Sketch for the "Aida" 1974

Charcoal on paper. Signed and dated lower right, with the name of the sitter. Accompanied by a photo certificate from the General Catalogue and Archive of the artist's works. This work is by the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy, a sketch of which is presented here. The work is presented framed.

Sketches for "Aida" 1974

Charcoal on paper. Signed and dated lower right, with the name of the sitter (for Amneris). Accompanied by a photo-certificate from the General Catalogue and Archive of the artist's works. This work is by the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy; a sketch for Princess Amneris is presented here. The work is presented in a frame.

Untitled

Ballpoint pen on paper. Signed lower right. The work is accompanied by a photo certificate by the artist. Carmelo Cappello, known as a painter but above all as a sculptor, began his career with figurative painting, but under the influence of Russian Constructivism, he shifted toward abstraction, both in sculpture and painting, falling within the Spatialist movement. Framed work.

Sketch for the costumes of "Aida", 1974

Charcoal on paper. Signed and dated lower right, with the name of the character (the King in Act I). Accompanied by a photo-certificate from the General Catalogue and Archive of the artist's works. It is the work of the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy; a sketch for the character of the King is presented here. The work is presented in a frame.

Painted ceramics. In the 1970s, the Milanese company "Ceramica Fiori Oscuri" created a series of plates decorated with exclusive designs by ten contemporary painters. The series was limited to 250 pieces. The artists involved were: Gianfilippo Usellini, Domenico Cantatore, Domenico Purificato, Remo Brindisi, Gino Meloni, Virgilio Guidi, Pompeo Borra, Roberto Crippa, Franco Gentilini, and Gianni Dova. All plates bear the artist's signature on the front and the company logo and serial number on the back. In this group, the plates bear different serial numbers, and in particular, the plates with designs by Gianni Dova and Gianfilippo Usellini bear the words "Prova di colore" on the back, indicating that the copy was made before the final print, which was later confirmed for the plate signed by Dova, while Usellini subsequently chose another of his subjects. Borra's plate shows a small trace of restoration at the top; Crippa's plate has been reglued.

Sketch for the costumes of "Aida", 1974

Charcoal on paper. Signed and dated lower right, with the name of the sitter (for Amneris). Accompanied by a photo-certificate from the General Catalogue and Archive of the artist's works. This work is by the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy; a sketch for Princess Amneris is presented here. The work is presented in a frame.

Cat, 1969

Pencil on paper. Signed and dated at the top, with the location Rome. The drawing was part of a letter Gentilini signed to Elena Pelizzoni as a receipt for the deposit for a three-color drawing for a ceramic plate that would be part of the series later produced by the "Ceramica Fiori Oscuri" group with the collaboration of contemporary artists. A photocopy of the entire letter is attached. The drawing comes from a private collection in Milan. Framed.

Child on Horseback

Oil on canvas. Signed MAGO lower right. Maurizio Goracci, aka Mago, is a Roman painter of figurative subjects, with figures that, though well-defined, are always set against a surreal background, shaded in acidic palettes, lending a sense of the fantastic. A recurring theme is a figure on horseback, this time a child, whose face and extremities are recognizable, while the entire body, as well as the horse's silhouette, are covered in bright, floral fabrics, standing out against the undefined, dark background. The work is presented in a frame.

Invasion 1996

Acrylic and sand on canvas. Title, signature, and date on the back. Ferrari's oeuvre has developed entirely around the sign, passing through various interpretative phases. This work belongs to the period after 1995, in which the linearity of the sign gives way to chaos, forms meet and clash freely within the canvas, and the previously used writing breaks in all directions. The sign is completely free of superstructures and is able to express itself in its entirety, manifesting dynamically across the entire surface of the painting. These works are created with black sand from Otranto, a material that allows Ferrari to express the full theatricality of the sign and which still represents the fundamental element of his painting today: through the sand, the sign traces its paths within the space of the painting and beyond.

Mixed media on canvas. Signed lower right. After his initial Futurist phase, Sordini's painting allowed the material to take center stage and became increasingly rarefied. His interest in the sign grew and became more defined—a slender and sparse sign, primary yet sinuous, and in a soft, delicate, almost impalpable palette. Sordini "uses a completely graphic technique to create sparse, subtle traces of color on the canvas, dominated by a single hue, that evoke memories of filamentary anthropoid images".

In Nome della Pace sulla Terra 1969

Oil on canvas. Signature, title, and date in Cyrillic on the back. Viktor Petrovich Rudametkin is a Ukrainian artist who has established himself as a landscape painter and colorist. In this work, using his characteristically vibrant palette, he depicts a peasant mother in the middle of a field of sunflowers, a symbol of life and peace, contrasting with the images of military planes streaking across the sky. Created during the years when Ukraine was part of the Soviet Union, the image can be thought of as a call to peace and a message of hope for the artist's native land, still torn apart by the serious conflict with Russia.

