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"The Matterhorn with the blue lake" oil on canvas from the early 1920s by Giovanni Battista Costa (Rapallo 1858 - Genoa 1838). The painting has been restored. Giovanni Battista Costa was born in Rapallo in 1858 in a wealthy family and dedicated his entire life to art. He participated, since 1879, in the exhibitions of the Promoting Society of Fine Arts in Genoa and in numerous other important Italian expositions, exhibiting, until 1921, over 100 paintings, mainly landscapes, seascapes and portraits. In 1895 he was appointed Academic of Merit of Ligustica, where he, too, teached. He began his artistic studies at the Ligustica Academy (and partly in Rome), soon going from a painting linked to tradition to the execution of works from life, probably under the guidance of Tammar Luxoro director, from 1874, of the new Landscape School. Consequently, the links with the Genoese Gray School, the Rivara School (in Piedmont) and the Tuscan Macchiaiolo movement appear to be close. The analysis of some of his works lead us to bring Costa closer to some Lombard painters of the 19th century: for example Carcano, especially for the softness of the colours. He takes part in numerous national exhibitions: awarded in 1897 in Venice, he participates in the National Exhibition of Fine Arts in Turin in 1898; in 1906 we find it at the National Exhibition of Fine Arts in Milan; also worth mentioning is his participation in the first Quadrennial Exhibition in Turin in 1902. Giovanni Battista Costa was also a skilled portrait painter and painted in Venice, Parma, Viareggio, Ivrea, Engadina, Valle d’Aosta. Even though he was shy and solitary, he was part of two important schools: the Ligurian Artistic Family (1893 -1910 circa) and the Teatro Group (from 1908); refers to the upper room of the Caffè degli Amici of the Carlo Felice Theater. He is an artist particularly attentive to the social problems of the late nineteenth century. His works appear, in retrospect, in Genoa at the exhibition of Ligurian Painters of the Nineteenth Century (Palazzo Rosso, 1938) and at the Commemorative Exhibition at the San Matteo Gallery, 1952. In his maturity he turned his interest to the representation of mountain landscapes. In conclusion, we can identify three different ways of painting by Costa: the first is related to academic painting, a bit rigid (church interiors and portraiture); the second, realist, with warm colours and close to the themes of the Grays and Rivarians (affinity with Benedetto Musso). Period: 1920s Measurements: In frame H 125 x W 195 x D 6 / Canvas H 101 x W 172 cm -
"Duendecitos" etching / aquatint by Francisco Goya y Lucientes (Fuentedos, Spain 1746 - Bordeaux 1828). Original etching - Plate 49 of the "Los caprichos" series - V edition on XII. Bibliography: Harris 84; Delteil 86. Provenance Vianzone, Turin. Dimensions in mm: 190 x 130 "Miren que grabes!" etching / aquatint by Francisco Goya y Lucientes (Fuentedos, Spain 1746 - Bordeaux 1828). Original etching - Plate 63 of the "Los caprichos" series - V edition on XII. Bibliography: Harris 98; Delteil 100. Provenance Vianzone, Turin. Dimensions in mm: 187 x 122 The Capricci represent the most famous series of engravings by the Spanish master: 80 plates including etchings and aquatints of large format, made in 1799. These are plates that give rise to imaginative, pungent and grotesque representations that are affected, on a stylistic level, by an Italian influence due to the long stay in Rome in 1770. The main theme is the description of the evils of the world, from deceptions to prejudices, up to the lies of the Spanish society of the years in which Goya himself lived, in a heated controversy towards the clergy and the nobility. At the time of their publication, the drawings caused a sensation, precisely due to the fact that numerous notables of the time were recognized in them. So much was the clamor that even the Holy Inquisition had to intervene, to avoid the publication of those prints deemed excessive and blasphemous. This was probably what determined the poor success of I Capricci, so that the painter was forced to sell the entire first print run to King Charles IV, in exchange for a scholarship for his son Javier. The success of the series increased with the second edition of 1855, until it became one of the most important and celebrated graphic works in the history of art. Period: Second half of the 19th century Measurements: In frame H 45 x W 33 x D 2.5 cm / H 19 x W 13 cm // In frame H 44 x W 32.5 x D 2.5 cm / H 18.7 x W 12.2 cm -
"I am Bonconte da Montefeltro ... So wounded at the top of the throat ..." Oil on canvas by Giancarlo Cori. Painted in 1984, the year in which he paints his last works. Confirmation of authenticity by his son Nicolò Cori. Period: 1984 Measurements: In frame H 84 x W 113.5 x D 3.5 / Canvas H 78 x 107.5 cm -
English landscape, unsigned oil on canvas, late 19th century, with carved and gilded frame. Period: End of the 19th century Measurements: In frame H 45 x W 64.5 x D 6.5 / Canvas H 25.5 x W 45.5 cm -
