The Seeding 1979

Oil on glass. Signed and dated lower right, with the symbol of the artist, the stylized figure of a man in a wheelchair. On the back label with further signature and data of the work. The naive style painting proposes a moment of peasant life, or rather the sowing of the small field; the farmer works in the small plot of land, almost a vegetable garden, with the hens pecking around him, and green hills all around, illuminated by a huge, sparkling sun. It is a work on glass by the painter Mario Previ, who has been living and painting in a wheelchair since the age of eighteen, due to a tetraplegia resulting from a dip in his Taro. He said of himself : "The world, the passage of time, from this point of view (the wheelchair) teach many things. You learn to wake up every morning with a purpose, even if your body is in pain, if every gesture generates suffering and depend on others and giving up could be an easy solution. And instead, art, painting, together with the serenity of my world, of friends, give me incredible energy. They saved me, giving me the strength to live" . In 1974, three years after the accident, inspired by a television broadcast on Yugoslav naive painters, in particular by the works on glass of Mijo Kovacic, Previ began to paint and to learn the art of self-taught painting on glass, up to to be known and appreciated for his paintings. In his naif Mario Previ tells a reality that has almost disappeared, real stories even if in a fairytale tone, he revives lost traditions, slices of life that belonged to other generations, those of peasant civilization (from which, however, he comes), but what most emerges from his visions are the "forë", those that could once be heard in the "firossi" the traditional evenings of the hamlets of Parma dedicated to getting together to tell anecdotes, stories and historical curiosities, often in front of the fire in the fireplace, when outside it was cold and snowing. The work is presented in a frame.

'guardo Ulisse Aldrovandi' 1991-92

Mixed technique on paper. On the reverse the artist's stamp with the signature, title and date of the work. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturation and occupies a prominent space within the contemporary art scene. His research mainly uses unusual materials such as acetates, pvc and, more recently, scenic backdrops from nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that draws the work and is capable of narrating thoughts; working by superimposition, the images are built by adding or subtracting the color on the various supports. Work presented in frame.

Wind 1991

Mixed technique on paper. On the reverse the artist's stamp with the signature, title and date of the work. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturation and occupies a prominent space within the contemporary art scene. His research mainly uses unusual materials such as acetates, pvc and, more recently, scenic backdrops from nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that draws the work and is capable of narrating thoughts; working by superimposition, the images are built by adding or subtracting the color on the various supports. Work presented in frame.

Mixed technique on paper. On the back the artist's stamp with the signature and the date of the work. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturation and occupies a prominent space within the contemporary art scene. His research mainly uses unusual materials such as acetates, pvc and, more recently, scenic backdrops from nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that draws the work and is capable of narrating thoughts; working by superimposition, the images are built by adding or subtracting the color on the various supports. Framed work.

Mixed technique on paper. On the back the artist's stamp with the signature and the date of the work. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturation and occupies a prominent space within the contemporary art scene. His research mainly uses unusual materials such as acetates, pvc and, more recently, scenic backdrops from nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that draws the work and is capable of narrating thoughts; working by superimposition, the images are built by adding or subtracting the color on the various supports. Framed work.

Venetian glimpse 1940

Oil on hardboard. Signed and dated lower right. The painting is part of the realist production of the 1930s-1940s by Pino Ponti, a Venetian artist who trained at the Academy with Virgilio Guidi. In this phase, his painting proposes an apparently light and improvised representation of reality, which is instead studiously elaborated and ambiguous. After the war, in which Pino Ponti participates as a partisan, his painting becomes dramatic, of denunciation, characterized by the presence of sparse forms, but pervaded by a certain restlessness and grotesque accents. The painting is presented in a frame.

