The Scribano

Oil on cardboard. Signed at the bottom right. Beautiful painting by the painter from Bergamo (Italy). Romualdo Locatelli studied at the Carrara Academy and then, driven by a strong passion for trips, he traveled a lot in Italy and abroad in Africa and Orient. During the World War II he moved to Manila in the Philippines, where he stayed until his death. His works belong to public and private collection all around the world, especially in Orient where he probably made his better works and is still known as the "famous Romualdo". His natal city Bergamo dedicated him many exhibition. The painting depicts an oriental subject, a character of the Oriental popular life typical of the places the artist visited. The face of the depicted person was cleaned because it had extremely pronounced facial features compared to the shade given by the hat. The features were inappropriate considering the man's race (before and after cleaning in the pictures). Presented in frame. 20th century.

Episodes from the Life of John the Baptist

Five drawings mixed technique on paper, depicting scenes from the life of St. John the Baptist, as recounted in the Gospels (The Visitation of Mary to Elizabeth, the birth, the Baptism of Jesus, beheading, Salome presents the severed head to Herod). The back label specifies that the designs are copied from the cycle of the Chapel of St. John the Baptist in the famous Basilica of San Lorenzo in Genoa. In the frame.

Project for Corner Wall 1982

Mixed technique on tablets. Three-dimensionally mounted in a plexiglass container. On the back there are the signature, the date and the title of the work. From the outset, Gianfranco Pardi's artistic research has been based on space and constructive planning which gives life to works of great formal rigour, characterized by the integration of drawing, painting and sculpture in a spatial dimension of architectural breadth. Starting from rigorous planning, the artist reveals the dynamics and relationships of form and matter: imaginary architectural interiors, rigidly geometric or biomorphic sculptures, marriages of architectural constructions and natural environments.

Untitled 1992

Graphite on cardboard. On the back the signature and the data of the work. It is accompanied by an authentication on photo, signed by the artist for the Galerie CC in Graz (Austria). From the early 1970s, the Modenese artist Franco Guerzoni began a personal research dedicated to the exploration of the world of archeology and memory. Guerzoni likes memories, in the most positive sense of the term: personal memories and collective memories, constantly poured into his works which thus become dense with stratifications of matter and thoughts, sedimented by time and by the mind in the bed of the river of art. What emerges is a multitude of stories that the tireless artist has always collected starting from the first experiments with photography, passing through the study of archeology, up to artist's books and works with plaster. The work is presented in a plexiglass case. It comes from an important historic Milanese collection.

Horse and donkey

Oil on cardboard. Signed lower left. Tito Pellicciotti, originally from Abruzzo, was trained at the Academy of Fine Arts in Naples under the guidance of F. Palizzi, from whom he derived his attention to animal figures, which he reproduced both in the calm of the stable and free and grazing. He also painted landscapes, genre paintings, peasant heads, particularly intense, and from 1920, after a stay in North Africa, also Arab subjects. His painting is also distinguished by the choice of bright colors. Also in this small painting the animals appear as protagonists of the scene, reproduced free to graze. The painting is presented in a period frame.

Departure for the war

China ink and watercolor on paper. Signed in the lower left corner. The scene depicts a Greek soldier, already dressed up for the war is saying goodbye to the desperate wife and son. Raffaele Postiglione used to paint historical and religious subjects. The painting is presented in coeval frame. 19th century.

Watercolors on paper. European school (probably French), 19th century. The group of watercolors proposes Chinese subjects, divisible into two groups: ten present various popular working activities, of artisans (the tailor, the embroiderer, the basket weaver,...), or of itinerant sellers, carried out both by men and by women; the last five instead portray figures of nobles and court dignitaries. They are part of the production of orientalist taste that interested Europe in the 19th century, concerning the countries of the Middle East but also distant China. The designs are presented in modern, styled frames.

Oil painting on canvas. Monogram AC unidentified lower left. The painting presents the biblical character King David, horned and in royal clothes, while he is intent on playing the harp, the instrument he uses to sing the praises of the Lord. His figure is placed on a cloud in the sky, but framed by a rich curtain. The painting has small holes and spots. It is presented in a mid-1900s frame.

Oil painting on canvas. Under the Cross which occupies the center of the scene, there are three saints: clearly recognizable San Sebastiano, tied to the tree and pierced by the arrows of his martyrdom; on the left San Rocco, dressed as a pilgrim, showing his thigh with the leprosy he contracted, and accompanied by the little dog who brings him the piece of bread; in the centre, on his knees, a saint in Franciscan habit. The work has small scattered holes. It is presented in a mid-1900s frame.

