Modern Painting Signed A. Berkes Landscape Oil on Canvas 1905 - The Country Road 1905

Girl with Roses

Oil on cardboard. Signed lower left. Tito Corbella established himself as a painter but above all as a poster artist, creating posters and postcards. In his production, female subjects prevail, elegant and romantic figures, created with delicate colors. The work is presented in a period frame.

Composition with Bread and Tomatoes

Oil on canvas. Signed lower right. The artist's stamp is on the back of the frame. De Bernardi's painting is part of the Lombard landscape tradition of the 19th and 20th century. He always lived in Besozzo, his hometown in the province of Varese, but he traveled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. His production does not lack some still lifes, dating back mainly to the 1940s, compositions scrupulously drawn and aimed at dealing with the problems of light and atmospheric depth with agility and freshness, as in this presentation of some bread and tomatoes on a rustic table. Restored and relined, the painting is presented in a frame.

Oil on canvas. Northern European school, early 1900s. Unidentified signature on the lower right. The landscape represents a glimpse of uncultivated countryside, with patches of vegetation, meadows full of heather, crossed by a path that leads towards the nearby hills, passing next to a stable. The work has a small cut at the top center. It is presented in a frame.

Oil on canvas. Northern European school of the first half of the 20th century. Signed lower right H. Williams. The landscape offers a glimpse of two chalets in the midst of vegetation rich in trees and foliage, with figures on the path; in the background rise sharp, snow-capped peaks. The painting is presented in a period frame.

Oil on canvas. German school of the mid-20th century. At the bottom right is the signature W. Purschke and the location Munchen. The scene is set inside the study of a high prelate: sitting at his desk he listens to two men who show him a route on a map; at the top left is placed on a shelf a model of a ship: perhaps the bishop is also the owner of the ship, who discusses the next trip with its owner. From the window, closed by a worked grille, you can glimpse the village, with houses with a characteristic Nordic appearance. The painting is presented in a period frame.

Oil painting on canvas. Unidentified signature lower left. Great landscape of a forest with warm autumn colours, which is reflected in the pond in the foreground, forming a blue counterpoint to the sky above. The canvas has small tears. It is presented in a stylish frame.

Portraits of Children, 1930

Photographs retouched with pastels. Signed bottom right. On the back of three of them is the date 11 November 1930. A photographic sequence of the portrait of three children is shown, who slightly change their pose or expression. They are the work of the British photographer Eva Barrett who, after an initial experience as a painter, decided to dedicate herself to photography, thinking that "it was better to be a first-rate photographer than a second-rate [painter]. Having moved to Rome in 1913, she established her laboratory here. Pictorialist, with a small camera, Eva Barrett created her own photographic method that was reminiscent of drawing sketches: she applied a few very light pencil strokes, managing to create subdued images but with particularly dense blacks, thus maintaining the characteristics of photography and portraits. In this way he was very successful and his career took off. Eva Barrett photographed the Italian royal family, the wives and children of foreign ambassadors, as well as received numerous commissions from European royalty in Belgium, Sweden, Greece. The four portraits are presented in style frames.

Glimpse of the Cloister of the Dome of Monreale

Mixed technique, with canvas, wooden panels, metal threads, small beads, etc. At the bottom center is the artist's name, unidentified. It is a three-dimensional and perspective reconstruction of the cloister of the Monreale Cathedral, with the fountain in the foreground. The work is presented in a display case with a gilded frame from the early 1900s.

Rovereto, 1920

Oil on the table. Signed lower left. The title and date on the back in pencil. Riccardo Viriglio, a landscape painter from Pavia, portrayed urban views mainly of his city and landscape views especially of Lombardy. Here is a glimpse of the village of Roveleto, a small village in the Piacenza countryside at the foot of the pre-Apennine hills. 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.

Portrait of a child

Oil on canvas. Signed lower right. Palermitan painter, Francesco Camarda distinguished himself for figure painting, dedicated to portraits and the nude, and above all for animalist painting, in the wake of the realist production of the Palizzi brothers. He was able to express a painting with a lively and fresh color. In this small canvas is proposed the portrait of a child sitting on a chair, hooded to frame the plump and smiling face, the direct gaze, the plump little hands resting on the knees in a proud and resolute pose. The work is presented in a contemporary 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.