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POSTER: D'APRES A. M. CASSANDRE (1901-1968) COLOMBA MOTTA. 1936. 39x27 inches. Calcografia & Cartevalori, Milan.
D'APRES A. M. CASSANDRE (1901-1968) COLOMBA MOTTA. 1936.
39 1/2x27 1/2 inches. Calcografia & Cartevalori, Milan.
Condition A.
In 1936, before he left for the United States, Cassandre spent the month of August working in Italy. He and his assistant Raymond Savignac had been brought over by Augusto Coen, the Italian publisher, to design a handful of posters. During those years Musolini had forbidden foreign nationals to work in Italy, and consequently Cassandre's posters from that sojourn are cryptically signed with a logo and the initials AMC, to obscure his identity. While in Italy, Cassandre designed a handful of travel posters, a poster advertising the Italia-Cosulich Line and this image. This one, signed "d'apres Cassandre," may indicate that he had already left Italy by the time it was printed. Cassandre had already been exposed to surrealism (by Balthaus, who he met in 1935) and the art form had exerted a strong influence on him. Here, he uses a photograph of a dove-shaped cookie, superimposed over the white outline of a dove. This is the smaller version. Mouron p. 111, Suntory p. 179.
39 1/2x27 1/2 inches. Calcografia & Cartevalori, Milan.
Condition A.
In 1936, before he left for the United States, Cassandre spent the month of August working in Italy. He and his assistant Raymond Savignac had been brought over by Augusto Coen, the Italian publisher, to design a handful of posters. During those years Musolini had forbidden foreign nationals to work in Italy, and consequently Cassandre's posters from that sojourn are cryptically signed with a logo and the initials AMC, to obscure his identity. While in Italy, Cassandre designed a handful of travel posters, a poster advertising the Italia-Cosulich Line and this image. This one, signed "d'apres Cassandre," may indicate that he had already left Italy by the time it was printed. Cassandre had already been exposed to surrealism (by Balthaus, who he met in 1935) and the art form had exerted a strong influence on him. Here, he uses a photograph of a dove-shaped cookie, superimposed over the white outline of a dove. This is the smaller version. Mouron p. 111, Suntory p. 179.
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