Fafa Fine Art Gallery

marcoluethi

Catalogue2016

Fine Art Gallery - Catalogue 2016


Avant-Garde Art


Max Bill

Marc Chagall

Mario Comensoli

Alberto Giacometti

Renato Guttuso

Hans Hartung

Max Huber

Marino Marini

Henry Matisse

Joan Miró

Pablo Picasso

Mario Radice

Mimmo Rotella

AVANT-GARDE ART


Max Bill

1908 Winterthur, 1994 Berlin

Architect, painter, designer, professor

and politician, Max Bill was

amongst those who gave a new

direction to design in the sphere

of the Concrete Zurich movement.

Proof of this is the Hochschule für

Gestaltung in Ulm, Germany, constituted

by Inge Aicher Scholl and

Otl Aicher in 1953 which continued

the great Bauhaus tradition, introducing

new and important impulses.

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 mathematical

complexity of modern physics

through the senses.

Member of the Flemish Academy of

Science, of the Literature and Fine

Art of Brussels and of the Berlin

Academy of Arts, Max Bill showed

he was capable of transposing artistic

content into the most diverse

spheres, combining the art of daily

life like, for instance, creating

watchers for Junghans and posters

for the 1972 Olympic Games.


GEOMETRICAL COMPOSITION 1971

Serigraph, 700mm x 500mm,

signed and numbered 88/200 Serigraph,

AVANT-GARDE ART MAX BILL

GEOMETRICAL COMPOSITION 1971

700mm x 500mm,

signed and numbered 57/150

SOLD


Marc Chagall

1887 Vitebsk - Belarus, 1985 Saint Paul de Vence

Fauvism, Symbolism, Cubism, Orphism

and Surrealism are only some

of the artistic currents connected to

Marc Chagall’s artistic work, pioneer

of Modernism, whose work is so exuberant

that it cannot be placed into

any kind of classification or medium.

Illustrated books, ceramics, canvas,

prints, theatre costumes and stained

glass are just some of the mediums

which capture the dreamlike and

poetic images that Chagall gave

shape to, in the representations of

constant themes such as country life

in Russia, family, youthful dreams,

folklore and the nostalgia for one’s

homeland. In his works, time and

space collapse in favour of a parallel

dreamlike reality that is often joyful,

where everything becomes possible:

the uncertainties and the extremisms

of the 20th century, experienced

in the first person, are beaten

with symbols, colours, details and

metaphors that are not always easy

to read.

DIE BUCHT VON NIZZA, 1970

Colour lithograph, 768mm by 518mm, signed

Bibliography: Sorlier 133


SOLD

AVANT-GARDE ART MARC CHAGALL


Mario Comensoli

1922 Lugano, 1993 Zurich

Mario Comensoli, considered one of

the most important figures of Realism

Painting, was born in Lugano on the

15th April 1922. When his mother

died, he was raised by his two sisters

in extreme poverty and this sensitised

the artist’s character and made him

aware of the social problems of the

poor from the very beginning.

In 1944, the Civic Museum of Fine

Arts of Lugano acquired an oil painting

after suggestion by Aldo Patocchi.

On that same year, thanks to a scholarship,

Comensoli went to Zurich

where he started attending drawing

and history of art lessons at the polytechnic

institute.

In Paris, in the early post-war period,

he observed Picasso and Léger’s work

and was quite influenced by their

Cubist paintings. In 1948, on his second

time in Paris, Mirò, the Giacometti

brothers and Poliakoff became his

new artistic referrals.

Establishing himself in Zurich with his

wife Hélène Frei, he grew a passion

for popular sports like cycling and

football and created the series titled

“Cyclists and footballers”.

In 1953, the Helmhaus Museum of

Zurich dedicated him the first important

exhibition which represented the

past period under the lights of the

Lumiere Villas and which received the

approval of the critics.

This first creative phase, which was

centred on formal construction, soon

left space for a new kind of painting

that was more aware of reality and

human experiences.

In 1958 he created the “Workers in

Blue” in the Rousseaustrasse studio.

He dedicated it to the migrants coming

from Italy to whom he felt close. In


that same year, Carlo Levi invited him

to exhibit his works at the Congress of

Immigrants in Rome on whose poster

one of the artist’s drawings appeared.

He subsequently tackled the themes

of the Sessantotto (protest movement

of 1968) with a painting manner

which was provocative and influenced

by Pop Art. He then took on

the world of cinema in 1978. In the

80s, starting from alternative punk

youths, he started the series “Gioventù

in fermento” (Youth in Turmoil).

To remember “Discovirus” and “Tell”

amongst the most important thematic

moments.

His last big exhibition took place in

1989 at the Kunsthaus of Zurich.

Mario Comensoli died from a heart

attack in his studio in Zurich on the

2nd of June, 1993.

