Fine Art Gallery - Catalogue 2009

AVANT-GARDE ART

Max Bill Marc Chagall Mario Comensoli Renato Guttuso Hans Hartung Max Huber Marino Marini Henry Matisse Joan Miró Picasso Pablo Mario Radice Mimmo Rotella Avant-Garde Art Art Avant-Garde AVANT-GARDE ART MAX BILL

GEOMETRICAL COMPOSITION 1971 Max Bill Serigraph, 700mm x 500mm, 1908 Winterthur, 1994 Berlin signed and numbered 88/200 Serigraph,

Architect, painter, designer, pro- Member of the Flemish Academy of fessor and politician, Max Bill was Science, of the Literature and Fine amongst those who gave a new Art of Brussels and of the Berlin direction to design in the sphere Academy of Arts, Max Bill showed of the Concrete movement. he was capable of transposing ar- Proof of this is the Hochschule für tistic content into the most diver- Gestaltung in Ulm, Germany, con- se spheres, combining the art of stituted by Inge Aicher Scholl and daily life like, for instance, creating Sold Otl Aicher in 1953 which continued watchers for Junghans and posters the great Bauhaus tradition, intro- for the 1972 Olympic Games. ducing new and important impul- ses. Max Bill was not satisfied by the influences of Kandinsky, Klee, and Schlemmer in his artistic creations. Rather, he experimented with his works on the creation of shapes able to represent the mathemati- cal complexity of modern physics through the senses.

GEOMETRICAL COMPOSITION 1971 700mm x 500mm, signed and numbered 57/150 AVANT-GARDE ART MARC CHAGALL Sold - - - - Bibliography: Sorlier 133 DIE BUCHT VON NIZZA, 1970 tations of constant themes such asof constant themes tations youth life in Russia, family, country - and the nostal folklore ful dreams, homeland. In his wor gia for one’s collapse in favour ks, time and space is that reality of a parallel dreamlike beco everything often joyful, where uncertainties andmes possible: the centu of the 20th the extremisms person, experienced in the first ry, colours, beaten with symbols, are not details and metaphors that are always easy to read. - - - - - Colour lithograph, 768mm by 518mm, signed Colour lithograph, 768mm by 518mm,

phism and Surrealism are only some only are Surrealism and phism to connected currents artistic the of work, pione artistic Chagall’s Marc er of Modernism, whose work is so placedbe cannot it that exuberant of classification orinto any kind cerami books, Illustrated medium. costumes theatre cs, canvas, prints, some ofjust are and stained glass - the dre capture the mediums which Cha amlike and poetic images that gall gave shape to, in the represen Fauvism, Symbolism, , Or Symbolism, Fauvism, 1887 Vitebsk - Belarus, 1985 Saint Paul de Vence Paul de Saint 1985 - Belarus, Vitebsk 1887 Chagall Marc AVANT-GARDE ART Mario Comensoli 1922 , 1993 Zurich

Mario Comensoli, considered one of brothers and Poliakoff became his In that same year, Carlo Levi invited the most important figures of Realism new artistic referrals. him to exhibit his works at the Con- MARIO COMENSOLI Painting, was born in Lugano on the Establishing himself in Zurich with his gress of Immigrants in on who- 15th April 1922. When his mother wife Hélène Frei, he grew a passion se poster one of the artist’s drawings died, he was raised by his two sisters for popular sports like cycling and appeared. in extreme poverty and this sensitised football and created the series titled He subsequently tackled the themes of the artist’s character and made him “Cyclists and footballers”. the Sessantotto (protest movement of aware of the social problems of the In 1953, the Helmhaus Museum of 1968) with a painting manner which poor from the very beginning. Zurich dedicated him the first impor- was provocative and influenced by In 1944, the Civic Museum of Fine tant exhibition which represented the Pop Art. He then took on the world Arts of Lugano acquired an oil pain- past period under the lights of the of cinema in 1978. In the 80s, starting ting after suggestion by Aldo Patoc- Lumiere Villas and which received the from alternative punk youths, he star- chi. On that same year, thanks to a approval of the critics. ted the series “Gioventù in fermento” scholarship, Comensoli went to Zu- This first creative phase, which was (Youth in Turmoil). To remember “Di- rich where he started attending dra- centred on formal construction, soon scovirus” and “Tell” amongst the most wing and history of art lessons at the left space for a new kind of painting important thematic moments. polytechnic institute. that was more aware of reality and His last big exhibition took place in In , in the early post-war period, human experiences. 1989 at the Kunsthaus of Zurich. he observed Picasso and Léger’s work In 1958 he created the “Workers in Mario Comensoli died from a heart and was quite influenced by their Cu- Blue” in the Rousseaustrasse studio. attack in his studio in Zurich on the bist paintings. In 1948, on his second He dedicated it to the migrants co- 2nd of June, 1993. time in Paris, Mirò, the Giacometti ming from to whom he felt close. AVANT-GARDE ART MARIO COMENSOLI Sold BULL FIGHT SKETCH 1951 with stamp of the Mario and Hélène Comen- Pencil drawing, 325mm x 475mm, signed soli Foundation of Zurich Sold FUSSBALL 1950 with stamp of the Mario and Hélène Comensoli Pencil drawing, 225 x 310mm, signed Comensoli “EINE NEUE SICHT TESTIMONIES” Foundation of Zurich Bibliography: Mario AVANT-GARDE ART MARIO COMENSOLI Sold EARLY 50s EARLY part on the right 630mm, signed on the lower FEMALE PROFILE PORTRAIT FEMALE PROFILE PORTRAIT Ink and oil on paper, 850mm x Ink and oil on paper, FEMALE PROFILE PORTRAIT PORTRAIT PROFILE FEMALE 50s EARLY x 650mm, 850mm paper, Oil on the the lower part on signed on right AVANT-GARDE ART MARIO COMENSOLI No longer available No longer Zurich OPERAIO CON SIGARETTA 1965 OPERAIO CON SIGARETTA Oil on canvas, 1300 mm x 900 mm GESCHAEFTSMANN 1962 GESCHAEFTSMANN x carton, 900mm on Tempera on the and dated signed 700mm, on the right lower part Scherer, Johann P. Bibliography: von 62: Gemälde “Begegnungen Mario Comensoli”, Provenance: Mario e Hélène Comensoli, Provenance: No longer available No longer AVANT-GARDE ART MARIO COMENSOLI No longer available No longer Comensoli, Zurich 530 mm x 440 mm TONDO CON PUNK 1992 Provenance: Mario e Hélène Provenance: Oil Mixed technique on masonite, LA FAMIGLIA 1990 FAMIGLIA LA technique, Mixed mm mm x 420 560 e Mario Provenance: Zurich Hélène Comensoli, No longer available No longer AVANT-GARDE ART ALBERTO GIACOMETTI Alberto Giacometti 1901 Borgonovo di Stampa, 1966 Chur

