Prints and books

  • Photograph by Vittorio Sella. The setting of the Sella Pass at about 4400 m, straddling the Bezingi and Khumkol glaciers. Central Caucasus Gelatin silver print. Period: Early 20th century Measurements: H 30 x W 40 cm
  • Photography by Vittorio Sella Courmayeur, 1929 With date and dedication on the back. Gelatin silver gelatin print. Period: 1929 Measurements: H 30 x W 40 cm
  • ON THE ANCIENT CONDITION OF THE VERCELLI AREA AND THE ANCIENT VILLAGE OF SANTIA'.
    DISSERTATION BY JACOPO DURANDI DEDICATED TO HIS ROYAL HIGHNESS BENEDETTO MARIA MAURIZIO DI SAVOJA DUKE OF CHABLAIS. IN TURIN, 1766.
    Rare first edition. Very well preserved.

    Period: 1766

    Measurements: H 25,5 x 19,5 x 2,5 cm

  • Out of stock
    "Dali - De Draeger" catalogue by Max Gérard, 1968. The catalogue has a drawing of Don Quixote, with a dedication on the guard paper, a gift from the Catalan artist Salvador Dali (Figueras 1904 - 1989) "Every morning, as I wake up, I experience a supreme pleasure that I am discovering today for the first time: that of being Salvador Dali, and I wonder, filled with wonder, what this Salvador Dali will do again today that is so prodigious. And every day it is more difficult for me to understand how others can live without being Gala or Salvador Dali. A Catalan with a thirst for gold and glory, Dali painted a lot and talked a lot. His favourite subject: how to become a genius. His conclusion: 'Oh, Salvador, now you know, if you play at being a genius, you will become one! Salvador Dali's taste for provocation, excessive character, pursuit of paradox and exaggerated egocentricity have made him a well-known figure to the general public. These elements have helped to turn a great artist - endowed with a fervid creative intelligence and a profound knowledge of the history of the arts, the masters of the past and the literary research of his time - into a myth, which still arouses great curiosity today. However, his continuous exposure as an absolute 'genius' of art, to critics and to the judgement of the public, has given the impression of being able to fully understand his work and easily enter into his thought. In reality, his entire oeuvre reveals a very complex personality. Like his compatriot Picasso, Dali experimented with different expressive languages during his long career, moving away from painting towards cinema, theatre, photography and even performance. "At the age of six I wanted to be a cook. At seven I wanted to be Napoleon. And my ambition has been steadily growing ever since". Dali's life and work are inextricably intertwined, in fact many events in the artist's life were reflected in his creations, and many paintings can only be understood on the basis of the events that marked his life. At the age of six he painted his first canvas. Then, at the age of ten, he received his first drawing lesson, under the guidance of the famous Impressionist painter Ramón Pichot (1872 - 1925). He would later say that he was influenced by Pichot's works, which represented his first contact with a non-academic artistic current, focused on the reality of his time. At the age of fourteen he discovered the pompiers, at twenty-two cubism and at twenty-four he was already Dali, convinced that he had been called Salvador because he was destined to be the "saviour" of painting threatened with death by abstract art, academic surrealism, Dadaism in general and all the anarchic isms. At the age of 25, he was already winning over critics, doing business with gallery owners and collecting scandals. Period: 1968 Measurements: Page size with drawing and dedication H 30 x W 27.5 cm
  • "Duendecitos" etching / aquatint by Francisco Goya y Lucientes (Fuentedos, Spain 1746 - Bordeaux 1828). Original etching - Plate 49 of the "Los caprichos" series - V edition on XII. Bibliography: Harris 84; Delteil 86. Provenance Vianzone, Turin. Dimensions in mm: 190 x 130 "Miren que grabes!" etching / aquatint by Francisco Goya y Lucientes (Fuentedos, Spain 1746 - Bordeaux 1828). Original etching - Plate 63 of the "Los caprichos" series - V edition on XII. Bibliography: Harris 98; Delteil 100. Provenance Vianzone, Turin. Dimensions in mm: 187 x 122 The Capricci represent the most famous series of engravings by the Spanish master: 80 plates including etchings and aquatints of large format, made in 1799. These are plates that give rise to imaginative, pungent and grotesque representations that are affected, on a stylistic level, by an Italian influence due to the long stay in Rome in 1770. The main theme