{"title":"painters","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eDeclaration of Legal Compliance\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e All historical documents available on this website were acquired legally, through public auctions, authorized sales, and legitimate sources, with records and proof of origin duly archived.\u003c\/p\u003e\n\u003cp\u003e Glórias operates with full respect for Brazilian legislation regarding the protection of cultural and archival heritage, especially the provisions of Law No. 8,159\/91 (National Policy for Public and Private Archives), the Federal Constitution, and current heritage legislation.\u003c\/p\u003e\n\u003cp\u003e We are open to dialogue and cooperation with public, archival, or cultural institutions that wish to obtain more information about the items available here.\u003c\/p\u003e\n\u003cp\u003e Our commitment is to the preservation, enhancement, and dissemination of Brazilian documentary heritage, within legal parameters and with absolute transparency.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003cb\u003eRouanet Law\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e Some documents may, under certain conditions, be acquired with resources incentivized through the Rouanet Law. \u003ca title=\"The Rouanet Law applied to autograph documents.\" href=\"https:\/\/glorias.com.br\/pages\/a-lei-rouanet-aplicada-aos-documentos-autografos\"\u003eTo learn more\u003c\/a\u003e\u003c\/p\u003e","products":[{"product_id":"dedicatoria-de-beatriz-milhazes-2013","title":"Dedication by Beatriz Milhazes (2013)","description":"\u003ch2\u003e \u003cstrong\u003eIn 2013, Rio de Janeiro painter Beatriz Milhazes signed a booklet for the exhibition \"Meu Bem\" in Rio de Janeiro.\u003c\/strong\u003e\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eDedication by Beatriz Milhazes to \"Cláudio\", in the catalogue of the exhibition \"Meu Bem\".\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e Three pages forming a booklet, front and back.\u003c\/li\u003e\n\n\u003cli\u003e In Portuguese.\u003c\/li\u003e\n\n\u003cli\u003e 18 cm x 18 cm.\u003c\/li\u003e\n\n\u003cli\u003e Rio de Janeiro, between August and October 2013.\u003c\/li\u003e\n\n\u003cli\u003e Excellent condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e Unique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e \u003cem\u003eTo Claudio, with a hug, Beatrix\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003eBeatriz Milhazes (born 1960) is a Brazilian artist born in Rio de Janeiro. Color is a fundamental element of her work, as are geometric abstraction, flowers and arabesques. Music, dance and nature, recurrent in Brazilian culture, inspire Milhazes' works. Since the 1990s, she has stood out in international exhibitions in the United States and Europe and is part of the collections of museums such as MoMa, Guggenheim and Metropolitan, in New York.\u003c\/p\u003e\n\n\u003cp\u003e In 2013, Beatriz Milhazes celebrated 30 years of her career with the panoramic exhibition \u003cem\u003eMeu Bem\u003c\/em\u003e in her hometown, where she had not exhibited for over a decade, despite living and maintaining her studio in Leblon, close to family and friends. According to the exhibition's curator, Frédéric Paul, \u003cem\u003e\"without intending to be a retrospective, the Paço Imperial exhibition brings together works from 1989 to 2013. The year 1989 was a landmark year in which the artist developed a specific decalcomania technique that would influence all of her subsequent work.\"\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cstrong\u003eIn an interview with journalist Michelle Licory, we learn more about Beatriz Milhazes:\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eI have had a very linear career over the past 30 years. In the 1980s, I developed very locally, in Rio and São Paulo. In 1996, when I had my first solo show in New York, I received a very positive review from Roberta Smith in the New York Times. She ended by saying, 'I think something new is emerging.' This opened doors for me to the art world in the United States, then Europe and, later, Asia. In 2003, my participation in the Venice Biennale was fundamental, as was having my work in important museums such as the Tate Modern and the MoMA.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eAnd what about this “most expensive Brazilian” label?\u003c\/strong\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eEven though I am in this situation, I don’t know how to explain it… It is the first time in contemporary Brazilian art that a group, even a very small one, has achieved this international position, with an international price. It is a great gain, a learning experience for all of us, a level I did not expect. We have to know how to deal with this. It is easier with galleries abroad. They are used to it. I have a life in English and a life in Portuguese. There is also another source of pride, because I am a woman. Painting is a very masculine universe.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eDo you have anything in common with Vik Muniz and Adriana Varejão, other contemporary names that are highly valued outside the country?\u003c\/strong\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eThat's interesting. We are very different as artists and as people, despite being friends. But we do have one thing in common: the three of us, in some way, use Brazilian culture to create dialogues, we introduce our life experiences in the country into our work. Even Vik, who emigrated when he was young and grew up in the United States, retained in his concepts something intelligent, but somewhat crude, from our Brazilian upbringing. Adriana and I, in very different ways, have these issues of our thinking about the country's culture very clear.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cstrong\u003eMuch sought after in international galleries and auctions, the works of Beatriz Milhazes have reached record prices in recent years. The artist from Rio de Janeiro, who lives between Rio de Janeiro, Paris and New York, has become a renowned artist, who will be increasingly sought after by Brazilian and foreign collectors. Her autographs are rare, and this piece stands out for its excellent condition and its biographical content, which further enhance the artist's dynamic signature.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":115784482836,"sku":"252LEI38","price":900.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/autografo-beatriz-milhazes-1.jpg?v=1682367351"},{"product_id":"carta-assinada-por-daniel-henry-kahnweiler-1963","title":"Letter signed by Daniel-Henry Kahnweiler (1963)","description":"\u003ch2\u003e \u003cstrong\u003eThe dealer who first invested in Cubism and Picasso, Daniel-Henry Kahnweiler, writes to a famous German gallery owner.\u003c\/strong\u003e\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eLetter signed by Daniel-Henry Kahnweiler to Mr. Stangl.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e One page.\u003c\/li\u003e\n\n\u003cli\u003e In German.\u003c\/li\u003e\n\n\u003cli\u003e 19.5 cm x 27.1 cm.\u003c\/li\u003e\n\n\u003cli\u003e Paris, April 9, 1963.\u003c\/li\u003e\n\n\u003cli\u003e Excellent condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e Unique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e \u003cem\u003eDear Mr. Stangel,\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eYes, unfortunately, we arrived at 4 o'clock and missed each other. This morning I found your letter on my way back from Dortmund, where I was with Jardot at the opening of the Manolo exhibition at the museum. However, we cannot lend you the new heliogravures at such short notice, because all the collections have been promised for months. Please contact Hertz, who will be able to give you the sheets, thank you. Otherwise, you would have to agree on a date next season.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eBest regards, also from my friend Jardot.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eDaniel-Henry Kahnweiler\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e Daniel-Henry Kahnweiler (1884 - 1979) was a renowned art dealer who was the first to invest in Cubism, along with painters such as Picasso and other great names in the early 20th century. Here we reproduce parts of an interview conducted in French by journalist Charlotte Delafond with Kahnweiler's biographer, Pierre Assouline.\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eCD What do you think are the essential characteristics that make Daniel-Henry Kahnweiler a key figure in the history of modern art?\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003ePA First of all, it should be remembered that Kahnweiler was self-taught by nature; he did not follow aesthetic standards, but depended on his instinct. He learned his taste and his profession by going to the Louvre, attending the Salons, especially the Independents, at public sales and according to his reading, enriched by foreign art magazines. Furthermore, and this is very important, he was the same age as his painters - Picasso, Braque, Gris, Léger - with whom he maintained a real complicity. He was truly the art dealer of his generation. (...) Kahnweiler was also a man with a certain strength of conviction, who made choices and maintained them at all costs, even in times of crisis. When he believed in Demoiselles d'Avignon, no one else believed in it; he did not change his mind in the face of criticism.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eFor his painters, he was willing to do anything, but what he asked for was exclusivity. So he was uncompromising. That's what made him special. He put them under contract, which had never been done before. He paid each of them a monthly fee to give them the means to live their art. They took care of the painting; the sales, the collectors, the salons and the rest were his. That was revolutionary!\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eThe last thing is that Kahnweiler was a patient man. By that I mean that he thought of everything in the long term, he worked for posterity. In this sense, he invested heavily in propaganda and was one of the first - if not the first - to systematically photograph paintings and to send these photographic reproductions to art magazines all over Europe, in Germany, of course, but also in Switzerland, Belgium and England. This was one of his main strategies and one of the reasons that made his painters famous.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eCD What did Daniel-Henry Kahnweiler owe to the famous old dealers, including Paul Durand-Ruel and Ambroise Vollard? And to what extent does he remain a role model for young dealers?