Gallery

Code: 32938

Framed

Literature: Goldin, The Devil's Playground, London 2003, p. 354-355. Goldin, Love Streams: Nan Goldin, 1997. Expositions: Paris, Galerie Yvon Lambert, Love Streams: Nan Goldin (another example)

Signed, dated and titled on the reverse

Private sale

Code: 32632

Framed

Certificate of authenticity by Archivio Alighiero Boetti with archive no. 10388. Photo-certificate signed by the artist.

Signed on the reverse

Private sale

Code: 32311

Framed

Certificate of authenticity by Claudio Bruni Sakraischik with archive no. 162/80, (Technical Consultant of the Tribunal and of the Court of Appeal of Rome) dated 17/12/1980

Literature: "Catalogo Generale Giorgio De Chirico", seventh volume, works from 1951 to 1974, Ed. Electa, Milano 1983, n. 1116; "Indagine sul Novecento", curated by Claudio Poppi, Edizioni Cinquantasei, p. 55. Stamp "Collezione Palatiello, n. 139 on the reverse.

Signed bottom right

Private sale

Code: 32001

Framed

Certificate of authenticity by Archivio Nitsch with archive no. NTSCH-PE1500-035 dated 19/02/2016

Provenance Domus Jani, Verona. Important work of the 1980s by Hermann Nitsch

Signed and dated on the reverse

Private sale

Code: 31920

Framed

Certificate of authenticity by Associazione per Filippo de Pisis, Milano with archive no. 03035 dated 12/07/2007 signed by the Comitato di curatela (Curatorship Commitee): Luciano Caramel, Filippo Tibertelli de Pisis e Claudia Gian Ferrari; Certificate of authenticity and provenance by Galleria d'Arte Moderna Farsetti, Prato with stamp of Studio d'Arte G.R., Sacile.

Work published in the auction catalogue of Galleria Farsetti, Prato in November 1979 and in the Exhibition catalogue "Omaggio a Filippo de Pisis" at Galleria Studio G.R., Conegliano in January 1981.

Signed and dated bottom right

Private sale

Code: 31361

Framed

Certificate of authenticity by Karel Appel Foundation.

This work by Karel Appel is very typical, of highly good quality and well-dated as it is from the early 1960s

Private sale

Code: 31193

Unframed

Artwork registered in Piero Dorazio Archive, Milan, as by Photo Certificate dated 17 Oct 2022. Important and historical work by Dorazio, executed in 1965 which has a rich exhibition curriculum and period publications. Literature, publications and exhibitions: - Artwork published in Catalogo Ragionato di Piero Dorazio: Marisa Volpi Orlandini, "Dorazio. Catalogo ragionato", Alfieri Edizioni d'Arte, Venezia, 1977, with no. 842; - 1966, St. Gallen/Schweiz, Galerie "Im Erker", repr.; - 1966, Lausanne, Galerie Bonnier; - 1967, La Chaux-de-Fonds, Musée des Beaxu-Arts, repr.; - 1967, Stockolm, Svensk-Franska Konstgalleriet, cited. The work is from1965, the year when Dorazio took part in the exhibition “The Responsive Eye” at the MoMA – Museum of Modern Art in New York. In 1966 he presented a second personal exhibition at the Venice Biennale with this type of artworks: monochrome canvases covered with linear textures which bring him close to the American Minimalism; the following year he collaborated with Giuseppe Ungaretti on the volume La Luce (The Light) (a collection of 20 poems by Ungaretti and 14 large lithographs by Dorazio) for the Galerie Im Erker St. Gallen, (Switzerland) thus starting an artistic partnership

Label on the reverse: Galerie Im Erker, St.Gallen/Schweiz; Galerie Bonnier, Losanna; Svensk-Franska Konstgalleriet,Stockholm (April-May 1967)

Signed on the reverse

Private sale

Code: 28493

Unframed

Certificate of authenticity by Centro Studi Archivio e Ricerche Getulio Alviani n. STVL1962PM2111202114. The present work is of main importance within the artistic production of Getulio Alviani because it is one of the first Vibrating Textures he executed, as it dates back to 1962, and also has an illustrious provenance (Mimmo Biasi). Exactly that year Alviani joined the international movement Nove Tendencije, founded by Almir Mavignier, and to which belonged also the Groupe de Recherche d'Art Visuelle in Paris, the Group N of Padova, Enrico Castellani and Piero Manzoni as regards Italy; this artistic collaboration represents the zenith of what will be named “Art of visual, optical and kinetic research” by later critics.

Signed on the reverse

Private sale

Code: 28139

Unframed

Certificate of authenticity by Mascelloni Enrico with accompanying card.