is the description of the evils of the world, from deceptions to prejudices, up to the lies of the Spanish society of the years in which Goya himself lived, in a heated controversy towards the clergy and the nobility. At the time of their publication, the drawings caused a sensation, precisely due to the fact that numerous notables of the time were recognized in them. So much was the clamor that even the Holy Inquisition had to intervene, to avoid the publication of those prints deemed excessive and blasphemous. This was probably what determined the poor success of I Capricci, so that the painter was forced to sell the entire first print run to King Charles IV, in exchange for a scholarship for his son Javier. The success of the series increased with the second edition of 1855, until it became one of the most important and celebrated graphic works in the history of art. Period: Second half of the 19th century Measurements: In frame H 45 x W 33 x D 2.5 cm / H 19 x W 13 cm // In frame H 44 x W 32.5 x D 2.5 cm / H 18.7 x W 12.2 cm
  • Screen printing and collage on paper by Lucio Del Pezzo, limited edition of only 20 copies. In excellent condition. Lucio Del Pezzo (Naples 1933 - Milan 2020) was an Italian artist, painter and sculptor. He is one of the founders of “Gruppo 58”, which has always been very close to other avant-gardes, such as Enrico Baj's Nuclear Movement, the Spoor Movement of Monaco, Phases of Paris and Boa of Buenos Aires. His works from the period 1958-1960 featured assemblages of various objects, including fragments of popular prints and images. In 1960 he moved to Paris, then to Milan, where several monographic exhibitions have been dedicated to him. The first one dates back to 1974. Starting from 1962 Del Pezzo has created his typical repertoire of "paintings" or "sculptures", made of monochrome geometric panels, on which shelves or hollowed out concavities are inserted, which support regular geometric objects, sometimes very colorful. Lucio del Pezzo's production focuses on the use of common objects that, enriched with different materials, cross the boundary between painting and sculpture. His style is also characterized by a rapprochement with metaphysical atmospheres, while the playful sense and irony behind each work is inspired by the Dadaist movement. Period: 1970s Measurements: In frame H 73 x W 103 x D 3.5 / Serigraphy H 70 x W 100 cm
  • Large original screenprint by Aligi Sassu (1912-2000). SASSU ALIGI. Born on July 17, 1912 in Milan. For his father's Sardinian origins, he spent several years of his childhood in Thiesi (Sassari). His first essays are from 1926. He participated in the futurist movement until 1930; then he broke away. He had contacts in Milan with Edoardo Persico and Raffaele Carrieri; around 1931 he was in opposition to the Italian twentieth century, with Birolli, Manzù, Grosso, Tomea. He exhibited for the first time at the Venetian Biennale in 1928; his first personal is in 1930, at the Galleria del Milione. In 1934 he was in Paris, where he obtained success at the Galerie des Quatre Chemins. Since 1935, after returning to Milan, he has taken part in numerous artistic events. He participated in the first two editions of the Bergamo Prize; at the Sacred Art Exhibition in Bergamo he received the first prize with the work Deposition. He is an etching, lithographer, ceramist; he created works of sculpture, frescoes, stained glass, scenography. In 1957 he created a large cycle of mosaics in the apse of the Chiesa del Carmine in Cagliari; His works have been presented in numerous cities, including abroad: in the U.S.A. in 1933; in London in 1935; in Buenos Aires in 1947; and in Paris, Boston, Lisbon, Bucharest (where an anthology of paintings and graphic works was set up in 1966). Among the major solo shows in Italy, we mention: the one concerning graphics and sculpture carried out in the Galleria Civica di Monza in 1965; that of 1966 in Palermo presented by Salvatore Quasimodo; Period: 20th century Measures: H 163 x L 159 x P 4.5 / Canvas H 151 x L 146 cm
  • "The Lion" - Multiple print by Francesco Musante (Genoa, 17 February 1950), edition n. 3 out of 50. The work bears the inscription "The Lion carried by Trieste's ships around the world". Signature of the author on the lower center.
    Measurements: In frame H 73 x L 58 / Cardboard H 48 x L 34 cm
  • Lithograph by Giuseppe Biasi (Sassari 1885 - Andorno M. 1945) Italian painter, engraver and illustrator. The leading figure of Sardinian work and painting was an important author of the twentieth century.
