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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.

Face of a Young Commoner

Oil painting on canvas. Signed lower left. The artist Giovanni Madonini was a portrait painter but above all of popular characters, often depicted intent on small activities and with bright colors. Work presented in 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.

Pulcinella Holidays 1981

Oil (mixed) on canvas. Signed and dated lower right. On the back another signature, the title, the technique, and an autographed dedication by the artist to a friend. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work Cortiello represents the holidays of the Neapolitan mask as a playful moment in the company of the ever-present naked women. The work is presented in a 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 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.