AVANT-GARDE ART MARIO COMENSOLI


SOLD

FUSSBALL 1950

Pencil drawing, 225 x 310mm, signed with stamp of the Mario and Hélène Comensoli

Foundation of Zurich Bibliography: Mario Comensoli “EINE NEUE SICHT TESTIMONIES”


AVANT-GARDE ART MARIO COMENSOLI

SOLD

BULL FIGHT SKETCH 1951

Pencil drawing, 325mm x 475mm, signed with stamp of the Mario and Hélène Comensoli

Foundation of Zurich


FEMALE PROFILE

EARLY 50s

Oil on paper, 850

signed on the low

right

FEMALE PRO

Ink and oil on p

630mm, sign

p


PORTRAIT

mm x 650mm,

er part on the

AVANT-GARDE ART MARIO COMENSOLI

FILE PORTRAIT

EARLY 50s

aper, 850mm x

ed on the lower

art on the right

SOLD


GESCHAEFTSMA

Tempera on carto

700mm, signed a

lower part on the

Bibliography: Joh

“Begegnungen 6

Mario Comensol

NO LONGER AVAIABLE

OPERAIO C

Oil on canvas

Provenance: Mario


NN 1962

n, 900mm x

nd dated on the

right

ann P. Scherer,

2: Gemälde von

i”,

AVANT-GARDE ART MARIO COMENSOLI

ON SIGARETTA 1965

, 1300 mm x 900 mm

e Hélène Comensoli,

Zurich

NO LONGER AVAIABLE


Prov

LA FAMIGLIA 19

Mixed technique

560 mm x 420 m

Provenance: Mar

Hélène Comenso

TO

Oil Mixed


90

,

m

io e

li, Zurich

AVANT-GARDE ART MARIO COMENSOLI

NDO CON PUNK 1992

technique on masonite,

530 mm x 440 mm

enance: Mario e Hélène

Comensoli, Zurich

NO LONGER AVAIABLE


Alberto Giacometti

1901 Borgonovo di Stampa, 1966 Chur

Alberto Giacometti, was born in

Val Bregaglia in Grisons from the

union between Annetta Stampa

and the Post-Impressionist painter,

Giovanni Giacometti. Under his father’s

wishes, Alberto went to Paris

in 1922 where he studied sculpture

at the Académie de la Grande

Chaumière until 1925.

Before he found his own direction,

Alberto Giacometti was inspired

by several cultural references in

his life which ranged from Cicladic

Art, to Cubism, Surrealism and to

Primitivism.

His artistic expression thus oscillated

between mnemonic reproduction

and the purest expression of the

unconscious, space and its demarcation,

geometric and linear structures,

cages and sexual organs.In an

incessant dialectic between myth, the

unconscious, dream and reality, Giacometti’s

style found definition in the

end in a sort of schematic naturism,

in which objects, scenery and persons

are immobile, isolated in an empty

space which takes on all the existential

meanings of solitude, of which

Sartre caught the inaccessibility.


Space, therefore, and its existential

meaning of emptiness, is transformed

into artistic creation, in

fundamental element of Giacometti’s

work which, in the inapproachability

of the object, corrodes and

breaks the contours into clots of

matter often devoid of colour. The

first ample retrospective presented

in Switzerland was organised by the

Kunsthalle of Bern in 1956. In 1962

he was awarded at the Biennial of

Venice and, in 1965, the Alberto

Giacometti Foundation was set up.

AVANT-GARDE ART ALBERTO GIACOMETTI


HOMME DEBOUT (LUST

Lithograph, 410mm x 282

Arches paper, signed and

15/100, published by Mae

NU ASSIS (LU

Lithograph, 673mm

Rives paper, signed a

17/100, published b


101), 1957

mm, on

numbered

ght, Paris

AVANT-GARDE ART ALBERTO GIACOMETTI

ST 53), 1965

x 535mm, on

nd numbered

y Gemini Ltd.


Renato Guttuso

1911 Bagheria, 1987 Rome

In 1957, Renato Guttuso stated:

“Painting is my work. That is, it is

my work and also the way I confront

the world. I want to be passionate

and simple, daring and not

extreme. I want to arrive to total

freedom in art, freedom which, like

in life, consists of the truth”.

This wish drove the artist to a position

of decisive political belligerency

and for a search of the truth in

which every academic standard was

rejected.

He was opposed to the official culture

and was for the defence of

freedom, denouncing the horrors

brought by oppression and war.

Guttuso expressed himself in various

ways, from book illustrations to

painting of theatrical scenery, from

landscapes to still-lifes, from portraits

to erotic paintings.

LOW RELIEF

Low relief of art hot-melted

and gold plated 330mm by

220mm, work 176/333


SOLD

AVANT-GARDE ART RENATO GUTTUSO


Hans Hartung

1904 Dresden, 1989 Antibes

The Informal is a visual writing

which puts “doing” before “theory”,

“existing” before “thinking”.

It experiments, in the astonished

lack of thought which follows the

catastrophes of the Second World

War, the negative fascination of

an aimless doing. The term informal

does not indicate an art without

form or formless, as much as

a manner which repudiates the

traditional formal and constructive

principles of abstract, non figurative

representation. It is a language

which is not unitary at all, at whose

roots are found individual instinct,

the valorisation of the unconscious

drives, improvisation, the rejection

of every formal construction and

the appeal for the expressive properties

of pictorial and extra-pictorial

materials.