    Period: 1920s / 30s Measurements: In frame H 94 x L 55 / Paper H 91.5 x L 52.5 cm
  • "Silenzio in montagna" - Aquatint / Puntasecca by Placido Castaldi, 1/125 specimen, dating back to 1985
    Period: 1985 Measurements: H 50 x L 70 cm
  • "Casorati's fairy tales", serigraphy by Francesco Casorati Pavarolo (1934-2013). Signed and numbered 1/125 in pencil.
    Period: 80s Measurements: H 70 x L 50 / Serigraphy H 56 x L 36.5 cm
  • "Lady" - Color lithograph, Print-Multiple by Arturo Carmassi (1925-2015), 1/150 copy, dating back to around 1980
    Period: around 1980 Measurements: H 70 x L 50 / Lithograph H 57 x L 45 c
  • Wonderful collection numbered 129 out of 150 copies, of images by great Italian artists including A. Pomodoro, E. Baj, A. Bueno and many others 43 plates with images of the fabric manufacturing over the centuries, enclosed in a leather folder in excellent condition.
    Period: 20th century Measurements: H 50 x L 35 cm
  • Three volumes entitled "Romantic pictorial journey of the western provinces of ancient and modern Italy" by the lawyer Modesto Paroletti, a work adorned with lithographic perspective views drawn from life. Turin Felice Festa printing factory.
    Period: Early 19th century Measurements: L 31.5 x H 46 cm
  • The birth of Venus, work of 1923, signed and dated 1924 in the lower right and numbered in the lower left 13/25 by the author Carlo Dalmazio Carrà (Quargnento, 11 February 1881 - Milan, 13 April 1966), Italian painter and teacher , professor at the Brera Academy from 1939 to 1951. This work is part of the "transcendent period" of the painter who since 1922 abandoned metaphysics, driven by the desire to "be only himself". Painting must grasp that relationship which includes the need to identify with things and the need for abstraction "and the contemplation of the landscape is then resolved in the" construction "of a painting, both mountain and marine. He also knows the Milanese painter-poet Cesare Breveglieri (who portrayed him while he was painting).
    Period: 1924 Measurements: In frame H 53.5 x L 41.5 / Paper H 31 x L 20.6 cm
  • Etching by Ennio Morlotti (Lecco, 21 September 1910 - Milan, 15 December 1992), copy 4/10. Signed on the lower right corner.
    Period: 1981 Measurements: In frame H 54 x L 40 cm Slab H 23.2 x L 15.3 cm Sheet H 40 x L 30 cm
  • Group of 6 prints depicting the carnival in Rome by Bartolomeo Pinelli (Rome, 20 November 1781 - Rome, 1 April 1835). He was an Italian engraver, painter and ceramist. Extremely prolific graphic artist, it has recently been estimated that he produced about four thousand engravings and ten thousand drawings. In his prints he illustrated the customs of the Italian peoples, the great masterpieces of literature: Virgil, Dante, Tasso, Ariosto, Cervantes, Manzoni, and subjects of Roman, Greek, Napoleonic history etc. The most common theme in general is Rome, its inhabitants, its monuments, the ancient city and the one that is contemporary to him. The well-known portrait painter Giuseppe Tominz from Gorizia had among his students. In addition to its intrinsic artistic value, his illustrator work has significant documentary significance for the ethnography of Rome, Italy and Switzerland.
    Period: 1940s Measurements: In frame H 49 x L 60 / Prints H 40 x L 51 cm
  • Multiple print on Lafuma paper entitled "Nature Morte au Pigeon" by Gino Severini (Cortona 1883 - Paris 1966) Thirteenth table in the folder "Fleures et Masques" by G. Severini published in London in 1930. "Fleurs et masques" is made up of 16 engraved and colored plates "au pochoirs", it has a unique edition of 125 copies. The author was among the signatories in 1909 of the Manifesto of Futurism written by Filippo Tommaso Marinetti. In Paris he was in contact with Pablo Picasso, Georges Braque, Juan Gris and Guillaume Apollinaire, and participated in the birth and development of Cubism. Technique: Pouchoir
    Period: 1930 Measurements: In frame H 56 x L 44 cm / Print H 35 x L 21.5 cm
  • Lithograph on Japanese paper by Marc Chagall (Lëzna, 7 July 1887 - Saint-Paul-de-Vence, 28 March 1985), was a French Russian-born painter of Hasidic Jewish origin. Numbered lithograph (XV / XX) on the bottom left, with the signature on the bottom right.
