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Massimo Campigli

Italy (Firenze 1895 -  Saint Tropez 1971 ) Wikipedia® : Massimo Campigli
CAMPIGLI Massimo Danzatrice

Auctionata /Dec 29, 2016
550.00
Not Sold

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Variants on Artist's name :

Campigli

Massimocampigli

 

Artworks in Arcadja
1042

Some works of Massimo Campigli

Extracted between 1,042 works in the catalog of Arcadja
Massimo Campigli - Theseus

Massimo Campigli - Theseus

Original 1949
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Lot number: 36
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Description:
CAMPIGLI, MASSIMO. 1895-1971. GIDE, ANDRÉ. Theseus. [Verona: Officina Bodoni (for New Directions), 1949]. 4to (316 x 236 mm). 97, [7] pp. Text in English, with John Russell's translation of Gide. Illustrated with 12 full-page lithographs by Campigli, one signed and laid in. Bound in plain wrappers covered with publisher's printed French wrappers, paper covered card slipcase. Some light foxing to margins and outer page edges, slipcase with light shelfwear and some restoration. Provenance: Julien Levy (printed statement in colophon). FIRST CAMPIGLI EDITION, no 102 of 190 on Pescia handmade paper, from a total edition of 200. The additional loose lithograph with hand-coloring is signed and dated "1948" in pencil by the artist. Designed by Hans Mardersteig, printed on the hand press of the Officina Bodoni. Jentsch The Artist & The Book in Italy 91. Mardersteig 89.
Massimo Campigli - Le Passaggiatrici

Massimo Campigli - Le Passaggiatrici

Original 1957
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Lot number: 542
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Description:
542 MASSIMO CAMPIGLI Le Passaggiatrici. Color lithograph, 1957. 455x370 mm; 17 7/8x14 1/2 inches, full margins. Signed, dated and numbered 111/200 in pencil, lower margin. Printed by Desjobert, Paris. Published by L'Oeuvre Gravée, Paris and Zurich. A very good impression with vibrant colors. Meloni/Tavola 167
Massimo Campigli - The Weaver

Massimo Campigli - The Weaver

Original
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Lot number: 570
Other WORKS AT AUCTION
Description:
Description: Massimo Campigli (1895-1971) lithograph The Weaver signed in pencil, numbered XXIX/LX 22 x 15in., unframed Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.
Massimo Campigli - Danzatrice

Massimo Campigli - Danzatrice

Original
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Lot number: 60
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Description:
Massimo Campigli, Danzatrice, Lithograph in Colors, 1965 Lithograph in colors on wove paper ‘BFK Rives’’’’’’’’ (watermark) Massimo Campigli (1895-1971) – German-Italian painter, graphic artist and journalist Signed and dated ‘Campigli 65’’’’’’’’ and numbered ‘36/65’’’’’’’’ in pencil (numbering in the illustrations differs from the actual numbering of the lot) Published in the Edition Wolfgang Ketterer, Munich (with their blindstamp) Catalogue raisonné: Meloni/Tavola 212 Image dimensions: 41.8 x 49.5 cm, sheet dimensions: 50.3 x 65.5 cm
Massimo Campigli - Festa Notturna

Massimo Campigli - Festa Notturna

Original 1959
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Lot number: 165
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Description:
Massimo Campigli FESTA NOTTURNA (NIGHT PARTY) 1895 - 1971 Signed Campigli and dated 59 (lower right) Oil on canvas 31 1/2 by 43 1/4 in. 80 by 109.8 cm Painted in 1959. Authentication The authenticity of this work has kindly been confirmed by Nicola Campigli. Galerie Otto Stangl, Munich Exhibited Munich, Galerie Otto Stangl, Campigli, 1959, no. 8 Florence, Palazzo Strozzi, Mostra Mercato Nazionale d'Arte Contemporanea, 1963 (possibly) Catalogue Note During a journey to Florence in 1928, Campigli became profoundly influenced by Etruscan art. In its forms, as well as in the work of the ancient Egyptians, Campigli found an archaic vocabulary of expression that permitted him to marry the pictorial language of the avant-garde with a figurative approach to painting. The influence of past cultures is beautifully presented in Festa Notturna: its flat, frontal depiction of the figures is reminiscent of Byzantine mosaics and frescoes. The earthy palette of subdued tones of ochre, orange and brown, coupled with a roughed surface, further evoke the technique of fresco painting. On the other hand, the use of registers, clearly separating the figures into separate planes, is derived from Egyptian wall painting, which Campigli admired for its precisely delineated, geometrical style, and for its conceptual approach to reality.A striking feature of the present painting is that its numerous figures, tightly packed within the picture frame, are all female. Although depicting a segment of contemporary urban life, Campigli was not interested in showing a truthful image of an ordinary gathering. Instead, he painted a world of his imagination, populated by women, rather than the reality that surrounded him. According to the painter’’’’’’’’s own memoirs, his childhood was spent at his grandmother’’’’’’’’s house, entirely in the company of women. He no doubt recreated the environment of his early years in his paintings, in which man plays no part. Rather than representing a cross-section of contemporary population, his figures acquire an iconic quality, resembling monarchs and deities from Byzantine frescoes, giving them a timeless, infinite dimension.
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