Art books series

September 2018 saw the publication of the eleventh volume in the series, a catalogue of an exhibition that was the culmination of a remarkable project. Indeed, two years earlier, Cornèr Bank had made a successful bid at an auction for “Vecchie Calzette”, a work by the divisionist painter Angelo Morbelli and the sixth in a cycle of his paintings that he christened “A poem of old age”. This inspired the idea of recovering the other five works and staging a second unveiling of the cycle (fully restored) in Venice, where - in its entirety - it had been exhibited in 1903. With the support of Venice’s Fondazione Musei Civici, the exhibition was staged at the Ca’ Pesaro Galleria Internazionale d’Arte Moderna. This outstanding divisionist painter knew, better than others did how to give utterance to the suffering and solitude present in the hearts of the needy and in the silence of the empty rooms of alms-houses. Aided by the text and the images, the reader tunes into Morbelli’s sensitivity and can admire his marvellous painting technique.

September 2018 saw the publication of the eleventh volume in the series, a catalogue of an exhibition that was the culmination of a remarkable project. Indeed, two years earlier, Cornèr Bank had made a successful bid at an auction for “Vecchie Calzette”, a work by the divisionist painter Angelo Morbelli and the sixth in a cycle of his paintings that he christened “A poem of old age”. This inspired the idea of recovering the other five works and staging a second unveiling of the cycle (fully restored) in Venice, where - in its entirety - it had been exhibited in 1903. With the support of Venice’s Fondazione Musei Civici, the exhibition was staged at the Ca’ Pesaro Galleria Internazionale d’Arte Moderna. This outstanding divisionist painter knew, better than others did how to give utterance to the suffering and solitude present in the hearts of the needy and in the silence of the empty rooms of alms-houses. Aided by the text and the images, the reader tunes into Morbelli’s sensitivity and can admire his marvellous painting technique.

A further publishing endeavour was completed in 2015, having originated from an idea of Paolo Cornaro. The volume about Antonio and Giuseppe Chiattone – two brothers who were both sculptors – gave effect to a wish to focus attention on the two artists and on art collectors from Ticino. It did so by tracing their full biography and presenting the first detailed account of the works they undertook or planned in Ticino Canton and internationally. This book, the tenth in the Cornèr Bank art publication series, benefited from the unstinting cooperation of Lugano’s Art Museum (MASI) and of SUPSI, which saw to the restoration of the plaster cast of Empress Elizabeth of Austria, previously on view in the courtyard of Lugano’s Palazzo Chiattone.

A further publishing endeavour was completed in 2015, having originated from an idea of Paolo Cornaro. The volume about Antonio and Giuseppe Chiattone – two brothers who were both sculptors – gave effect to a wish to focus attention on the two artists and on art collectors from Ticino. It did so by tracing their full biography and presenting the first detailed account of the works they undertook or planned in Ticino Canton and internationally. This book, the tenth in the Cornèr Bank art publication series, benefited from the unstinting cooperation of Lugano’s Art Museum (MASI) and of SUPSI, which saw to the restoration of the plaster cast of Empress Elizabeth of Austria, previously on view in the courtyard of Lugano’s Palazzo Chiattone.

The sixtieth anniversary (2012) of the foundation of Corner Bank was commemorated through a monograph about Adolfo Feragutti Visconti, Ticino’s renowned painter, born in Pura in 1850. In addition to including a considerable number of works that belong in private collections, the monograph reproduces all of his pictures held in public collections in Switzerland, Italy, and elsewhere. This volume is the first to cover the entire output of this painter, who went on to further his artistic training and to feature in exhibitions in Italy, Argentina, and other countries. Moreover, during the course of the work numerous previously undiscovered documents came to light.