Alberto Giacometti, was born in His artistic expression thus oscillated Space, therefore, and its existential Val Bregaglia in Grisons from the between mnemonic reproduction meaning of emptiness, is transfor- union between Annetta Stampa and the purest expression of the med into artistic creation, in fun- and the Post-Impressionist painter, unconscious, space and its demar- damental element of Giacometti’s Giovanni Giacometti. Under his fa- cation, geometric and linear struc- work which, in the inapproacha- ther’s wishes, Alberto went to Paris tures, cages and sexual organs.In an bility of the object, corrodes and in 1922 where he studied sculptu- incessant dialectic between myth, the breaks the contours into clots of re at the Académie de la Grande unconscious, dream and reality, Gia- matter often devoid of colour. The Chaumière until 1925. cometti’s style found definition in the first ample retrospective presented Before he found his own direction, end in a sort of schematic naturism, in Switzerland was organised by the Alberto Giacometti was inspired in which objects, scenery and persons Kunsthalle of Bern in 1956. In 1962 by several cultural references in are immobile, isolated in an empty he was awarded at the Biennial of his life which ranged from Cicladic space which takes on all the existen- Venice and, in 1965, the Alberto Art, to Cubism, Surrealism and to tial meanings of solitude, of which Giacometti Foundation was set up. Primitivism. Sartre caught the inaccessibility. AVANT-GARDE ART

HOMME DEBOUT (LUST 101), 1957 Lithograph, 410mm x 282mm, on Arches paper, signed and numbered 15/100, published by Maeght, Paris ALBERTO GIACOMETTI

NU ASSIS (LUST 53), 1965 Lithograph, 673mm x 535mm, on Rives paper, signed and numbered 17/100, published by Gemini Ltd. AVANT-GARDE ART RENATO GUTTUSO

Renato Guttuso Sold 1911 Bagheria, 1987 Rome

In 1957, Renato Guttuso stated: He was opposed to the official cul- “Painting is my work. That is, it is ture and was for the defence of my work and also the way I con- freedom, denouncing the horrors front the world. I want to be pas- brought by oppression and war. sionate and simple, daring and not Guttuso expressed himself in va- extreme. I want to arrive to total rious ways, from book illustrations freedom in art, freedom which, like to painting of theatrical scenery, in life, consists of the truth”. from landscapes to still-lifes, from This wish drove the artist to a posi- portraits to erotic paintings. tion of decisive political belligeren- cy and for a search of the truth in which every academic standard was rejected.

LOW RELIEF Low relief of art hot-melted and gold plated 330mm by 220mm, work 176/333 AVANT-GARDE ART HANS HARTUNG Hans Hartung 1904 Dresden, 1989 Antibes

The Informal is a visual writing improvisation, the rejection of every chromatic and plastic qualities, not talents of European Informal art which puts “doing” before “theo- formal construction and the appeal just of the colours laid down with such as Soulages, Schneider, Bazai- ry”, “existing” before “thinking”. It for the expressive properties of pic- the palette knife, hands or brush, ne. experiments, in the astonished lack torial and extra-pictorial materials. but also with materials such as In his works Hartung gave outmost of thought which follows the cata- Informal art can be taken back to cloth, cement, tar, plastic or wood. importance and autonomy to brush strophes of the Second World War, two main streams. The gestural- Fautrier, Dubuffet, Burri and Fonta- marks with an enormous variety of the negative fascination of an aim- signic one which, on the trail of na were amongst the most original solutions: from the famous strong less doing. The term informal does surrealist automatism, valorises the interpreters. black lines testing the entire series not indicate an art without form psychological, expressive and dyna- Hans Hartung stood out in particu- of possible ranges of value of ge- or formless, as much as a manner mic meanings of the plots created lar. He was the European artist who, stures, to graffiti lines directly in the which repudiates the traditional on canvas by the painter’s impulsi- more than anyone, could boast an colour, to impalpable aereographed formal and constructive principles ve or calculated gestures: painters activity which foretold of the infor- surfaces which seem to suggest an of abstract, non figurative repre- following this stream were Wols, mal season already by the post-war. impossible space. sentation. It is a language which is Vedova, Fontana and Hartung; and Moving to France in 1935, he was not unitary at all, at whose roots are the material stream which, influen- one of the most important voices of found individual instinct, the valo- ced by the Cubist, Futurist and Da- the Ecole de Paris of the post-war risation of the unconscious drives, daist collage, investigates tactile, which reunited some of the highest AVANT-GARDE ART HANS HARTUNG letter. T 1989-A 38 1989 tion of Antibes, France (tableau) followed by the date and by a (tableau) followed by the date and by serial number preceded sometimes by a serial number preceded Provenance: Hartung-Bergman Founda- Provenance: His untitled paintings are marked by a T His untitled paintings are Acrylic on canvas, 1620mm by 1300mm Ink, 346mm by 265mm Untitled 1753-294 1958 AVANT-GARDE ART MAX HUBER

