Pencil on paper. Signed on the back. The drawing is registered in the Fausto Melotti Archive, with code DIS 72006. Fausto Melotti was a multifaceted and very prolific artist and it is almost impossible to link his production to a particular technique or theme, without providing only a partial view of his vision artistic. The salient features that are constant in Melotti are geometry, the study of abstraction, which leads him to use realistic but not scientifically accurate elements, and arranging the elements so that they recall a musical rhythm, a detail that refers to his training as a musician Sculptor, painter, musician, poet, he made numerous design drawings for his works. Drawing represented for him a fundamental exercise, to transfuse the original graphic trait from sheets of paper into sculptures and ceramics. The sculptures for which he is best known are made up of geometric elements made with metals (brass, iron and gold) worked into thin filaments, giving life to ethereal, weightless and almost fragile compositions. The work is presented in a frame.

Tableau doré

Mixed technique on plywood (painting and silver paper sheets). On the back, authentic with stamp and signature of the artist's sister. The work belongs to the series of Tableaux dorés, works created by the Milanese artist Remo Bianco starting from the 1950s. Born and educated in Milan, Remo Bianco was a pupil of De Pisis, in whose studio he frequented the great Italian artists of the twentieth century (Carrà, Sironi, Savinio, Soffici, Soldati, Marini, Cantatore). After the interlude of the war (enlisted, sank with his ship and was taken prisoner in Tunis), he resumed his artistic activity in Milan, participating in the Nuclear Movement and Spatialism, coming to completely detach himself from figurative painting to create works made of brushstrokes mashed potato. At the beginning of the fifties he began to create works, pictorial and sculptural, with different materials and to experiment with different themes and techniques; to this production belong the Tableaux dorés, composed of silvered or gilded aluminum foils on painted bases. The work is presented in a frame.

Sestante 14 1989

Color screenprint on paper. Signed in pencil lower right, numbered n. IV/XV bottom left. It is accompanied by photo authentication from the "Il borghetto" art house in Milan. The work was part of the "Sestante" series, consisting of 16 different serigraphs. In 1982 Alberto Burri created Sestante, a large cycle of seventeen cellotexes and an iron sculpture, which was exhibited from May to September of the following year in the space of the former Giudecca shipyards in Venice. The evocation of the old nautical instrument, which was used by travelers to establish the position of a given point with respect to the horizon, is a tribute to the maritime destiny of Venice. The paintings are Burri's umpteenth challenge: in their combinations the shapes and colors of the "sextant" create an inexhaustible cycle where there is not the slightest repetition. Within the same painting, or in the juxtaposition of one to the other, the kaleidoscope of shapes allows square and curvilinear structures to coexist, together with large chromatic backgrounds and dense visual patterns. In 1989 the artist proposed the cycle again as a graphic work, creating the "Sestante" series. The art historian Bruno Corà said that "in Burri's case, speaking of graphics does not mean speaking of a lesser production compared to paintings, but only of a different and parallel artistic modality, in conception and execution, in short such as to be able to be included with absolute importance in the production of the great painter, alongside all his other revolutionary innovative pronouncements". The work is presented in a frame.

Composition on 4 Panels, 1978

Mixed media on canvas applied to wooden panels, showing a sequence. On the lower right the artist's initials GB and the numbering of the panels; on the verso of each panel is the signature in full, with the date and the following sequential titles: 'By Bosch', 'Declination of an Owl', 'Transcription' and 'Disappearance for Coquetry'. Gabriella Benedini has defined her as an artist as 'a nomad in search of the profound meaning of things'. Although attracted and interested first by abstract-informal painting, then by Existential Realism and then by the New Figuration, Gabriella Benedini proceeds on a strictly personal quest that cannot be assimilated into any specific current. The entire 1970s were mainly marked by pictorial works that reflected literary cues filtered through her need for growth and confrontation. Then, through her passion for Alchemy, Benedini began to transform anything that came her way into works of art; shells, pages of old books, bottles, everything is combined into a harmonious whole that recalls spaces. Her works therefore become mainly three-dimensional, either to hang on the wall, or they are sculptures, even large ones. The four panels are presented here in a single frame.

Urba Flower 2016

Mixed media: on painted wood fabric flower in a geometric field. Signed and dated on the back. The artist says of himself: "It is the great love for art that pushed me to make concrete emotions and colourful visions that have always lived in my lively imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".

Untitled, 2004

Enamels on canvas. Signed and dated on the back. The pictorial work of the artist Roberto Coda Zabetta is the subject of some of the most complex and contradictory definitions of criticism: those who see pain, anger, fear, discomfort or those who see provocation, the dream, the unconscious. The artistic path of Roberto Coda Zabetta, who travels extensively around the world, is often characterized by the encounter with the culture and iconography of the countries he discovers, as well as by the sometimes dramatic events of which they are protagonists.

