Etching, a fine impression of the only state, skillfully printed with black ink working on the surface tone, on thick white wove paper. Signed with the monogram LC in the plate; numbered and signed in pencil at the bottom right margin N 19/50 LConconi.
To the platemark 75 x 220 mm, the entire sheet measuring 325 x 454 mm. See M. Bianchi, G. Ginex, Luigi Conconi incisore, Milan, 1994; cat. no. 62.
The etching was commissioned to Conconi by the Milanese Società del Giardino in 1915, to be used as an artistic membership card for the year 1916. The print depicts an allegory of the desired annexation of Trieste to Italy.
Luigi Conconi was an architect, painter and illustrator. Born in a Milanese middle-class family, he was the nephew of the painter Mauro Conconi. Luigi studied architecture at the Accademia di Brera and at the Politecnico in Milan, and he used his architectural training occasionally throughout his career. After attending the Politecnico, he became acquainted with the literary and artistic circles of the Scapigliatura: Tranquillo Cremona and Daniele Ranzoni influenced his early paintings. In the 1880s Conconi moved from the Realism of Scapigliatura toward Symbolism, developing an interest in visionary themes. He received international recognition from awards in Paris in 1900 and in Munich in 1913. Conconi was also a skilful and sensitive printmaker, who revived the art of the etching in Lombardy, being the leading exponent of the acquaforte monotipata, an etching printed leaving a surplus of ink on the plate to create evocative effects. Conconi printed personally almost all his own plates.