Max Huber Sold Sold 1919 Zug, 1992 Mendrisio

Max Huber was born in the Canton of Three years later, in 1950, he partici- Zug in 1991. He completed his studies pated in to the Movement of at the Kunstgewerbeschule of Zurich Concrete Art (MAC). In those years and started his profitable activity as he started his collaboration with the graphic designer between Zurich and architects of Lugano. He died in Men- Milan. drisio in 1992. On the 12th November An important anecdote tells about a 2005 the m.a.x Museum of Chiasso very young Huber who visited Anto- was established with the objective of nio Boggeri’s studio in Milan in 1940, spreading the culture of design and leaving his visiting card. These were leave track of one of the most signifi- some intertwined spiral volutes. Bog- cant Swiss graphic artists’ work. geri observed it for some minutes be- fore he realised that it was not printed but hand drawn. Some days later he hired Huber and the spiral became Studio Boggeri’s presentation panel. In 1947 Huber met Giulio Einaudi who hired him for the publishing house’s COMPOSITION WITH CURVED LINES PROGRESSION entire graphic art work. In the same 1959-1987 Serigraph in eight colours printed in 50 year, he organised with his friend Max Coloured serigraph, 700mm x 500mm, signed copies on ivory Fabriano paper Bill the exhibition “Abstract and con- signed and numbered VIII/XXX works, (cards numbered from I to L) and 55 crete art”. RC Como printers signed copies on white Fabriano paper (cards numbered from 1 to 150) Card nr. IV/L 1991 AVANT-GARDE ART MARINO MARINI Marino Marini 1901 Pistoia, 1980 Viareggio

After having finished his studies at Heroism and fright, the currents Sold the Academy of Fine Arts in Floren- which agitate the human soul, cou- ce, Marino Marini, sculptor, painter rage and intellect, the rhythms of and etcher, but also Dean of the fa- nature, the present and history, the culty of sculpture at the Academy of human mystery, the fear of the fu- and Chair of sculpture at the ture, love and the unmasculine find Academy of Brera, arrived to Paris again, in an essential stylistic de- in 1929 and there he encountered clension, the intensity of language IDEA OF THE MIRACLE 1970 the highest representatives of the which only a more ample alphabet Acquaforte on Magnani paper, 700mm artistic tendencies of the time, such is able to put forward through an x 500mm, signed and numbered 29/60, as Kandinsky, Picasso and Braque. erudite and accurate choice of sty- editor and printer Luigi De Tullio, Milan Horses and knights, Pomone and le, of materials, colours and of line. 1972, from the portfolio “Marino Marini portraits were the subjects with As he would have said after all: “It is Works” (Table XVI) which Marino Marini reinterpreted not what is represented that is im- Bibliography: Giorgio and Guido Guastal- and described existence in every portant but how you represent it”. la, “Marino Marini, catalogue raisonne possible type of declension. of his works 1919-1980”, Graphis Arte, Livorno 1990 (n.A 117, Pg 82/R, card index pg.212) AVANT-GARDE ART MARINO MARINI Sold THREE HORSES, 1977 Bibliography: Guastalla 344 and numbered 10/150, Signiert and numbered Rückseitig handgedruckte, von Frau Marini signierte Echtheitsbestätigung Farbacquatint 720mm x 570mm, signed Farbacquatint 720mm x 570mm, signed MINIMAL DANCE (II) 1973 (II) DANCE MINIMAL on in colour acquatinta and Acquaforte signed x 700mm, 990mm paper Magnani Alba publi- “20/25 works”, and named Rome, 1974, Il Cigno Printers, shers, Turin “Characters” the card from Guastal- Giorgio and Guido Bibliography: catalogue raisonne la, “Marino Marini, Graphis Arte, of his works 1919-1980”, Livorno (n.A 172, Pg 104/R, card 1990 index pg.218) Sold AVANT-GARDE ART HENRY MATISSE Henry Matisse 1869 Le Cateau-Cambrésis, 1954 Nice

Henry Matisse, founder of Fauvism, Obsessed by wild nature, “the be- is to be considered one of the most asts” searched for immediate ex- important innovators of the 20th pression with the use of pure colours century. He made choices which be- and the artist’s emotion in front of came fundamental and a reference nature. In this linocut, whose two- point for many young painters of dimensionality is sharp, the light- the 20th century, Picasso included: ness of brush marks and the purity analytics, artificiality, primitivismof tones blend with exotic artistic and pure colour are the three bases shapes where colour becomes a re- of this innovation. presentative subject of a world in Fauvism is a French contribution which one can find shelter, a world to Expressionism, but, compared in which inner conflicts are absent, to the related German movement and alienation does not find shel- which is connoted by dark atmos- ter. Matisse’s artistic journey arrived pheres and dramatic content, Fau- to understand the most various ex- vism represents a “Mediterranean” pressive techniques. In sixty years of and sunny variant to Expressionism; work it constantly renewed itself: it represented the first real break stained glass, etchings, prints, co- with Impressionism and the first stumes and theatre scenery pain- modern experience which released tings, book illustrations and statues the relationship between the true which follow a balanced flow, sere- colour of things and the one used ne and devoid of fractures between to represent them in painting. past and modernity. Linocut, 350 mm by 250 mm, signed and numbered in pencil 4/20 AVANT-GARDE ART JOAN MIRÓ Joan Miró 1893 Montroig, 1983 Palma di Maiorca