\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003ePA Paul Durand-Ruel, he did not know him, but he considered him an absolute model. He really admired him. Not only because he was the Impressionists' dealer who supported them against all odds, but also because of the line of conduct he imposed on himself. He respected the principles on which Durand-Ruel reinvented his profession, his moral attitude towards the market, artists and the public. Kahnweiler secretly wanted to reproduce what his master had done. He wanted to be a precursor, buying what he liked and imposing his taste on the public.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eAmbroise Vollard was not the same story. He was a contemporary. He was a little older, but they often met; the Vollard gallery is not far from the one where he settled. He had been interested in Picasso shortly before him, and Kahnweiler respected his tastes. But the two men were very different, almost opposites. Ambroise Vollard liked to enjoy life, he took everything in his stride. Kahnweiler was very Germanic, quite austere and extremely meticulous. In other words, Kahnweiler liked Vollard, but he did not admire him.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eIndeed, his true master was Paul Durand-Ruel. He was the one who laid the foundations of the art of the dealer in the modern sense of the term, which Kahnweiler adapted and reinvented at the beginning of the 20th century. For me, Kahnweiler is the model of the modern art dealer, or rather, of what a dealer should be in the 20th century. Today, of course, things have changed, the profession has evolved and the conditions are no longer the same. But the principles he presented are still valid.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e Otto Stangl was a German art dealer and gallery owner, who with his wife Etta founded the Etta and Otto Stangl Modern Gallery in Munich in 1947, one of the most influential galleries of the avant-garde after the Second World War; Manolo Hugué, a friend of the Spanish painter Picasso, was a renowned sculptor; finally, Maurice Jardot was Kahnweiler's right-hand man and presided over the Kahnweiler\/Leiris Gallery for almost 40 years (1956 - 1996).\u003c\/p\u003e\n\n \u003cp\u003e\u003cstrong\u003eSometimes the people behind the scenes are as important and interesting as the celebrities themselves... after all, who would Picasso, Vlaminck or Derain, Gris or Leger be without Kahnweiler? This letter gives a glimpse into the daily life of this great art dealer, mentioning his work with his partner (Maurice Jardot), meetings with artists and exhibitions (Manolo Hugué) and relationships with other gallery owners (Etta and Otto Stangl) in 1963, the year George Braque died. We also like the personalized stationery of Daniel-Henry Kahnweiler, with the sophisticated letterhead of his famous gallery.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":115861848084,"sku":"240GTV4","price":1500.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/carta-assinada-daniel-henry-kahnweiler_14166b1e-a8a4-4284-85f2-b4628492f09f.jpg?v=1682367925"},{"product_id":"desenho-e-dedicatoria-de-roberto-burle-marx-1982","title":"Drawing and dedication by Roberto Burle Marx (1982)","description":"\u003ch2\u003e\u003cstrong\u003eOriginal drawing and dedication by landscaper Roberto Burle Marx during his first retrospective, in London, in 1982.\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eOriginal drawing and dedication by Roberto Burle Marx, for Zora and Antônio Olinto, in the booklet created for his first retrospective.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e The document comes with two original black and white photographs of the artist from the opening day.\u003c\/li\u003e\n\n\u003cli\u003e 24 pages.\u003c\/li\u003e\n\n\u003cli\u003e In English.\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e20 cm x 20 cm.\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e London, 1982.\u003c\/li\u003e\n\n\u003cli\u003e Excellent condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e Unique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003e \u003cem\u003eTo (?) and Olinto the tenderness and friendship of Roberto\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e Roberto Burle Marx (1909 - 1994) was an internationally renowned Brazilian landscape architect. He lived most of his life in Rio de Janeiro, where he carried out his main works, although his company operated worldwide.\u003c\/p\u003e\n\u003cp\u003e From a very young age, Roberto Burle Marx accompanied his mother in the daily care of the flowers and plants in the house. At the age of eight, he began his own plant collection and growing seedlings. Later, while living in Germany to treat a health problem, he visited several exhibitions (Picasso, Matisse, Klee and Van Gogh), which motivated him to study painting. In Berlin, he visited the greenhouses of the Botanical Garden, where he discovered Brazilian flora. When he returned to Brazil to attend university, he became friends with future great names in Brazilian modern architecture, such as Oscar Niemeyer.\u003c\/p\u003e\n\u003cp\u003e Roberto Burle Marx developed a landscaping style using plants and flowers native to Brazil, moving away from the \"European\" standards of the time. His designs often resemble abstract paintings, with nooks and crannies and paths amidst the vegetation. In 1955, he founded the company Burle Marx \u0026amp; Cia, whose goal was to develop landscaping projects for residential and public gardens.\u003c\/p\u003e\n\u003cp\u003e In addition to being one of the greatest landscapers of our century, Roberto Burle Marx was also a designer, ceramist, sculptor, singer and jewelry creator! Interesting detail, Karl Marx was his grandfather's cousin.\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eThe small original drawing, in the form of a dedication to the famous couple, completes this rare booklet created for the first retrospective of the brilliant landscaper. The two original photographs - in perfect condition - of Burle Marx, on the day of the inauguration, add even more value to the set.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":150498410516,"sku":"120LEI13","price":2000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/desenho-dedicatoria-roberto-burle-marx-2.jpg?v=1682365951"},{"product_id":"carta-manuscrita-de-flora-morgan-snell","title":"Flora Morgan-Snell's handwritten letter (1973)","description":"\u003ch2\u003e \u003cstrong\u003eIn 1973, Brazilian artist Flora \u003cspan class=\"il\"\u003eMorgan\u003c\/span\u003e -Snell thanked a renowned French art critic who recognized her talent.\u003c\/strong\u003e\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eHandwritten letter from Flora Morgan-Snell to Bernard Gauthron.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e 4 pages including 2 drawings, and the envelope.\u003c\/li\u003e\n\n\u003cli\u003e In French.\u003c\/li\u003e\n\n\u003cli\u003e Paris, June 24, 1973.\u003c\/li\u003e\n\n \u003cli\u003ePerfect condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e Single set.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e We are often fascinated by famous historical figures who have many talents: the Glorias collection aims to present many of them to Sofia, my daughter, and to you, through autographed documents. There are also famous people who have no talents; they are the new heroes of modern times produced by television and the Internet, whom history will probably forget. But there is another category that I also want to present in this collection: the talents who are not (yet) famous. These are my \"bets\".\u003c\/p\u003e\n\n \u003cp\u003eFlora\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"il\"\u003eMorgan\u003c\/span\u003e -Snell (1920 - 2007) is, in my opinion, one of the great artists that Brazil and the world are unaware of or have forgotten. What were her skills? Painting and sculpture, which I discovered one day during my digital wanderings. Her works are ignored in Brazil, although she won major awards such as the Leonard de Vinci, the Salon d'Art Libre in Paris and the Greek Sculpture Prize, exhibited in galleries such as the Bernheim-Jeune and the Museum of Modern Art in France, participated in UNESCO events and organized exhibitions of contemporary Brazilian and foreign artists in Europe.\u003c\/p\u003e\n\n \u003cp\u003eWriter Clarice Lispector (in her last interview for the magazine Fatos e Fotos, published shortly before her death) tells of her visit to the painter's house:\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e(...) we were received in the ultra-sumptuous apartment by a butler in full uniform. (...). During practically the entire interview (Mrs. Snell) did not stop smiling (...) she was laconic in her answers (...). I have met many artists – painters, sculptors, poets, musicians, novelists – and I can say that Mrs. Snell was the only one who transmitted to me such absolute self-confidence, without a hint of the doubts that occur in those who create art (...)\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003eAccording to Roberto Ormon who studied his life,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe artist grew up in Petrópolis and soon revealed her self-taught nature. Her interest in the human body led her to read anatomy books and watch wrestling championships, where she witnessed the strength and movement that she would later use in her work. When she sought formal study in Rio de Janeiro, the young woman was eventually dismissed from the course. The reason? There was nothing else the teacher could teach her. At the age of 25, she participated in two exhibitions in the former federal capital and married Albert de Moustier, a descendant of the French aristocracy.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003eFlora moved to Paris, where she established an image as a socialite in a male-dominated environment, such as the jury members at exhibitions who sometimes even imagined that the works were actually by her husband. From a wealthy family, the painter did not depend on selling her paintings to make a living and created them for those who admired her, fulfilling private, institutional and state commissions. Roberto Ormon also tells us where some of her works are in France: the panels that were in the Church of the Trinity are now in the Church of Saint-Michel des Batignolles (Paris, Place Saint-Jean, 17th arrondissement); another panel, called \"The Kidnappers of the Sea\", was taken to the Centre Les Atlantes, in the city of Les Sables d'Olonne.\u003c\/p\u003e\n\n \u003cp\u003e\u003cstrong\u003eIn this letter, Flora \u003cspan class=\"il\"\u003eMorgan\u003c\/span\u003e -Snell thanks in French an art critic who published an article about her in the French magazine \u003cem\u003el'amateur d'\u003c\/em\u003e art (the Art Amateur) which was renowned in France in the 1970s and 1980s. In addition to her absolutely spectacular handwriting (my graphologist friends, what can you tell us?), the artist presents the recipient with two original drawings typical of her work.