Informal art can be taken back to

two main streams. The gestural-signic

one which, on the trail of

surrealist automatism, valorises the

psychological, expressive and dynamic

meanings of the plots created

on canvas by the painter’s impulsive

or calculated gestures: painters

following this stream were Wols,

Vedova, Fontana and Hartung; and

the material stream which, influenced

by the Cubist, Futurist and


Dadaist collage, investigates tactile,

chromatic and plastic qualities, not

just of the colours laid down with

the palette knife, hands or brush,

but also with materials such as

cloth, cement, tar, plastic or wood.

Fautrier, Dubuffet, Burri and Fontana

were amongst the most original

interpreters.

Hans Hartung stood out in particular.

He was the European artist who,

more than anyone, could boast an

activity which foretold of the informal

season already by the post-war.

Moving to France in 1935, he was

one of the most important voices of

the Ecole de Paris of the post-war

which reunited some of the highest

talents of European Informal art

such as Soulages, Schneider, Bazaine.

In his works Hartung gave outmost

importance and autonomy to brush

marks with an enormous variety of

solutions: from the famous strong

black lines testing the entire series

of possible ranges of value of gestures,

to graffiti lines directly in the

colour, to impalpable aereographed

surfaces which seem to suggest an

impossible space.

AVANT-GARDE ART HANS HARTUNG


Untitled 1753-294 1958

Ink, 346mm by 265mm

T 1989-A 38 1989

Acrylic on canvas, 1620mm by 1300mm

His untitled paintings are marked by a T

(tableau) followed by the date and by a

serial number preceded sometimes by a

letter.

Provenance: Hartung-Bergman Foundation

of Antibes, France


AVANT-GARDE ART HANS HARTUNG


Max Huber

1919 Zug, 1992 Mendrisio

Max Huber was born in the Canton of

Zug in 1991. He completed his studies

at the Kunstgewerbeschule of Zurich

and started his profitable activity

as graphic designer between Zurich

and Milan.

An important anecdote tells about a

very young Huber who visited Antonio

Boggeri’s studio in Milan in 1940,

leaving his visiting card. These were

some intertwined spiral volutes. Boggeri

observed it for some minutes before

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

entire graphic art work. In the same

year, he organised with his friend Max

Bill the exhibition “Abstract and concrete

art”.

Three years later, in 1950, he participated

in Milan to the Movement of

Concrete Art (MAC). In those years

he started his collaboration with the

architects of Lugano. He died in Mendrisio

in 1992. On the 12th November

2005 the m.a.x Museum of Chiasso

was established with the objective of

spreading the culture of design and

leave track of one of the most significant

Swiss graphic artists’ work.


AVANT-GARDE ART MAX HUBER

SOLD

SOLD

COMPOSITION WITH CURVED LINES

1959-1987

Coloured serigraph, 700mm x 500mm,

signed and numbered VIII/XXX works,

RC Como printers

PROGRESSION

Serigraph in eight colours printed in 50

signed copies on ivory Fabriano paper

(cards numbered from I to L) and 55

signed copies on white Fabriano paper

(cards numbered from 1 to 150)

Card nr. IV/L 1991


Marino Marini

1901 Pistoia, 1980 Viareggio

After having finished his studies

at the Academy of Fine Arts in

Florence, Marino Marini, sculptor,

painter and etcher, but also Dean of

the faculty of sculpture at the Academy

of Turin and Chair of sculpture

at the Academy of Brera, arrived to

Paris in 1929 and there he encountered

the highest representatives of

the artistic tendencies of the time,

such as Kandinsky, Picasso and

Braque.

Horses and knights, Pomone and

portraits were the subjects with

which Marino Marini reinterpreted

and described existence in every

possible type of declension.

Heroism and fright, the currents

which agitate the human soul, courage

and intellect, the rhythms of

nature, the present and history, the

human mystery, the fear of the future,

love and the unmasculine find

again, in an essential stylistic declension,

the intensity of language

which only a more ample alphabet

is able to put forward through an

erudite and accurate choice of style,

of materials, colours and of line. As

he would have said after all: “It is

not what is represented that is important

but how you represent it”.


IDEA OF THE MIRACLE 1970

Acquaforte on Magnani paper, 700mm

x 500mm, signed and numbered 29/60,

editor and printer Luigi De Tullio, Milan

1972, from the portfolio “Marino Marini

Works” (Table XVI)

Bibliography: Giorgio and Guido Guastalla,

“Marino Marini, catalogue raisonne

of his works 1919-1980”, Graphis Arte,

Livorno 1990 (n.A 117, Pg 82/R, card

index pg.212)

AVANT-GARDE ART MARINO MARINI


MINIMAL DANCE (II) 19

Acquaforte and acquatin

Magnani paper 990mm x

and named “20/25 work

ers, Turin 1974, Il Cigno

from the card “Characte

Bibliography: Giorgio and

alla, “Marino Marini, cat

of his works 1919-1980

Livorno 1990 (n.A 172, P

index pg.218)

SOLD

TH

Farbacquatint 720m

and numb

Rückseitig han

Marini signierte

Bibliog


73

ta in colour on

700mm, signed

s”, Alba publish-

Printers, Rome,

rs”

Guido Guastalogue

raisonne

”, Graphis Arte,

g 104/R, card

AVANT-GARDE ART MARINO MARINI

REE HORSES, 1977

m x 570mm, signed

ered 10/150, Signiert

dgedruckte, von Frau

Echtheitsbestätigung

raphy: Guastalla 344

SOLD


Henry Matisse

1869 Le Cateau-Cambrésis, 1954 Nice

Henry Matisse, founder of Fauvism,

is to be considered one of the most

important innovators of the 20th

century. He made choices which

became fundamental and a reference

point for many young painters

of the 20th century, Picasso included:

analytics, artificiality, primitivism

and pure colour are the three bases

of this innovation.