    Period: 70s Measurements: In frame H 72.5 x L 53 cm / Sheet H 49 x L 34.5 cm
  • Color lithograph, copy 9 on a print run of 50, made in 2001 by Emilio Vedova (Venice, August 9, 1919 - Venice, October 25, 2006) was an Italian painter and engraver. "Now I will no longer worry about cutting clear profiles, exact angles of light and shadow, but light and shadow will come directly from my intimate, concerned only with transmitting the image without any a priori revisionism, which I had felt for many years." (Cit. Widow)
    Period: 2001 Measurements: In frame H 123 x L 92 cm / Paper H 97 x L 73 cm
  • Lithograph by Carlo Bossoli representing the perspective view of the Palazzo di Città and the current via Milano (Turin) in which, in a blaze of cheering crowds, the Piedmontese cavalry leaving for the war parades on 17 April 1859. Signed by the author .
    Period: 1859 Measurements: H 22.5 x L 15.3 cmPeriod: 1859
  • Ugo Nespolo 20-color serigraphy, copy 143/150, entitled "anthology".
    Period: 90s Measurements: In frame H 64.5 x L 44.5 cm / Sheet H 60 x L 40 cm
  • "Venice" - Lithographs by Filippo Vasconi (1687 - 1730) for Domenico Lovisa (1690 - 1750), dating back to 1717. The four lithographs represent:
    • "View of the Court of the Doge's Palace in Venice" from The Gran Teatro di Venezia
    • "View of the Rialto Island with the Famous Bridge" from The Gran Teatro di Venezia
    • "View of Health and Public Granaries" from The Gran Teatro di Venezia
    • "Other View of the Rialto Bridge" from The Gran Teatro di Venezia
    Period: 1717 Measurements: In frame H 53 x L 67 / Paper H 48 x L 61 cm
  • Multiple print by Umberto Mastroianni (1910-1998), signed in the lower right corner and numbered (n. 1) in the lower left corner.
    Period: 70s Measurements: In frame H 65,5 x W 84,5 / Paper H 46,5 x W 67,5 cm
  • Multiple print by Umberto Mastroianni (1910-1998), signed in the lower right corner and numbered (n. 1) on the lower left corner.
    Period: 70s Measurements: In frame H 65,5 x W 84,5 / Paper H 46,5 x W 67,5 cm
  • Beautiful example of the engraved map of Nicolas Sanson d'Abbeville from 1655 on the Algerian coast of North Africa. Nicolas Sanson (1600-1667), sometimes called Nicolas Sanson d'Abbeville or Sanson d'Abbeville, was the most important French cartographer of the 17th century. Tooley called Sanson "the founder of the French school of cartography". He started making cards at the end of 1620, and in 1630 he worked with Melchior Tavernier. Subsequently, Sanson worked in concert with the publisher Pierre Mariette, with whom he published his great atlas: general maps of all parts of the world (1658). After Sanson's death in 1667, his son Guillaume ran the business in collaboration with Alexis Hubert Jaillot. Guillaume has established himself as a full-fledged very important French cartographer. Period: 1655 Measurements: In frame H 65 X L 79 / Paper H 44 X L 56 cm
  • Beautiful example of the engraved map of Nicolas Sanson d'Abbeville from 1650. Nicolas Sanson (1600-1667), sometimes called Nicolas Sanson d'Abbeville or Sanson d'Abbeville, was the most important French cartographer of the 17th century. Tooley called Sanson "the founder of the French school of cartography". He started making cards at the end of 1620, and in 1630 he worked with Melchior Tavernier. Subsequently, Sanson worked in concert with the publisher Pierre Mariette, with whom he published his great atlas: general maps of all parts of the world (1658). After Sanson's death in 1667, his son Guillaume ran the business in collaboration with Alexis Hubert Jaillot. Guillaume has established himself as a full-fledged very important French cartographer.
    Period: 1650 Measurements: In frame H 65 X L 79 / Paper H 44 X L 56 cm
  • "Female figure", serigraph by Giuseppe Migneco (1908-1997), numbered on the bottom left 2/200.
    Period: 1964 Measurements: In frame H 83 x L 67 / Paper H 75 x L 60 cm
  • "La Vertu de Lucrèce", Etching, aquatint by Jean-François Janinet (1752-1814), dating back to 1789
    Period: 1789 Measurements: In frame H 34 x L 62 cm / Etching H 28 x L 55 cm
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