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003ca href=\"https:\/\/epoca.oglobo.globo.com\/cultura\/noticia\/2016\/10\/boneca-internacional-que-virou-artista.html\" target=\"_blank\"\u003eArticle from Epoca magazine about Flora Morgan-Snell.\u003c\/a\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":31216822485051,"sku":"314EBA22","price":900.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/carta-manuscrita-flora-morgan-snell-1.jpg?v=1682367265"},{"product_id":"carta-manuscrita-de-candido-portinari","title":"Handwritten letter by Cândido Portinari (1945)","description":"\u003ch2\u003e\u003cstrong\u003e\"I have been working little, but now I will start.\"\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eUnpublished handwritten letter from Cândido Portinari to Marques Rebelo.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e One sheet, one page.\u003c\/li\u003e\n\n\u003cli\u003e +\/- 21 cm x 28 cm.\u003c\/li\u003e\n\n\u003cli\u003e In Portuguese.\u003c\/li\u003e\n\n\u003cli\u003e Brodowski's writings in 1945.\u003c\/li\u003e\n\n\u003cli\u003e Excellent condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e Single set.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003e \u003cspan style=\"text-decoration: underline;\"\u003eExcerpt from the letter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cem\u003eBrodowski. 1 - 2 - [1]945\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e \u003cem\u003eDear Marques,\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e \u003cem\u003eI received your letter and it was a \/ pleasant surprise to know \/ that you are going to Buenos Aires \/ to take a painting exhibition and that old Santos \/ is also participating. The day \/ you both are I will go in \/ even without knowing \/ what it is for. That is why you can \/ count on my \/ contribution at the end of \/ March. \/ I have worked little \/ but now I will start \/ to work. \/ If you want to pop over \/ here it will give pleasure to \/ all the Portinaris. \/ Regards from Maria and everyone \/ to you all. Hugs from your \/ old Portinari (signed)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e There are some names that mark generations; some, perhaps, that write the history of a country. However, few are those who become recognized for their cultural contributions beyond geographical borders. These people transform humanity and create forms of expression that define the world after their passing. It is not difficult to remember some examples: Leonardo Da Vinci, Virginia Woolf, Marie Curie. However, which Brazilian personality would we think of for this list?\u003c\/p\u003e\n\u003cp\u003e Perhaps one of the first names that comes to mind is that of the painter Cândido Portinari (1903 - 1962), author of more than 500 works of art, among which is “War and Peace”, exhibited at the United Nations Headquarters in New York since 1956. Portinari was born on a coffee farm in the city of Brodowski, in the interior of São Paulo, in 1903. His artistic vocation emerged during his childhood. While still young, Portinari dropped out of school and, at the age of 14, joined a troupe of Italian painters and sculptors. At the age of 16, he decided to put all his chips on his talent: he left São Paulo and moved to Rio de Janeiro to study at the National School of Fine Arts.\u003c\/p\u003e\n\u003cp\u003e From then on, Portinari's career took off. Awards, trips and international exhibitions led the artist to explore the world. One of these exhibitions took place at the MNBA in Buenos Aires in 1954, organized by Marques Rebelo, a writer renowned for his literary work and for promoting Brazilian painting and literature abroad. The letter signed by Portinari and addressed to Marques reveals that participating in such an exhibition was a pleasant surprise for the painter. Portinari stated that wherever Marques was, he would be there “even without knowing what he was there for”, which demonstrates great trust on the part of the artist. In the letter, Portinari also reveals details of his life and invites Marques to visit. In addition to their obvious artistic affinities, were they good friends? Portinari's affectionate embrace at the end of his letter seems to indicate that they were.\u003c\/p\u003e\n\u003cp\u003e A painter with strong ideals expressed in his work, which portrays the miscegenation and daily life of Brazil, Portinari, the son of Italian immigrants, showed the world the peculiarities and strength of the Brazilian people, of whom he was a great defender. His passion for painting cost him his life; the artist died due to poisoning caused by the paints he used in his paintings. Portinari lived his love to the bitter end and taught that a great artist can come from the most humble origins and still reach the most distant corners of the world through his dedication and talent.\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eLetters by Candido Portinari are extremely rare; this handwritten letter is the first we present.\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":36000656294047,"sku":"354","price":12000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/cartamanuscritacandidoportinari.jpg?v=1682366034"},{"product_id":"carta-manuscrita-de-jose-pancetti","title":"Handwritten letter from José Pancetti (1949)","description":"\u003ch2\u003e\u003cstrong\u003e“Many would like to possess you as a woman, attractive as you are, driven simply by the desire for ephemeral possession.”\u003c\/strong\u003e\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eUnpublished handwritten letter from José Pancetti to Stela, with a drawing.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e One page.\u003c\/li\u003e\n\n\u003cli\u003e In Portuguese.\u003c\/li\u003e\n\n\u003cli\u003e 20.3 cm x 25.7 cm.\u003c\/li\u003e\n\n\u003cli\u003e January 15, 1949.\u003c\/li\u003e\n\n\u003cli\u003e Excellent condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e Unique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e \u003cspan style=\"text-decoration: underline;\"\u003eTranscription\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003e[?] 15\/1\/949\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eSTELA\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eMany would like to possess you as a woman\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eattractive that you are, driven simply by the\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003edesire for ephemeral possession, to have you as a wife\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eor lifelong companion, but\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003ealways with the same purpose. And if this happens,\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003ealmost always, with the human totality.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eI say I wouldn't like to own you\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003ein the same way because I am also\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003ea man. But what is more profound\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eIt moves me and I would like to have you, constantly\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003efearfully, as an inspiring source of my\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eart: I would love you always every time\u003c\/em\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003emore and like no one else ever was\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eable to worship you. And with that of yours\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003esimple, [?] and strange figure\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eI would then create a world of colors and\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003enew forms where your [?]\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eeternity!\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eJose Pancetti\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e In this small excerpt from a brief love letter, José Pancetti (1902 - 1958), a modernist painter considered one of Brazil's greatest landscape artists, declares the beauty of his beloved Stela. This beauty, however, will always be a secret to us, since Pancetti did not reveal the face of his Stela in his paintings. Even so, we know that the feeling that moved the painter was not an ephemeral desire.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eThey say that every great artist has a great muse. Although we cannot generalize, this fruitful relationship marked the production of many talented creators in the history of humanity. In addition to Pancetti and Stela, there are many other examples. Picasso is also known for his inspiring muses. The women in his life played a fundamental role in his artistic legacy, and he portrayed his models and lovers in his paintings. Gala Éluard Dalí, wife of the great Salvador Dalí, is another example of a muse. This strong woman did not only captivate her husband, immersed in the Surrealist Movement, the Russian woman captivated artists such as Éluard, whom she also married, as well as Max Ernst and André Breton.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eThe beauty of the bond between the artist and the muse does not depend on the relationship they have maintained; it is born from the perpetuity of this union, and goes beyond the face that is revealed on a canvas. Pancetti, in this exceptional declaration to his beloved Stela, confessed:\u003c\/strong\u003e \u003cstrong\u003e\u003cem\u003e“But what moves me most deeply and what I would like to have is to have you, constantly, as a source of inspiration for my art.”\u003c\/em\u003e And so the artist did, transforming his feeling into something perpetual in a world of colors and shapes, and immortalizing his secret and dreamed Stela.\u003c\/strong\u003e \u003cbr\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":37266108907679,"sku":"344SOP2","price":6000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/carta-manuscrita-jose-pancetti-stela.jpg?v=1682366269"},{"product_id":"carta-manuscrita-de-emiliano-di-cavalcanti","title":"Handwritten letter from Emiliano Di Cavalcanti (1941)","description":"\u003ch2\u003e \u003cstrong\u003e“I've been very neurotic and nervous, I think it's a sign of old age.\"\u003c\/strong\u003e\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eHandwritten letter from Emiliano Di Cavalcanti to Gildo.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e A leaf.\u003c\/li\u003e\n\n\u003cli\u003e In Portuguese.\u003c\/li\u003e\n\n\u003cli\u003e 14 cm x 20 cm.\u003c\/li\u003e\n\n\u003cli\u003e Sao Paulo July 23, 1941.