Fauvism is a French contribution

to Expressionism, but, compared

to the related German movement

which is connoted by dark atmospheres

and dramatic content, Fauvism

represents a “Mediterranean”

and sunny variant to Expressionism;

it represented the first real break

with Impressionism and the first

modern experience which released

the relationship between the true

colour of things and the one used

to represent them in painting.

Obsessed by wild nature, “the

beasts” searched for immediate

expression with the use of pure

colours and the artist’s emotion

in front of nature. In this linocut,

whose two-dimensionality is sharp,

the lightness of brush marks and

the purity of tones blend with exotic

artistic shapes where colour

becomes a representative subject of

a world in which one can find shelter,

a world in which inner conflicts

are absent, and alienation does

not find shelter. Matisse’s artistic

journey arrived to understand the

most various expressive techniques.

In sixty years of work it constantly

renewed itself: stained glass, etchings,

prints, costumes and theatre

scenery paintings, book illustrations

and statues which follow a balanced

flow, serene and devoid of fractures

between past and modernity.


AVANT-GARDE ART HENRY MATISSE

SOLD

Linocut, 350 mm by 250 mm,

signed and numbered in pencil 4/20


Joan Miró

1893 Montroig, 1983 Palma di Maiorca

Joan Miró enrolled at the School of

Arts of Barcelona in 1912.

His initial artistic work was influenced

by the countryside environment

of Montroig (where he lived)

and by his contacts with Picasso

and Tristan Tzara, an influence

which conferred to his works an

avant-garde aspect and one of poetic

evocation in which he willingly

lingered and accentuated descriptive

details.

Fantastic and dreamlike visions animate

his works. As the artist himself

wrote: “Hallucinations take the

place of exterior models. I paint like

in a dream in the outmost freedom”.

His research towards his own stylistic

language drove Miró to undertake,

from 1928, new experiments

with mental association techniques

and the process of disintegration

and reconstruction: works on paper,

“poetic paintings”, collages,

lithographs and “surrealistic objects”

attest to this new interpretation

which was nothing but the return

to previous technique, applied

to new themes.

Trips to the United States and contacts

with American artists influence

his work which, painted at

first with a poetically simplified surreal

language, becomes a triumph

of colour, in the sign of the outmost

freedom of form guided by fantasy.

POSTER FOR THE CARCASSONNE FESTIVAL 1980

Colour lithograph, 833mm by 592mm, on Arches paper, signed in pencil and numbered

53/75, published by the Conseil communal de la culture de Carcassone, France


AVANT-GARDE ART JOAN MIRÓ


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: “Monsieur,

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 PABLO PICASSO


Mario Radice

1900 -1987 Como

From 1930 onwards, after having

abandoned his veterinary studies,

he dedicated himself to his greatest

passion, painting. He established

relations with the architects A.Sartoris,

C.Cattaneo, G.Terragni and

with the painter M.Rho and, in

1933, took part to the creation of

the magazine “Quadrante”, considered

as the privileged organ of the

rationalist architectural culture and

of the abstractionist environments

in Italy, hosting international interventions

like those of Le Corbusier,

Gropius and Léger.

Between 1933 and 1936 he painted

the abstract decorations for

Casa del Fascio in Como, designed

by Terragni. In this same period he

joined a group of abstract painters

working in Milan, amongst whom

Fontana and Melotti.

In the post-war period he was one

of the founders of the MAC, Movement

for Concrete Art.


COMPOSITON WITH PURPLE BACK-

GROUND, 1934-1986

coloured serigraph, 700mm x 500mm,

signed and named “artist proof”,

printers RC Como

AVANT-GARDE ART MARIO RADICE

SIGNED ARTIST PROOF


SERIGRAPHS IN COLOUR

in the 80s, 700mm x 500mm, signed and

numbered, printers RC Como


AVANT-GARDE ART MARIO RADICE


Mimmo Rotella

1918 Catanzaro, 2006 Milan

Mimmo Rotella, an internationally

renowned artist, was the only outstanding

Italian painter of “Nouveau

Réalisme”, a movement developed

in 1960 around the figure of

the critic Pierre Restany.

He invented the technique of décollage

which, in the opposite of collage

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 figures

like Marilyn, Sofia Loren or Elvis, reveal

the tastes, myths and whims

of mass society, marking one of the

earliest experiences of Pop art.


