Tuesday 25 Jun at : 17:00 (CEST)

Auction 463 | MODERN & CONTEMPORARY ART Traditional

Casa d'Aste Capitolium Art - +390302072256 - Email

Via Carlo Cattaneo, 55 25121 Brescia, Italy
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38 results

Lot 20 - BURRI ALBERTO (1915 - 1995) - BURRI ALBERTO (1915 - 1995) WITHOUT TITLE, 1979. acrylic and vinavil on cellotex. Cm 70x100. on back: signature, date and ad personam dedicationPROVENIENCECollection Bucchi, RomeBIBLIOGRAFIAN. Sarteanesi, Burri. Contributions to the systematic catalog, Città di Castello 1990, pp. 280-281, table 1212, no. 79.10B. Corà, C. Sarteanesi, Burri. General catalog. Painting 1979-1994, Città di Castello 2016, vol. III, p. 70, no. 1680; Repertorio cronologico 1945-1994, vol. VI, p. 232, i.7910"This is a painting in acrylic and vinavil colors on cellotex, a technique experimented by Burri in his mature years, after the fruitful experience of the cretti: a new need to work on abstract forms, a renewed interest in color and chromatic arrangements, which goes back to the studies of the Impressionists and Post-Impressionists on the theory of vision.In particular, in this work shades of blacks (matte black, glossy black, satin black) and a form, almost organic, of bright red color are juxtaposed. The cellotex has on the back the dedication, "To Anita and Franco on the occasion of their wedding." This dedication was written when the work was given to Burri's niece, Anita Bucchi (Rome, 1949 - 2004). Bucchi, a choreographer and dancer, was married in January 1985, and it was probably this chromatic tension that made her prefer Cellotex to a cretto, initially proposed as a gift.To understand the deep family connection between the work's recipients and the artist, it is necessary to take a step back. The Burri family was of Marche origin; Burri's mother, however, was from Città di Castello. Her name was Caterina Torregiani, and Anita's father.Annibale Bucchi (1888-1971) was her cousin. Annibale was a very talented pupil of Ottorino Respighi. A composer himself, he walked the stage alongside Mascagni and Toscanini.In 1946, at the time he was returning from prison camp in Texas (he had been interned by the Americans as an adherent of the R.S.I.), Burri decided that he would no longer practice medicine. In the United States he had approached artistic practice with his first experiences in wood carving and painting. After returning to Città di Castello, Burri experienced a few restless months. Hannibal decided to host his cousin in the large apartment in which he lived alone, in Lungotevere Prati in Rome. Thus, at the origin of the story of the Burri artist lies an important family and emotional relationship. Alberto Burri stayed with his cousin for about two years before taking a studio on Via Margutta with the sculptor Edgardo Mannucci (1904-1986), a little-known artist today. Shortly thereafter Burri formed the Gruppo Origine with Mario Ballocco, Giuseppe Capogrossi, and Ettore Colla, gaining early recognition. In the 1950s, AnnibaleBucchi dedicated a score to his artist cousin, and throughout his life the artist had a relationship of filial affection toward Anita. "We thank Andrea Iezzi for his contribution in the drafting of the card . Present frame

Estim. 180 000 - 220 000 EUR

Lot 32 - ACCARDI CARLA (1924 - 2014) - ACCARDI CARLA (1924 - 2014) ACTION WITH CIRCLE, 2006. Vinyl on canvas. Cm 120x160. on the reverse side: signature, date and title; stamp Galleria De Nisi, RomeThe work is registered at the artist's archive with no. 947APROVENIENCEAGalleria De Nisi, RomeGalleria Orler, Favaro VenetoPrivate collection, FerraraESPOSITION. Bonito Oliva, Carla Accardi, Galleria Valentina Bonomo, Rome March 3-May 12, 2007BIBLIOGRAPHYG. Celant, Carla Accardi. La vita delle forme, Cinisello Balsamo 2011, pp. 472-473, no. 2006/30Il Giornale, March 2, 2007Arte Contemporanea, a. II, no. 7, May-June 2007, p. 112SITOGRAPHYhttps://galleriabonomo.com/portfolio-item/carla-accardi-2007/Uno of the most intriguing and hypnotic aspects of Carla Accardi's entire oeuvre is her predilection for contrasts, rhythmic and chromatic, expressed through sign and color. For more than sixty years, Accardi works unceasingly on an abstract painting entrusted to the integration of lines and forms, color and surface, for the definition of a grammar of identity, eliminating any symbolic or allegorical meaning of the composition and never stumbling into a decorative taste. Thus one discovers a painting capable of establishing a strong and empathetic relationship with the viewer, placing itself on a plane of relationality where the signs, ordered and gathered, have rhythms that connect them.In the canvases of the early 2000s made for the exhibition at the Valentina Bonomo Gallery, the binary contrast between raw canvas and vibrant colors reigns, which are expressed through monochrome drawings with a geometric appearance. In "Action with Circle," the rigor of the artist's work emerges, faithful to his vocabulary, simple and essential, in the exasperation of the sensation of color: the signs, enlarged, expand harmoniously over a large surface. "Color is strength. I looked for colors that would arouse a lot of contrast to make people understand, release the light, the world. I am not interested in color for its ability to procure pleasure for the sense of sight, but for its power and ability to procure stimuli. "Carla Accardi, interview by Paolo Vagheggi, in: D. Eccher, Carla Accardi, MACRO Rome, September 2004-January 2005, Milan, 2004 pp. 96-121. Present frame