\u003c\/li\u003e\n\n\u003cli\u003e Perfect condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e Unique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e \u003cspan style=\"text-decoration: underline;\"\u003eTranscription\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Blue letterhead. Inside a rectangle with the image of a twin-engine plane the words: “BY PLANE VIA VASP”\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSao Paulo July 23, 1941\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eYpiranga Avenue 480\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003ePO Box 906\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eMy dear Gildo\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eThe day before yesterday I called you and replied to your letter urgently. I have already arranged to send and get my things, as my OLD grandmother, the mother of a father who was from the backlands of the Northeast, used to say. I would like you to tell me how much the possible packing or other additional expenses cost you. It is not necessary to add that I am very free and would like you to come and spend three days with me here in São Paulo. I am very neurasthenic and nervous, I believe that these are ailments of old age. And how are you? Write to me whenever you can. A big hug from yours\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eDi Cavalcanti (signed)\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eRemembrance to Ignez\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\n \u003cp\u003eDi Cavalcanti (1897 - 1976) was born in Rio de Janeiro in 1897, but his family's northeastern roots were always present in his work. However, his artistic life would take off when he moved to São Paulo, where he conceived and organized the Modern Art Week of 1922, at the Municipal Theater in the capital of São Paulo. This event inaugurated Modernism in Brazil, a movement that became a cultural reference of the 20th century.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Di Cavalcanti took advantage of the artistic freedom of this new way of thinking to construct, above all, a Brazilian art. He traveled to several European countries and was strongly influenced by German Expressionism and Cubism. However, with these references he portrayed characteristic Brazilian themes, such as carnivals, workers, favelas, and even the miscegenation of typical Brazilian races, which until then had been hidden behind an attempt to Europeanize the country.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eDi Cavalcanti is undoubtedly an inspiring figure, but he also lived through difficult times. He was persecuted and imprisoned for his political beliefs in a Brazil convulsed by the totalitarian advance of Getúlio Vargas' Estado Novo. Once freed, he fled to Paris, from where he had to escape once again due to the Second World War. All these events, far beyond historical facts, had a profound impact on the artist's spirit, who suffered from the incidents around him.\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eIn 1941, Cavalcanti wrote this letter to his friend Gildo, in which he reveals himself to be very neurasthenic and nervous, which he himself believed to be \u003cem\u003e“ailments of age.”\u003c\/em\u003e It is captivating and intriguing to discover, through the writings of these great personalities, confessions of their intimacy that demonstrate that they are more fragile and human than recorded in the history books.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":37266179752095,"sku":"343SOP1","price":5000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/carta-manuscrita-emiliano-di-cavalcanti-1941.jpg?v=1682365883"},{"product_id":"carta-manuscrita-de-emiliano-di-cavalcanti-1939","title":"Handwritten letter from Emiliano Di Cavalcanti (1939)","description":"\u003ch2\u003e \u003cstrong\u003e\"I sold very little and I couldn't pay a debt. There were many compliments, but man doesn't live on glory alone…\"\u003c\/strong\u003e\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eUnpublished handwritten letter from Emiliano Di Cavalcanti to a friend.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e In Portuguese.\u003c\/li\u003e\n\n\u003cli\u003e A leaf.\u003c\/li\u003e\n\n\u003cli\u003e 19 cm x 25.7 cm.\u003c\/li\u003e\n\n\u003cli\u003e Paris, January 1, 1939.\u003c\/li\u003e\n\n\u003cli\u003e Good condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e Unique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e \u003cspan style=\"text-decoration: underline;\"\u003eTranscript of the letter\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eParis, January 1, 1939\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cem\u003eMy old friend\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThis is the first letter of 1939… Another year of this painful existence that God gave me. Finally, life is coming to an end. I am writing to you at half past midnight [in] a café, next to the Radio, and that is why the paper is horrible. What 1939 will bring me. I do not know, nor do I want to predict. 1938 ended with an exhibition of mine. I sold very little and was unable to pay a debt. There were many compliments, but man does not live on glory alone… Your letters are scarce, which does not stop bothering me, because I think about a million things. However, I believe that you are in good health and that nothing has happened to Ignez. I am extremely tired. This stupid job at the Radio is killing me and I need something else, which is difficult to find. Sometimes I miss Brazil so much. On days of \/ great cold, I only remember my Paquetá, of this heat there. \/ Tomorrow Noemia will live apart from me, she rented a studio \/ and is very happy. I hope she is happy and works \/ hard in her new home. \/ This letter is to wish you a Happy New Year. You are the \/ only friend from Brazil who remembers me. I have the impression that \/ besides you, no one else from Brazil knows \/ that I exist. Hugs to Ignez and […]\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eYours \/ Di Cavalcanti (signed)\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e There is no Brazilian among the 200 million people who live in the country who does not know the name of Emiliano Di Cavalcanti (1897 - 1976). The great modernist painter, who illustrated the colors of Brazil and popularized national art around the world, is still present in the popular imagination, but what was the life of the man behind the prestigious artist like? After all, Cavalcanti also went through times of war, longing and melancholy.\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Born in Rio de Janeiro in 1897, Di Cavalcanti, while still young, came across paints and brushes by creating illustrations for the magazine Fon Fon. In 1916, he moved to São Paulo to study law, but soon began to frequent the studio of the impressionist George Fischer Elpons. From then on, he never left the canvases, devising the Modern Art Week at the Teatro Municipal de São Paulo, joining the Communist Party, marrying the painter Noêmia Brandão, and finally settling in Paris, in the turbulent 1930s.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eHowever, his stay in the City of Light does not seem to have been smooth sailing for the artist, a secret he revealed in an intimate letter written to a friend. In his own words, Cavalcanti says that his work on the radio at that time tired and bored him. The great painter also states that, at the beginning of the year, he had a huge debt that worried him and made him have low expectations for 1939. Little did he know that that would be his last year in France, since, with the outbreak of World War II, Di would return to Brazil for one of the most fertile phases of his career as a painter.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eBack in his homeland, Cavalcanti would openly fight against abstractionism, travel to Uruguay and Argentina, exhibit in the city of Buenos Aires, and meet Zuília, who would become one of his favorite muses, in addition to illustrating books by renowned figures such as Vinícius de Moraes and Jorge Amado. He would also return to Paris in 1946 to look for some of his missing paintings, but after the Second World War, this would be a new world.\u003c\/p\u003e\n\n\u003cp\u003e However, still at the end of the 1930s, Cavalcanti tells us in his letter how much he misses Brazil and the warmth of his Paquetá; and he also reveals that his wife, Noêmia, would move to a studio even if they remained married. The artist wishes her happiness, but did he not feel alone?\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eThe beginning of 1939 was certainly a difficult time for the great artist, marked by longing, melancholy and doubts. Finally, Di Cavalcanti returned to Brazil to soon return to conquer the world, teaching that sometimes a step back is also a step forward, and, above all, showing that life is made up of movements, sometimes linear, but mostly pendular, a back and forth that often lacks meaning or explanation for those who sail its waves, but always follows its destiny.\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eDi Cavalcanti is one of the main names in Brazilian painting and letters from him are very rare, especially with relevant content like this.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":37266371215519,"sku":"355SOP5","price":8000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/carta-manuscrita-emiliano-di-cavalcanti-1939.jpg?v=1682366112"},{"product_id":"carta-manuscrita-de-victor-vasarely-1961","title":"Victor Vasarely's handwritten letter (1961)","description":"\u003ch2\u003e\u003cstrong\u003e\u003cb data-mce-fragment=\"1\"\u003eIn 1961, the contemporary artist Victor Vasarely became interested in music.\u003c\/b\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e \u003cstrong\u003eHandwritten letter and its envelope from Victor Vasarely to Mrs. Patricia Kugel. It also comes with an original catalog by the artist.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e One page.\u003c\/li\u003e\n\n\u003cli\u003e 21 cm x 27 cm.\u003c\/li\u003e\n\n\u003cli\u003e In French.\u003c\/li\u003e\n\n\u003cli\u003e Paris, 1961.\u003c\/li\u003e\n\n\u003cli\u003e Excellent condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/li\u003e\n\n\u003cli\u003e One-of-a-kind.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003e \u003cspan style=\"text-decoration: underline;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eFrench transcription\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMy dear Patricia,\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eI am ashamed, but once again this music has driven me to distraction… palpitations, cold sweats, despair!  