Modern Painting with Male Portrait Mixed Media on Paper '800

Mixed technique on paper. The work is signed lower right A. Mancini, but cannot be attributed to the master Antonio Mancini, but rather to a contemporary imitator. However of good quality, it presents the face of a young commoner. It is presented in a contemporary frame.

Oil on canvas. The large painting features a golden frame with scrolled friezes in the center of a red background, in which a praying Virgin is painted, looking at the productions of the late 17th-early 18th century; the frame is supported on the sides by two golden cherubs, who rest their feet and hands on decorations that are also golden with scrolls, on which are inserted multi-colored leaves and flowers. The painting is pre-realized on two canvases sewn horizontally. The panel is surrounded by trimmings.

Landscape with Mill

Oil on cardboard. Signed lower right. Carlo Vittori, an artist from Cremona, mainly portrayed the landscapes of his Po Valley. Here he proposes a countryside inhabited by a mill, to which the water arrives through an overhead canalization. The painting is presented in chronicle.

Oil on cardboard. Unidentified signature lower right. Landscape glimpse of a peasant countryside, with farmers approaching the wheat field, full of golden ears, while to the left of the path there is a shady spot, which leads to a fence. The painting is presented in a contemporary gilded frame, with small defects.

Amarici (Etiopian Figures) 1930s

Pencil on paper. Signature, title and location lower right. In the second half of the 1930s, Contardo Barbieri left as a volunteer for the campaign in East Africa. From this period there are some works that propose oriental subjects, such as these characters of the Ethiopian people called Amharic because they were natives of Amhara, a region of central-northern Ethiopia where the city of Dessié is located. In frame.

Portraits of Children, 1930

Photographs retouched with pastels. Signed bottom right. On the back of three of them is the date 11 November 1930. A photographic sequence of the portrait of three children is shown, who slightly change their pose or expression. They are the work of the British photographer Eva Barrett who, after an initial experience as a painter, decided to dedicate herself to photography, thinking that "it was better to be a first-rate photographer than a second-rate [painter]. Having moved to Rome in 1913, she established her laboratory here. Pictorialist, with a small camera, Eva Barrett created her own photographic method that was reminiscent of drawing sketches: she applied a few very light pencil strokes, managing to create subdued images but with particularly dense blacks, thus maintaining the characteristics of photography and portraits. In this way he was very successful and his career took off. Eva Barrett photographed the Italian royal family, the wives and children of foreign ambassadors, as well as received numerous commissions from European royalty in Belgium, Sweden, Greece. The four portraits are presented in style frames.

San Pietro in Verzolo

Oil painting on canvas. Signed lower right. The painting, coming from a private collection in Pavia, is published on page 70 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The landscape, a stretch of countryside with a backdrop of hills, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends "to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame. on page 66 of Simona Morani's monograph dedicated to the artist Primo Carena (Bolis editions), with the presentation signed by the art critic Rossana Bossaglia. On the back there is a stamp of participation of the work in the artist's personal exhibition at the Castello Visconteo in Pavia in 1992. The view of the small village on the outskirts of Pavia, seen from the countryside, well expresses the subdued intimacy associated with the rigorous realism that characterizes the production pictorial work by the painter from Pavia. In his landscapes Carena tends" to capture the atmospheric reality of the places without indulging in descriptivism... but constantly supported by a lyrical vein, which is the underlying motif of all his production". The work is presented in a period frame.

Rovereto, 1920

Oil on the table. Signed lower left. The title and date on the back in pencil. Riccardo Viriglio, a landscape painter from Pavia, portrayed urban views mainly of his city and landscape views especially of Lombardy. Here is a glimpse of the village of Roveleto, a small village in the Piacenza countryside at the foot of the pre-Apennine hills. The work is presented in a frame.

Woman at the Spinning Wheel

Tempera on paper. Signed lower left. Probably a sketch, due to the rapid drafting and unfinished contours, this work presents a young woman sitting spinning at a spinning wheel. The artist Gino Simonetti, painter but also writer, born in the Piacenza area, lived and worked mainly in Turin. the work is presented in a period frame.

Road to Cervasca 1981

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. In the proposed painting, Giovanni Balansino presents a glimpse of a country road near a village that he identifies in Cervasca, a small mountain town in the Cuneo area, animated by two barely sketched figurines that blend into the natural environment, due to the overlapping of the applied colors with rapid brush strokes and undefined contours. The work is presented in a frame.

The Park 1979

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. In the proposed painting, Il Balansino presents a glimpse of a city park, with a small terraced relief, animated by a couple of barely sketched figurines that blend into the natural environment, due to the overlapping of colors applied with rapid brushstrokes and with indefinite contours. 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.