AVANT-GARDE ART MIMMO ROTELLA

THE BEAUTIFUL PREY

Serigraph, 900mm by 700mm,

signed and numbered 42/100

THE LAST MARILYN

Serigraph, 900mm by 700mm,

signed and numbered 44/100


CHISUM

(JOHN WAYNE)

Photo serigraph with déchirage on cardboard,

990mm x 690mm, signed and titled

“artist proof”, with stamp Fondazione

Rotella of Milan

CASABLANCA

(HUMPHREY BOGART)

Photo serigraph with déchirage on cardboard,

990mm x 690mm, signed and titled

“artist proof”, with stamp Fondazione

Rotella of Milan


AVANT-GARDE ART MIMMO ROTELLA

CRAZY FOR WOMEN

(ELVIS)

Photo serigraph with déchirage on cardboard,

990mm x 690mm, signed and titled

“artist proof”, with stamp Fondazione

Rotella of Milan

THE WAKE OF THE EAGLES

(ROCK HUDSON)

Photo serigraphy with déchirage on cardboard,

990mm x 690mm, signed and titled

“artist proof”, with stamp Fondazione

Rotella of Milan


PEPSI COLA

Serigraph, 700mm by 900mm,

signed and numbered 44/100

SOLD

DIABOLIK

Serigraph with a two paper rip, inspired

by the 1968 film of the same name by

Mario Bava, considered one of the best

pop films of the 60s, a mixture of Pop

Art, Psycadelia and Futurism, 1000mm x

700mm, signed and numbered 118/125,

with stamp of Fondazone Rotella of Milan


PIAZZA BLUES 2004

Lithograph, 950mm x

650mm, signed two times,

accompanied by the catalogue

“Mimmo Rotella

1949-2004” signed by the

artist, numbered 2/99, realised

thanks to the initiative

of Piazza Blues Association,

which, for the 2004 edition,

wanted to highlight

the union of the blues musical

expression with Mimmo

Rotella’s extroverted

and lively visual message.

AVANT-GARDE ART MIMMO ROTELLA

SOLD


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

1909 Dublin, 1992 Madrid

Francis Bacon is considered one of

the greatest painters of contemporary

painting. After various painting

experiences with influences by Max

Ernst and Picasso, he started, in the

years between 1944-46, the series

of studies in which the human figure,

often symbolically enclosed in a

room, is taken to an agonising formal

transfiguration through the use

of blurriness, fading and perspective

dilation. The face is contorted,

almost disfigured, not in the Cubist

manner, but in a sort of personal

expressionism, the figure is generally

seated like in the most traditional

portrait painting; the almost monochromatic

background accentuates

the evident isolation in which it is

placed.

It would be reductive to thing of

Bacon only in the point of view of

the content because, besides the

existential “scream”, one can find

in him a great love for painting, for

the ability that it has to express and

construct with elegance.

MAN WRITING REFLECTED

IN A MIRROR 1977

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


SOLD

CONTEMPORARY ART FRANCIS BACON


Enrico Baj

1924 Milan, 2003 Varese

A versatile spirit, capable of great

passions, Enrico Baj lawyer, essayist,

anarchist, sculptor, painter, Satrap

and emperor of Milanese Pataphysics,

poured in his own works that

curiosity for life which characterised

his human journey. His innate

curiosity took him to first study

medicine and then transfer to law

and study, at the same time, at the

Academy of Fine Arts of Brera; this

placed him in crossroads and at a

meeting point between Surrealism

and Dadaism. This same curiosity

drove him to establish two painting

movements, that of Nuclear painting

and that for an imaginist Bauhaus.

It also drove him to collaborate

with writers such as Raymond

Queneau and Umberto Eco as well

as for magazines like “Il Gesto”, “Direzioni”,

“Phases” and newspapers,

before becoming an essayist with

works like “Impariamo la pittura”

(Let’s learn painting) (Rizzoli, 1985),

“Fantasia e realtà” (Fantasy and Reality)

with Renato Guttuso (Rizzoli,

1987), and “Scritti sull’arte: dal Futurismo

statico alla merda d’artista”

(Text on Art: from static Futurism to

artist’s shit) (A.A.A, 1996).

The desire to experiment which

characterised him is found in his

failed solution of stylistic continuity,

in the explosion of colours and the

lively shapes of his works in which

different materials fuse and mix in

a knowledgeable collage between

painting, knick-knacks and fabric.

Playful, ironic works which are,

however, aware of social problems

and which communicate a message

that often ridicules power.


SOLD

CONTEMPORARY ART ENRICO BAJ


Javacheff Christo

1935 Gabronovo, Bulgaria

Before moving to live in Paris in

1958, Javacheff Christo studied in

Sofia, Prague and Vienna. In Paris,

where he married Jeanne-Claude

de Guillebon in 1962 and with

whom he shared all his great projects

from 1961, his first works consisted

of covering with canvas and

rope objects of everyday use, such

as bottles, chairs and boxes, an idea

which brought him to the group of

the Nouveaux Réalistes.

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

project which took place in 1970-

72 in a valley in Colorado, USA and

which basically consisted of a large

canvas stretched from one side to

the other of the valley sides (111 x

381 metres) and even caused some

changes in the micro climate of the

place.

Christo and his wife self-produce

their projects on the area, commercialising

drawings and studies of

the installation to finance the projects

to be done.

Their grand works of land art become

spectacular ephemeral sceneries

for just a few days, but their

memory also forms part of the environmental

piece of art.

AEGENA TEMPLE PROJECT

FOR “DIE GLYPOTEK”,

München, 1988

Photo - Collage and Serigraphy on paper

895mm by 685mm

Copy number 256/300. Signed.