This needs to be analyzed. But how can I then consider participating in your ballet? You surely can't have your \"elite woman in grey silk\" dance to the music of Lully or Geminiani. Today I'm going into the countryside, I send you my best wishes and my apologies. Vasarely\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"text-decoration: underline;\"\u003eTranslation in Portuguese\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMy dear Patricia,\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eI'm ashamed, but once again this music has driven me crazy… palpitations, cold sweats, despair! This needs to be analyzed. But how can I then imagine participating in your ballet? You can't yet make your \"elite woman in grey silk\" dance to the music of Lulli or Geminiani. I'm going to the countryside today, I kiss you and I apologize. Vasarely\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e Victor Vasarely (1906-1997) is a unique visual artist in the history of 20th-century art. A true star of the 60s and 70s, he stands out in contemporary art for creating a new trend: Op Art.  His mark is found in fashion; in music, David Bowie used one of his paintings for the cover of \"Space Oddity\"; in automobiles, he redesigned the Renault logo; among other things.\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eIt is the Vasarely Foundation in Aix-en-Provence, in the south of France, that has kept the artistic legacy of the master of optics alive for forty years and maintains the myth. The building, designed by Victor Vasarely himself, was classified as a historical monument in 2016. It welcomes visitors who wish to learn more about the unforgettable and avant-garde work of a world-famous artist whose autographs rarely appear on the market. This letter is the first available in at least 10 years.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":41999995175071,"sku":"357A","price":2800.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/products\/cartamanuscritavictorvasarely1.jpg?v=1682367508"},{"product_id":"dedicatoria-de-maria-helena-vieira-da-silva-1950s","title":"Dedication by Maria Helena Vieira da Silva (1950s)","description":"\u003ch2\u003e\n\n \u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003e\u003cspan\u003eRenowned Portuguese painter Maria Helena Vieira da Silva has written a dedication in an exclusive French biography.\u003c\/span\u003e\u003c\/strong\u003e\n\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eDedication by Maria Helena Vieira da Silva to “Elisa” on the first page of a short French biography of the Portuguese painter (1950).\u003c\/strong\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan\u003e11 pages.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan\u003eIn French.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan\u003e14 cm x 19 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan\u003eNo location information, 1950s.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan\u003ePerfect condition\u003cmeta charset=\"utf-8\"\u003e of conservation.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e \u003cspan\u003eUnique piece.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBorn in Lisbon, Vieira da Silva began studying drawing and painting at the city's Academy of Fine Arts when she was only 11 years old. As a teenager, she expanded her artistic interests to include the study of sculpture, and as a young adult she moved to Paris, where she studied painting with Fernand Léger. In 1930, she married the Hungarian painter Árpád Szenes. Except for a brief stay in Lisbon and a period in Brazil during World War II, Vieira da Silva continued to reside in Paris for the rest of her life.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan\u003eBy the 1950s, when she wrote this dedication, Vieira da Silva had become internationally known for her dense, complex compositions, influenced by the art of Paul Cézanne and the fragmented forms, spatial ambiguities, and restricted palette of Cubism. She exhibited her work widely, winning a prize for painting at the São Paulo Biennial in 1961 and the Grand Prix Nationale des Arts from the French government in 1966. In 1988, the Gulbenkian Museum in Lisbon and the Grand Palais in Paris presented a major retrospective of the artist’s work.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eIn addition to the beautiful dedication to Elisa (an unidentified person), what draws attention here is the delicacy of the whole: this small French biography, produced in a very limited edition of 54 copies, on laid paper, in perfect condition and with high-quality reproductions and texts. Maria Helena Vieira da Silva had this delicate intention in the 1950s, at the height of her career.\u003c\/strong\u003e \u003c\/p\u003e\n\n\u003cdiv style=\"position: absolute; left: 27px; top: 85.2891px;\" id=\"gtx-trans\" data-mce-style=\"position: absolute; left: 27px; top: 85.2891px;\"\u003e\n\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":45307620294815,"sku":"535","price":2000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/dedicatoriamariahelenavieiradasilva3.jpg?v=1714397406"},{"product_id":"autografo-de-le-corbusier-1955","title":"Le Corbusier autograph (1955) ","description":"\u003ch2 dir=\"ltr\"\u003e\u003cstrong\u003eIn the 1950s, the architect Le Corbusier signed an autograph.\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\" style=\"font-weight: bold;\"\u003e \u003cstrong\u003eLe Corbusier's autograph for an admirer (loose page from the book \"Le Corbusier, dessins\"). The first word was not deciphered.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e A leaf.\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e In French.\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e 13 cm x 18.5 cm.\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e 1955, no information about the location.\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e Good average state of preservation.\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e Unique piece.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eLe Corbusier was a renowned Franco-Swiss architect, urban planner, painter, and theorist of the 20th century. Known for his innovations in the fields of architecture and design, he was one of the pioneers of the modernist movement. Le Corbusier believed in the functionality of spaces and the need to adapt them to the needs of modern life. His iconic projects include the Villa Savoye in France and the urban plan for Chandigarh in India. In addition to his architectural contributions, he also produced a vast body of written and graphic work, influencing generations of architects and urban planners around the world.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eLe Corbusier had a significant relationship with Brazil, where he influenced numerous architectural projects. In 1936, he was invited by Lúcio Costa and other Brazilian architects to contribute to the design of the Ministry of Education and Health in Rio de Janeiro. Although he proposed two designs, the main ideas were adapted by the Brazilian team, resulting in a building that incorporates Corbusian concepts such as pilotis, brise-soleil, and the open plan. Furthermore, Le Corbusier participated in the design of the Maison du Brésil in Paris, a residential building for Brazilian students, which opened in 1959. His involvement with Brazilian architects such as Oscar Niemeyer and Lúcio Costa helped shape modernist architecture in the country.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eThis autograph by Le Corbusier is a piece of interest for collectors and architecture enthusiasts who want to protect and pass on a piece of the history of architectural modernism.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":45873457463455,"sku":"475","price":2000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/livro_autografo_le_corbusier_2.jpg?v=1720208237"},{"product_id":"dedicatoria-e-desenho-de-adriana-varejao","title":"Dedication and drawing by Adriana Varejão","description":"\u003ch2\u003e\n\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cb id=\"docs-internal-guid-356a632c-7fff-3dc5-0e73-107776db0e66\"\u003e\u003cspan\u003eAdriana Varejão demonstrates her appreciation for two women with a heart drawing on one of her hands.\u003c\/span\u003e\u003c\/b\u003e\n\n\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003eDedication and drawing by Adriana Varejão for Maddie and Ella.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eA book with 152 pages, showcasing his most famous works.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn Portuguese.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e20.8 cm x 25 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eNo information available regarding the date and location.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eExcellent condition.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eUnique piece.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eFor Maddie and Ella\u003cbr\u003e With the affection of\u003cbr\u003e Varejão\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eAdriana Varejão is widely recognized as one of Brazil's most important contemporary artists and a prominent figure on the global scene. Her work, which spans painting, sculpture, and installation, explores historical, cultural, and social issues, often linked to colonization, identity, and Brazilian memory. Her works are present in the collections of renowned museums such as MoMA (New York), Tate Modern (London), and Inhotim (Brazil). Furthermore, her pieces have been exhibited in important biennials and global exhibitions, solidifying her position as one of the most relevant voices in contemporary art.\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e This dedication from Adriana Varejão is an expression of her attention and care for Maddie and Ella, accompanied by a drawing made by the artist herself: a heart.\u003cbr\u003e\u003cbr\u003e The heart is a recurring theme in Adriana Varejão's work because it synthesizes several central layers of her art: the body, violence, history, and Brazilian identity. For the artist, the heart is not merely a romantic or emotional symbol, but a vital organ linked to flesh, blood, and the vulnerability of the body, frequently associated with the open wounds and incisions that appear in her works. It engages with Brazil's colonial heritage, marked by physical and symbolic violence, the mixing of cultures, and the idea of a lacerated historical body. Thus, the heart functions as a metaphor for life, trauma, and memory, intimately connecting the individual body to the collective history of the country.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eAlthough no further details are known about the recipients, the dedication bears the mark, signature, and symbolism of one of the most iconic figures in contemporary Brazilian art.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":55815315488927,"sku":"578","price":2500.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/dedicatoriadesenhoadrianavarejao2.jpg?v=1776543791"},{"product_id":"dedicatoria-de-beatriz-milhazes","title":"Dedication by Beatriz Milhazes","description":"\u003ch2\u003e\n\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e \u003cstrong\u003eBeatriz Milhazes expresses her affection for her neighbors through a dedication.