Mother with Child

Oil on canvas. Signed lower right. On the back there is a cartouche of authentication from "Meeting Art Roma"; with the data of the work, and stamp of provenance from the "Centro Artistico Mercurio, Milan". Giuseppe Migneco, originally from Messina but who moved to Milan when he was young, was one of the major representatives, together with Aligi Sassu, Renato Birolli, Bruno Cassinari, Renato Guttuso, of the Corrente group open to the European artistic avant-gardes. In favor of a painting of social commitment, he investigates reality with a critical, objective, historical eye. His characters with hard, square faces, marked by hard work and rendered with bright and strong tones, recall his Sicily with violent and clear features, but also the social realism of the Mexican muralists. In this work appear his characteristic figures (which could belong to both Sicily and Mexico!) engaged in a very prosaic and realistic activity of popular daily life, that is, a mother who combs and cleans her son's head, probably infested with parasites. The work is presented in a frame.

Relief Painting '58-'68

Mixed media on canvas, with material applications. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, devoted himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerged from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, was the exploration of nature, its components and its phenomena (flowers, plants, sands, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. The work is presented in a frame. From a collection of the artist's family.

Relief Painting, 1958-1968

Mixed technique on canvas, with material and plate applications. On the back there is a label from a Parisian art transport service, with the artist's name: ORAZI's works participated in numerous exhibitions in the French capital, both personal and collective. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, dedicated himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerge from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, is the exploration of nature, its components and phenomena (flowers, plants, sand, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. Often in these works there is a reference to volcanic activity and the material it produces, sometimes expressed in titles such as "Lava Flow", "Volcanic Sands", Volcanic Beaches". The work is presented in a frame. Coming from the artist's family collection.

Relief Painting '58-'68

Mixed media on canvas, with material applications. Signed lower right. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, devoted himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerged from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, was the exploration of nature, its components and its phenomena (flowers, plants, sands, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. The work is presented in a frame. From a collection of the artist's family.

Jehovah Ordonnant de sa Main Puissante une Famille Cosmique, 1970

Oil on canvas. Signed and dated lower right. In ORAZI's abstract pictorial phase, his strong inclination to create circular shapes, often knotted or concentric, is often expressed. This tendency becomes central in the pictorial phase of the years 1970-1977, called Ligne Circulaire, in which he abandons creations in relief and the reference to the shapes and impressive events of nature, to instead depict the harmonious dimension of the universe, the birth and movement of the planets, the vastness of the firmament. The colors soften, are rich and at the same time tender. In some paintings ORAZI also depicts fascinating representations of Mother Earth embracing her creatures (insects, birds, flowers) or of the Moon. Or as in this work, he expresses a direct reference in the title to divine creation, depicting "God who orders the cosmic family with his powerful hand". The work comes from the artist's family collection. It is presented in a frame.

Tête-Paysage 1970 ca.

Oil on canvas. Signed lower left. The painting belongs to ORAZI's production from 1970 to 1977. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or heads of fauns and mythological figures (sometimes accompanied by their insect companions): the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, or as in this work, hide a head or a face, often "faunesco". The work comes from the artist's family's private collection.

Figures of Lovers 1975

Oil on canvas. Signed and dated lower right. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or heads of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, often in an erotic attitude. The work comes from the artist's family's private collection.

Figures, 1975 ca.

Oil on canvas. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or those of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies. Here we can perceive some figures, human and animal, probably mythological, engaged in an erotic plot. The work comes from the artist's family's private collection.

Composition, 1933

Oil on canvas. Signed and dated lower right. Partial label of the Galleria Pesaro in Milan on the back. The work belongs to the first period of the French artist ORAZI (a name he wanted written in capital letters), a period still linked to figurative painting, influenced by the historical avant-gardes, in particular by post-impressionism; already in this first phase, research on color has a dominant place in the representation of characters and objects. In this composition, the red and blue colors of the books, the bottle label, the feather, stand out against the soft and homogeneous colors of the other objects, among which the stone mask dominates the left hemifield. The work comes from the artist's family of origin. It is presented in a period frame.

Peinture en Relief, 1960s

Mixed technique on hardboard, with applications of materials in relief. From 1958 to 1968 ORAZI, who had already moved from the figurative to the abstract phase, devoted himself to creating compositions in relief: he collected and used materials and fibres of different types, especially natural materials and fibres such as tiny grains of sand, seeds, plant filaments and fragments of bark, with which he created relief shapes that emerged from the surface of the canvas. The basis of this artistic experience, called Peinture en Relief, was the exploration of nature, its components and its phenomena (flowers, plants, sands, rocks, volcanic lava, coasts and seabeds, eruptions, storms, petrified meteorites). The works of this period were initially characterised by a still rather low relief; but subsequently the relief became more and more pronounced, often coming out of the perimeter of the support, to the point of appearing more like statues than paintings. The work presented here probably belongs to the first experimental phase, with a still not very pronounced relief. The work is mounted on a support panel. It comes from the artist's family collection.

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.