Joan Miró enrolled at the School of take, from 1928, new experiments Arts of Barcelona in 1912. with mental association techniques His initial artistic work was influen- and the process of disintegration ced by the countryside environment and reconstruction: works on pa- of Montroig (where he lived) and per, “poetic paintings”, collages, li- by his contacts with Picasso and Tri- thographs and “surrealistic objects” stan Tzara, an influence which con- attest to this new interpretation ferred to his works an avant-garde which was nothing but the return aspect and one of poetic evocation to previous technique, applied to in which he willingly lingered and new themes. accentuated descriptive details. Trips to the United States and con- Fantastic and dreamlike visions ani- tacts with American artists influen- mate his works. As the artist himself ce his work which, painted at first wrote: “Hallucinations take the pla- with a poetically simplified surreal ce of exterior models. I paint like in language, becomes a triumph of a dream in the outmost freedom”. colour, in the sign of the outmost His research towards his own styli- freedom of form guided by fantasy. stic language drove Miró to under-

POSTER FOR THE CARCASSONNE FESTIVAL 1980 Colour lithograph, 833mm by 592mm, on Arches paper, signed in pencil and numbe- red 53/75, published by the Conseil communal de la culture de Carcassone, France AVANT-GARDE ART Pablo Picasso 1881 Malaga, 1973 Mougins, France

Picasso’s life was full of original anecdotes like the one which claims that one day at a restaurant, having the habit of sketching and drawing on napkins, the owner told Picasso that, instead of paying the bill, he could just leave him the drawings he had made at dinner and Picasso agreed. The owner then turned back to his customer with a request: “Mon- sieur, could you sign the drawing?” Picasso shook his head and replied “No, I’m just paying the bill; I’m not buying the restaurant”.

Linocut printed in colour, 991mm x 654mm, on Arches paper, signed in red pencil AVANT-GARDE ART MARIO RADICE

COMPOSITON WITH PURPLE Sold Mario Radice BACKGROUND, 1934-1986 1900 -1987 Como coloured serigraph, 700mm x 500mm, signed and named “artist proof”, printers RC Como From 1930 onwards, after having Between 1933 and 1936 he pain- abandoned his veterinary studies, ted the abstract decorations for he dedicated himself to his grea- in Como, designed test passion, painting. He establi- by Terragni. In this same period he shed relations with the architects joined a group of abstract pain- A.Sartoris, C.Cattaneo, G.Terragni ters working in Milan, amongst and with the painter M.Rho and, in whom Fontana and Melotti. In the 1933, took part to the creation of post-war period he was one of the the magazine “Quadrante”, consi- founders of the MAC, Movement dered as the privileged organ of the for Concrete Art. His abstract re- rationalist architectural culture and search, founded upon a geometric of the abstractionist environments design, responds to a precise idea in Italy, hosting international inter- of ventions like those of Le Corbusier, Gropius and Léger.

SIGNED ARTIST PROOF AVANT-GARDE ART MARIO RADICE Sold Sold Sold SERIGRAPHS IN COLOUR and in the 80s, 700mm x 500mm, signed printers RC Como numbered, AVANT-GARDE ART MIMMO ROTELLA Mimmo Rotella 1918 Catanzaro, 2006 Milan

Mimmo Rotella, an international- Sold Sold ly renowned artist, was the only outstanding Italian painter of “Nou- veau Réalisme”, a movement deve- loped in 1960 around the figure of the critic Pierre Restany. He invented the technique of décol- lage which, in the opposite of col- lage in which an image is built up by paper fragments, it is created by cutting them away from a complete image: in the early 50s they were still informal, in the 60s they leave more space to popular images in the style of an illustrated magazine which the artist enjoyed tearing up. His works, which depict cult figu- res like Marilyn, Sofia Loren or Elvis, reveal the tastes, myths and whims of mass society, marking one of the earliest experiences of Pop art. THE BEAUTIFUL PREY THE LAST MARILYN Serigraph, 900mm by 700mm, Serigraph, 900mm by 700mm, signed and numbered 42/100 signed and numbered 44/100 AVANT-GARDE ART MIMMO ROTELLA - - Sold THE WAKE OF THE EAGLES THE WAKE (ROCK HUDSON) car Photo serigraphy with déchirage on tit and signed 690mm, x 990mm dboard, with stamp Fondazione led “artist proof”, Rotella of Milan - Sold CRAZY FOR WOMEN (ELVIS) Photo serigraph with déchirage on cardbo ard, 990mm x 690mm, signed and titled ard, with stamp Fondazione “artist proof”, Rotella of Milan - Sold ard, 990mm x 690mm, signed and titled ard, with stamp Fondazione “artist proof”, Rotella of Milan CASABLANCA (HUMPHREY BOGART) Photo serigraph with déchirage on cardbo - Sold CHISUM (JOHN WAYNE) Photo serigraph with déchirage on cardbo ard, 990mm x 690mm, signed and titled ard, with stamp Fondazione “artist proof”, Rotella of Milan AVANT-GARDE ART MIMMO ROTELLA - - - PIAZZA BLUES 2004 BLUES PIAZZA x 950mm Lithograph, two times, signed 650mm, by the ca- accompanied “Mimmo Rotella talogue signed by the 1949-2004” - rea 2/99, artist, numbered initiative lised thanks to the of Piazza Blues Association, edi 2004 the for which, highlight tion, wanted to mu the union of the blues Mim with expression sical extroverted mo Rotella’s and lively visual message. PEPSI COLA PEPSI by 900mm, 700mm Serigraph, 44/100 and numbered signed DIABOLIK pop films of the 60s, a mixture of Pop pop films of the 60s, a mixture by the 1968 film of the same name by by the 1968 film of the same name Mario Bava, considered one of the best Mario Bava, considered Serigraph with a two paper rip, inspired Serigraph with a two paper rip, inspired 700mm, signed and numbered 118/125, 700mm, signed and numbered Art, Psycadelia and , 1000mm x Art, Psycadelia and Futurism, 1000mm with stamp of Fondazone Rotella of Milan with stamp of Fondazone Rotella of CONTEMPORARY ART

