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Pia Gallo has been a private art dealer since 1981. Her firm is dedicated to the research, acquisition, sale, and appraisal of fine old master and modern prints and drawings. She has published numerous illustrated catalogues. Ms. Gallo is a member of The International Fine Print Dealers Association and CINOA, (Confederation Internationale des Negociants en Oeuvres d’Art - International Confederation of Art and Antique Dealers Associations). Pia Gallo has participated in the annual IFPDA Fine Art Print Fair, Master Drawings/New York, and The London Original Print Fair. She numbers many major museums and private collectors throughout the world as clients, notably, the Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Baltimore Museum of Art, Cleveland Museum of Art, Detroit Institute of Arts, The Frances Lehman Loeb Art Center, The Hammer Museum, Harvard Art Museums, Indianapolis Museum of Art, Johnson Museum of Art, Los Angeles County Museum of Art, Metropolitan Museum of Art, Minneapolis Institute of Arts, Museum of Fine Arts, National Gallery of Art, New York Public Library, Rhode Island School of Design Museum of Art, Rijksmuseum, Snite Museum of Art, and Yale University Art Gallery.
Old Master, 18th and 19th Century, Modern (1900-1950)
Henri Rivière and Japonisme
Much of Rivière’s art was influenced by Japanese woodcut prints, which had become well-known in the Parisian artistic community, particularly after the exhibitions of Japanese prints in Paris in 1888 and 1890.
CHIAROSCURO
First introduced in Italy around 1516, the chiaroscuro woodcut, which involves printing an image from two or more woodblocks inked in different hues.
Rome, Now and Then: Giovanni Battista Falda
Falda’s main subject was the urban landscape. He is best known for his views, or vedute, throughout the city. Falda's realistic style of engraving was highly influential for later printmakers. He portrayed new architecture and urban expansion in the 17th century.
Rome Now and Then II: Giuseppe Vasi
Vasi's objective was to render places in Rome appealing to the eye but also intelligible to the mind, resulting in images that could inspire reflection or anticipation and illicit a response from the knowledgeable observer.
Henri-Charles Guerard (Paris, 1846-1897)
Grapevines
c. 1895
300 x 585 mm
Blue, brown, and green gouache over pencil cut out and applique on buff silk, with cut outs along the lower center border
Signed lower right in black ink, H Guerard
James Abbott McNeill Whistler(Lowell July 11, 1834 - July 17, 1903, London)
Drury Lane
1880-1881
164 × 103 mm
Etching
Series: Twenty-six Etchings, The Second Venice Set, 1886
Otto Gerstenberg (1848-1935), Berlin .(L2785), his stamp on verso. Douglas Fairbanks, Jr. (1909-2000)
Hand-signed by artist, Signed in pencil with the butterfly and inscribed imp in pencil on the tab. Reference: Kennedy 237 Glasgow 243 only state, from the small edition of 26. Drury Lane was first exhibited at the Fine Art Society, London, in 1883.
Lorenzo Tiepolo (Venice 1736–1776 Madrid) Italian
The Three Graces with Mars
c. 1760
556 x 401 mm (subject), 618 x 455 mm (sheet)
Etching
De Vesme 8 II (of III). Rizzi 299. Succi 7 II (of III). Very fine impression, rich in tonal values, in the second of three states, after the addition of “39” in the upper left, but before the name of Giambattista and of the engraver Giandomenico.
Watermark: Arm with sword (?) and side-mark: W with open crown and three half moons. This magnificent print after a painting by Giambattista Tiepolo for the Russian Court reveals the technical expertise of Lorenzo as an engraver. The richness of tonal values, velvet-like blacks and a vibrant brilliance characterize this work and show the son’s ability to transfer the luminescence of his father’s paintings to the medium. The painting was executed between 1757 and 1762 (in reverse). It decorated the Chinese Palace of Oranienbaum Park in St Petersburg – one of the two pleasure pavilions built for the Tsarina Catherine II – and was lost during Second World War. With wide margins beyond the plate mark, which shows traces of the inking, characteristic of early impressions.
Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise)
Reine and Margot Seated on a Sofa (No.2)
c. 1902
16 15/18 x 12 7/8 in. (43 x 32.7 cm) on full sheet
drypoint
signed and numbered 'no 18' in pencil, from the edition of 25 on laid paper with watermark A.Porcabeuf.
Breeskin 177. An extraordinarily fine, rich impression.
Felix Bracquemond (Paris 1833-1914)
Edmond de Goncourt
1882
33.5 x 50.8 cm
etching
signed lower left in pencil. Ref. Beraldi 54 VIII/IX; from the edition of 150 on japan paper.
Jacques Callot (Nancy 1592-1635)
Temptation of Saint Anthony
1635
36.1 x 47 cm
etching
signed lower left in plate,'Jac. Callot Inuen et fe' and dated lower center in text. Ref. Lieure 1416 III/V.
Milton Avery
Stefano della Bella
Felix Bracquemond
Felix Buhot
Jacques Callot
Mary Cassatt
Agostino Carracci
Theodore Chasseriau
Lucas Cranach
Eugène Delacroix
Albrecht Dürer
Theodore Gericault
Hendrick Goudt
Henri Guerard
John Baptist Jackson
Luigi Lucioni
Reginald Marsh
Henri Matisse
Jan Muller
Giovanni Battista Piranesi
Paulus Pontius
Salvator Rosa
Giovanni Battista Scultori
John Sloan
Giovanni Battista Tiepolo
Lorenzo Tiepolo
Adriaen van Ostade
Enea Vico
Antonio Maria Zanetti the Elder
Albert Belleroche
Louis Marin Bonnet
Pieter Bruegel (the Elder)
Ludolf Büsinck
Giovanni Antonio Canal (il Canaletto)
Giovanni Benedetto Castiglione
Bartolommeo Coriolano
Honore Daumier
Erik Desmazières
Alessandro Gandini
Hendrick Goltzius
Francisco de Goya y Lucientes
Wenceslaus Hollar
Christoffel Jegher
John Marin
Jacob Matham
Daniel Mignot
Gabriel Perelle
Marco Alvise Pitteri
Henri Riviere
Jan Saenredam
Telemaco Signorini
Pietro Testa
Giovanni Domenico Tiepolo
Félix Vallotton
Giuseppe Niccolò Vicentino
James McNeill Whistler