Etching, a fine impression, richly and skillfully printed with surface tone, on white wove paper. Signed in red chalk on the bottom margin LConconi.
To the platemark 92 x 120 mm, the full sheet measuring 158 x 200.
To my knowledge this small etching was unknown until now. It is unquestionably by Conconi since it is signed on the bottom margin in red chalk as often Conconi used to do on impressions of his prints.
Conconi studied architecture at the Accademia di Brera and the Politecnico di Milano. He came into contact with members of the literary and artistic circles of the Scapigliatura – the Italian equivalent of the French Bohème– notably Tranquillo Cremona and Daniele Ranzoni, both of whom influenced his early paintings. In the 1880s Conconi moved from the Realism of Scapigliatura toward Symbolism. The awards he received in Paris in 1900 and Munich in 1913 led to his international recognition.
Conconi, who personally saw to the production of virtually all his plates, was the leading exponent in Lombardy of Acquaforte monotipata. This technique involved the artist drawing directly onto the ink covering the plate, prior to pulling the impression. In this way each resultant print has different characteristics.