Oil painting on canvas. The scene depicts a chamber concert: in the centre, the spinet player, behind him the recorder player and on the right side the maestro who conducts, who listens intently and moves his right hand to accompany the musical movements; behind the trio, ladies and gentlemen listen smiling and participating. Restored and relined, the painting is presented in a 19th century 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.

Allegories of Prudence and Justice

Oil painting on canvas. Italian school of the seventeenth century. The two paintings are probably part of a group depicting the four cardinal virtues, namely Justice, Prudence, Temperance and Fortitude. The allegories are represented in female figures, bearing some of the attributive symbols of the virtues they represent. Justice is recognized by the two most common attributes, the balance, symbol of equity and balance, and the sword, sign of distributive power. Prudence also has two symbols with it: a mirror, a symbol of circumspection that allows us to avoid the pitfalls of evil (it allows us to look behind us) or even a symbol of self-knowledge; and a snake, symbol of eternity and time, but also a symbol of prudence (in the Gospel Jesus says :"I am sending you like sheep in the midst of wolves; therefore be prudent as snakes and simple as doves"). The two canvases, previously restored and relined, are in good condition. They are presented in an antique carved and lacquered wooden frame, with current small defects and damages.

Oil painting on canvas. The coastal glimpse, near a rocky inlet where torrential waters flow, sees figures at the landing place of the ships, ready to welcome the boats that are approaching; in the distance the profile of the city. Restored and relined, the painting has widespread dirt stains especially in correspondence with the sky. It is presented in a stylish frame.

Winter landscape

Pastels on paper applied to canvas. Signed lower left. The large landscape is completely dominated by the play of colour: divided into two hemifields given by the sky and the earth (a mountainous land where sporadic fir trees sprout), it sees the pinkish blue of the sky prevail above, under the greenish blue of the snow on the ground , two shades of the same color range that then meet in the skyline of the mountains. Cinotti was a landscape painter who was an exponent of Italian Divisionism, whose painting is characterized by a material and pasty application with touches of spatulated color. In coeval frame.

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.

Spring, 1985

Oil on cardboard. Signed lower right. Further signature, date, title and handwritten declaration of authenticity on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, the title is from the white flowering of the trees that surround the country house. The work is presented in a frame.

Oil painting on canvas. Northern Italian school of the eighteenth century. The landscape, set on the banks of a wide river, sees in the center some figures of peasants intent on picking fruit from a tree: a girl holds the ladder while the boy cuts off a bunch, on the left another couple places the fruit collected in a tub. All around a vast green countryside and some farmhouses. Restored and relined, the painting is presented in a period frame.

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.

Oil on canvas. Northern Italian School of the 18th century. The broad landscape shows in the centre a herdsman who has just passed with his cattle over the small bridge over the stream, which flows through the wooded countryside; in the background, again in the centre, a farmhouse and several country buildings. Restored and retouched, the painting is presented in a stylish frame.

The Olona

Oil on hardboard. Signed lower right. Further signature and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Balansino presents a glimpse of the Olona river, a watercourse entirely in Lombardy, as it flows through the villages of the Lombard plain. The work is presented in a frame.

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them., which this glimpse includes of a town in the Lombard plain. In frame.

Oil on the table. The picturesque landscape has a wide path in the foreground on the right which winds between fronds and green meadows, where flocks graze; a small family of peasants passes along the path, all engaged in the transport of goods: even the girl carries a large bundle on her head, while the mother carries the basket with her newborn son in the same way! In the background, the plain extends wide to fade towards the distant hills and into the clear and rarefied sky, which gives off an almost pink light. The fir table of the painting has undergone restoration and parqueting. The work is presented in a mid-1900s frame.

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) and dated at the bottom right. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait come in a 19th century wooden frame with leather leafy and floral inserts; it has missing parts and color drops.