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Neoclassical painting, oil on original late 18th century panel, with carved and gilded frame. Period: End of the 18th century Measurements: In frame H 55 x W 84 x D 6 / Table H 39 x L 68 cm -
Pier Luigi Colli (1895-1968), sideboard from the 1950s. The cabinet features elegant carved cylindrical legs. Built in elm, briar and brass, with the top in green formica. In excellent condition. Period: 1950s Measurements: H 98 x W 240 x D 53 cm -
Large hanging mirror, rounded, vintage 40s / 50s, with decorated glass, with light wood frame. Period: 1940s / 1950s Measurements: H 198 x L 81 x 10 cm -
Large 18th century style frame in hand-carved wood, wood-colored finish with gilding. Late 19th century. Period: End of the 19th century Measurements: Internal measurements H 133 x L 184.5 cm / External dimensions H 148.5 x W 199 x D 8.5 cm -
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Chinese lacquered cabinet from the 20th century. Furniture made of carved and black lacquered wood, with 2 doors and a day compartment. In excellent condition. Period: 20th century Measurements: H 95.5 x W 88.5 x D 59 cm -
Bronze plaque by Carmelo Cappello, 1940s. Period: 1940s Measurements: H 30 x W 39.5 x D 3.5 cm -
Oil on tablet, Luigi Locatelli. Painted tablet by Luigi Locatelli, depicting mother with child on a fence, signed lower right. No frame. Locatelli Luigi (known as Bigì) (Bergamo 1904-1983) after his first training with his father, he enrolled at the Carrara Academy. Before the age of twenty he starts working for the Milan gallery owner Zecchini. In the 1930s he moved to Paris where he became friends with the great Italian artists who lived in the French capital. After about ten years he returns to Italy settling in Bologna where he works as a restorer. Period: 1934 Measurements: H 41 x L 33 cm -
"San Grato Di Aosta with the head of the Baptist" oil on canvas from the first half of the 18th century. The work has been restored. An important legend flourished on the account of San Grato, now proven to be completely anachronistic, which goes by the name of Magna legenda Sancti Grati and is attributed to canon Jacques des Cours, who lived in the 13th century. The story of the discovery of the head of St. John the Baptist, a relic often associated with San Grato in popular iconography, dates back to this tradition. Beheaded by a whim of the beautiful Salome, the head of the Forerunner by order of King Herod Antipas was buried in a well separated from his body, for fear that he might miraculously rejoin it and John might rise again. Grato had a vision from the Lord, in which he was shown the secret location of the burial. He left Aosta in the company of his companion Giocondo, received the Pope's blessing in Rome and then embarked for the Holy Land. During the crossing, a great storm broke out, which threw terror among the sailors, but Grato, raised his arms to the sky, which instantly returned calm. When he arrived in Macheron, near the ruins of Herod's castle, an angel guided him, taking him by the hand and leading him to the well where the head of the Baptist had been for centuries. Immediately the relic rose to the surface and settled in Grato's outstretched palms. Period: First half of the 18th century Measurements: H 110.5 x W 97 x D 2 cm -
"Composition" by Umberto Mastroianni (Fontana Liri 1910 - Marino 1998), mixed technique / cardboard signed on the lower right, work number 0019. Authentication of the artist on photo. Umberto Mastroianni was born in Fontana Liri, in the province of Frosinone, on 21 September 1910. After his studies at the Academy of San Marcello in Rome, he moved with his family to Turin, continuing his training under the guidance of the master Guerrisi. His first works have a futurist imprinting; in particular he will be influenced by the works of Boccioni which Mastroianni tinges with neo-Cubism. The artist will be the founder of the Turin Prize in 1947 and, during his life, will receive important awards such as the International Grand Prize for Sculpture (Venice Biennale 1958) and the Tokyo Imperial Prize (1989). World famous artist, Umberto Mastroianni died on February 25, 1998 in his house-museum in Marino (Rome), leaving many masterpieces to posterity. Measurements: In frame H 77.5 x W 93.5 cm x D 5.5 / Canvas H 48.5 x W 65.5 cm -
"Biella mountains seen from the Campra plateau" (Graglia) pastel on cardboard by Demetrio Tabacco. Work of March 1937, signed and dated on the lower right. Demetrio Tabacco (Turin 1886 -?) spent some time in the studio of Tommaso Ruffo in Turin. He made his debut in Biella in 1921; he later exhibited his works in Turin, Vercelli, Novara and Tripoli. In this last city he had lived from 1916 to 1918, faithfully portraying types and aspects of environment and manners. He treated landscapes, but he preferred depicting figures. Period: March 1937 Measurements: In frame H 77.5 x W 93.5 cm x D 5.5 / Canvas H 48.5 x W 65.5 cm -
Italian mirror from the mid-19th century, composed by carved and gilded wood, with original mercury mirror. There are small restoring works to perform. Period: Mid 19th century Measurements: H 92 x W 75.5 x D 6 cm -
