G. Fieschi Oil Mixed Media on Canvas Italy 1966 - Idealism, 1966

Mixed technique on canvas. Signed lower right. The painting of Kodra, an Albanian painter trained artistically in Italy and active in the Milanese context, consists of a personal interpretation, of a fantastic kind, of Cubism, with the peculiarity that the decompositions typical of analytical cubism are proposed according to an approach of its own more than synthetic cubism. The seascape depicted here, with sailboats sailing close to a coast, is part of the later production, in which the native country is often evoked.

Mixed technique bas-relief on chipboard. Abstract composition, with the date 1975 in the lower left. On the back the title, the date, and the declaration of revision of the same, with dedication and signature of the artist Stefano Colombo.

Print on paper. Rare anti-racist poster which, as indicated below, was published as a supplement to the magazine "MAI" of June '68, in the series "I manifesti di MAI di Giò" (Giorgio Tavaglione). It is a manifesto of the beat movements that spread in Italy in the years 1967-1968: thanks to the use of the mimeograph, which allowed the printing of numerous flyers, posters, poetic anthologies, small plaquettes and especially magazines, the young beatniks they created an alternative information channel that represented the primary vehicle for disseminating the principles that animated the beat movement, as opposed to the official cultural and communication circuits. Within the magazines, and in general in the various beat activities, poetic writing assumed an essential role as an integral part of the practice of dissent, since it represented one of the main forms of expression and affirmation of a different ideal of life, as well as of a different idea of collectivity. Giorgio Tavaglione was one of the best-known artistic exponents of the beat movement: as a complete self-taught Giò he designed the posters, flyers and covers of the first Italian underground magazines of the 1960s; disappeared for years after a trip to India, he subsequently reappeared as a draftsman of tarot cards and talismans in the creation of which he transferred his excellent graphic quality, his typical meticulous and imaginative, esoteric and visionary style. Work in frame.

Panel in copper and brass, worked with irregular geometric figures. Mounted on a white lacquered wooden panel. Inspired by the works of the sculptor and painter Lino Bersani (Genoa 1935).

Bas-relief

Bas-relief in wood, fabric and white tempera, evoking a stylized Crucifix. Mounted on a panel and presented in a display case.

Burnished and worked copper plate, with decorations in lighter spots, overhangs and holes, mounted on a red-stained plywood panel.