Bibliography: Schellmann/Benecke 135


CONTEMPORARY ART JAVACHEFF CHRISTO


Piero Dorazio

1927 Rome, 2005 Todi

With his painting, the painter and

architect, Piero Dorazio contributed

to the affirmation of Abstract art 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-evaluation

of Futurism, put itself against

the official tendency of “socialist

realism” and for the defence of

Abstract art. Several artistic stays in

various capital cities, amongst which

Paris and Prague, made him wellknown

abroad. He was the Director

of the Department of Fine Arts at

the School of Fine Arts of Pennsylvania

during the 60s and he was often

invited to the Biennial of Venice.

In 1974 he retired to Todi where he

kept on working and where he died

in 2005. All his painting was directed

to spatial research with compositions

of geometrising bands.

5 COMPOSITIONS OF

THE “WIG-WAM” PORTFOLIO 1991

Collage of serigraphs on painted background,

1100mm x 830mm, signed and

numbered 26/99, Severgnini Editions, Milan


CONTEMPORARY ART PIERO DORAZIO


Charles Fazzino

1955

A Pop Art member for over 30

years, Charless Fazzino followed

the path initially taken by Andy

Warhol, Keith Haring, Red Grooms

and Robert Rauschenberg, inserting

his unique vibrant, three-dimensional

and detailed style. The

ample breath of his work captured

the best parts of the contemporary

life of the group of private collectors

for which he worked on commission

and of festivals and events

in which he was the official artist.

His works are exhibited in twenty

countries and over 600 galleries of

modern art.

THE GLAMOUR OF MONACO

Serigraph of 2006 140 pieces (100#, 25

DX, 15 TP)

290mm by 240mm

Works:

49/100 and 52/100


SOLD

CONTEMPORARY ART CHARLES FAZZINO


Salvatore Garau

1953 Sangiusta - Sardinia

With extreme rigour, Salvatore

Garau was, and continues to be,

the painter of a completely interior

landscape which takes from the

unconscious and concretises on an

apparent unreality which confuses

but returns “natural phenomenon”

across a dark, turbulent fluid which

can even be menacing, never fulfilled

and motionless.

With a palette limited to black,

the surface is animated with dense

masses, in an inexhaustible movement

without confines, landscapes,

apparently similar in their repetition

and yet so different, strengthen the

inner world of this Neo-Romantic

painter.


CONTEMPORARY ART SALVATORE GARAU

SOLD

UNTITLED

Work produced with acrylic materials and resin on framed paper,

1800mm by 2500mm 1989.


UNTITLED 1988

Work produced with acrylic materials and resin on framed paper, 1290mm by 2000mm,

published on catalogue, “Salvatore Garau” for Deambrogi Lugano Editions 1989.


CONTEMPORARY ART SALVATORE GARAU

UNTITLED 1988

Work produced with acrylic materials and resin on framed paper, 1290mm by 2000mm,

published on catalogue, “Salvatore Garau” for Deambrogi Lugano Editions 1989.


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 subway.

These were the years where

the phenomenon of graffiti art, of

which the artist was the absolute

protagonist, exploded.

His vision is always two-dimensional;

his “radiant” characters move as

if on a screen, simple brush marks,

sharp outlines and bright colours

give a veritable graffiti effect.

He died of Aids at just 31 years of

age.

SOLD

MONTREUX- 17TH FESTIVAL DE JAZZ, 198

Complete series of three serigraphs on paper

1/3,signed and dated. Bibliography: Littmann


SOLD

SOLD

CONTEMPORARY ART KEITH HARING

3

created for the Montreux Jazz Festival of 1983, 1000mm x 700mm, Pgs 1/3; Pgs -2/3; Pgs

page 24-27 Anmerkung: Vollständige Serie der Montreux-Plakate


Keizo Morishita

1944 Kitayushu-shi, 2003 Milan

Keizo Morishita was born in Kitayushu-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 serenity,

immerging us into a delicate

world, where even the prisms and

crystals lose their roughness immersed

in a dreamlike nature where

it is difficult to meet man and of a

metaphysical flavour.

He held his first personal exhibition

in 1967 and it was followed by

several reviews in Italy and abroad.

Amongst his latest exhibitions is the

one held at the Galleria del Naviglio

of Milan, where he exhibited an anthology

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 6.3.1978


Watercolour, 750mm x 550mm, signed and dated 28.10.1979

CONTEMPORARY ART KEIZO MORISHITA


Selim Abdullah

1950 Bagdad

Selim Abdullah was born in Baghdad

in 1950, city where he attended

the Institute of Fine Arts, graduating

in 1975. He moved to Italy on

the same year and he attended the

Academy of Fine Arts of Florence

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.


SOLD

CONTEMPORARY ART SELIM ABDULLAH


Andy Warhol

1930 Philadelfia, 1987 New York

Andy Warhol started his career in

advertising graphics. He didn’t want

to be considered an artist in the traditional

sense, and so he adopted

industrial reproduction techniques.

He invented “Factory” which, from

the mid 60s onwards, promoted actions,

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 Campbell’s

soup can, the Coca Cola bottle,

and also celebrities treated in

the same way of common objects,

all become art.

