Marino Marini, ‘Album No. 1 (Guasatalla A.29, 34, 41, 42, 46, 48, 49, 56, 57, 59, 63, 67, 68)’, 1950-1962, Forum Auctions
Marino Marini, ‘Album No. 1 (Guasatalla A.29, 34, 41, 42, 46, 48, 49, 56, 57, 59, 63, 67, 68)’, 1950-1962, Forum Auctions
Marino Marini, ‘Album No. 1 (Guasatalla A.29, 34, 41, 42, 46, 48, 49, 56, 57, 59, 63, 67, 68)’, 1950-1962, Forum Auctions
Marino Marini, ‘Album No. 1 (Guasatalla A.29, 34, 41, 42, 46, 48, 49, 56, 57, 59, 63, 67, 68)’, 1950-1962, Forum Auctions

The complete deluxe portfolio, comprising 13 etchings 1950-1962, each signed and numbered in pencil, published by XXe Siecle, Paris, and Leon Amiel, New York, with title-page, text and justification, this copy numbered 11 from the deluxe edition of 15, on Richard-de-Bas wove paper one of only 15 with the extra 13th plate, the sheets loose in the original blue solander box with the title in gilt on the spine, overall size 545 x 410 mm (21 1/2 x 16 in) (13) (unframed)

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About Marino Marini

One of Italy’s most celebrated sculptors of the 20th century, Marino Marini primarily produced figurative bronze sculptures, though his practice also included paintings, drawings and etchings. Marini drew on the tradition of Etruscan and northern European sculpture, reinterpreting classical themes such as the female nude, the portrait bust, and the equestrian figure, which he combined with aspects of modernism—in particular exaggerated and elongated forms. Towards the end of his career Marini’s sometimes-monumental sculptures became increasingly abstracted. On trips to Paris and New York, he associated with Giorgio de Chirico, Jean Arp, Max Beckmann, and Alexander Calder, among other major modernist artists.

Italian, 1901-1980, Pistoia, Italy, based in Viareggio, Italy

Solo Shows

1992
Kamakura Gallery, 
Ginza, Chuo, Tokyo, Japan,
Marino Marini Part I & II

Group Shows

2011
Complesso Monumentale del Vittoriano, 
Rome, Metropolitan City of Rome, Italy,
L'Unità dell'Arte Italiana nella Diversità delle Regioni - Regioni e Testimonianze d'Italia