\u003c\/strong\u003e\u003cbr\u003e\n\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003eDedication and drawing by Beatriz Milhazes for Jolo and Carlos.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eA book with 263 pages, showcasing his most famous works.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn Portuguese.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e26.3 cm x 27.6 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n \u003cli dir=\"ltr\"\u003e\u003cspan\u003eGood condition, but with some slightly wavy pages.\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eNo information available regarding the date and location.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eUnique piece.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eFor Jolo and Carlos\u003cbr\u003e My favorite neighbors\u003cbr\u003e With love\u003cbr\u003e Beatriz XXX\u003c\/em\u003e\u003cstrong\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eBeatriz Milhazes is a renowned contemporary Brazilian artist, known for her vibrant works that combine elements of Brazilian culture, such as tropical motifs, carnival, and samba, with references to global artistic movements, such as Baroque and Modernism. She has managed to reinvent Brazilian visual traditions, integrating them into an abstract and contemporary language, becoming an essential figure in the Brazilian art scene.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn the world stage, her works are exhibited in prestigious institutions such as MoMA, Tate Modern, and the Centre Pompidou. Her success at auctions and her participation in important art events, such as the Venice and São Paulo biennials, solidify her status as an international icon and cultural ambassador for Brazil.\u003c\/span\u003e\u003cstrong\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eAutographs and dedications by Beatriz Milhazes are rare, especially in a book with beautiful photographs.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":55816752627871,"sku":"572","price":1200.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/dedicatoriabeatrizmilhazes2.jpg?v=1737446351"},{"product_id":"fotografia-assinada-por-gilbert-and-george-2010","title":"Photograph signed by Gilbert and George (2010)","description":"\u003ch2 dir=\"ltr\"\u003e \u003cstrong\u003eIn 2010, Gilbert \u0026amp; George signed a large photograph in Berlin in front of one of their works.\u003c\/strong\u003e\n\u003c\/h2\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e \u003cb id=\"docs-internal-guid-a76e50a8-7fff-6a50-6b7b-807861d152ec\"\u003e\u003cspan\u003eBlack and white photograph signed by Gilbert \u0026amp; George, for a fan.\u003c\/span\u003e\u003c\/b\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e 30.5 cm x 20.3 cm.\u003c\/li\u003e\n\n\u003cli\u003e 2010, Arndt+Partner Gallery, Berlin, Germany.\u003c\/li\u003e\n\n\u003cli\u003e Perfect condition.\u003c\/li\u003e\n\n\u003cli\u003e Unique piece.\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cspan\u003eGilbert \u0026amp; George are a British artist duo known for their unique and provocative style. Formed by Italian Gilbert Prousch and Englishman George Passmore, the partnership emerged in the 1960s, and since then, they have been creating works that explore social, political, and cultural issues in an innovative and irreverent way. Their work combines photography, collage, and performance, often with a graphic approach that uses vibrant colors and geometric structures. Furthermore, they are known for incorporating their own images into their works, presenting themselves not only as artists but also as protagonists of the narratives they create.\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp dir=\"ltr\"\u003e\u003cspan\u003eGilbert \u0026amp; George hold a well-established position in the international art market. Their works are present in important public and private collections around the world, and their exhibitions in major cultural institutions, such as the Tate Modern and the Guggenheim, reinforce their relevance. The duo is frequently featured in contemporary art auctions, and their pieces reach high values, reflecting the impact of their production over the decades.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e \u003cstrong\u003eA high-quality photograph, signed by a duo of great importance in the world of modern art.\u003c\/strong\u003e \u003c\/p\u003e\n\n\u003cdiv style=\"position: absolute; left: 27px; top: 85.2891px;\" id=\"gtx-trans\"\u003e\n\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":62012404760735,"sku":"53","price":700.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/autografogilbertandgeorge53a.jpg?v=1742774701"},{"product_id":"desenho-de-moda-de-um-vestido-para-mistinguett-decada-de-1920","title":"Fashion drawing of a dress for Mistinguett (1920s)","description":"\u003ch2\u003e\u003cb id=\"docs-internal-guid-5f323e75-7fff-c8df-5b51-7029a5adcc3d\"\u003e\u003cspan\u003eIn the 1920s, Mistinguett, at the height of her fame, symbolizes Parisian glamour in a rare fashion sketch.\u003c\/span\u003e\u003c\/b\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e\u003cstrong\u003eFashion drawing by an unidentified French designer, depicting a dress for the artist Mistinguett.\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eA leaf.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e16 cm x 22.5 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn French.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eExcellent state of preservation.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eOne-of-a-kind.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThis drawing presents an elegant fashion sketch from the 1920s, made on thin paper yellowed by time. The female figure is depicted in profile, wearing a straight dress with simple and sophisticated lines, adorned with a belt at the waist and discreet embroidery at the hem. On her head, she wears a light blue cloche hat, typical of the period, and carries a closed umbrella, completing the image of distinction. The strokes are delicate, using colored pencils and graphite, conveying the lightness and elegance of Parisian fashion. In the upper left corner, the inscription \"Melle Mistinguett\" can be read, and in the lower right corner there is a barely legible signature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eIn the 1920s, Mistinguett was one of the biggest stars of French music hall and an absolute icon of the \"années folles\" (the Roaring Twenties).  An artist at the Casino de Paris and the Folies Bergère, she captivated audiences with her charisma, her voice, and her extravagant stage presence. Recognized as the highest-paid actress in the world at the time, she was a symbol of modernity, female emancipation, and Parisian glamour. Her style and clothing served as a reference not only for the stage but also for fashion, influencing generations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eIt is unlikely that this sketch is by Charles Gesmar or Zig, the main costume designers for Mistinguett in the 1920s. Gesmar's style was exuberant, full of color, feathers, and glitter, while Zig also designed more decorative and expressive stage costumes.  The drawing in question, however, shows a more sober figure, with a straight dress and an umbrella, resembling much more a fashion study or an elegant city costume than a stage costume. The mention of \"Melle Mistinguett\" may indicate inspiration or dedication, but the different signature and the absence of theatrical elements suggest that it is the work of another Parisian designer, anonymous or less well-known.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eThe piece is valuable for multiple reasons.  Aesthetically, it preserves the elegance of 1920s fashion in a refined artistic style. Historically, it is directly linked to Mistinguett, a central figure in Parisian cultural life, giving the sketch a rare documentary character. Culturally, it represents the union between the world of haute couture and that of spectacle, two pillars of French identity at the time. In excellent condition and rich in detail, it is a valuable testament to the history of fashion and entertainment of the early 20th century.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":62513766957215,"sku":"616","price":1500.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/desenhovestidomistinguett.jpg?v=1759015643"},{"product_id":"desenho-de-joalheiro-com-estilo-art-nouveau-inicio-do-seculo-xx","title":"Jewelry design, in Art Nouveau style (early 20th century)","description":"\u003ch2 dir=\"ltr\"\u003e\n\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\n\n\u003c\/h2\u003e\n\u003ch2 dir=\"ltr\"\u003e \u003cstrong\u003e\u003cmeta charset=\"UTF-8\"\u003e\n\n\u003cb id=\"docs-internal-guid-2b555fac-7fff-21fa-0a5b-248ab4324fc0\"\u003e\u003cspan\u003eIn the early 20th century, a French jeweler envisioned a luxurious jewelry box made of enameled copper.\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\n\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003eDrawing by an unidentified French jeweler, depicting a luxurious jewelry box made of enameled copper.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eA leaf.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e35.5 cm x 33 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn French.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eExcellent state of preservation.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eOne-of-a-kind.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThis document is an artistic drawing executed in watercolor and ink. It presents the design of a jewelry box in enamelled copper, with a typically\u003c\/span\u003e \u003cspan\u003eArt Nouveau\u003c\/span\u003e design \u003cspan\u003e. The piece is richly decorated with peacock feather motifs, predominantly in shades of blue, green, and gold, elements strongly associated with the symbolism of luxury and sophistication in the early 20th century. In the upper left corner, it reads\u003c\/span\u003e \u003cspan\u003e\"Fischer Sculpteur\u003c\/span\u003e \u003cspan\u003e,\" and in the upper right,\u003c\/span\u003e \u003cspan\u003e\"Janvier 06\u003c\/span\u003e \u003cspan\u003e,\" indicating that the work was conceived in January 1906. Below, there are enlarged details of the ornaments, reinforcing the concern for meticulous aesthetics and the\u003c\/span\u003e \u003cspan\u003echamplevé\u003c\/span\u003e enamel technique \u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThe context of the work is linked to the European decorative movement of the turn of the century, when artists and sculptors sought to integrate art and functionality into everyday objects. The inscription\u003c\/span\u003e \u003cspan\u003e\"Projet de Coffret à bijoux – Cuivre et Emaux Champlevés\"\u003c\/span\u003e \u003cspan\u003eshows that it is a formal proposal, possibly presented for luxury artisanal or industrial production. Peacocks and their feathers, symbols of beauty and eternity, were a recurring theme of the time, especially in France and Austria, where the\u003c\/span\u003e \u003cspan\u003eArt Nouveau\u003c\/span\u003e aesthetic \u003cspan\u003evalued organic lines, natural motifs, and refined enameling techniques.