Contemporary Art Francis Bacon Enrico Baj Javacheff Christo Piero Dorazio Charles Fazzino Salvatore Garau Keith Haring Keizo Morishita Selim Abdullah Andy Warhol Stephen Wiltshire CONTEMPORARY ART FRANCIS BACON Francis Bacon 1909 Dublin, 1992 Madrid

Francis Bacon is considered one of It would be reductive to thing of the greatest painters of contempo- Bacon only in the point of view of rary painting. After various painting the content because, besides the experiences with influences by Max existential “scream”, one can find Ernst and Picasso, he started, in the in him a great love for painting, for years between 1944-46, the series the ability that it has to express and of studies in which the human figu- construct with elegance. re, often symbolically enclosed in a room, is taken to an agonising for- mal transfiguration through the use of blurriness, fading and perspecti- ve dilation. The face is contorted, almost disfigured, not in the Cubist manner, but in a sort of personal expressionism, the figure is general- ly seated like in the most traditional portrait painting; the almost mono- chromatic background accentuates MAN WRITING REFLECTED the evident isolation in which it is IN A MIRROR 1977 placed. Lithograph printed in colour after the 1976 painting, 1020mm x 850mm, signed in felt-tip pen 66/180 in pencil, printed by Mourlot published by Henry Deschamps, Paris CONTEMPORARY ART ENRICO BAJ

Enrico Baj No longer available 1924 Milan, 2003 Varese

A versatile spirit, capable of great becoming an essayist with works passions, Enrico Baj lawyer, essayist, like “Impariamo la pittura” (Let’s anarchist, sculptor, painter, Satrap learn painting) (Rizzoli, 1985), and emperor of Milanese Pataphy- “Fantasia e realtà” (Fantasy and Re- sics, poured in his own works that ality) with Renato Guttuso (Rizzoli, curiosity for life which characterised 1987), and “Scritti sull’arte: dal Fu- his human journey. His innate curio- turismo statico alla merda d’artista” sity took him to first study medicine (Text on Art: from static Futurism to and then transfer to law and study, artist’s shit) (A.A.A, 1996). at the same time, at the Academy The desire to experiment which of Fine Arts of Brera; this placed characterised him is found in his him in crossroads and at a mee- failed solution of stylistic continuity, ting point between Surrealism and in the explosion of colours and the Dadaism. This same curiosity drove lively shapes of his works in which him to establish two painting mo- different materials fuse and mix in vements, that of Nuclear painting a knowledgeable collage between and that for an imaginist Bauhaus. painting, knick-knacks and fabric. It also drove him to collaborate with Playful, ironic works which are, ho- writers such as Raymond Queneau wever, aware of social problems and Umberto Eco as well as for ma- and which communicate a message gazines like “Il Gesto”, “Direzioni”, that often ridicules power. “Phases” and newspapers, before CONTEMPORARY ART JAVACHEFF CHRISTO

Javacheff Christo Sold 1935 Gabronovo, Bulgaria

Before moving to live in Paris in changes in the micro climate of the 1958, Javacheff Christo studied place. in Sofia, Prague and Vienna. In Christo and his wife self-produce Paris, where he married Jeanne- their projects on the area, commer- Claude de Guillebon in 1962 and cialising drawings and studies of the with whom he shared all his great installation to finance the projects projects from 1961, his first works to be done. consisted of covering with canvas Their grand works of land art be- and rope objects of everyday use, come spectacular ephemeral sce- such as bottles, chairs and boxes, neries for just a few days, but their an idea which brought him to the memory also forms part of the envi- group of the Nouveaux Réalistes. ronmental piece of art. Quite soon, however, his projects took on a monumental scale: from the barrier of bins wrapped up along a street in Paris, he passed to wrapping up buildings and parts of landscapes. “Valley Curtain” was a AEGENA TEMPLE PROJECT project which took place in 1970- FOR “DIE GLYPOTEK”, 72 in a valley in Colorado, USA and München, 1988 which basically consisted of a large Photo - Collage and Serigraphy on paper canvas stretched from one side to 895mm by 685mm the other of the valley sides (111 x Copy number 256/300. Signed. 381 metres) and even caused some Bibliography: Schellmann/Benecke 135 CONTEMPORARY ART PIERO DORAZIO Piero Dorazio 1927 Rome, 2005 Todi