“In the future everyone will become

famous for fifteen minutes” and

“I want to be a machine” are the

statements which identified an artist

who was able to become, in the

field of visual arts, a mass market

legend.

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 ANDY WAHROL


Stephen Wiltshire

1974 London

Stephen Wiltshire was born in London

in 1974. When he was 13 he

was introduced by Sir Hugh Casson,

Chairman of the Royal Academy

of Arts, as “the best child artist of

Great Britain”, inside the BBC’s QED

programme on autistic figures who

were endowed with special talents

in art, music and mathematics.

He studied at the City & Guilds London

Art College as the first young

autistic person accepted in an art

school. As a form of recognition

from the media of the importance

of his work, from psychologists of

his ability and his genius, numerous

studies that marked a precocious

success were dedicated to him.

Having an extraordinary photographic

memory, the artist is able

to reproduce on very large canvases

urban landscapes respecting the details,

the positions and the proportions

of buildings, parks and streets;

often reversing perspectives which,

viewed from a helicopter, return to

be three-dimensional.

The views of Tokyo, Frankfurt, Hong

Kong and Rome are just an example.

In 2006, Queen Elizabeth II

nominated him Member of the British

Empire Order, as recognition for

the services rendered for art. Stephen

Wiltshire works with pen and

ink and, more rarely, with oil colours

on canvas. He paints glimpses

of the landscapes of cities he visited

or, alternatively, his great passion

which are cars. Colour is rare in his

works, mostly just a splash of pastel

to outline the contours of a specific

object.


LONDON TRANSPORT BUS

(ROUTEMASTER), 2005

150mm x 210mm (A5), signed

with authenticity Wiltshire

Gallery London

CONTEMPORARY ART STEPHEN WILTSHIRE

FRITH STREET, Soho 2008

297mm x 210mm (A4), signed

with authenticity Wiltshire

Gallery London

SOLD


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

1907 Basel, 1986 Lugano

The teacher and writer Giuseppe

Zoppi started him on artistic studies

and introduced him to Ettore Cozzani,

director of the prestigious Milanese

magazine “L’Eroica” for which

he worked from 1925. Self-taught,

he won four Federal scholarships between

1925 and 1931; in 1932 he

received the gold medal at the Triennial

of Decorative Arts of Monza, the

first of numerous awards.

He formed part of numerous juries

and commissions in Switzerland,

amongst which the Commission of

Acquisition for the Graphic Collection

of the Polytechnic of Zurich.

From 1950 to 1962 he was member

of the Pro Helvetia foundation; he

was Chairman of the Ticinese Society

of Fine Arts, Vice-Chairman of the

Swiss Painters, Sculptures and Architects

Society.

Patocchi’s works are always carried

out with gouge etching on the very

hard wood engraving in boxwood,

in which he shows a remarkable

technical ability.

Starting out mainly as a figurative

illustrator, he soon obtained the certain

and personal stylistic style which

characterised his work up to his maturity,

such as to place him, in a very

short time, amongst the highest national

and, more generically, Italian

levels in this genre.

Works: Lugano, Civic Museum of

Fine Arts; Winterthur, Kunstmuseum;

Le Locle, Musée des beaux-arts;

Geneva, Ateneo; Bern, National Library;

Zurich, Graphische Sammlung

der ETH; Mendrisio, Art Museum;

Venice, Gallery of Modern Art; Trieste,

Revoltella Museum; Carpi, Civic

Museum; Warsaw, State Museum.

Carpi, Museo Civico; Varsavia, Museo

statale.


SUMMER

Varies xylographs,

various sizes, signed

LOCAL ARTISTS ALDO PATOCCHI

SOLD

THE BENCH YELLOW DAISIES 1933


Nag Arnoldi

1928 Locarno

Nag Arnoldi, sculptor and painter,

lived and worked in Comano near

Lugano. His works features in important

public and private collections

in Switzerland, Italy, France,

German, and England as well as in

some cities of the United States and

in Mexico.

SOLD

SOLD

HARLEQUIN

Serigraph, 700mm x 500mm, signed and

numbered 15/30

APOLOGY OF A HARLEQUIN 1987

Serigraph realised in 150 copies (numbered

from 1 to 150) and 50 copies with

colour variant (numbered from I to L)

signed and numbered by the artist 1987

Copy IV/L


Gianni Metalli

1930 Lugano

Gianni Metalli was born in Lugano in

1930. He is a member of the Swiss

Painters, Sculptors and Architects

Society (SPSAS) and of the Ticinese

Society of Fine Arts (STBA). From the

1960s onwards he has held personal

exhibitions and taken part in collective

ones in Lugano, Zurich, Madrid,

Milan and Frankfurt.

LOCAL ARTISTS NAG ARNOLDI - GIANNI METALLI

MULTIDIRECTIONAL COMPOSITION

Serigraph realised in 150 copies on Fabriano

paper (numbered from 1 to 150) and

50 copies on Arches paper

(numbered from I to L) signed and numbered

by the artist. 1988 Copy IV/L

SOLD


Sergio Emery

1928 Chiasso, 2003 Gentilino

Sergio Emery undertook his first

artistic studies at the Kunstgewerbeschule

of Zurich. Between 1946

and1948 he moved to Milan and attended

the Cimabue Academy and

continued his education with study

visits to Venice and Paris where he

frequented Eduard Pignon’s studio,

who was Pablo Picasso’s protégé.