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003e\u003cb\u003e\u003cspan\u003e\u003cb id=\"docs-internal-guid-d1109217-7fff-7a7a-00c7-0dce08d72ec4\"\u003eThe importance of this document lies in the fact that it is not only a preparatory drawing for a luxury object, but also a testament to the history of French decorative arts at the beginning of the 20th century.  It is a large-format work, in excellent condition, which impresses with its richness of detail and technical refinement.  For collectors and historians, it has significant value, as it documents the French tradition of uniting art, sculpture, and luxury craftsmanship during the Art Nouveau period.\u003c\/b\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":62513773609119,"sku":"615","price":2500.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/Desenho_de_joalheiro_com_estilo_Art_Nouveau_1.jpg?v=1759015658"},{"product_id":"estudo-de-benedito-calixto-a-partir-de-debret-por-volta-de-1900","title":"Study by Benedito Calixto based on Debret (around 1900)","description":"\u003ch2 dir=\"ltr\"\u003e\n\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\n\n\u003c\/h2\u003e\n\u003ch2\u003e\u003cstrong\u003eBenedito Calixto depicts the pillory of the old Praça do Rossio, in Rio de Janeiro, based on a work by Debret.\u003c\/strong\u003e\u003c\/h2\u003e\n\u003ch2 dir=\"ltr\"\u003e\u003cstrong\u003e\u003cmeta charset=\"UTF-8\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003ePencil drawing and text by Benedito Calixto about the pillory in Rio de Janeiro, inspired by Debret.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eA sheet of paper with two pages, front and back.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e28.5 cm x 21.5 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn French.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eGood state of preservation.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eOne-of-a-kind.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan style=\"text-decoration: underline;\"\u003eFront transcription\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eRIO DE JANEIRO'S OLD TOWN\u003cbr\u003e IN THE OLD ROSSIO SQUARE (drawing by the painter DEBRET)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eWhat is immediately noticeable in Praça do Rocio, one of the oldest squares in Rio de Janeiro, is the granite column topped with a gilded copper armillary sphere.  Two small iron posts rest on the column's capital, clearly indicating the presence of a gallows – a symbol of the high justice exercised by the city government.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eThis emblem (designed by Debret) is found in all inland cities of Brazil, but is generally represented in a very rudimentary way, by means of a large wooden trunk painted red and two pointed pieces of iron, intended to suggest a huge cleaver. These irons, placed horizontally near the center and covered with wood, form a small cross: one of them extends as if it were the handle, and the other, fixed vertically with firmness, is firmly attached to the top of the posts.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003e(A Picturesque Journey to Brazil, Volume III)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan style=\"text-decoration: underline;\"\u003eTranscription of the verse\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cem\u003eThe wooden pillories in some villages of Brazil, as depicted by the painter Debret.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThis antique sheet features a very delicate pencil drawing of the pillory of Rio de Janeiro, located in the old Praça do Rocio (current Praça Tiradentes). In the center, a slender granite column rises, crowned by a gilded copper armillary sphere, a symbol of Portuguese royal power, flanked by small iron posts reminiscent of the gallows. The drawing is sober, but detailed enough to suggest the relief and imposing nature of the structure, while some sketched human figures in the background give a sense of scale. Below, a handwritten caption in Portuguese indicates that it is a drawing by the painter Debret, famous for recording life in 19th-century Brazil. The lower part of the sheet is occupied by a slightly faded handwritten text in French, describing the symbolic function of the monument and recalling its presence in other Brazilian cities as a mark of colonial judicial power.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eBenedito Calixto (1853-1927), one of Brazil's great historical painters, produced this study based on the work of Debret. He had the habit of copying Debret and Rugendas to document architectural and social elements of colonial Brazil. Calixto painted numerous colonial and historical scenes, but most of his large compositions are related to São Vicente, Santos, São Paulo, and the São Paulo coast; as far as is known, no finished painting by Calixto directly depicts the pillory of Rio de Janeiro. Therefore, this work is probably a preparatory exercise, an archive copy, or a documentary plate, not intended for a final painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eThis sheet is of great historical and documentary importance, as it was created by Benedito Calixto, one of the greatest historical painters in Brazil, based on the work of Debret. It was most likely produced between 1895 and 1915, a period in which Benedito Calixto dedicated himself to projects of historical memory, consulted Debret's works, and produced documentary studies for his compositions and institutional commissions.  It accurately depicts the pillory of the old Praça do Rossio in Rio de Janeiro, a symbolic monument of the colonial period that no longer exists. The rarity of the piece lies in the combination of the meticulous drawing and the explanatory text handwritten in French, highlighting Calixto's direct access to original sources and his concern for preserving the visual memory of the country. It is a unique testament to his practice as an artist and researcher, uniting art and historical scholarship in an exceptional medium, difficult to find in both private collections and institutional archives.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":62513774919839,"sku":"619a","price":6000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/textoedesenhobeneditocalixto1a.jpg?v=1759015698"},{"product_id":"desenho-naturalista-de-benedito-calixto-por-volta-de-1900","title":"Naturalist drawing by Benedito Calixto (circa 1900)","description":"\u003ch2 dir=\"ltr\"\u003e\u003cstrong\u003eAround 1900, Benedito Calixto studied seagulls and albatrosses in flight.\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003eNaturalist drawing by Benedito Calixto, in pencil.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eA leaf, a page.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003e27.5 cm x 20.5 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn French.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eIn good condition.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eOne-of-a-kind.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eThis pencil drawing presents various studies of seabirds in flight, probably seagulls and an albatross, identified by the handwritten inscription in the lower left: \"Gull Albatross\". In the center, a large bird with open wings stands out, carefully shaded to give volume, surrounded by other smaller figures in different positions and angles, suggesting movement and direct observation of nature. In the lower right margin, another annotation can be read, which is difficult to decipher, but which seems to refer to a scientific or naturalist source.  Due to the technique and the nature of the preparatory study, the sheet can be dated between the late 19th and early 20th centuries, a period in which Calixto intensely developed his work of observation and documentation of the São Paulo coast.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cspan\u003eBenedito Calixto (1853-1927) is a central figure in Brazilian painting, recognized above all for his marine landscapes, urban views, portraits, and historical scenes that sought to reconstruct the colonial and imperial memory of Brazil. A self-taught artist, he built a solid career, receiving public and religious commissions, and collaborated with cultural institutions. His work reflects both artistic sensibility and documentary concern, uniting the eye of a painter and the rigor of a visual researcher.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003cstrong\u003eThis drawing is rare because it differs from Calixto's known final compositions: it is a naturalistic study, more intimate and spontaneous, revealing his creative process and his interest in faithfully recording the maritime environment. The importance of the sheet lies precisely in offering an authentic testimony of the artist's working method, completing the understanding of his production and enhancing his facet as an observer of nature, in addition to being a historical painter.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":62513786650783,"sku":"619b","price":6000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/textoedesenhobeneditocalixto2a.jpg?v=1759015690"},{"product_id":"dedicatoria-de-os-gemeos-em-um-livro-sobre-banksy","title":"Dedication by Os Gêmeos in a book about Banksy (2021)","description":"\u003ch2 dir=\"ltr\"\u003e\n\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cb\u003e\u003cspan\u003eIn 2021, the Twins write\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/b\u003e \u003cb id=\"docs-internal-guid-5236d1f8-7fff-b342-350e-1a075de77bbe\"\u003e\u003cspan\u003e\u003cem\u003eLove! Change everything\u003c\/em\u003e\u003c\/span\u003e\u003c\/b\u003e \u003cb id=\"docs-internal-guid-5236d1f8-7fff-b342-350e-1a075de77bbe\"\u003e\u003cspan\u003eon the iconic page 139 of a book about Banksy.\u003c\/span\u003e\u003c\/b\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\n\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cstrong\u003eDedication from the duo Os Gêmeos on page 139 of the book \"Banksy, War and Spray\" to Abraham.\u003c\/strong\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eDimensions: 21 cm x 26 cm x 1.5 cm.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eCuritiba, September 2021.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eGood condition.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli dir=\"ltr\"\u003e \u003cspan\u003eUnique piece.