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Spirals 1969

Crayons on paper, drawings on both front and back. The back features a tag from the Roberto Crippa General Catalogue, with the catalog number. The work is accompanied by a photo certificate from Galleria Pace in Milan, signed by the artist and containing technical data. Roberto Crippa was an exponent of Italian Spatialism, for which he signed the Third Manifesto drafted by Lucio Fontana in 1950. His works are characterized by abstract geometric figures, which from 1955 onwards became polymaterial, created by assembling various materials, even very different from each other (iron, bronze, asbestos, cork, tissue paper), then united by color. In the early 1950s, Crippa began his series of paintings called Spirali, of a geometric and abstract nature: with a quasi-circular (but never perfectly round) geometric gesture, Crippa created convoluted spaces, from which rays were generated that ideally projected outside the two-dimensionality of the canvas. Framed work.

Spirals 1969

Crayons on paper, drawings on both front and back. The back features a tag from the Roberto Crippa General Catalogue, with the catalog number. The work is accompanied by a photo certificate from Galleria Pace in Milan, signed by the artist and containing technical data. Roberto Crippa was an exponent of Italian Spatialism, for which he signed the Third Manifesto drafted by Lucio Fontana in 1950. His works are characterized by abstract geometric figures, which from 1955 onwards became polymaterial, created by assembling various materials, even very different from each other (iron, bronze, asbestos, cork, tissue paper), then united by color. In the early 1950s, Crippa began his series of paintings called Spirali, of a geometric and abstract nature: with a quasi-circular (but never perfectly round) geometric gesture, Crippa created convoluted spaces, from which rays were generated that ideally projected outside the two-dimensionality of the canvas. Framed work.

The Man in the Kitchen

Mixed media on paper. Signed lower center. The renowned Russian set designer, painter, and illustrator Nicola Benois, who was the chief set designer at Milan's Teatro Alla Scala from 1935, contributed some of his drawings in 1977 to illustrate Francesco de' Rogati's book,"La cucina dell' uomo solo" (SM editore, 1977). Presented here is an original drawing, which was later used as an illustration for the text, printed in a smaller format. Framed.

Spirals 1969

Crayons on paper, drawings on both front and back. The back features a tag from the Roberto Crippa General Catalogue, with the catalog number. The work is accompanied by a photo certificate from Galleria Pace in Milan, signed by the artist and containing technical data. Roberto Crippa was an exponent of Italian Spatialism, for which he signed the Third Manifesto drafted by Lucio Fontana in 1950. His works are characterized by abstract geometric figures, which from 1955 onwards became polymaterial, created by assembling various materials, even very different from each other (iron, bronze, asbestos, cork, tissue paper), then united by color. In the early 1950s, Crippa began his series of paintings called Spirali, of a geometric and abstract nature: with a quasi-circular (but never perfectly round) geometric gesture, Crippa created convoluted spaces, from which rays were generated that ideally projected outside the two-dimensionality of the canvas. Framed work.

Sketch

Mattia on paper. Signed lower right. Emilio Scanavino, a painter and sculptor originally from Genoa, began his career as a figurative artist, then developed post-cubist characteristics into his work, with forms that gradually became more stylized until they completely dissolved in the early 1950s. Framed.

Untitled

Ballpoint pen on paper. Signed lower right. The work is accompanied by a photo certificate by the artist. Carmelo Cappello, known as a painter but above all as a sculptor, began his career with figurative painting, but under the influence of Russian Constructivism, he shifted toward abstraction, both in sculpture and painting, falling within the Spatialist movement. Framed work.

Painted ceramics. In the 1970s, the Milanese company "Ceramica Fiori Oscuri" created a series of plates decorated with exclusive designs by ten contemporary painters. The series was limited to 250 pieces. The artists involved were: Gianfilippo Usellini, Domenico Cantatore, Domenico Purificato, Remo Brindisi, Gino Meloni, Virgilio Guidi, Pompeo Borra, Roberto Crippa, Franco Gentilini, and Gianni Dova. All plates bear the artist's signature on the front and the company logo and serial number on the back. In this group, the plates bear different serial numbers, and in particular, the plates with designs by Gianni Dova and Gianfilippo Usellini bear the words "Prova di colore" on the back, indicating that the copy was made before the final print, which was later confirmed for the plate signed by Dova, while Usellini subsequently chose another of his subjects. Borra's plate shows a small trace of restoration at the top; Crippa's plate has been reglued.

Handwritten and autographed letter by the artist, dated 1951. The letter is addressed to Gino Ghiringhelli, founder of the historic Il Milione art gallery in Milan. In this letter, Rosai tells the gallery owner the titles of his paintings to be reproduced in the catalog, drawing sketches to match the title and date of production. In the composition presented here, the collector from whom the work originates has combined the letter with the cover and pages of the catalog with the aforementioned reproductions. The composition is presented in a frame.

Horse in a 1950s Landscape

Marker on rice paper, glued to cardboard. Signed at the bottom. Below is a dedication from the artist (Greetings dear - Aligi). The work is accompanied by a photo certificate from the Sassu Foundation, archive number PNV49. The protagonist of this drawing is once again the horse, the artist's favorite animal. He was fascinated by the energy and dynamic strength of these animals, which represented life itself and freedom, which Sassu expressed through the twisting of their figures. Sassu's works, which include painting, sculpture, and ceramics, showcase the power of horses in scenes of racing, battles, or immersed in nature, often with an emphasis on dynamism and plastic energy. Framed work.

Cat, 1969

Pencil on paper. Signed and dated at the top, with the location Rome. The drawing was part of a letter Gentilini signed to Elena Pelizzoni as a receipt for the deposit for a three-color drawing for a ceramic plate that would be part of the series later produced by the "Ceramica Fiori Oscuri" group with the collaboration of contemporary artists. A photocopy of the entire letter is attached. The drawing comes from a private collection in Milan. Framed.