Tribute to Nannarella 2017

Mixed media: dripped panitn and paper on wooden base. Signed and dated on the back. The artist says:" It is my great love for art that has driven me to realise emotions and colourful visions that have always lived in my vivid imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".

Untitled 1958

Oil on canvas. Signed and dated lower right. The work of strong emotional impact proposes an almost monochromatic purple background, in which a few black and white strokes are inserted to define a silhouette curled up on the left, perhaps a human form, collected and closed in on itself. Born in 1934 in Viareggio, where he still lives, the painter and sculptor Mario Francesconi is considered one of the few survivors of Dadaism, which since the end of the 1950s has gone through the seasons of Italian and European art in a distinctly personal search for forms and techniques. Starting from his first solo show in 1959 he develops an artistic path that goes through different phases, often attributable to a passion for poor and recycled materials. His artistic activity moves between the areas of painting, sculpture, collage and installation and borders on the adjacent areas of poetry and literature, also thanks to friendships and professional relationships with some of the most significant figures of the intellectual world. Italian of the second half of the last century, from Emilio Villa to Cesare Garboli, from Leonardo Sciascia to Mario Luzi, from Cesare Zavattini to Pier Paolo Pasolini, from Alfonso Gatto to Sandro Penna to Venturino Venturi. The work is presented in a frame.

Untitled, 1998

Oil painting on canvas. Signed and dated lower right. Riccardo Licata, an eclectic artist who dedicated himself to painting, engraving, mosaic, sculpture and also scenography, has gone through various phases of artistic research and has been able to combine abstraction with a profound search for spatial rhythms marked by signs . His graphic-pictorial writing, inspired by music, has given a unique identity to his works, which stand out for the skilful use of symbols and graphic features. The work is presented in a frame.

Mixed technique on canvas. Signed lower right. The painting of Kodra, an Albanian painter trained artistically in Italy and active in the Milanese context, consists of a personal interpretation, of a fantastic kind, of Cubism, with the peculiarity that the decompositions typical of analytical cubism are proposed according to an approach of its own more than synthetic cubism. The seascape depicted here, with sailboats sailing close to a coast, is part of the later production, in which the native country is often evoked.

The Eye Rounds in Space 1968

Oil painting on canvas. Signed lower right. On the back there is the title, the date and a further signature to authenticate the work. Painter, poet and essayist, Virgilio Guidi always maintained a solitary, critical position and never one of absolute programmatic adhesion to the aesthetic dictates of the artistic movements and groups of the 20th century, even if he was always the bearer of significant personal contributions to new pictorial research . Starting from the 1940s, Guidi began to systematically develop the great cycles, with which he repeatedly investigated the same subject-composition nucleus, continuing to follow the common thread of all his art: light. His painting favored the choice of delicate tonal chords and the representation of figurative and landscape elements through abstract rhythms. This work belongs to the series created in the 1960s of " Tondi", with the subtitle "Eye in space". It is presented in a frame.

Sudden Thinking, 1984

Oil on cardboard. signed top center and dated bottom right. Further signature, date and title on the back. The work belongs to the last period of the painter of Marche origins Renato Bontempi, who first trained in Luca but then lived in Milan. From the initial figurative production, Bontempi progressively moves towards an abstract painting, to which the picture proposed here belongs. In Cronice.

Nature's Poetry 1962

Mixed media, with metal applications on canvas. On the back there is the name of the artist, with the title and the date. James McClintock is an American artist who joined Post Painterly Abstraction, a movement that developed in America in the 60s and 70s which strongly claimed its descent from American Abstract Expressionism and the work of the action painters of the group by Pollock, cutting off all dependence on Europe starting in the 1940s. McClintock also worked in Europe, in particular in Florence where between 1961 and 1967 he worked in collaboration with the Galleria Numero di Fiamma Vigo, a non-conformist place created by the Argentine gallerist to present and promote innovative works. The work is presented in a frame.

Valtellina, 2000

Mixed media on canvas. On the reverse there is signature, title, date and dedication to the art critic Rossana Bossaglia. The work belongs to the pictorial phase of the painter Massimo Soldati, which evolved after 1985 and characterized by the search for new expressive techniques and the use of different materials, moving from formal figurative to informal figurative and conceptual abstract. The work is presented in a frame.

Indiscreet Lock 2019

Mixed media: plexiglass artpiece with fabric inserts and oil finishings. datend and signed on the back. The artist says of himself: "It is the great love for art that has driven me to realise emotions and colourful visions that have always lived in my lively imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".