COMPOSITION WITH SOIL

Of this serigraph in five colours, 150 copies

(Arabic numbers) have been printed by

Willy Nussbaum of S. Nazzaro,

35 copies with variant in colour and manual

intervention (Roman numbers),

and lastly, 15 copies with manual intervention

(titled from A to Q) all signed and

numbered by the artist.

Copy G 1992

SOLD


Ivo Soldini

1951 Lugano

Ivo Soldini was born in Lugano in

1951; he lives and also has his art studio

at Ligornetto (Mendrisiotto). After

obtaining his high school diploma at

the Liceo Cantonale of Lugano, he

enrolled at the Academy of Brera and,

subsequently, at the State University

of Milan. He abandoned his studies in

1973 in order to exclusively dedicate

himself to his artistic career. He realised

sculptures for public and private

societies and organised numerous

personal and collective exhibitions in

Switzerland and abroad.

LOCAL ARTISTS SERGIO EMERY - IVO SOLDINI

SOLD

TWO FIGURES

140 copies have been printed of this etching,

all signed by the artist, 1986. Copy IV/VIII


Aoi Huber-Kono

1936 Tokio

Aoi Huber-Kono was born in Tokyo

in 1936. After obtaining the Diploma

of Graphic Designer at the University

of Tokyo she arrived in Europe

in the 60s. In 1961 she settled

in Milan, and has resided in Ticino

since 1962.

AME (RAIN)

Serigraph in 5 colours printed in 150

copies (Arabic numbers) + 50 copies with

manual intervention by the artist (Roman

numbers) signed, dated and numbered by

the artist.Copy nr. VII/L

SOLD


Massimo Cavalli

1930 Locarno

Massimo Cavalli was born in Locarno

in 1930 and grew up in Bellinzona. He

graduated at the Academy of Brera in

Milan in 1954. He obtained several Federal

scholarships which allowed him to

go to several visits in Europe to study.

Between 1960 and 1961 in particular,

he was invited by the Swiss Institute in

Rome. As from 1970 onwards he went

to live in Lugano where he taught etching

at the Artistic Industries Scholastic

Centre (CSIA) from 1974 to 1992. In

1990 he was elected member of the

cantonal Commission of fine arts.

Amongst his most memorable personal

exhibitions was the one held at the famous

(or well known) Galleria del Milione

of Milan, in 1967 and in 1974.

LOCAL ARTISTS CARLO GULMINELLI - MASSIMO

SOLD

Serigraph, 500mm by

700mm, signed and

numbered 6/50

IMAGE

200 copies have been

printed of this etching,

from the Art studio of

Colla, on CHINE AP-

PLIQUE’ SUR “MUGUET”

paper of the Moulin de

Larroque di Duchene,

signed and dated by the

artist. Copy nr. IV/L 1983

SOLD


Carlo Gulminelli

1911 Bagnacavallo, 1998 Mendrisio

SOLD

IPRONTE

Serigraph by Carlo Gulminelli

in five colours printed in 130

copies (Arabic numbers) and

70 copies (Roman numbers)

on Fabriano paper signed and

numbered by the artist.

Copy IV/LXX 1990.


Emilio Rissone

1933 Lugano

Born in Lugano in 1933, graphic

designer, illustrator, draughtsman

and painter, Emilio Rissone was an

Art professor for over 40 years and

is founder of the CSIA of Lugano.

He first studied in the Kunstgewerbeschule

of Lucerna between 1952

and 1957 and, subsequently, at the

Academy of Brera in Milan.

He has been working as a painter

and graphic designer for over

40 years, experimenting with the

most various techniques. He is also

the creator of stained glass found

in Swiss churches and also abroad.

In 1996 he expanded his activity as

advertising graphic artist and created

the poster for the Cycling World

championships of Lugano.

He won numerous awards and competitions

during his long career.

LOCAL ARTISTS AOI HUBER-KONO - EMILIO RISSONE

SOLD

110 mm by 110 mm


Jean Marc Buehler

1949 Lugano

In 1972, Jean Marc Buehler obtained

the Federal Graphic Design

Diploma under Emilio Rissone’s

guidance. On that same year he

started living and painting in Paris.

Once back to Switzerland he

attended the CSIA of Lugano, a

three-year course of applied studies

in drawing ,and became a teacher,

a career which he undertook with

great satisfactions for over 35 years.

He often takes his subjects from

every day life which he willingly

re-proposes with spices of satyr and

irony through an immediate, simple

and existential language which has

found in the course of time an unmistakable

and very personal mark

which is all his.

He lives and works in his artistic studio

in Breganzona near Lugano.

NO LONGER AVAIABLE

THE CIRCUS IS COMING 1994

Mixed technique, 700mm x 500mm

NO LONGER AVAIABLE

WALL STREET DANCE 2009

Mixed technique, 400mm x 350mm


LOCAL ARTISTS JEAN MARC BUEHLER

NO LONGER AVAIABLE

NO LONGER AVAIABLE

RED BLUES 2004

Mixed technique, 700mm x 500mm

STRESS 1986

Mixed technique, 700mm x 500mm

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