With his painting, the painter and architect, Piero Dorazio contributed to the affirmation of in Italy. He was one of the signatories of the Manifesto del Formalismo (1947) which, inspired by the vocation for painting research and by the re-eva- luation of Futurism, put itself against the official tendency of “socialist realism” and for the defence of Ab- stract art. Several artistic stays in va- rious capital cities, amongst which Paris and Prague, made him well- known abroad. He was the Director of the Department of Fine Arts at the School of Fine Arts of Pennsylva- nia during the 60s and he was often invited to the Biennial of Venice. In 1974 he retired to Todi where he 5 COMPOSITIONS OF kept on working and where he died THE “WIG-WAM” PORTFOLIO 1991 in 2005. All his painting was direc- Collage of serigraphs on painted ted to spatial research with compo- background, 1100mm x 830mm, signed and sitions of geometrising bands. numbered 26/99, Severgnini Editions, Milan CONTEMPORARY ART CHARLES FAZZINO Charles Fazzino 1955

A Pop Art member for over 30 years, Charless Fazzino followed the path initially taken by Andy Warhol, Kei- th Haring, Red Grooms and Robert Rauschenberg, inserting his unique vibrant, three-dimensional and de- tailed style. The ample breath of his work captured the best parts of the contemporary life of the group of private collectors for which he wor- ked on commission and of festivals and events in which he was the of- ficial artist. His works are exhibited in twenty countries and over 600 galleries of .

THE GLAMOUR OF MONACO Serigraph of 2006 140 pieces (100#, 25 DX, 15 TP) 290mm by 240mm Works: 49/100 and 52/100 CONTEMPORARY ART SALVATORE GARAU Salvatore Garau 1953 Sangiusta - Sardinia

With extreme rigour, Salvatore Ga- rau was, and continues to be, the painter of a completely interior lan- dscape which takes from the un- conscious and concretises on an apparent unreality which confuses but returns “natural phenomenon” across a dark, turbulent fluid which can even be menacing, never fulfil- led and motionless. With a palette limited to black, the surface is animated with dense masses, in an inexhaustible move- ment without confines, landscapes, apparently similar in their repetition and yet so different, strengthen the inner world of this Neo-Romantic painter.

UNTITLED Work produced with acrylic materials and resin on framed paper, 1800mm by 2500mm 1989. CONTEMPORARY ART SALVATORE GARAU UNTITLED 1988 1290mm by 2000mm, on framed paper, with acrylic materials and resin produced Work Lugano Editions 1989. Deambrogi Garau” for published on catalogue, “Salvatore UNTITLED 1988 1290mm by 2000mm, on framed paper, with acrylic materials and resin produced Work Lugano Editions 1989. Deambrogi Garau” for published on catalogue, “Salvatore CONTEMPORARY ART KEITH HARING Keith Haring 1958 Reading-Pennsylvania, 1990 New York

Keith Haring arrived to New York in 1978 and enrolled at the School of Visual Arts, but his true painting studio were the streets and the sub- way. These were the years where the phenomenon of graffiti art, of which the artist was the absolute protagonist, exploded. His vision is always two-dimensio- nal; his “radiant” characters move as if on a screen, simple brush mar- ks, sharp outlines and bright colours give a veritable graffiti effect. He died of Aids at just 31 years of age.

MONTREUX- 17TH FESTIVAL DE JAZZ, 1983 Complete series of three serigraphs on paper created for the Montreux Jazz Festival of 1983, 1000mm x 700mm, Pgs 1/3; Pgs -2/3; Pgs 1/3,signed and dated. Bibliography: Littmann page 24-27 Anmerkung: Vollständige Serie der Montreux-Plakate CONTEMPORARY ART KEIZO MORISHITA Keizo Morishita 1944 Kitayushu-shi, 2003 Milan

Keizo Morishita was born in Kitayu- shu-Shi (Japan) in 1944. He moved to Italy when he was 19 years old and he graduated in sculpture at the Academy of Brera with Marino Marini in 1968. His works are permeated with se- renity, immerging us into a delicate world, where even the prisms and crystals lose their roughness immer- sed in a dreamlike nature where it is difficult to meet man and of a me- taphysical flavour. He held his first personal exhibition in 1967 and it was followed by se- veral reviews in Italy and abroad. Amongst his latest exhibitions is the one held at the Galleria del Naviglio of Milan, where he exhibited an an- thology of thirty years of work. He died in Milan on the 7th of April in 2003.

Oil on canvas, 980mm x 1300mm, signed and dated 1983 on the canvas’s rear CONTEMPORARY ART KEIZO MORISHITA Watercolour, 750mm x 550mm, signed and dated 28.10.1979 Watercolour, Watercolour, 750mm x 550mm, signed and dated 6.3.1978 Watercolour, CONTEMPORARY ART SELIM ABDULLAH

Selim Abdullah No longer available 1950 Bagdad

Selim Abdullah was born in Bagh- dad in 1950, city where he atten- ded the Institute of Fine Arts, gra- duating in 1975. He moved to Italy on the same year and he attended the Academy of Fine Arts of Floren- ce and graduated in sculpture in 1979. As from 1981 he lives and works in the Canton Ticino. He participated to various collective and personal exhibitions in Switzerland as well as in various European cities. CONTEMPORARY ART ANDY WAHROL Andy Warhol 1930 Philadelfia, 1987 New York

Andy Warhol started his career in “In the future everyone will beco- advertising graphics. He didn’t want me famous for fifteen minutes” and to be considered an artist in the tra- “I want to be a machine” are the ditional sense, and so he adopted statements which identified an arti- industrial reproduction techniques. st who was able to become, in the He invented “Factory” which, from field of visual arts, a mass market the mid 60s onwards, promoted ac- legend. tions, produced films and became a veritable crossroad of the global jet set. Enfant prodige of the New York artistic scene, Warhol became the absolute reference for at least two decades. Mass produced products like Cam- pbell’s soup can, the Coca Cola bot- tle, and also celebrities treated in the same way of common objects, all become art.