The sixtieth anniversary (2012) of the foundation of Corner Bank was commemorated through a monograph about Adolfo Feragutti Visconti, Ticino’s renowned painter, born in Pura in 1850. In addition to including a considerable number of works that belong in private collections, the monograph reproduces all of his pictures held in public collections in Switzerland, Italy, and elsewhere. This volume is the first to cover the entire output of this painter, who went on to further his artistic training and to feature in exhibitions in Italy, Argentina, and other countries. Moreover, during the course of the work numerous previously undiscovered documents came to light.

The fifty-fifth anniversary (2007) of Cornèr Bank’s foundation was marked by the publication of a volume that highlights the artistic value of Eugenio Balzan’s elegant art collection. It also gave prominence to the cultural interconnections between Ticino Canton and Lombardy in the first half of the twentieth century. The ready assistance of the International Balzan Foundation, the owner of the collection, is to be thanked for this first systematic review of the collection in its entirety. Balzan, a former general manager of “Il Corriere della Sera”, continued to pursue his calling as an art patron and collector even after he had moved to Switzerland in 1933. The paintings chosen for inclusion in his collection date from between the mid nineteenth century and the early decades of the twentieth century.

The fifty-fifth anniversary (2007) of Cornèr Bank’s foundation was marked by the publication of a volume that highlights the artistic value of Eugenio Balzan’s elegant art collection. It also gave prominence to the cultural interconnections between Ticino Canton and Lombardy in the first half of the twentieth century. The ready assistance of the International Balzan Foundation, the owner of the collection, is to be thanked for this first systematic review of the collection in its entirety. Balzan, a former general manager of “Il Corriere della Sera”, continued to pursue his calling as an art patron and collector even after he had moved to Switzerland in 1933. The paintings chosen for inclusion in his collection date from between the mid nineteenth century and the early decades of the twentieth century.

In 2002, the bank’s choice of publication to celebrate the fiftieth anniversary of its foundation was a challenging one: namely, a study of the collections in the Vela Museum, collections that owed their inception to the initiative of three artists from Ticino - Vincenzo, Lorenzo, and Spartaco Vela. The study was a perfect addition to the series of publications dealing with the activity of private collectors in Ticino Canton. It also represented the first opportunity for a comprehensive analysis of the five main collections held at the villa belonging to Vincenzo Vela. Accordingly, the book fills a gap and, for the first time, accords recognition of the considerable artistic, historic, and cultural value of the Vela Museum.

In 2002, the bank’s choice of publication to celebrate the fiftieth anniversary of its foundation was a challenging one: namely, a study of the collections in the Vela Museum, collections that owed their inception to the initiative of three artists from Ticino - Vincenzo, Lorenzo, and Spartaco Vela. The study was a perfect addition to the series of publications dealing with the activity of private collectors in Ticino Canton. It also represented the first opportunity for a comprehensive analysis of the five main collections held at the villa belonging to Vincenzo Vela. Accordingly, the book fills a gap and, for the first time, accords recognition of the considerable artistic, historic, and cultural value of the Vela Museum.

The 8^th November 1999 was marked by the inauguration of the bank’s new head offices in Via Canova (following its restructuring). The date was chosen as a deliberate throwback to 8^th November 1945, when the founder of the bank, Vittorio Cornaro, first arrived in Lugano. The splendid ceremony, held in the offices, included the presentation of a new art book, a work that was fundamental for the history of art in Ticino Canton. The book was a catalogue, inclusive of scholarly annotations, of the work of Luigi Rossi, one of the major artists in Ticino and Lombardy in the second half of the nineteenth century. The book encompasses the entire output of the painter, who was born in Cassarate in 1853, starting with his realist works through to the first steps in symbolism in his mature period.

The 8^th November 1999 was marked by the inauguration of the bank’s new head offices in Via Canova (following its restructuring). The date was chosen as a deliberate throwback to 8^th November 1945, when the founder of the bank, Vittorio Cornaro, first arrived in Lugano. The splendid ceremony, held in the offices, included the presentation of a new art book, a work that was fundamental for the history of art in Ticino Canton. The book was a catalogue, inclusive of scholarly annotations, of the work of Luigi Rossi, one of the major artists in Ticino and Lombardy in the second half of the nineteenth century. The book encompasses the entire output of the painter, who was born in Cassarate in 1853, starting with his realist works through to the first steps in symbolism in his mature period.