Studi per le "Persecuzioni" 1964

Group of four mixed techniques on paper, individually signed and dated 8/10/64, and further signature with title under the framed composition. These are preparatory sketches for the works that the artist exhibited at the exhibition, designed and created in 1967-68 with his friend Amilcare Rambelli at the Galleria del Grattacielo in Milan. Giorgio Bellandi, born in Milan in 1931, was a very talented set painter. Passionate about art from a very young age, he attended the Brera Academy and became an active part of the Milanese artistic environment of those years. Bellandi worked as a set designer at the Teatro alla Scala in Milan and made his debut as a painter in the 1950s by joining the existential realism, a very active artistic movement in Milan in the second half of the 1950s, becoming one of the exponents of this current. Existential Realism was originally based on the search for something different, an alternative both to informal painting and to the effects of existentialism, especially political, which had taken hold due to the damage caused by World War II. Ideologically these artists had in common the refusal towards authoritarianisms and towards social and political conformisms, in an environment oriented overall to the left. Bellandi is an artist gifted with talent and creativity, a lover of freedom of expression and beauty, and performs works of interesting reading with intense but harmonious chromatic tones. Passionate about Lake Como, he often came to the Lario in search of relaxation and inspiration. In '64 he participated in the Venice Biennale and in '65 he was invited to the IX Quadriennale in Rome. Very active painter, he realizes many exhibitions in national and international territory, up to the illness which unfortunately was fatal to him, in 1976.

Print on paper. Rare anti-racist poster which, as indicated below, was published as a supplement to the magazine "MAI" of June '68, in the series "I manifesti di MAI di Giò" (Giorgio Tavaglione). It is a manifesto of the beat movements that spread in Italy in the years 1967-1968: thanks to the use of the mimeograph, which allowed the printing of numerous flyers, posters, poetic anthologies, small plaquettes and especially magazines, the young beatniks they created an alternative information channel that represented the primary vehicle for disseminating the principles that animated the beat movement, as opposed to the official cultural and communication circuits. Within the magazines, and in general in the various beat activities, poetic writing assumed an essential role as an integral part of the practice of dissent, since it represented one of the main forms of expression and affirmation of a different ideal of life, as well as of a different idea of collectivity. Giorgio Tavaglione was one of the best-known artistic exponents of the beat movement: as a complete self-taught Giò he designed the posters, flyers and covers of the first Italian underground magazines of the 1960s; disappeared for years after a trip to India, he subsequently reappeared as a draftsman of tarot cards and talismans in the creation of which he transferred his excellent graphic quality, his typical meticulous and imaginative, esoteric and visionary style. Work in frame.

Poster printed in Cologno Monzese in 1967, in a limited edition of 500 copies. This is copy no. 7/500, enhanced by the dedication and autograph signature of the graphic designer Giorgio Tavaglione, author of the poster. It is the first manifesto of the beat movement and of the Italian underground culture, promoted in Milan since 1966. On that date, the magazine "Mondo Beat" was born, with director Melchiorre Gerbino, inspired by the pacifist protest movements of the Dutch PROVO, and close to the movements Italian anarchists. The young beatniks created an alternative information channel that represented the primary vehicle for disseminating the principles that animated the beat movement, as opposed to the official cultural and communication circuits. Within the magazines, and in general in the various beat activities, poetic writing assumed an essential role as an integral part of the practice of dissent, since it represented one of the main forms of expression and affirmation of a different ideal of life, as well as of a different idea of collectivity. Giorgio Tavaglione was one of the best-known artistic exponents of the beat movement: as a complete self-taught Giò he designed the posters, flyers and covers of the first Italian underground magazines of the 1960s; disappeared for years after a trip to India, he subsequently reappeared as a draftsman of tarot cards and talismans in the creation of which he transferred his excellent graphic quality, his typical meticulous and imaginative, esoteric and visionary style. The work is framed.

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.

Paris 1976

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. 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 the setting is in Paris, which he often portrayed in glimpses of city life full of color and animation. The work is presented in a frame.

Pulcinella at the competitions 1970

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. 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 departing 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 the artist depicts very particular horse races, where the jockeys are his typical naked women, cheered on by cheering Pulcinella. The work is presented in a frame.