SPEED SKATER, 1983 Serigraph on paper, 840mm x 615mm, XXXIII/ CL, signed in pencil, copyright stamp in red on the back “Andy Warhol 1983” Bibliography: Schellmann/Feldman 303 CONTEMPORARY ART STEPHEN WILTSHIRE Stephen Wiltshire 1974 London

Stephen Wiltshire was born in Lon- often reversing perspectives which, don in 1974. When he was 13 he viewed from a helicopter, return to was introduced by Sir Hugh Casson, be three-dimensional. Chairman of the Royal Academy The views of Tokyo, Frankfurt, Hong of Arts, as “the best child artist of Kong and Rome are just an exam- Great Britain”, inside the BBC’s QED ple. In 2006, Queen Elizabeth II no- programme on autistic figures who minated him Member of the British were endowed with special talents Empire Order, as recognition for the LONDON TRANSPORT BUS in art, music and mathematics. services rendered for art. Stephen (ROUTEMASTER), 2005 He studied at the City & Guilds Lon- Wiltshire works with pen and ink 150mm x 210mm (A5), signed don Art College as the first young and, more rarely, with oil colours autistic person accepted in an art on canvas. He paints glimpses of with authenticity Wiltshire school. As a form of recognition the landscapes of cities he visited Gallery London from the media of the importance or, alternatively, his great passion of his work, from psychologists of which are cars. Colour is rare in his his ability and his genius, numerous works, mostly just a splash of pastel studies that marked a precocious to outline the contours of a specific success were dedicated to him. object. Having an extraordinary photogra- phic memory, the artist is able to reproduce on very large canvases FRITH STREET, Soho 2008 urban landscapes respecting the de- 297mm x 210mm (A4), signed tails, the positions and the propor- with authenticity Wiltshire tions of buildings, parks and streets; Gallery London LOCAL ARTISTS

Local Artists Aldo Patocchi Nag Arnoldi Gianni Metalli Sergio Emery Ivo Soldini Aoi Huber-Kono Massimo Cavalli Carlo Gulminelli Emilio Rissone Jean Marc Buehler LOCAL ARTISTS ALDO PATOCCHI SUMMER SUMMER xylographs, Varies sizes, signed various YELLOW DAISIES 1933 THE BENCH ------hard wood engraving in boxwood, wood engraving hard remarkable a shows he which in technical ability. as a figurativeStarting out mainly cer he soon obtained the illustrator, whichstyle stylistic personal and tain work up to his ma characterised his a very such as to place him, in turity, the highest na short time, amongst Italian generically, tional and, more levels in this genre. Lugano, Civic Museum of Works: Kunstmu Fine Arts; Winterthur, beaux- des Musée Locle, Le seum; Na- arts; Geneva, Ateneo; Bern, tional Library; Graphische Zurich, ArtSammlung der ETH; Mendrisio, Gallery of Modern Museum; Venice, Museum; Car Revoltella Art; Trieste, State pi, Civic Museum; Warsaw, Var Museum.Carpi, Museo Civico; savia, Museo statale. - - - - -

for which “L’Eroica”

1907 Basel, 1986 Lugano Basel, 1907 Aldo Patocchi Aldo The teacher and writer Giuseppe and writer The teacher studies him on artistic Zoppi started Cozza him to Ettore and introduced ni, director of the prestigious Mila of the prestigious ni, director nese magazine Self-taught, 1925. he worked from Federal scholarshipshe won four and 1931; in 1932between 1925 at the the gold medal he received Mon of Decorative Arts of Triennial awards. numerous za, the first of juri- of numerous He formed part es and commissions in Switzerland, ofamongst which the Commission Acquisition for the Graphic Collec tion of the Polytechnic of Zurich. mem was to 1962 he 1950 From Helvetia foundation; ber of the Pro he was Chairman of the Ticinese Society of Fine Arts, Vice-Chairman and of the Swiss Painters, Sculptures Society. Architects always carried works are Patocchi’s verythe with gouge etching on out LOCAL ARTISTS NAG ARNOLDI - GIANNI METALLI Nag Arnoldi Gianni Metalli 1928 Locarno 1930 Lugano

Nag Arnoldi, sculptor and painter, tions in Switzerland, Italy, France, Gianni Metalli was born in Lugano in lived and worked in Comano near German, and England as well as in 1930. He is a member of the Swiss Lugano. His works features in im- some cities of the United States and Painters, Sculptors and Architects portant public and private collec- in Mexico. Society (SPSAS) and of the Ticinese Society of Fine Arts (STBA). From the 1960s onwards he has held personal exhibitions and taken part in collec- tive ones in Lugano, Zurich, Madrid, Milan and Frankfurt.