Estim. 60 000 - 80 000 EUR

Lot 37 - PISTOLETTO MICHELANGELO (n. 1933) - PISTOLETTO MICHELANGELO (b. 1933) WITHOUT TITLE (1986). charcoal and pastel on paper appllicated on canvas. Cm 189x219. on the back: signaturePROVENIENCEPrivate collection, RomeExPOSITIONThe Time in the Mirror, Grenoble, Centre National d'Art Contemporain, November 8, 1986 - January 11, 1987Operation from the installation "Il Tempo nello Specchio" made by Michelangelo Pistoletto in November 1986 at Centre National d'Art Contemporain Grenoble, consisting of a mirror and about 680 square meters of charcoal on paper.We are in the midst of the Art of Squalor: a cycle Pistoletto began in 1985 during the exhibition at Galleria Persano in Turin and ended in 1989 with the exhibition held in Rome at Galleria Pieroni. "Art of squalor, parasitic art, art of mortification. Surface of desolation, dull surface. Repulsive art that represents nothing. [...] Mass of shredded ideas, shredded objects, mangled, macerated, soaked and compressed meanings. Shattered tools and concepts: stellar dust, cosmic foam, meteoritic lava, sidereal ice. Fountains of grayish flows. Idiotic thicknesses of a crushed and smudged art, labored like childbirth. Art without weight or tools. But as gross as the swarming of a disgusting humanity. A cowardly and grave art that achieves maximum distance and maximum slowness without allowing itself to be touched by either infinity or stillness. The motion is as slow as the catastrophic motion of the universe. The rapidity of close motion, the violence of transformation, the speed of change in close distances is succeeded by the slowness of great distances. And the perception of contemporaneity, beyond time-space [...]"(M. Pistoletto, Poetica dura, Giorgio Persano Gallery, Turin 1985)

Estim. 40 000 - 50 000 EUR

Lot 38 - PAOLINI GIULIO (n. 1940) - PAOLINI GIULIO (b. 1940) NOTHING AND NOW, 2006. plexiglass bases, drawing sheet, black pencil. Cm 120x40x40. bases: 120 x 40 x 40 cm and 116 x 32 x 32 cmfoil: 30 x 30 cmThe work was made in six numbered and one unnumbered specimenThe work is accompanied by authentication by the artist on photograph and is registered with the Giulio Paolini Foundation under no. GPO-0929PROVENIENCEPrivate collectionPrivate collection, RomeREFERENCE EXPOSUREGiulio Paolini, Giò Marconi, Milan May-July 2007, exh. 2/6Giulio Paolini. Immaculate Conception. Untitled / Without Author, Studio G7, Bologna January-March 2008, exh. 4/6Giulio Paolini, Lisson Gallery, London November 2008-March 2009, exh. 3/6Giulio Paolini. Drawing Room (Happy Days), Annemarie Verna Galerie, Zurich October-November 2009, exh. 4/6Giulio Paolini. Collection of Works, Artevalori, Milan June-July 2014, exh. 5/6Giulio Paolini. To Be or Not to Be, Whitechapel Gallery, London July-September 2014, exh. 3/6Manifest Intention. Drawing in all its forms, Museum of Contemporary Art, Castello di Rivoli October 2014-January 2015, ex. 4/6Manifesto-Protagonists, Artevalori, Milan November 2014, ex. 5/6Giulio Paolini. Reminder, Noire Gallery, April-June 2019, exh. 6/6BIBLIOGRAPHYA.A. V.V., Giulio Paolini, Bologna 2008, pp. 58-59, 60-63M. Bruzzo Parodi, Giulio Paolini. Collection of works, Milan 2014, p. 29D. F. Hermann, B. Pietromarchi, Giulio Paolini, Rome 2014, pp. 140-141B. Merz, M. Vecellio, Manifest Intention. Drawing in all its forms, Turin 2015, pp. 126-127Carte Noire. Noire Editions 1980/2015, Cologne 2016, ripr. col. s.p. 161SITOGRAPHYhttps://www.lissongallery.com/artists/giulio-paolinihttps://www.annemarie-verna.ch/gallery/exhibitions/Giulio_Paolini_2009/https://fondazionepaolini.it/ita/scheda-opera/?arc=GPO-0929&searchid=3d62e65d95283&i=5

Estim. 20 000 - 30 000 EUR