Large Decò clock, Pluzin Arnay-Le-Duc. In onyx and marble; the sculpture of the royal pheasant is in enamelled antimony. Period: 1920s / 30s Measurements: H 32 x W 65 x D 20 cm -
Original Louis XVI style wardrobe out of poplar wood from the end of the 18th century. Wavy hat, doors with flower carving on the center. Pickled, suitable for any type of finish (dark, light wax, lacquered, etc.). Period: End of the 18th century Measurements: H 230 x W 160 x D 58 cm -
"Flowers and Moon" Oil on canvas by Mario Carletti from the 60s / 70s. Carletti Mario (Turin 1912 - Cossato 1977), a Piedmontese painter and engraver, he painted views, landscapes, portraits and works of sacred art. He exhibited at the Venice Biennale in 1942 and at the Rome Quadriennale in 1956. Period: 60s / 70s Measurements: H 100 x W 70 x D 2 cm -
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Group of 4 chairs by Antonio Ari Colombo in chromed iron and leather from the 1960s. The leather is in excellent condition, structures to be polished, two screws are missing. Period: 1960s Measurements: H 81 x W 44 x D 50 cm / H seat 46 cm -
Bronze by Giovanni Nicolini, work of the 1920s / 1930s. Giovanni Nicolini was born in Palermo on April 14, 1872. He died in Rome in 1956. In the 1920s / 1930s the author focused his formal research on the theme of the nude figure, giving life to works strongly expressive of feelings or passions, in which the female figure with floating hair and enveloping shapes revealed a strong art nouveau influence. Period: 1920s / 30s Measurements: H with base 51 cm / H 49 x Ø base 19 cm -
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Piedmontese safe from the mid-19th century fully studded, with double lock. Inside there are two wooden drawers. In good condition. Period: Mid 19th century Measurements: H 76 x W 55.5 x D 32 cm -
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"Landscape on the Via Cassia" oil on canvas by Mino Delle Site. The work is signed at the bottom right Delle Site, listed in the catalog of the IV exhibition of figurative arts of Rome and Lazio, 1963, Galleria SPQR. On the back it has the gallery label. Mino Delle Site (Lecce 1914 - Rome 1996) had first studied in his city and then graduated from the Academy of Fine Arts in Rome. He took part to the Futurist Movement, from which he later broke away in search of new aesthetic expressions. He participated in the First Biennial of Palermo, the Second and Third Quadiennials of Rome and the Venice Biennials of 1934, 1936, 1938. In 1956 he presented in Rome an anthological exhibition summarizing twenty-five years of artistic activity; in 1957 he set up another solo exhibition in Rome, at the Aliberti Gallery; and he also participates in the VI, VII and VIII Roman Quadrennial. In 1965 he exhibited in the USA, at the Rizzoli Gallery in New York with a personal anthological exhibition, works from 1932 to 1965. He won numerous competitions and prizes: in 1936 a prize for Mural Painting; in 1946 a prize for the Female Nude; in 1950 a "Attic" award. He has made decorations and mosaics for public and private entities. His works can be found in both Italian and foreigner public and private collections. Period: 1963 Measurements: H 55 x W 65 x D 1.5 cm -
"Chierichetti" (Altar boys) - Oil on canvas by Nino Salvadori Esposito. Beautiful painting by Nino Salvadori Esposito, born in 1918. Oil on canvas with beautiful gilded frame. Period: 1960s Measurements: In frame H 71 x W 80.5 x D 6.5 / Canvas H 50 x W 60 cm -
"Women in Piazza di Spagna, at the Fontana della Barcaccia, Rome" oil on canvas by the French painter François Maurice Roganeau. Work signed and dated F. M. Roganeau Rome 1908. Francis Maurice Roganeau (Bordeaux 1883 - Aix-en-Provence 1973) is a French painter, illustrator and sculptor. François-Maurice Roganeau was student of the renowned sculptors Gaston Veuvenot Leroux and Paul Quinsac at the School of Fine Arts in Bordeaux, then he went to study in Jean-Léon Gérôme's studio and later on with Gabriel Ferrier at the Beaux-Arts in Paris. He started with illustration and painting. As an illustrator, he mainly worked for the publisher Henri Laurens. In 1906 he won the first Grand Prix of Rome in painting and the second Grand Prix of sculpture. He exhibited at the 1912 Salon and received a medal for his he painting Le Soir, à la Rivière, inspired by one of André Chénier's Poésies antiques. In 1917 he was commissioned to repair the identical ceiling of the Grand Théâtre de Bordeaux, initially painted by Jean-Baptiste-Claude Robin. He also supplied colored glass boxes to the master glassmaker Gustave Pierre Dagrant, such as the one in the stained glass window of the church of Castillon-la-Bataille. He was director of the Bordeaux School of Fine Arts from 1929 to 1958. In 1932 he was made a Knight of the Legion of Honor. His latest works depict the Basque Country, its people and its landscapes. Period: 1908 Measurements: In frame h 54.5 x L 61.5 x D 6 / Canvas 28.5 x L 35.5 cm