Mixed technique on paper. On the back the signature, the date and the title of the work. Also accompanied by photo authentication, with exhibition label at the Galerie CC in Graz. From the early 1970s, the Modenese artist Franco Guerzoni began a personal research dedicated to the exploration of the world of archeology, and to memory; Guerzoni likes memories, in the most positive sense of the term: personal memories and collective memories, constantly poured into his works which thus become dense with stratifications of matter and thoughts, sedimented by time and by the mind in the bed of the river of art. What emerges is a multitude of stories that the tireless artist has always collected starting from the first experiments with photography, passing through the study of archeology, up to artist's books and works with plaster. It comes from an important Milanese private historical collection.

Archeology of the Night 1992

Mixed technique on paper. On the back the signature, the date and the title of the work. Also accompanied by photo authentication, with exhibition label at the Galerie CC in Graz. From the early 1970s, the Modenese artist Franco Guerzoni began a personal research dedicated to the exploration of the world of archeology, and to memory; Guerzoni likes memories, in the most positive sense of the term: personal memories and collective memories, constantly poured into his works which thus become dense with stratifications of matter and thoughts, sedimented by time and by the mind in the bed of the river of art. What emerges is a multitude of stories that the tireless artist has always collected starting from the first experiments with photography, passing through the study of archeology, up to artist's books and works with plaster. It comes from an important Milanese private historical collection

Pyramids 1976

Composition in three pieces, photographic and mixed technique. On the back there is a label from Galleria Studio 47 with the data of the work (title, date and technique); the inventory number of the work is also present. It is also accompanied by an authentication on photo signed by the artist. From the early 1970s, the Modenese artist Franco Guerzoni began a personal research dedicated to the exploration of the world of archeology and memory; Guerzoni likes memories, in the most positive sense of the term: personal memories and collective memories, constantly poured into his works which thus become dense with stratifications of matter and thoughts, sedimented by time and by the mind in the bed of the river of art. What emerges is a multitude of stories that the tireless artist has always collected starting from the first experiments with photography, passing through the study of archeology, up to artist's books and works with plaster. The work is presented in a frame. It comes from an important Milanese private collection.

The Forgotten Parts 1991

Mixed technique on paper. On the back the signature, the date and the title of the work. Also accompanied by photo authentication, with exhibition label at the Galerie CC in Graz. From the early 1970s, the Modenese artist Franco Guerzoni began a personal research dedicated to the exploration of the world of archeology and memory; Guerzoni likes memories, in the most positive sense of the term: personal memories and collective memories, constantly poured into his works which thus become dense with stratifications of matter and thoughts, sedimented by time and by the mind in the bed of the river of art. What emerges is a multitude of stories that the tireless artist has always collected starting from the first experiments with photography, passing through the study of archeology, up to artist's books and works with plaster. It comes from an important Milanese private historical collection.

Shuffle the 1980 Cards

Graphite on paper. On the back there is a label from Galleria Studio 47, showing the data of the work (title and date). From the early 1970s, the Modenese artist Franco Guerzoni began a personal research dedicated to the exploration of the world of archeology and memory; Guerzoni likes memories, in the most positive sense of the term: personal memories and collective memories, constantly poured into his works which thus become dense with stratifications of matter and thoughts, sedimented by time and by the mind in the bed of the river of art. What emerges is a multitude of stories that the tireless artist has always collected starting from the first experiments with photography, passing through the study of archeology, up to artist's books and works with plaster. The work is presented in a Plexiglas case. It comes from an important Milanese private historical collection.

Oil painting on canvas. At the bottom left there are the two initials AC, perhaps followed by an illegible surname. The Saint, framed by a rich curtain, is identified as Cecilia by the presence of the organ, an instrument she played and which had her erected as patroness of music; she is richly dressed for her wealthy Roman status and holds the palm of martyrdom. The painting has small drops of color and stains. It is presented in a mid-1900s frame.

Sounds Silence 1992

Graphite on paper. Signed and dated lower right. Accompanied by a photo with the data of the work (title, date, dimensions, technique) and the archive number of the collection. Using above all watercolor and graphite, Davide Benati gives life to a universe of fluctuating, transitory and fleeting forms, expressed through a cultured painting, made up of suggestions and literary and personal memories; his figures draw on the world of nature, where flowers and leaves become a pure pictorial organism, where spatiality prevails. The work comes from an important historical private collection in Milan. It 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.

Oil on wooden board. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval frame.