Group of 5 Antique Wall Lamps Bronze Italy XX Century - Italy, XX Century

Interior of Stable

Oil on hardboard. Signed lower right. The Cremonese painter Carl Vittori specialized in landscape views of his Po Valley lands or in scenes with animal figures, always linked to peasant life, like this stable interior inhabited by a donkey. The chromatic and luminous choices are suggestive. The work is presented in a frame.

Seated Figure

Oil on wooden board. Signed lower right. The painter Salvatore Sportelli, of Apulian origin but who lived for a long time in Lodi, where he taught (a posthumous exhibition of his was recently held in the city), produced numerous popular figures and genre scenes characterized by a look at post-impressionism. The work is presented in a frame.

Sunny Landscape

Fresco on canvas. Signed lower right. Further signature and technique on the back. Placed in the informal Emilian naturalism, Bruno Saetti's painting is distinguished by a significant love for the pictorial material, rich and consistent, pasty and fermenting, but also open to the modulations of luminous vibration. His series of "frescoes" with the Sun as the dominant subject is rich, as in this work, which presents a large bright sun shining on a brick red background, above an indefinite landscape, where only a basilica can be recognized at the top right. If Saetti's Emilian origin is evident in the warm tones of the red bricks and in the very peculiar taste of the material (the favorite fresco), on the other hand the Venetian contamination is recognizable (Saetti lived for a long time in Venice) in his lingering on the color, on its luminous vibrations, on the feeling of astonished amazement of space. The work is presented in a frame.

Mountain Landscape, 1917

Oil on cardboard. Signed and dated lower right. Originally from the province of Cuneo, Giovanni Rava dedicated himself mainly to landscapes, rendered in realistic forms and with an impressionist touch, in the shades of luministic effects. The work is presented in a mid-20th century frame.

Mountain Landscape

Oil painting on canvas. Signed lower left. The Milanese painter Gino Federici specialized in Alpine views, as in this view, where in the foreground a flock of sheep drinks water from a stream, in the wide valley, under steep peaks. The painting is presented in a contemporary frame. It shows signs of previous restoration.

Study of a Hand 1906

Pencil on paper. Signed lower right. On the back there is a further sketch of a donkey's head. Celada's painting is capable of blocking reality in time and space, in a way that appears detached, analytical and scientifically exact (colours, reflections, transparencies), but communicating - as opposed to a total unreality - a great narrative pathos. Here we propose the study of a hand of the artist who is still very young, but already capable of powerful expressiveness in outlining the figure. Work in frame.

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.

Wooden Landscape

Oil on cardboard. signed lower right. Cavaleri was exclusively a landscape painter and in particular a marine painter, considered an exponent of the latest Lombard naturalism. His painting, linked to reproduction from life, stands out for its lively and brilliant colour, with shades spread in large patches, with a technique that brings him closer to the Lombard impressionists of the late 19th century. In the most mature phase of his activity, the artist he approached Liberty (his posters are very well known) and Symbolism, influenced by his poet friend Gian Pietro Lucini. The work is presented in a contemporary frame.

Oil painting on canvas. Unsigned, there is a label on the back with attribution to Ferdinand II Wagner (1847 -1927), a German painter appreciated for his decorative painting. The large painting offers, according to an ancient taste, a glimpse of a city market in a Nordic village, with figures in 17th century Flemish clothes. The central part is occupied by a stall full of fruit and vegetables: on the left the seller, sitting with the steelyard hanging above her, is bargaining with the couple of buyers on the right, intent on testing the quality of the products. The painting is presented in a period frame.

Man's Face

Mixed media on cardboard. Signed lower right. On the back there is a cartouche with the title. An original exponent of European Expressionism, Lorenzo Viani was always attracted to the poorest and most derelict, both in his childhood and in his maturity, going so far as to transfer their lives and their human experiences onto the canvas. There are numerous faces of these characters who are rendered with strong chromatic impressions and with a decisive and fast brushstroke, an intense, expressive and at times extremely melancholic painting. The work is presented in a frame.

Watercolor on paper. Signature L. Rossi at the bottom left. It is a quick portrait, in pencil and then watercoloured, of two young ladies in winter walking clothes, shot in almost full length. The drawing is presented in a gilded and carved frame from the late 19th century, which has several defects.

Watercolor on paper. Signature L. Rossi at the bottom left. They are two young ladies in winter walking clothes, shot in almost full length. The drawing is presented in a gilded and carved frame from the late 19th century, which has several defects and traces of previous restoration