Landscape with Figures and Bread Oven

Oil painting on canvas. Signed lower left. The landscape view shows in the foreground a mountain path that leads to a bread oven, where a woman prepares the bundles of wood for the fire, while a traveler approaches on the back of a donkey; in the valley the viaduct over the river that leads to the village, surmounted by other barren peaks. Micheroux, belonging to the Posillipo school, or the nineteenth-century school of Neapolitan artists dedicated to landscape painting, created several glimpses of the Campania hinterland, but little is left of his production and little is known about his life. The painting has some small drops of color. It is presented in a late 19th century frame.

Oil painting on canvas. Central European school of the eighteenth century. Under a blue sky, a large, rather barren landscape is depicted, with the edge of a wood opening onto a rocky valley, with a river flowing between the rocks and snow-capped peaks in the background; in the foreground, scattered, some figures of shepherds with their flocks. On the stretcher at the back of the work, a cartouche refers to Poussin, the artist representing seventeenth-century classicism whose pictorial methods inspired the author of the painting. The painting, relined, is presented in a period frame.

Oil painting on canvas. French school of the eighteenth century. On the base of the column to the right, there is an inscription with the woman's name, age 86 in the year of the portrait ("Marguerite Paree agèe 86 ans en 1762"). The canvas, with signs of restoration and relining, has a rather marked crack.

Rest on the Flight into Egypt

Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.

The Monks Lunch

Oil on canvas. Genoese school of the eighteenth century. Inside a large room with arched windows opening onto the street, a group of friars seated on the ground are sharing a simple meal, placed on a white cloth. The scene refers to the sphere of Alessandro Magnasco known as Lissandrino (1667 -1749), a Genoese artist considered one of the most original painters of the Italian eighteenth century, who distinguished himself in popular genre painting and, in particular, in the production of scenes from the life of Capuchin or Camaldolese friars engaged in the most varied activities, from studying in the library to confession, from the work of sharpeners or carpenters in the convent workshops to the simple recollection around the fire: in these works you can appreciate all the expressive freedom of the artist\'s brush. moves on the canvas with quick touches to describe flames, fireplaces, cats, books, dogs, poor bowls, lenses, books, poor patched clothes, chairs and stools, in short, a whole daily world of gestures and things built with a very special and unmistakable technique, made of a mixture of lively color and almost all played on monochrome, on which a few, skilful strokes of light descend to give shape and consis tence to the bony figures of the monks. The author of the work proposed here was certainly trained in the Magnasco area and was inspired by his style, although it is more sedate, without the flashes and interpretative freedom, often irreverent or ironic, towards the figures of the friars; he was able to take up the play of chiaroscuro, lights and shadows, which flow from a monochrome in the shades of browns, still creating a work of excellent pictorial quality. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Pair of Ink Drawings

Ink on paper. One of the two is signed on the lower right. The works of the Russian artist Vyacheslav Sawich Mikhailov are exhibited in prestigious museums such as the Tretyakov Gallery or the Museum of Modern Art in Moscow, the National Museum of Russian Art, the Museum of Nonconformist Art in St. Petersburg. Considered an expressionist author, he creates scenes of intense drama with different techniques. The design proposed here is part of a series of scenes full of dramatically intertwined figures in contortions of the body, with allegorical elements and patches of often red color, evoking blood. In frame.

Oil on canvas. French school of the late 19th century. Trace of unidentified signature at the top right. In the foreground, the faces of two popular characters who seem caricatured, perhaps characters in a theatrical performance: it seems the scene of a satirical courtship, with the man who looks lasciviously at the woman, certainly not young and attractive, who is holding a bunch of flowers with an expression between resigned and confused. The painting is presented in a frame from the early 1900s.

Female Face 2001

Oil painting on canvas. Dated and signed on the back. Born in Seregno, Danilo Martinis was trained with Osvaldo Minotti. Painter and designer, he has furnished prestigious residences all over the world, his works are particularly appreciated in the United Arab Emirates and in Russia. He loves to express his thoughts through graphic-figurative images rendered through geometric effects and chromatic games, using mainly female figures as interpreters. In this work he proposes a close-up of a female face, enhancing its expressiveness through the play of colors in the ranges of yellow.