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"Faunes et Flore d'Antibes" - Edition 46/175 - "Au Pont des Arts". Original album from 1960, containing 7 colour lithographs. Printed by Daniel Jacomet under the supervision of Picasso, Paris. Introduction by Jaime Sabartes, New York Graphic Society - Au Pont Des Arts, Paris, 1960. The Portfolio reproduces 7 paintings on paper by Pablo Picasso, from the series: "La joie de vivre", Antibes August/September 1946, plus the frontispiece that was specially designed by Picasso for this edition. Printed on paper marked Arches and preserved in the original linen folder. The prints are reproduced in the original format of the paintings, and the dimensions of the folder are: H 65 x W 50 cm. The linen folder and the prints are in very good condition. One hundred and seventy-five numbered copies, this being 46 of 175. Period: 1960 Measurements: H 65 x W 50 cm -
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 -
Photograph by Vittorio Sella Lyskamm and Lys glacier from Unterlicht 3350 m Monte Rosa Gelatin silver salt print. Period: Early 20th century Measurements: H 30 x W 40 cm -
Photograph by Vittorio Sella. Allalinhorn at sunrise from the Alphubel yoke Zermatt Gelatin silver salt print. Period: Early 20th century Measurements: H 30 x W 40 cm -
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Photograph by Vittorio Sella. Mount Dongusorun 4468 m from the Kogutai Glacier Central Caucasus Gelatin silver salt print. Period: Early 20th century Measurements: H 30 x W 40 cm -
Photograph by Vittorio Sella. Camp on the moraine of Zemu after the snowfall of September 1899. Himalaya. Gelatin silver salt print. Period: 1899 Measurements: H 30 x W 40 cm -
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"View of San Giovanni in Laterano" engraving by Giovan Battista Piranesi (Venice 1720 - Rome 1778). 13x20. Etching, circa 1745, signed on the plate. Magnificent proof, with full margins, in perfect condition. Work taken from the "Varie Vedute di Roma Antica, e Moderna. Disegnate e Intagliate da Celebri Autori" printed in Rome "a spese di Fausto Amidei", 1748. Period: about 1745 Measurements: Framed H 30 x W 40,5 x D 1,5 cm/ Engraving H 13 x W 20 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
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"La Zarina Rossa" by Stefano Rubicondo. Manor House Anttolan Hovi, Finland-October 2013 -Inkjet print on Hahnemuhle FineArt Pearl paper 285g -Support Rikbond 3mm / Kristall 3mm -1100 X 1700 mm Period: October 2013 Measurements: H 170 x W 110 x D 1 cm -
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"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