\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp data-end=\"598\" data-start=\"0\"\u003e \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eOs Gêmeos\u003c\/span\u003e\u003c\/span\u003e and \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eBanksy\u003c\/span\u003e\u003c\/span\u003e are among the most influential names in urban art worldwide. Since the 1990s, Os Gêmeos have taken the aesthetics of São Paulo graffiti—marked by dreamlike characters and vibrant colors—from the streets of São Paulo to international museums and galleries, decisively contributing to the institutional legitimization of street art. Banksy, in turn, became a global phenomenon by combining urban intervention, political critique, and the art market, transforming graffiti into a universal language with media and cultural impact.\u003c\/p\u003e\n\u003cp data-end=\"1235\" data-start=\"600\"\u003e Abraão is a young Brazilian street artist, belonging to a new generation that grew up under the direct influence of these two giants of the urban scene. In 2021, before the exhibition \u003cem data-end=\"788\" data-start=\"778\"\u003e*Segredos* (Secrets\u003c\/em\u003e ), held at the \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eOscar Niemeyer Museum\u003c\/span\u003e\u003c\/span\u003e , he had the opportunity to meet Os Gêmeos (The Twins) in person. He brought with him a book dedicated to Banksy with the symbolic intention of \"bringing together\" these two artistic universes, creating a physical link between fundamental references in his formation. His gesture was not just to ask for an autograph, but to construct an object that represented dialogue, admiration, and continuity in the history of urban art.\u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1846\" data-start=\"1237\"\u003e The dedication, written in black marker with a spontaneous and distinctly graffiti-like stroke, features \"OS GEMEOS\" in firm, stylized lettering, followed by the name \"Abraão\" and the phrase \"Love! Change everything,\" an expression that functions as a small artistic manifesto, evoking transformation and attitude. \u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1846\" data-start=\"1237\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eA rare dedication, both for the discretion of the authors and for the format—a book about Banksy open to a page displaying an iconic image of the artist—marked by a typically graffiti-style script and a universal message: “Love! Change everything.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":62693765972127,"sku":"629","price":3000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/dedicatoriaosgemeosbanksy4.jpg?v=1771441509"},{"product_id":"carta-manuscrita-de-candido-portinari-1939","title":"Handwritten letter from Cândido Portinari (1939)","description":"\u003ch2\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eIn 1939, Cândido Portinari Illustrates a Letter to Enrico Bianco with a Rare Drawing\u003c\/strong\u003e\n\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eHandwritten letter from Cândido Portinari to Enrico Bianco.\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003eOne sheet, one page, with its envelope and a drawing of a chair.\u003c\/li\u003e\n\u003cli\u003e+\/- 21 cm x 28 cm.\u003c\/li\u003e\n\u003cli\u003eIn Portuguese.\u003c\/li\u003e\n\u003cli\u003eSão Paulo, March 16, 1939\u003c\/li\u003e\n\u003cli\u003eExcellent condition\u003cmeta charset=\"utf-8\"\u003e.\u003c\/li\u003e\n\u003cli\u003eUnique set.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLetter Transcription\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"181\" data-end=\"278\"\u003e\u003cem\u003eProf. Candido Portinari\u003c\/em\u003e\u003cbr data-start=\"208\" data-end=\"211\"\u003e\u003cem\u003eHead of the 16th Didactic Section\u003c\/em\u003e\u003cbr data-start=\"238\" data-end=\"241\"\u003e\u003cem\u003eof the University of the Federal District\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"280\" data-end=\"296\"\u003e\u003cem\u003eDear Enrico,\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"298\" data-end=\"435\"\u003e\u003cem\u003eI would like you to do me the favor of going to “Expresso Paulista” on [Evaristo da Veiga] street, to find out if they sent the car and the box to Brodowski.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"437\" data-end=\"493\"\u003e\u003cem\u003eIf it's necessary to pay there, pay it and let me know how much it was.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"495\" data-end=\"563\"\u003e\u003cem\u003eOn the day we shipped, they were supposed to send someone to pick it up, but they didn't.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"565\" data-end=\"586\"\u003e\u003cem\u003eWe are all doing well here.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"588\" data-end=\"657\"\u003e\u003cem\u003eWe leave for Brodowski on Saturday night. Regards to yours.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"659\" data-end=\"694\"\u003e\u003cem\u003eReceive a hug from\u003c\/em\u003e\u003cbr data-start=\"678\" data-end=\"681\"\u003e\u003cem\u003ePortinari\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"696\" data-end=\"725\"\u003e\u003cem\u003eSão Paulo, March 16 – 1939.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"0\" data-end=\"591\"\u003eIn 1939, \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eCandido Portinari\u003c\/span\u003e\u003c\/span\u003e was already one of Brazil's most important artists, established on the national scene and with significant international projection, participating in major exhibitions and involved in public commissions during the \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eGetúlio Vargas\u003c\/span\u003e\u003c\/span\u003e period. This letter reveals a concrete aspect of his activity: the practical management of his work, mentioning the sending of objects — possibly related to artworks or materials — to \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eBrodowski\u003c\/span\u003e\u003c\/span\u003e, his hometown, which holds a central place in his trajectory and his work.\u003c\/p\u003e\n\u003cp data-start=\"593\" data-end=\"989\"\u003eThe recipient, \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eEnrico Bianco\u003c\/span\u003e\u003c\/span\u003e, was a painter and a direct collaborator of Portinari, part of his inner circle. Bianco worked alongside him on various projects and was part of the studio environment, playing a relevant role in the execution and dissemination of his works. \u003c\/p\u003e\n\u003cp data-start=\"991\" data-end=\"1537\"\u003eThe drawing on the back can be attributed to Portinari himself. It is directly integrated into the document, with no signs of later addition, and presents material characteristics consistent with the rest of the letter: visual analysis indicates that the ink and writing instrument are the same as those used for the text and envelope. The drawing of the chair \u003cmeta charset=\"utf-8\"\u003eis perhaps a personal reference or an 'inside joke' between the two artists (we are researching).\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eThis collection features a beautiful signature, an identified and relevant recipient in the artist's history, a strong biographical dimension with the mention of Brodowski, and, above all, the presence of a drawing on the envelope. Portinari is considered by many to be the greatest Brazilian painter of the first half of the 20th century, alongside \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eTarsila do Amaral\u003c\/span\u003e\u003c\/span\u003e, and entirely handwritten and signed letters by him are very rarely offered to the public, appearing only a few times per decade.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":62752805781663,"sku":null,"price":10000.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/cartamanuscritadesenhoportinari2.jpg?v=1775431861"},{"product_id":"carta-manuscrita-de-nelson-da-costa-1965","title":"Handwritten letter from Milton da Costa (1965)","description":"\u003ch2\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eIn 1965, Milton da Costa transforms a letter into a work of art\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eHandwritten letter from Milton da Costa to \u003cmeta charset=\"utf-8\"\u003eGilda Vieira.\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e4 sheets, 4 pages, with its envelope.\u003c\/li\u003e\n\u003cli\u003e12 cm x 15 cm.\u003c\/li\u003e\n\u003cli\u003eIn Portuguese.\u003c\/li\u003e\n\u003cli\u003eJanuary 15, 1965, no location information.\u003c\/li\u003e\n\u003cli\u003eExcellent condition, a small stain on the first page (see image).\u003c\/li\u003e\n\u003cli\u003eUnique set.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-end=\"490\" data-start=\"0\"\u003e\u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eMilton da Costa\u003c\/span\u003e\u003c\/span\u003e was an important artist of Brazilian modernism, working in the transition between figuration and abstraction, with a body of work marked by stylized female figures. \u003cmeta charset=\"utf-8\"\u003eHe associated with \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eTarsila do Amaral\u003c\/span\u003e\u003c\/span\u003e, \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eCândido Portinari\u003c\/span\u003e\u003c\/span\u003e, and \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eDi Cavalcanti\u003c\/span\u003e\u003c\/span\u003e. In 1965, the date of this letter, he was already in full artistic maturity, with a consolidated language. Although recognized by experts, he remains relatively little known to the general public, which suggests a real potential for rediscovery in the coming years.\u003c\/p\u003e\n\u003cp data-end=\"1077\" data-start=\"492\"\u003eThe content of the letter is difficult to decipher, and we could not fully understand the text. However, the interest of the piece lies elsewhere: in its visual power. The two-color calligraphy, blue and red, creates a very expressive graphic rhythm, while the drawings, rounded female figures, small Venuses, directly refer to Milton da Costa's artistic universe. \u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1321\" data-start=\"1079\"\u003e\u003cstrong\u003eI found this piece special because it brings together an important yet little-known artist and, above all, because this letter is a true work of art in itself, accessible for a fraction of the price of a painting.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Com certificado de autenticidade e garantia","offers":[{"title":"Default Title","offer_id":62752809353375,"sku":null,"price":2500.0,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1945\/8243\/files\/cartamanuscritadesenhosmiltondacosta1.jpg?v=1775431906"}],"url":"https:\/\/glorias.com.br\/en\/collections\/pintores.oembed","provider":"Glórias | Autógrafos e Manuscritos Raros","version":"1.0","type":"link"}