From an edition of 250. Signed and dated lower right: CAMPIGLI 57. Image 29 x 23.6 cm on vélin 33.6 x 24.9 cm (double sheet, with print on the inside).
Epreuve, artist's proof, outside the edition of 30. Signed lower right: CAMPIGLI. Image 25.2 x 19.3 cm on thin, brown vélin 37.6 x 25.3 cm.
Image rights: Courtesy Koller Auktionen.
Catalogue raisonné: Meloni/Tavola, no. 166 and 124.
Acquired from Auktionshaus Kornfeld by the present owner; since then private collection Switzerland.
About Massimo Campigli
Massimo Campigli began his career as a journalist, writing for Futurist and Avant-garde magazines in Italy in the 1910s. After being taken as a prisoner of war during World War I, Campigli served as a foreign correspondent in Paris in 1919 before joining the “Paris Italians” artist group, which also included the Futurist Gino Severini and the Pittura Metafisica painter Giorgio de Chirico. Campigli began depicting almond-eyed, frozen figures in 1928 when a trip to Rome’s Villa Giulia left the artist fascinated with Etruscan Art—the art produced in Italy between the 9th and 2nd centuries BCE. His most iconic works—pale, fresco-like paintings of women—mirrored a broader European revival of Ancient art as a response to the horrors of World War I.
Italian, 1895-1971, Berlin, Germany