Antique Painting Signed G. Ronchi Allegory Italy XX Century - Allegory

Antique Painting Signed Giuseppe Casciaro Mixed Technique '800

Landscape with Figures

Mixed media on cardboard. Signed lower left. Stamp of the artist's studio on the back. The painter of Apulian origins Giuseppe Casciaro, painter and teacher at the Institute of Fine Arts in Naples where he trained, was essentially a landscape painter and produced in particular views of the surroundings of Naples, Irpinia (Nusco) and Puglia. He preferred the pastel painting technique in which he excelled. Here is a glimpse of a Mediterranean countryside, crossed by a path with wayfarers. It is presented in a period frame.

Modern Painting Still Life Oil on Canvas XX Century

Oil on canvas. Looking at the compositions of the 17th-18th century, the painting proposes a composition of variegated and colorful flowers, which surmount a sculpture of three fauns and a cut pumpkin. It is presented in a contemporary frame.

Modern Painting Signed Cazzaniga Oil on Canvas Italy 1913

Male Portrait, 1913

Oil painting on canvas. Signed and dated top right. The portrait of a gentleman of a certain age, leaning in an elegant pose on his walking stick, expresses the ability of Carlo Cazzaniga, a Milanese painter who was a pupil of Tallone, to create portraits of intense expressive force with rapid strokes of color and nuanced chromatisms. The painting is presented in a contemporary gilded frame.

Antique Painting Genre Scene Oil on Hardboard XIX Century

Oil on hardboard. Venetian school of the late 19th century. Signed Carlini on the lower left. Moving family scene, with the fisherman just landed embracing his family - wife, mother, children and dog! - who have come to welcome him, while his colleagues unload the catch and arrange the nets. The colors are intense, especially the earthy ones of the figures, the sand and the boat, which contrast with the blue of the sky and the sea. The painting is presented in a period frame.

Modern Painting with Figures Oil on Canvas Italy XX Century

Oil painting on canvas. Central European school of the first half of the 20th century. Unidentified signature lower left. Sweetness and tenderness shine through these two embraced figures, similar in facial features and expression, composed in their elegant and lively clothes, with the background of a floral wallpaper. The painting is presented in a period frame.

Modern Painting Signed B. Porcheddu Mixed Technique Italy 1942

Three Drinkers and an Angel 1942

Mixed media on board. Signed lower right. On the back further signature, title and date. Beppe Porcheddu, an important Italian illustrator and ceramist, was also a painter. In his evolutionary artistic path "it would seem that the artist has poured "the illustrator" into the painter and vice versa "the painter has prevailed in the illustration". From his first production, alongside his aptitude for the grotesque, Porcheddu showed a natural inclination for what was defined as a "perfect trio of symbols of a world (the medieval one) that expressed itself through metaphors like no other previous civilization" . In this panel, that tendency towards the grotesque is well expressed in the figures of the three drinkers, presented with crude features, clear lines and marked angles, while the figure of the angel appears evanescent, blurred, framed in the single light that comes from the open door.

Contemporary Painting O. Steffenini Oil on Canvas Italy 1930s

The Organ-Grinder

Oil painting on canvas. Signed lower right. Trace of a date, not readable. The Cuneo artist Ottavio Steffanini had a life in constant movement, divided between Italy, Europe, America (in particular Venezuela). A restless and unpredictable artist, he concentrated his painting above all on female figures, portrayed with placid sensuality and an opulence influenced by the Spanish masters with whom he studied. But in his production there is no shortage of other subjects, united by an incessant exaltation of life, of nature. Here, however, a male figure is proposed, a half-length portrait of an accordion player, dignified and proud in his pose and gaze. The work is presented in a period frame.

Pen Drawing by Mario Tozzi Figure in Rest 1969 with Authentication Fra

Figure in Rest 1969

Pen on paper. Signed lower right. Accompanied by photo authentication from the Mario Tozzi Archive. In Maestro Tozzi's extensive production there are many drawings, such as this one presented here, made with different techniques (ink, pastel, pencil, sanguine), dedicated to the human figure: in his dry and stylized style, Mario Tozzi outlines stylized, refined figurines in their silent and discreet geometry, favored by the absence of color, which brings out the forms on the white paper. Even in his pictorial production, Mario Tozzi's favorite subjects are, classically, figures and still lifes, but both figures and death are a set of solid geometric elements, the sphere, the cylinder, the cone, etc. The bodies are elementary, essential in the lines and details, powerful, statuesque, composed of just modeled solids, while the still lifes are a celebration of Euclidean geometry such as the jugs, bowls, flasks which are paradigms of volume and geometric rigor . Mario Tozzi's compositions are influenced by Cubism for certain cuts, by Metaphysics for certain architectural insertions and by Abstractism for the insertion of geometric figures. The work is presented in a frame.

