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.

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.

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.

Paris 1972

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.

Cervignano del friuli 1930

Oil on board. Signed lower left. On the back there is a further signature, with the title and the date of creation (July 1930). This small glimpse of the Friulian village located along the course of the Aussa river (or Ausa, according to the dialectal term), is part of the extensive landscape production of Carlo Sartorelli, who explored various Italian regions. The work is presented in a period frame.

Mixed technique on canvas. The large scene, painted in the single range of red-pink, sees two large figures on the right, while the entire left side is occupied by a desert landscape, with the waves of the dunes disappearing in the distance. The two figures represent a seated knight, with a turban and Saracen dress, being refreshed by a girl in Western dress, who is handing him a tray loaded with food, while on the underlying surface there is a basin of water, ears of corn and various fruits. It could be one of the many representations of the story of Angelica and Medoro, told by Ariosto in Orlando Furioso, which tells of the love between the Christian girl and the Saracen infantryman injured in a battle, who then fled together to Cathay, thus unleashing Orlando's madness. The work is presented in a frame.

The Rise of Pulcinella 1971

Oil painting on canvas. Signed and dated lower right. Further signature, title and handwritten 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. This is exactly the subject of the painting proposed here: some Pulcinellas climb a ladder leaning into thin air, one of them floats in the air, and in the meantime they play with some naked women, surrounded by colored circles, balloons, also floating around . The Chagallian reference is evident in these male and female figures, although the mask of Pulcinella refers specifically to the Neapolitan area. The painting is presented in a frame.

Pulcinella's Games

Oil (mixed) on canvas. Signed and dated lower right. Additional signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter, pupil of Gennaro Villani and later friend and collaborator of Umberto Lilloni, participated in the renewal of Neapolitan painting with his own personal style, without straying from tradition. Endowed with fertile invention and remarkable representational ability, he left behind a rich and varied production. Recurring in his production are landscape or urban views, populated by numerous figures, often, in the Neapolitan setting, by Punchinello, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall.

Print multiple on paper. It is about no. 81 propaganda posters released by the Christian Democrats, published in 1948 on the occasion of the political elections in Italy. The Christian Democrats and the Vatican allied with it, through their press organs and with their official statements, launched a powerful attack on communism. The far-left party became the main political target of Christian Democrat discourse. In the Catholic press, the tones went out of the political sphere and the clash began to be described in terms of religious war, envisaging apocalyptic scenarios in case of victory of the Popular Democratic Front. The commitment against communism was also to become the DC's main source of legitimacy in the eyes of the United States and, in a broader context, of Italy's presence in the Western bloc. Together with the creation of a real anti-communist myth, therefore, the praise of the American friend was carried out: the two peoples – the Italian and the American – were presented as natural friends, similar, with common values and future prospects. In the posters presented here this political line is clearly evident: many posters praise family values and the values of Christian ethics, others express a ferocious anti-communism emphasizing the risks of an electoral victory of the left, still others exalt the affinities between the DC policy and that of the USA.

Female Nude, 1965

Oil on cardboard. signed lower right. On the back is the artist's autograph dedication to 'friend and colleague Giovanni Balansino'. Born and artistically trained in Florence, Ugo Vittore Bartolini moved to Milan in 1934, having obtained the chair of figure drawing at the Liceo Artistico dell' Accademia di Brera. If, from the 1930s onwards, he established himself mainly as a landscape painter, after the Second World War, Bartolini moved decisively towards sacred subjects, but also produced series of female nudes and still lifes. His style is simple and communicative, his paintings have a warm and refined chromatism. The work is presented in a frame.

The Olona

Oil on hardboard. Signed lower right. Further signature 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, Balansino presents a glimpse of the Olona river, a watercourse entirely in Lombardy, as it flows through the villages of the Lombard plain. The work is presented in a frame.

Bruges 1979

Oil on hardboard. Signature and location lower right. On the back there is another signature, with the title and date of the work. 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 this case, instead, it offers a glimpse of Bruges, a well-known Flemish town. 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.

Oil painting on canvas. signed lower left. Further signature on the back. It is part of the extensive production of still lifes by Campestrini, who had a preference for compositions with autumnal fruits and colours. The Milanese artist, son of the famous painter Alcide Davide, devoted himself to painting with a technique linked to his father's school and to the late nineteenth-century tradition. The work is presented in a frame.

Peaceful hours

Oil painting on canvas. Signed lower right. On the back there is a further signature, with the title and location (Venice). Serene Venetian view, with the young woman sitting in the sun on a pier, intent on reading; in the background the bell tower of San Marco and the facade of the abbey of San Giorgio Maggiore. In the production of Ernesto Alcide Campestrini, still lifes recur above all, flanked by glimpses of the places he visited, mainly the Lombard mountains. the Ligurian Riviera but also Venice. His painting is always linked to realism, preferring light tints and not very bright colors. The work is presented in a frame.

Two Figures

India ink on paper. Signed lower right. Accompanied by authentication on photo by his wife Matilde Sironi dated September 1963 and by certificate on photo from the JA PF archive. with number 031 and data of the work. Mario Sironi dedicated himself a lot to drawing and figure study, and his production included many drawings, figure studies, sketches for subsequent paintings. All the power and expressive force of Sironi's bodies can already be seen in these drawings, whose mind, an incessant forge of ideas and projects often created on a large scale (he created numerous murals), often made use of makeshift paper supports to draw, even of small dimensions, on which he traced, in just a few centimetres, large projects, provocative ideas and poetic images. The work comes from an important Milanese private collection. It is presented in a frame.

Study of Figures

Ink on paper. Signed lower right. Accompanied by certificate on photo from the JA PF archive. with number 115 and data of the work. Mario Sironi dedicated himself a lot to drawing and figure study, and his production includes many drawings, figure studies, sketches for subsequent paintings. All the power and expressive force of Sironi's bodies can already be seen in these drawings, whose mind, an incessant forge of ideas and projects often created on a large scale (he created numerous murals), often made use of makeshift paper supports to draw, even of small dimensions, on which he traced, in just a few centimetres, large projects, provocative ideas and poetic images. The work comes from an important Milanese private collection. It is presented in a frame.

Copy from Ingres

Oil painting on canvas. It is a 20th century copy of the famous work by the master of Neoclassicism Jean Auguste Dominique Ingres (1780 -1867), created between 1820 and 1856, and currently kept in the Louvre Museum in Paris. The work, which depicts one of the subjects most loved by Ingres, who often painted figures of young women dressed as odalisques and poses as Venuses, sees a young naked woman standing inside a rock structure that houses her. A jug rests downwards on her left shoulder, and from its opening a stream of water is born which pours down, flowing into the mirror of water which reflects the image of the woman. At the young woman's feet, two flowers appear, to the right and to the left, while a branch of ivy clings to her figure on the rock. Faithful in the compositional structure to the original work, this painting is also made with a decidedly twentieth-century pictorial style, due to the broad brushstrokes, the poorly defined contours, the earthy colors that give an almost monochrome impression. The work is presented in a coeval gilded frame.