Private collections, museums, solo/collective expositions and critics

CLICK HERE TO EXPLORE THE 1965’S LUIGI PERICLE EXHIBITIONS SITES 

Luigi Pericle sold a lot in the ’60 and then decided to retire from the world and is now forgotten by art history :

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HISTORICAL GALLERY 

 

ENTER THE EXPOSITIONS

HISTORICAL GALLERY 

 

 

Paintings & drawings in Museums and private collections
Rudolf Staechelin collection, Basle

Burckhardt – Koechlin collection, Museum Basle

P. & M. Strauss – Meerwein collection, Arlesheim

Ch. Wasmer – Crossland collection, Basle

Blumenfeld – Roelli collection, Ascona

Dr. H. E. Kunheim collection, Porto Ronco

Prof. U. Buff collection, Zurich

Mr. & Mrs. Rudolf Baumgartner, Zurich

H. & N. Kindler collection, Munich, Zurich, Brissago

Sir S. Summers collection, Thenford House, Oxf. sh.

M. Summers collection, London

Lady Tate collection, London

R. Braunschweig – Dreifuss collection, Berne

Sir Basil de Ferranti collection, ICT House, London

City Art Gallery, Bristol

City of York Art Gallery

S. B. Lunt collection, New York

A. V. Manicardi collection, Modena

Herrn & Frau Dr. G. Bichsel, Interlaken

Herrn & Frau Dr. F. P. Zwicky, Basle

A. C. F. Turner collection, London

J. Metcalf collection, London

Mr. M. Hornby, London

Mr. P. Hyde – Thompson, London

Th. Lumley collection,

Lewes J. B. Whiteside collection, New York

Bennett Korn collection, New York

R. S. Wilkins collection, London

R. W. Gossage collection, London

Alan Macintosh collection, London

Miss E. Durlacher, London

Mrs. J. Pinkney collection, London

Lady Dunsany collection

Prof Manton, Leeds University

Mr. & Mrs. D. C. King, British Embassy Beirut

Herrn & Frau F. Kroeger, Konigstem, Germany

M. & Mme. J. Greilsamer, Paris

Mr. & Mrs. R. Brockbank, Thursley, G.B.

Mrs. Nigel Campbell, London

Mr. J. Greenwood, London

Mrs. Stanley Tippets, London

Frl. G. Men, Berne

Mr. Ben Colman, G.B.

Miss L. Riley, G.B.

Mr. R. Sewell, G B.

Richard Craig collection, G.B.

Mr. T. Samsbury, G.B.

Mr. Ch. Berens, London

Mr. Th. W. Borges, London

Mr. H. Seligman, Wycombe, G.B.

Mr. C. Collins, Oxford

Mr. G. Freeman, London

Mr. H. K. B. Lund, Bath

Quotation

wadia arts rewiew

THE ART REVIEW

Luigi Periele. Tooth’s Gallery

Until now at the age of forty-five, when he is holding his first exhibition, Pericle has led a retired life devoted to painting and reading widely in ancient and medieval philosophies. Zen and the Chinese calligraphers have particularly influenced him. A formal affinity to them is obvious in two paintings of thick, black calligraphic shapes on white, but his work as a whole has metaphysical as well as emotional significance. In one of the most memorable of this remarkable collection of abstract paintings, the light breaks through the intense blue, through the black rectangular framework to the slender, translucent green lines rising up in triangular shapes. In another, behind calligraphic forms in warm brown, set within four luminous green rectangles, there is a pale recessed light. The triangle, the sign used in various forms for the elements in alchemy and an ancient symbol of divinity in western iconography, recurs in Pericle’s works. Several of these are in black, white and subtle gradations of grey; in some the intersecting lines, suspended in dark space, are caught by an unseen source of light, in others the triangle appears as a black, twig-like form repeated in a grey shadow behind, which gives depth even to these simple compositions. Economy of means characterizes his work; the structure of each painting or group of paintings consists of variations on one or two simple, geometric forms; half the works, exhibited are in black, grey and white, but when he uses color, it is used to rich effect with fine gradations from deep to pale tones. Their texture has almost the smoothness of lithographs from the special technique he has evolved of applying several layers of paint and then rubbing through them to the one he requires. The exhibition only covers the last two years of his work. In 1959, Pericle destroyed all his paintings because he considered them inferior to the standard he had then reached and were therefore valueless.

B. Wadia