Fafa Fine Art Gallery

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