Max Beckmann

Portrait of Baron Simolin II (large version)

1928

Tano Festa (Rome 1938 - 1988), Untitled (1985) Mixed media on canvas 60 x 80 cm signed and dated on the back. Work registered with the Tano Festa Archives, under no. B11175/2580 an...

Vitaliano Marchini (Melegnano 1888 - 1971), Ardito (Portrait of a Man), 1919 Carrara marble sculpture 43 x 26 x 15 cm signed on the right on the base: V. MARCHINI Exhibitions: Pala...

Luigi Serra (Bologna 1846 - 1888), Portrait of Attilia Marini Mixed media drawing on paper 32 x 26 cm signed, dedicated to Attilia and dated "February 17, 1887" lower right.

Mario Tozzi (Fossombrone 1895 - Saint-Jean-du-Gard 1979), Figure of a Woman (1969) Oil painting on canvas 72 x 49.5 cm signed and dated lower right. On the back is the inscription,...

Portrait de D. H. Kahnweiler I Lithograph, 1957 Estate Signature Stamp lower right Provenance: Picasso Estate Marina Picasso, her stamp on reverse Annotated in ...

Max Beckmann (German, 1884-1950) German Expressionist Date: 1916 Medium: Drypoint etching Dimensions: Plate - 3 5/8” x 7 5/8” (~9.2 x 19.4 cm) Sheet - approx. 10” x 16.5” (~25.4 x 41.9 cm) Framed - 15” x 24” (~38 x 61 cm) Paper: Cream, slightly textured (BSB). Stamped and embossed BSB Publisher: Probably Verlag Graphisches Kabinett Gu¨nther Franke, Munich (stamped Graph. Kabinett Mu¨nchen) Edition: Unknown Techniques: Intaglio Provenance: Estate of former Ringling College of Art and Design professor A wonderfully chilling Expressionist print by German master Max Beckmann, from his early period during mid-World War I. The print is a section plate...

Portrait of Ardengo Soffici is an Etching realized by Mino Maccari in the Mid-20th Century. Handi signed in the lower right part. Numbered. Edition 4/100. Good conditions. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an Italian writer, painter, engraver and journalist, winner of the Feltrinelli Prize for Painting in 1963 and first winner of the Forte dei Marmi Satira Prize in 1973.After completing his secondary education, he enrolls in university. An interventionist like many young people of his time, he took part in the Great War at the age of nineteen as a field artillery officer. At the end of the conflict he resumed his university studies in Siena and in 1920 he graduated in law. In 1924 he was called by Angiolo Bencini to take care of the printing of the magazine Il Selvaggio, openly uncompromising fascist, revolutionary and anti-bourgeois, where his first engravings were published. After a few years of coexistence between work at the newspaper and the law firm, at the beginning of 1926 he left the legal profession to take over the direction of Il Selvaggio which he would hold until 1942. In 1928 he was the author of the small book published by Vallecchi (Florence), Il Trastullo di Strapaese (little songs and engraved woodwinds) which collected fascist songs (the same book was seized several times from Antonio Gramsci during his detention). With the transfer of the editorial staff of the Selvaggio in 1925 from Colle di Val d'Elsa to Florence, Maccari collaborated with Ardengo Soffici, Ottone Rosai and Achille Lega. In the meantime, between 1927 and 1930, he made himself known to the general public as a painter by participating in various national exhibitions. Also in 1930 Maccari works in Turin at La Stampa as editor-in-chief and has the writer Curzio Malaparte as director. His presence in the cultural and editorial world of the fascist regime is very intense, he writes and collaborates with various magazines: Quadrivio, L'Italia Letteraria, L'Italiano and Omnibus by Leo Longanesi; then, during the war, in il Primato di Bottai and, subsequently again, in Il Mondo di Pannunzio (from the first number, in 1949), up to Documento by Federigo Valli. His graphic production is also vast, ranging from the Album of Vallecchi (1925), Il trastullo di Strapaese (1928) to Linoleum (1931). Maccari illustrated in 1934 La vecchia del Bal Bullier by Antonio Baldini and in 1942 he published the Album folder, followed by Come quando fuori Piove and Il superfluo illustrata.For his pictorial work full of evident chromatic accentuations and fast brushstrokes, the violent drawing combined with the lively stroke of the graphic sign of his engravings, he is recognized by critics as a complete artist. In 1962 he was also entrusted with the presidency of the Accademia di San Luca in Rome and managed to obtain a personal exhibition at Gallery 63 in New York. His production of drawings, watercolors, temperas, etc. is endless, sometimes in collaboration with prestigious publishing houses; it is worth mentioning, just as an excellent example, the 32 b/w and color drawings with which he illustrated Il gusto di vivere, a volume that collects writings by Giancarlo Fusco, edited by Natalia Aspesi and published by Laterza in 1985. Maccari, Sienese and great contradaiolo della Torre, painted the Palio...

Medium: Collotype, héliogravure, recto and verso, on grand vélin Renage filigrané paper, as issued Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.05 x 7.08 inches Inscription...