In Brianza

Oil painting on canvas. At the bottom left there is the DB monogram. Title and gallery stamp on the back. The glimpse of the Brianza countryside, still flat, sees a shepherd who lets his cows graze in the meadows immediately outside the village, near the dirt road flanked by light poles; two bare and thin trunks stand vertically, almost parallel, dividing the scene into three shots. The work is presented in a coeval frame.

Crayons on paper. In the lower right, inconsistent signature and date 1930. In an orderly countryside, a cottage stands on the left with clothes hanging in the sun on outdoor lines; on the right, a man on crutches walks along the road, while another lights a cigarette on the bank above. In the center, a light pole divides the scene in two. The work is presented in a period frame.

Oil on canvas. The two paintings, certainly similar in terms of subject type and pictorial methods, offer two landscape glimpses typical of the 17th and 18th Nordic production. They feature large countryside spaces near watercourses and inhabited by farmhouses. There are figures of peasants and commoners focusing on their work. The blue mountains in the background, preceded by gentle hills and surrmounted by a blue sky with white clouds. They had been previously relined and restored and they both show color spots and opacity. They feature a contemporary frame.

Glimpse of Mandello Lario 1909

Oil on canvas. Signature and location (Mandello) lower left. On the back additional signature, date and title in full. Riccardo Pellegrini, a Milanese painter, was a pupil of Domenico Morelli and was educated in the climate of romanticism. He was a landscape painter and genre painter, but he also created valuable still lifes, with bright colors and a precise and realistic drawing. His landscape production drew on the various places he visited and lived, in Italy and abroad, especially in Spain and France. In this landscape, Pellegrini offers a glimpse of the mountain that overlooks the town on the shores of Lake Como: a barren and bare mountain, albeit inhabited, with the hut on the top and a female figurine that fills the buckets at the stream of flowing water. between the rocks; the colors are those of the winter mists, divided almost transversely between the gray-blue of the upper part, with clouds laden with rain that dominate the peaks on the other side of the lake (which can be sensed, without being seen), and the green-brown of the land that occupies the lower half, with the branches of the bare trees stretched out to connect the two halves. The quiet of the mountains, the title of the work, clearly shines through and pervades the mind of the observer. The painting is presented in a contemporary frame.

Oil on canvas. The painting, made in the first half of the 1900s, takes up the landscape works in the subject and in the pictorial mode: in a landscape rich in vegetation and with peaks in the background, a young commoner asks for charity from some travelers who rest on the roadside , near a stone arch. The canvas has undergone aging and is presented in a late 19th century frame.

Oil painting on canvas. Neapolitan school of the nineteenth century. Typical example of Grand Tour painting, the painting offers a glimpse of the Gulf of Naples animated by numerous boats, of which in the foreground one of fishermen landing on the beach, where their wives and children await. In the background stands the smoking Vesuvius. The scene is lively for the vitality it expresses and for the colors, although the pink shades of the sky and Vesuvius recall the romantic note of the painting of the time. The canvas has small color drops. It is presented in a stylish frame.

Landscape with Ancient Style Figures

Oil on hardboard. Signed lower right. Born in Milan in 1913, and trained at the Brera Academy (of which he later became a teacher), Adriano Gajoni became passionate about the study of seventeenth-century Lombard painters and Dutch and Flemish painting of the seventeenth century, from whose meticulous realism he let himself be inspired. Of strict figurative observance, Gajoni preferred landscapes, portraits and above all still lifes, which he expressed in fairy-tale and allegorical compositions. He mainly practiced oil painting on wood and hardboard. Also this painting proposes a landscape of ancient taste: in the countryside, on the path that runs along a wide river, a pastoral figure passes on his donkey, followed by his small herd. The work is presented in a style frame.

The Country Road

Oil on hardboard. Signed lower left. Having moved as a child with his family to Milan in 1898, still very young, Raoul Viviani enrolled at the Brera Academy, where he studied under the guidance of Giuseppe Mentessi (1857-1931). At the same time he attended the nude school of the Artistic Family, with which he exhibited for the first time at the age of 17, immediately enjoying great success with the public and critics, as a landscape painter with a strong personality and modernity and for his highly original style characterized from strong chromatic experiments. In 1912 he participated in the Venice Biennale and subsequently participated in numerous national and international exhibitions. From 1926 he began his career in the field of art criticism, writing for various newspapers, but his opposition to fascism led him to choose voluntary exile: in 1931 he moved to Uruguay, where he founded and directed the Academy of Montevideo Fine Arts. Returning to Milan in 1937, he resumed his activity as a painter and as a critic. In the 1950s he moved to Rapallo for health reasons and remained there until his death. Extremely original landscape painter, who engages in oil painting but also in watercolor and engraving, is very close to pointillist painting, however, developing his own personal technique, characterized by very thin filaments of color in the form of thin commas, which define the structures of the its landscapes. With his transfer to Liguria, the Ligurian landscape becomes the protagonist of his works and also his mute technique, moving away from the original pointillism to open up to a broad and summary brushstroke, which finally leads to a production of still lifes from violent and contrasting colors. In this work in which the technical characteristic of Viviani is well appreciated, along the country path that runs along the canal, a figure of a woman appears, which constitutes an exception in his production, usually lacking in figurative elements. Work in frame.

Oil on canvas. The composition is not a traditional still life because the fruit (grapes and apples) and the bird are inserted in a large landscape, as its added elements in the foreground; Behind them opens a verdant countryside with a village on the hill. Restored and relined, the painting is presented in a period frame.

Oil on canvas. French school of the seventeenth-eighteenth century. The external scene is divided into two strongly contrasting parts: on the left, on the dark and gloomy background of a rocky wall, there are some ancient ruins, bases and fragments of columns with fallen damaged statues; on the right instead, against the background of a blue sky and gray from the clouds, the mountainous landscape opens onto a path, from which some figures emerge, a lively woman carrying a laundry basket and holding a child by the hand, a wanderer with his bundle of shoulders. It seems a metaphor between the past, now dead and dark, and the present, alive and lively. Restored and relined, the painting is presented in an early 20th century frame.