point, more generally three intertwined spirals, or, by extension, any other symbol with three protuberances and a triple rotational symmetry.

Nude

Mixed media on paper. Signature and title of the work at the bottom. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops from 19th-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Segnali 1991

Mixed media on paper. Title on the bottom left. Artist's stamp on the back with title, date and signature. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent place within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops from 19th-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Studio, 1993

Mixed media on paper. On the back, the artist's signature, the title, the date and a dedication to a friend. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Fantastic Vision with Figures

Oil on canvas. The signature of the painter Franco Rognoni appears at the bottom right, but the work has not been recognized as authentic by the artist's archive. It also well reflects Rognoni's pictorial style, characterized by figures, both men and houses drawn in black with a few precise strokes, and then filled with color that fades into the background. In the canvas, an elegant male figure appears, leaning impassively and indifferently on the flowered railing of a terrace overlooking a city; below him, at the bottom left, another face emerges (the same man?) wearing a military helmet and placed on a darker, less sunny city background: whether it is the man at war who recalls the time of peace or vice versa, the reference to the alternation in life of peace and war, of serenity and drama is evident. The work is presented in a frame.

Untitled, 2003

Mixed media on paper. Signed and numbered on the back. Copy No. 40 of an edition of 350, of which the first 50 copies are numbered and signed by the artist. These works were created as an attachment to the Catalogue of the 1040th exhibition at the Galleria del Cavallino -Venice, held in October 2003 and dedicated to the works of Paolo Patelli, as indicated in the colophon of the brochure, where there is a further signature of the artist and dedication. Paolo Patelli, an artist of Istrian origins, expresses the joy of painting, creating works that are enriched by his passion for music. The rhythmic spirit of the artist's style captures movements, translating them into a visual language that breaks the mold of traditional artistic models, making every line and every brushstroke visible, leaving a wide exposure of the paper surface.

Burnished and wrought copper plate, with lighter spot decorations, embossing and holes, mounted on a red-stained plywood panel.

Copper and brass panel, worked with irregular geometric figures. Inspired by the works of the sculptor and painter Lino Bersani (Genoa 1935). Mounted on a white lacquered wooden panel.

Bas-relief in wood, fabric and white tempera, evoking a stylised Crucifix. Mounted on a panel and presented in a display case.

The Angel of Death 1979

Oil on hardboard. Signed and dated lower left. Further signature, date and title on the back. Angelo Peratici's artistic production is characterized by a desire for expressive freedom that draws on his fervent imagination to represent reality. Starting from this innate impulse to transfigure reality, his art has transformed into a laborious research process, fertile with metaphorical and visionary images, sometimes grotesque, eccentric, which we see realized in particular in the production of the early 80s.

Duck Flight

Bronze sculpture. Signature engraved on the base. Gino Masciarelli, a sculptor originally from Abruzzo but who lived in the Milan area, after having also worked at the Experimental Center for Scientific Research “F. Marinotti” in Lombardy, dealing with high-frequency cinematographic shooting, learned to capture the instability of bodies in movement and the dissolution of matter in space in many of his works. In the sculptures "Human groups" and "Flight" - to which the work presented here belongs -, the dynamism of flight can be observed almost as if it were a photographic sequence. The artist himself said: "Only 8 seconds made an impression on 300 meters of film, the aim was to slow down what the human eye cannot see, I wanted to capture the movement and the projection of these seconds lasted a couple of hours".

The Woodcutter 1980

Oil on glass. On the lower left are the signature and date, accompanied by the artist's symbol, the stylised figurine of a man in a wheelchair. This is a work on glass by the painter Mario Previ, who has lived and painted in a wheelchair since the age of eighteen, due to quadriplegia following a plunge into his Taro river. He said of himself: ‘The world, the passage of time, from this point of view (the wheelchair) teaches you many things. You learn to wake up every morning with a purpose, even if your body is in pain, if every gesture generates suffering and you depend on others, and giving up could be an easy solution. And instead, art, painting, together with the serenity of my world, of friends, give me incredible energy. They have saved me, giving me the strength to live'. In 1974, three years after the accident, inspired by a television programme on Yugoslavian naïve painters, in particular by the works on glass by Mijo Kovacic, Previ began painting and learning the art of glass painting as a self-taught artist, until he became known and appreciated for his paintings. In his naifs, Mario Previ recounts a reality that has almost disappeared, real stories albeit in a fairy-tale tone, revives lost traditions, glimpses of life that belonged to other generations, those of the peasant civilisation (from which he comes), but what emerges most from his visions are the ‘forë’, those that could once be heard in the ‘firossi’, the traditional evenings in the hamlets of Parma dedicated to getting together to tell anecdotes, stories and historical curiosities, often in front of the fireplace, when it was cold and snowing outside. The work is presented in the frame.

The Bonfire under the Snow, 1979

Oil on glass. At the bottom right are the signature and date, accompanied by the artist's symbol, the stylized figurine of a man in a wheelchair. It is a work on glass by the painter Mario Previ, who has lived and painted in a wheelchair since the age of eighteen, due to quadriplegia resulting from a dive into his Taro. He said of himself: "The world, the passage of time, from this point of view (the wheelchair) teach many things. You learn to wake up every morning with a purpose, even if your body is in pain, if every gesture generates suffering and depending on others and giving up could be an easy solution. And instead, art, painting, together with the serenity of my world, of friends, give me incredible energy. They saved me, giving me the strength to live". In 1974, three years after the accident, inspired by a television program on Yugoslavian naïve painters, in particular by the works on glass of Mijo Kovacic, Previ began to paint and learn the art of painting on glass as a self-taught, until he to make himself known and appreciated for his paintings. In his naifs Mario Previ tells a reality that has almost disappeared, real stories albeit in a fairy-tale tone, he revives lost traditions, slices of life that belonged to other generations, those of peasant civilization (from which he also comes), but what emerges most from his visions are the "forë", those that could once be heard in the "firossi", the traditional evenings of the hamlets of Parma dedicated to meeting to tell anecdotes, stories and historical curiosities, often in front of the fireplace fire, when outside it was cold and snowing. The work is presented in a frame.

Girl in armchair

Terracotta sculpture. Signed lower right. Marco Cornini, a Milanese artist trained at the Brera Academy, works mainly with terracotta, with which he creates human figures, both male and female, men and women, or better yet boys and girls of more or less the same generation, in moments of their intimacy, often as a couple but also individually, with sentimental, erotic and passionate values. Here we see a naked woman sitting in an armchair in a room, in an attitude of intimate desperation.

We created Atypical Systems 1963/74

Serigraphs and photos. The work consists of three silk-screened cartoons (in cardboard box) with the text in English (original title "We have created atypical systems") and six photos portraying the artist, individually framed. On the back of the three serigraphs in English, numbered in sequence, there are the edition number 13/15, the date 1974 and the artist's signature; they also accompany three unsigned serigraphs with the text in Italian. Cioni Carpi, Milanese artist, engaged in conceptual and minimalist art, produced works in which imagination, sensitivity, expressive flair were fundamental. His creativity was also expressed in photography, installations, video, drawing, writing, the artist's book, as well as painting. The dimensions indicated are those of the single frame.

Indiscreet Lock 2019

Mixed media: plexiglass artpiece with fabric inserts and oil finishings. datend and signed on the back. The artist says of himself: "It is the great love for art that has driven me to realise emotions and colourful visions that have always lived in my lively imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".

Tribute to Nannarella 2017

Mixed media: dripped panitn and paper on wooden base. Signed and dated on the back. The artist says:" It is my great love for art that has driven me to realise emotions and colourful visions that have always lived in my vivid imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".