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约瑟夫·恰佩克的《我有一只狗和一只猫》Pl 35-Josef Čapek

我有一只狗和一只猫--Josef Čapek (Czech, 1887 – 1945)

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约瑟夫·恰佩克的《我有一只狗和一只猫》第36集-Josef Čapek

我有一只狗和一只猫--Josef Čapek (Czech, 1887 – 1945)

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约瑟夫·恰佩克的《我有一只狗和一只猫》第39页-Josef Čapek

我有一只狗和一只猫--Josef Čapek (Czech, 1887 – 1945)

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Josefčapek的《我有一只狗和一只猫》Pl 05-Josef Čapek

我有一只狗和一只猫--Josef Čapek (Czech, 1887 – 1945)

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Josefčapek的《我有一只狗和一只猫》Pl 07-Josef Čapek

我有一只狗和一只猫--Josef Čapek (Czech, 1887 – 1945)

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Josefčapek的《我有一只狗和一只猫》Pl 08-Josef Čapek

我有一只狗和一只猫--Josef Čapek (Czech, 1887 – 1945)

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约瑟夫·恰佩克的《我养了一只狗和一只猫》第42集-Josef Čapek

我有一只狗和一只猫--Josef Čapek (Czech, 1887 – 1945)

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Alex Katz，当代艺术I-

Alex Katz - Zeitgenössische Kunst I-

(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed

This work is registered in the Alex Katz archive.

Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner

In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)

His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).

Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)

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Josefčapek的《我有一只狗和一只猫》Pl 06-Josef Čapek

我有一只狗和一只猫--Josef Čapek (Czech, 1887 – 1945)

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朱塞佩·桑托马索-

Giuseppe Santomaso * - Zeitgenössische Kunst I-

(Venice 1907–1990)
Nero e giallo, 1959, signed and dated, oil on paper laid down on wood, 66.5 x 47 cm, framed

This work is registered in the Archivio Santomaso, Galleria Blu, Milan

Provenance:
Alitalia Collection
Sale Finarte, Asta della Collezione Alitalia, Rome, 8 December 2009, lot 132
Sale Farsetti, Prato, 28 November 2014, lot 405 (certificate of provenance available)
European Private Collection

Exhibited:
Rome, Santomaso, Galleria Pogliani, 28 November - 20 December 1959, mentioned in the exh. cat. (with wrong medium)

Literature:
L. Alfieri, Santomaso. Catalogue raisonné 1931–1974, Alfieri,
Venice 1975, no. 318 (with wrong medium)

The great achievements of the Alitalia airline between 1960 and 1961 also comprise the exact period in which the nucleus of the entire collection was formed. The idea of bringing works of art on board aircraft was Corrado Cagli’s, who had to garner the support of engineer Bruno Velani. He had two clear objectives: to make the flight more pleasant by stimulating the traveller\'s aesthetic sensibilities and to disseminate 意大利 artistic culture abroad. Cagli, helped by his friend and gallery owner Bruno Herlitzka, directly commissioned some of the paintings exhibited in the aircraft from the most talented young artists.

[...] Taken as a whole, the collection constitutes a rare compendium of what was happening mainly between 1954 and 1962, thus documenting a good part of the major trends in the 意大利 art world (Burri, Fontana, Gruppo degli Otto, Forma 1, etc.).
(Cfr. Finarte, Asta della Collezione Alitalia, Rome, 8 December 2009)