图片文件尺寸 : 3211 x 4045px

莫雷托·达布雷西亚的《风景中的神圣家族》-Moretto Da Brescia

The Holy Family in a landscape--Moretto Da Brescia (意大利, 1498 - 1554)

图片文件尺寸 : 2089 x 3328px

《巴里的跪圣方济各和圣尼古拉斯》-After Moretto da Brescia

Kneeling St. Francis and St. Nicholas of Bari--After Moretto da Brescia (意大利, 1498-1554)

图片文件尺寸 : 3133 x 3660px

莫雷托·达布雷西亚的《麦当娜和带狗的孩子》-Moretto Da Brescia

Madonna And Child With A Dog--Moretto Da Brescia (意大利, 1498 - 1554)

图片文件尺寸 : 2764 x 3152px

《荒野中的施洗者圣约翰》作者：莫雷托·达布雷西亚-Moretto Da Brescia

St. John the Baptist in the Wilderness--Moretto Da Brescia (意大利, 1498 - 1554)

图片文件尺寸 : 3000 x 2142px

安妮·路易斯·吉罗德·特里松在布雷西亚的《贝亚德拒绝女主人的礼物》-Anne Louis Girodet-Trioson

Bayard Refusing the Presents of His Hostess, in Brescia--Anne Louis Girodet-Trioson (法国, 1767 - 1824)

图片文件像素：4600 x 3500 px

安杰洛·萨维利，当代艺术II-

-

(Pizzo Calabro 1911–1995 Dello/Brescia)
Figure point, 1971, auf der Rückseite signiert, betitelt, datiert 1971 und bezeichnet, Acryl, Nagel und Nylon auf Leinwand, 40,5 x 35,5 cm, gerahmt

Das Werk ist beim Archivio Angelo Savelli, kuratiert von Luigi Sansone, registriert. Ein Fotozertifikat liegt bei.

图片文件像素：6262 x 3993 px

保罗·詹金斯，当代艺术I-

Paul Jenkins - Zeitgenössische Kunst I-

(Kansas City 1923–2012 New York)
Phenomena Y to X, 1960, signed; signed, titled and dated on the reverse, acrylic on canvas, 100 x 100 cm, framed

Provenance:
Galerie Karl Flinker, Paris (labels on the reverse)
Sale Sotheby’s, Paris, 8 December 2011, lot 168
Arteinvestimenti, Milan (certificate available)
Sale Meeting Art Vercelli, 6 October 2018, lot no. 38
B. Collection, Brescia

图片文件像素：4905 x 5894 px

维克多·瓦萨里，当代艺术I-

Victor Vasarely * - Zeitgenössische Kunst I-

(Pecs, Hungary 1906–1997 Paris)
Positron, 1983–1989, signed; titled, dated and signed on the reverse, acrylic on canvas, 124 x 96 cm

This work was conceived in 1983 and executed in 1989

We are grateful to Pierre Vasarely, President of the Foundation Vasarely, universal legatee and moral right holder of Victor Vasarely, for his kind assistance with the cataloguing of this work.

Provenance:
Nuova Gissi, Turin
B. Collection, Brescia

Exhibited:
Turin, Victor Vasarely Dipinti 1951–1989, Galleria d’Arte Nuova Gissi, 12 October - 7 December 1990, exh. cat. no. 20 with ill.

Every form is a base for colour, every colour is the attribute of a form.
Victor Vasarely

图片文件像素：5437 x 5205 px

Cagnaccio di San Pietro-现代-

Cagnaccio di San Pietro - Moderne-

(Desenzano del Garda 1897-1946 Venedig)
L’aragosta e l’astice, 1934, signiert und datiert, Öl auf Holz, 58,5 x 80 cm, gerahmt

Provenienz:
Galleria Gomiero, Mailand - Padua
Europäische Privatsammlung

Ausgestellt:
Rom, Seconda Quadriennale d’Arte Nazionale, Palazzo delle Esposizioni, 5. Februar – 31. Juli 1935 (Rückseite Klebezettel)
Rovereto, Un’eterna bellezza. Il canone classico nell’Arte 意大利a del primo Novecento, MART, 2. Juli – 5. November 2017, Ausstellungs Kat. S. 218, Nr. 103 mit Abb.

Notiz:
Eine kleinere, leicht beschnittene Version dieses Gemäldes ist in der folgenden Literatur abgebildet:
AA. VV., Cagnaccio di San Pietro, Katalog der Ausstellung im Museo Correr, Venedig, Electa 1991, Nr. 82 mit Abb.
Claudia Gian Ferrari (Hrsg.), Cagnaccio di San Pietro: la magia dello sguardo, Katalog zur Ausstellung im Palazzo Martinengo, Brescia, 1997, S. 85, Nr. 45 mit Abb.

图片文件像素：4956 x 4842 px

安杰洛·萨韦利-

Angelo Savelli * - Zeitgenössische Kunst I-

(Pizzo Calabro 1911–1995 Dello/Brescia)
Untitled, 1973, signed and dated on the reverse, acrylic on canvas on tulle, 163 x 136 cm, framed

This work is registered in the Archivio Angelo Savelli curated by Luigi Sansone and is accompanied by a photo certificate of authenticity

Provenance:
Kodama Collection, Osaka (label on the reverse)
European Private Collection

Angelo Savelli. The master of white
Angelo Savelli. The master of white, Marca, Catanzaro, until 30 March 2013
Calabrese by birth, Roman by training and 美国 by maturity, Savelli continues to be an isolated case within post-war art.

Savelli’s season of transition from figuration to abstraction is, under the banner of light, a sort of dynamic of the sign that weaves nervous filaments in an entirely emotional space.

Then, at the turn of the 1950s, came the choice to work exclusively in white. This was nothing to do with the Monochrome Malerei and the Manzonian achromia of the same years. Savelli thinks differently, of a purified idea of structure, of the point at which the formal mechanism manifests itself to the essential degree, before any attribution.

Savelli works primarily on the spatial dimension. He gives life to real places that breathe a formal mysticism that becomes a transcendental mood: one could say he works through paradox, giving an appropriate and unrelated physical consistency to the abstractness of geometry.

His work is above all silent. It is the poetic condition that Savelli chooses, and never relinquishes in decades of lucid, sweetly estranged research.