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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 Mirรณ Pablo Picasso Mario Radice Mimmo Rotella

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 fĂźr 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 700mm x 500mm, signed and numbered 57/150



GEOMETRICAL COMPOSITION 1971 Serigraph, 700mm x 500mm, signed and numbered 88/200 Serigraph,

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



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 Giacom-

etti 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.


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”



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


Ink and oil on p 630mm, sign p



0mm x 650mm, wer part on the

OFILE PORTRAIT EARLY 50s paper, 850mm x ned on the lower part on the right


GESCHAEFTSMA Tempera on carto 700mm, signed a lower part on the Bibliography: Joh “Begegnungen 6 Mario Comensol


OPERAIO C Oil on canvas Provenance: Mario


ANN 1962 on, 900mm x and dated on the e right hann P. Scherer, 62: Gemälde von li”,

CON SIGARETTA 1965 s, 1300 mm x 900 mm o e Hélène Comensoli, Zurich


LA FAMIGLIA 19 Mixed technique 560 mm x 420 m Provenance: Mar Hélène Comenso

TO Oil Mixed



990 e, mm rio e oli, Zurich

ONDO CON PUNK 1992 technique on masonite, 530 mm x 440 mm venance: Mario e Hélène Comensoli, Zurich


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.

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

UST 53), 1965 x 535mm, on and numbered by Gemini Ltd.


T 101), 1957 2mm, on d numbered eght, Paris

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



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

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.


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

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


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.



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)

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)


TH Farbacquatint 720m and numb Rückseitig han Marini signierte Bibliog


973 nta in colour on x 700mm, signed ks”, Alba publishPrinters, Rome, ers” d Guido Guasttalogue raisonne 0”, Graphis Arte, Pg 104/R, card

HREE HORSES, 1977 mm x 570mm, signed bered 10/150, Signiert ndgedruckte, von Frau e Echtheitsbestätigung graphy: Guastalla 344


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.


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


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


Mario Radice 1900 -1987 Como From 1930 onwards, after having In the post-war period he was one abandoned his veterinary studies, of the founders of the MAC, Movehe dedicated himself to his greatest ment for Concrete Art. 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 “Quadranteâ€?, 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 LĂŠger. 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.


COMPOSITON WITH PURPLE BACKGROUND, 1934-1986 coloured serigraph, 700mm x 500mm, signed and named “artist proof”, printers RC Como


SERIGRAPHS IN COLOUR in the 80s, 700mm x 500mm, signed and numbered, printers RC Como


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.


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


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


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.

Contemporary Art


Francis Bacon Enrico Baj Javacheff Christo Piero Dorazio Charles Fazzino Salvatore Garau Keith Haring Keizo Morishita Selim Abdullah Andy Warhol Stephen Wiltshire

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



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.



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 197072 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


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


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



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.



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.


MONTREUX- 17TH FESTIVAL DE JAZZ, 198 Complete series of three serigraphs on paper 1/3,signed and dated. Bibliography: Littmann


83 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

Watercolour, 750mm x 550mm, signed and dated 6.3.1978


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

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.



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


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

FRITH STREET, Soho 2008 297mm x 210mm (A4), signed with authenticity Wiltshire Gallery London


Local Artists


Aldo Patocchi Nag Arnoldi Gianni Metalli Sergio Emery Ivo Soldini Aoi Huber-Kono Massimo Cavalli Carlo Gulminelli Emilio Rissone Jean Marc Buehler

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

Nag Arnoldi 1928 Locarno Nag Arnoldi, sculptor and painter, lived and worked in Comano near Lugano. His works features in important public and private collec-

tions in Switzerland, Italy, France, German, and England as well as in some cities of the United States and in Mexico.


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.

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


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


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.

SOLD TWO FIGURES 140 copies have been printed of this etching, all signed by the artist, 1986. Copy IV/VIII


Ivo Soldini

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


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


Serigraph, 500mm by 700mm, signed and numbered 6/50

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.

IMAGE 200 copies have been printed of this etching, from the Art studio of Colla, on CHINE APPLIQUE’ SUR “MUGUET” paper of the Moulin de Larroque di Duchene, signed and dated by the artist. Copy nr. IV/L 1983



Massimo Cavalli

Carlo Gulminelli 1911 Bagnacavallo, 1998 Mendrisio


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.

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.

110 mm by 110 mm


Emilio Rissone

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.

NO LONGER AVAIABLE THE CIRCUS IS COMING 1994 Mixed technique, 700mm x 500mm

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 WALL STREET DANCE 2009 Mixed technique, 400mm x 350mm



RED BLUES 2004 Mixed technique, 700mm x 500mm

STRESS 1986 Mixed technique, 700mm x 500mm

Fafa Catalogue 2016  

La Fafa Fine Art Gallery, diretta da Farias Gianola, apre a Lugano nel 2009. Situata nella centrale Via della Posta, in un prestigioso palaz...

Fafa Catalogue 2016  

La Fafa Fine Art Gallery, diretta da Farias Gianola, apre a Lugano nel 2009. Situata nella centrale Via della Posta, in un prestigioso palaz...