MULTIDIRECTIONAL COMPOSITION Serigraph realised in 150 copies on Fabria- no paper (numbered from 1 to 150) and 50 copies on Arches paper (numbered from I to L) signed and num- APOLOGY OF A HARLEQUIN 1987 bered by the artist. 1988 Copy IV/L Serigraph realised in 150 copies (numbe- red from 1 to 150) and 50 copies with co- HARLEQUIN lour variant (numbered from I to L) signed Serigraph, 700mm x 500mm, signed and and numbered by the artist 1987 numbered 15/30 Copy IV/L LOCAL ARTISTS SERGIO EMERY - IVO SOLDINI Sergio Emery Ivo Soldini 1928 Chiasso, 2003 Gentilino 1951 Lugano

Sergio Emery undertook his first Ivo Soldini was born in Lugano in of Milan. He abandoned his studies in artistic studies at the Kunstgewer- 1951; he lives and also has his art stu- 1973 in order to exclusively dedicate beschule of Zurich. Between 1946 dio at Ligornetto (Mendrisiotto). After himself to his artistic career. He rea- and1948 he moved to Milan and at- obtaining his high school diploma at lised sculptures for public and priva- tended the Cimabue Academy and the Liceo Cantonale of Lugano, he te societies and organised numerous continued his education with study enrolled at the Academy of Brera and, personal and collective exhibitions in visits to Venice and Paris where he subsequently, at the State University Switzerland and abroad. frequented Eduard Pignon’s studio, who was Pablo Picasso’s protégé. No longer available Sold

COMPOSITION WITH SOIL Of this serigraph in five colours, 150 co- pies (Arabic numbers) have been printed by Willy Nussbaum of S. Nazzaro, 35 copies with variant in colour and ma- nual intervention (Roman numbers), and lastly, 15 copies with manual inter- vention (titled from A to Q) all signed and TWO FIGURES numbered by the artist. 140 copies have been printed of this etching, Copy G 1992 all signed by the artist, 1986. Copy IV/VIII LOCAL ARTISTS CARLO GULMINELLI - MASSIMO - - Sold IMAGE in Lugano where he taught etching athe taught etching where in Lugano Centre Industries Scholastic the Artistic In 1990 he 1974 to 1992. (CSIA) from of the cantonalwas elected member arts. Commission of fine memorable personalAmongst his most one held at the fa exhibitions was the Galleria del Milio mous (or well known) and in 1974. ne of Milan, in 1967 - - - Larroque di Duchene, Larroque 200 copies have been from the Art studio of from QUE’ SUR “MUGUET” printed of this etching, Colla, on CHINE APPLI- paper of the Moulin de signed and dated by the artist. Copy nr. IV/L 1983 artist. Copy nr. Sold Massimo Cavalli Massimo Locarno 1930 duated at the Academy of Brera in Mi of Brera duated at the Academy several Federallan in 1954. He obtained to go to allowed him which scholarships Betwe to study. several visits in Europe he was in particular, en 1960 and 1961 Institute in Rome.invited by the Swiss live he went to 1970 onwards As from Serigraph, 500mm by 700mm, signed and 6/50 numbered Massimo Cavalli was bornMassimo in Locarno in gra in Bellinzona. He up grew 1930 and - - - AME (RAIN) the artist.Copy nr. VII/L the artist.Copy nr.

Serigraph in 5 colours printed in 150 Serigraph in 5 colours printed in 150

manual intervention by the artist (Roman manual intervention by the artist (Roman copies (Arabic numbers) + 50 copies with copies (Arabic numbers) + 50 copies numbers) signed, dated and numbered by numbers) signed, dated and numbered

1936 Tokio 1936 Aoi Huber-Kono Aoi Aoi Huber-Kono was born in Tokyo born was in Tokyo Aoi Huber-Kono the Diplo After obtaining in 1936. ma of Graphic Designer at the Uni ma of Graphic she arrived in Euro versity of Tokyo In 1961 she settled pe in the 60s. in Ticino resided in Milan, and has since 1962. LOCAL ARTISTS AOI HUBER-KONO - EMILIO RISSONE - - - - - 110 mm by 110 mm He has been working as a painterbeen working He has over 40 ye designer for and graphic with the most va ars, experimenting - He is also the cre rious techniques. glass found in Swissator of stained In 1996 and also abroad. churches activity as adverti he expanded his the created and artist graphic sing cham World poster for the Cycling pionships of Lugano. com and awards numerous won He petitions during his long career. - Sold Emilio Rissone Emilio Lugano 1933 beschule of Lucerna1952 between at the subsequently, and 1957 and, in Milan. Academy of Brera Born in 1933, graphic in Lugano draughtsman illustrator, designer, anwas Rissone Emilio painter, and years andfor over 40 professor Art CSIA of Lugano.is founder of the in the Kunstgewer He first studied IPRONTE Copy IV/LXX 1990. numbered by the artist. by the artist. numbered

70 copies (Roman numbers) copies (Arabic numbers) and in five colours printed in 130 Serigraph by Carlo Gulminelli on Fabriano paper signed and

1911 Bagnacavallo, 1998 Mendrisio Bagnacavallo, 1911 Carlo Gulminelli Carlo LOCAL ARTISTS JEAN MARC BUEHLER STRESS 1986 Mixed technique, 700mm x 500mm RED BLUES 2004 Mixed technique, 700mm x 500mm - -

He often takes his subjects from from takes his subjects He often re- willingly he which life day every satyr and with spices of proposes an immediate, simple through irony language which has and existential of time an un found in the course very personal mark mistakable and which is all his. in his artistic stu He lives and works near Lugano. dio in Breganzona WALL STREET DANCE 2009 WALL Mixed technique, 400mm x 350mm

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1949 Lugano 1949 Jean Marc Buehler Marc Jean THE CIRCUS IS COMING 1994 Mixed technique, 700mm x 500mm In 1972, Jean Marc Buehler obtai Jean Marc In 1972, ned the Federal Graphic Design Federal Graphic ned the Rissone’s Emilio under Diploma that same year he guidance. On painting in Pa started living and to Switzerland he ris. Once back a Lugano, of CSIA the attended studies course of applied three-year teacher, a became ,and drawing in with undertook he which career a 35 years. satisfactions for over great