Antique Painting '900 Genre Scene with Figures Mixed Technique

Mixed media on canvas. The large scene, painted in the unique reddish-pink range, features two large figures on the right, while the entire left side is occupied by a desert landscape, with the waves of the dunes fading into the distance. The two figures depict a seated horseman, wearing a turban and Saracen dress, being fed by a maiden in Western dress, who is handing him a tray laden with food, while on the shelf below is a basin of water, ears of corn and various fruits. This could be one of the many representations of the story of Angelica and Medoro, recounted by Ariosto in Orlando Furioso, which tells of the love between the Christian maiden and the Saracen knave wounded in a clash, who then fled together to Catai, thus triggering Orlando's madness. The work is presented in a frame.

Modern Litograph on Paper by M. Denis France 1911

Sur le Canapé d'Argent pâle 1911

Color lithograph on vellum paper. The title at the bottom left. On the passepartout the name and the wording "original lithographie". It is planche n.10 of the "Amour" series, created in 1899 by the French artist and inspired by the love poems Denis wrote for his future wife, Marthe Meurier. Some replicas of the initial series were made, of which the one on tissue paper dated 1911. Maurice Denis, French painter, was artistically formed in coincidence with the birth of the symbolist movement that strongly influenced him, imposing himself for his simplicity and for his philosophy of a art that was a synthesis between the external world and the artist's spirituality. In his earliest works, the pictorial style was naturalist and neo-impressionist, but over time tended towards a pure decorativism, characterized by areas of flat color and clear outlines. In 1888, at the Julian Academy in Paris, Maurice Denis founded with Paul Sérusier, Pierre Bonnard and Paul Ranson, the group of painters Nabis (Prophets), a group that drew on the works and poetics of Paul Gauguin in their aesthetic ideals. , for the overcoming of Impressionist naturalism through a return to primitive and Japanese art. Of the Nabis meetings, usually held in the editorial office of the magazine "Revue Blanche" or at the Ranson Academy, Denis particularly appreciated the mystical climate, the esoteric jargon and the nickname that each painter received from the group: Denis was called "the Nabi by the nice pictures". As "Nabi" Maurice Denis painted intimate, enigmatic pictures and the themes of his painting, of a religious nature or situations of everyday life, were brought into an ideal and unreal dimension, in an atmosphere of warm and serene intimacy, obtained with an extremely delicate feature. A constant in his life was the profession of the Catholic faith, which always had a priority role for him. He received numerous commissions for the decoration of churches and this made him return to the great tradition of mural painting by performing solemn frescoes of monumental structure, inspired by a literary Catholicism. The religious fervor led Maurice Denis to found, in 1919, the Ateliers d'Art Sacré, dedicating a lot of time to prayer, so much so that he became the tertiary of San Domenico, without isolating him from the world, for which he participated in the social life of the time. In addition to his vast production as a painter, Denis was a great draftsman and illustrator. Until his death Maurice Denis continued to paint in a modern interpretation of the great ancient painting, supported by his strong artistic vein, continuously fueled by his travels, many of them in Italy, which led him to come into direct contact with the Pre-Raphaelites and the neoclassicals.

Contemporary Painting M. Arlati Way Sombra 2008

Way Sombra 2008

Mixed media on canvas. Signature, title and date of the work on the back. After an initial period in figurative style, the Milanese painter Mario Arlati soon finds a new dimension, which will become characteristic of all his work. In Ibiza, in fact, where he has often lived since the 1970s, he discovers and makes his own the informal material of the Spanish school which, fused with the wild dimension of the island, gives life to works of great consistency in which the artist literally moves the material: lacerations, scratches, stratifications, colors, but also energy, gesture, emotions, poetry. Arlati';s material is a representation of his intimate soul, made of feelings, emotions and evocations of the landscape. The work is mounted in a plexiglass case.

Contemporary Painting Mino Maccari Female Figures Canvas

Female Figures

Oil painting on canvas. Signed lower left. Mino Maccari's artistic production is mainly aimed at social and political satire, expressed above all through drawing; moreover, he never positioned himself as a judge of Italian customs, but rather as an amusing and amused chronicler of the vices and weaknesses of society. In his pictorial production, although he does not deviate excessively from the themes of his drawings, he accentuates the fantastic aspect more: with rapid and decisive brushstrokes and bright, often violent colours, he characterizes almost unreal or rather caricatural figures. The work is presented in a frame.