Stefanini Arte
P.I 04704120403
Legal address:
V.le Giordano Bruno 36
47838 - Riccione (RN) IT
Prints & multiples
.png "eyJpdCI6Ikdpb3NldHRhIEZpb3JvbmkifQ==")
Stefanini Arte & Edizioni Tipertì
The group’s operations support the editorial activity of Edizioni Tipertì - Fabjbasaglia, a leading publisher of contemporary fine art prints, editions and monographs.
Since 1978 we have collaborated with the most important Italian and international artists to create prestigious prints and multiple art editions.
We present an extensive catalogue of fine art graphics and multiples.
The graphics are limited editions and each one is duly numbered and autographed by the artist as well as accompanied by a certificate of guarantee of authenticity and provenance
(cf. Declaration of Venice - 25 October 1991).
With these credentials and the seriousness that distinguishes us, we look to the future; with the aim of making original, quality art known to an ever-growing number of enthusiasts.
The Venice Declaration provides the theoretical reference underpinning the concepts of originality of an art print:
The International Commission invited by the Venice Biennale and composed of Renè Berger (Switzerland), Maurizio Calvesi (Italy), Jean Clair (France), Zoran Krzisnik (Slovenia), Miguel Rodriguez Acosta (Spain), Enzo Di Martino (project curator) , which met in Venice on 25 October 1991, in the headquarters of the Historical Archive of Contemporary Arts at Ca' Corner della Regina, examined the more than one hundred responses to the questionnaire (concerning the photomechanical procedures, the intervention of technicians and a printer, the biffatura, deposit at a National Institute of Graphics) received from museum directors, artists, publishers, printers, directors of art magazines and critics from all over the world. From these answers, the Commission drew some guidelines, which were the subject of debate during the meeting and on the basis of which it was possible to formulate some principles concerning the conception and creation of an original graphic work, and consequently to give some recommendations .
a) An original graphic work can be considered original when it is expressly conceived to be created with the sole procedures of art graphics.
b) Any technical process (including photomechanical processes) and any support material are lawful when necessary for the artist's expressive purposes.
e) In this perspective, any technical contribution in the elaboration of the matrix or by printers in the definitive edition is admissible, provided that the conscious knowledge and direction of the artist exists.
d) Publishers and/or printers of graphic works are invited to declare in a special document all the technical-editorial characteristics of the graphic work: in particular, to indicate the name of the author, any technical collaborators, the printer, the techniques used, the materials used, the number of copies printed (including the various author's proofs), the numbering used, the date of execution.
e) It is desirable that a copy of the edition of each graphic work be deposited with a Public Institution suitable for this task (e.g. Bibliothèque Nationale in France, National Institute of Graphics in Italy, Calcografìa Nacional in Spain, etc.), accompanied from the editorial technical descriptive file (referred to in point d.), in order to create an archive of figurative research in each country.
f) It is also desirable that the chalcographic and woodcut engraving matrices are not destroyed or doubled for reasons of sole protection of the art market, but rather marked (or perforated, or cut) in a part of the surface, in an evident way, in order to unequivocally prove that the edition has been printed.
g) To prevent any abuse in the diffusion of original graphic works, it is recommended to clearly specify the number of copies printed, indicating in particular those numbered for diffusion on the market, those eventually destined for public collections and proofs for the author as a rule they should not exceed 10% of the total circulation. It is also recommended to indicate the existence of print, color and status proofs.
The Commission believes that the indications contained in this document can only be applied to traditional graphics, however the history of the graphic experience is, in fact, a history of the evolution of techniques, and obviously artists are free to appropriate any new discovery, procedure or material or immaterial support, useful for the expression of one's imagination. In this perspective it must be kept in mind that the possibilities offered by science and new technologies are and will necessarily be part of the artist's expressive baggage, and therefore works created with video processes, holograms, the possibilities of experimentation must be considered with due attention offered by computers and any other means that will become available to creativity in the future.
For these reasons, the Commission hopes that the debate on art and the role of art does not encounter further prejudices of a formal or terminological nature, relying on the recognition of the artistic value of the work.
The Secretary General, avv. Raffaello Martelli and the Conservator of the Historical Archive of Contemporary Arts dott. Wet Angel.
Venice, 25 October 1991
Signed: Rene Berger, Maurizio Calvesi, Jean Clair, Zoran Krzisnik, Miguel Rodriguez Acosta, Enzo Di Martino, Raffaello Martelli, Angelo Bagnato.