Very rare and precious work by Leoncillo: it is the only one known at the moment made with black drops, as explained by the archiver Enrico Mascelloni in the text and accompanying file: "It belongs to a cycle of sculptures of various sizes made between 1958 and 1959, characterized by a black body on which red or more rarely black drops are arranged. The most famous (and larger) work of the entire cycle Grande Presagio of 1958 (Mascelloni / Galleria dello Scudo pag. 109-111) , known in two very similar versions (the second was recently hesitated at Christie's, Milan 2021, cat.). Contiguous in size, date of execution and typology to the sculpture in question are four works encrypted by red drops (see Spadoni / Galleria l 'Attic page 115 n.53), while this is the only one known at the moment characterized by black drops. A group of sculptures with black bodies and red or black drops, but different in typology, as torso-shaped, belongs to a later cycle by Leoncillo , datable between 1965 and 1968, the year of his death (Mascelloni / Galleria dello Scudo pagg. and Spadoni / Galleria l'Attico pag. 181 no 94). The sculptures with red or black drops actually open the final and most known phase of Leoncillo's artistic career, characterized by a vehement modeling and a magmatic material, which although they have always belonged to it, now acquire a radically aniconic impact. The drops, as a tautological representation of blood in the red variant, return in the black one a less didactic symbolism: a recurring attention in him for the most precious chromatic and material textures, in a cosmogony of black that in the same years was returned with equal refinement and dramaturgical power only from fellow countryman Burri and the American Mangold ".

Private sale

Code: 28089

Framed

Certificate of authenticity by Archivio Yasuo Sumi with no. 328

Large canvas by Yasuo Sumi dated 1957, extraordinary work for its quality, date of execution and measurements: it can be considered one of the most important of his production. It has a very thick impasto with a relief effect; it is in excellent condition, untraceable on the market

Signed bottom right

Private sale

Code: 28022

Framed

Certificate of authenticity and provenance on photo by Galleria Art U, Tokyo. Certificate of authenticity by Teoart, Rome

The work is executed on wood panel prepared with thin film before the artistic performance by Shiraga. It is signed on the reverse of the wood panel.

Signed on the reverse

Private sale

Code: 26600

Framed

Photo certficate by Studio d’Arte Cannaviello, Milano

Signed on the reverse

Private sale

Code: 24933

Framed

Work registered at the Fondazione di Palazzo Albizzini, Città di Castello, with archive no. 1044

Literature: "Burri. Catalogo generale", Fondazione Palazzo Albizzini Collezione Burri, by Corà Bruno, Città di Castello, 2015, Vol. IV, p. 170, pl.1044; "Burri. Contributi al Catalogo Sistematico", Fondazione Palazzo Albizzini, introduction by Nemo Sarteanesi, Ed.Petruzzi, 1990

Signed bottom right

Private sale

Code: 23038

Framed

Photo certificate signed by the artist

On the reverse label of Studio De Ambrogi, Milano and label Galleria Spazia, Bologna (attached to the photo certificate)

Signed bottom center

Private sale

Code: 20351

Framed

Photo certificate signed by the artist dated 19/07/1986. Archive Galerie Maeght Lelong, Paris, n. CO 05 7193

Provenance: Galerie Maeght Lelong, Paris; Galleria d'Arte Il Mappamondo, Milano; Galleria d'Arte Beniamino, Sanremo (Imperia)

Signed bottom right

Private sale

Code: 20405

Framed

Photo certificate by the Shozo Shimamoto Association archive no. 1309

Work exhibited at Galerie Sander, Germany in 1992; it was also displayed in various exhibitions in Japan. Work of great significance within the production of Shozo Shimamoto for various reasons: 1) the year of execution, in 1991, is important as the few bottle crash Shimamoto realized in the early 1990s were executed in the same way as the very rare ones he made in the 50s / 60s post-cannon period: the glass bottles shattered against the stones cast their shards and slivers onto the canvas; 2)its high quality; 3) the numerous exhibitions it took part in, notedly the one held at the Sander Gallery in 1992.

Signed bottom left

Private sale

Code: 34257

Framed

Certificate of authenticity by Archivio Bonalumi col n. 85_002_C with statement of authenticity by the artist; Label of Galleria Fumagalli, Bergamo.

Signed and dated bottom right

Private sale

Code: 33711

Framed

Photo-certificate signed by the artist

Dedication on the reverse. Provenance: formerly Frigerio collection.

Signed on the reverse

Private sale

Code: 33681

Framed

Photo-certificate signed by the artist

Signed bottom center

Private sale

Code: 33632

Framed

Literature: "Luciano Ceschia, sculture e disegni 1943-1968", Del Bianco Editore, words by Elio Bartolini, Amedeo Giacomini, Francesco Tentori, p. 31

Signed and dated bottom center

Private sale