Cornèr Bank published a new volume towards the end of 1996 to commemorate forty-five years since its foundation (3^rd July 1997). The book is intended both as a tribute to the art-collecting tradition in Canto Ticino and as a learned contribution to knowledge regarding a particularly significant aspect of figurative culture in the eighteenth century. There was no previously existing systematic register of private collections in Ticino, so that this volume goes some way to meeting a need through its inventory of mid-to-late nineteenth century works held by families and private bodies.

Cornèr Bank published a new volume towards the end of 1996 to commemorate forty-five years since its foundation (3^rd July 1997). The book is intended both as a tribute to the art-collecting tradition in Canto Ticino and as a learned contribution to knowledge regarding a particularly significant aspect of figurative culture in the eighteenth century. There was no previously existing systematic register of private collections in Ticino, so that this volume goes some way to meeting a need through its inventory of mid-to-late nineteenth century works held by families and private bodies.

In 1992, concurrent with the fortieth anniversary of its foundation, Cornèr Bank decided to mark the event with a publication on Meissen porcelain. Starting with its origins in ancient China, the study mostly covers the first half of the eighteenth century, the period associated with the Meissen factory. What Professor Enrico Caviglia has produced is a veritable technical and historical treatise on porcelain, while at the same time he turns the spotlight on yet another highly valuable privately-owned collection in our country. This book, coming just months after the demise of the founder of the series of publications, betokened a commitment to continue with the cultural vocation he had traced out.

In 1992, concurrent with the fortieth anniversary of its foundation, Cornèr Bank decided to mark the event with a publication on Meissen porcelain. Starting with its origins in ancient China, the study mostly covers the first half of the eighteenth century, the period associated with the Meissen factory. What Professor Enrico Caviglia has produced is a veritable technical and historical treatise on porcelain, while at the same time he turns the spotlight on yet another highly valuable privately-owned collection in our country. This book, coming just months after the demise of the founder of the series of publications, betokened a commitment to continue with the cultural vocation he had traced out.

In 1987,having been established for thirty-five years, Cornèr Bank chose to celebrate that anniversary with a publication of significant artistic and cultural value. The volume drew on the collection of watercolours belonging to Baron Thyssen-Bornemisza, whose residence at the time was Villa Favorita in Lugano. Using four-colour print technique, it reproduces the works of that little known but meritorious collection, describes, and illustrates sketches of scenes and costumes owned by the baron and now all held at his Daylesford estate in England.

In 1987,having been established for thirty-five years, Cornèr Bank chose to celebrate that anniversary with a publication of significant artistic and cultural value. The volume drew on the collection of watercolours belonging to Baron Thyssen-Bornemisza, whose residence at the time was Villa Favorita in Lugano. Using four-colour print technique, it reproduces the works of that little known but meritorious collection, describes, and illustrates sketches of scenes and costumes owned by the baron and now all held at his Daylesford estate in England.

In 1982 there was a new entry to the series of publications on art collections in Ticino. The book, a worthy addition to this 30-year old series, re-directed attention back to antiquity and was indebted, for its very existence, to an anonymous collector who enabled the general public to study one of the lesser known facets of Asian art. This proper classification of this genre has always attracted much debate, making the book by Professor Piriya Krairiksh especially valuable in what is a fairly controversial area. The items in question are very rare, previously unpublicised, and difficult to pin down in terms of their style and date.

In 1982 there was a new entry to the series of publications on art collections in Ticino. The book, a worthy addition to this 30-year old series, re-directed attention back to antiquity and was indebted, for its very existence, to an anonymous collector who enabled the general public to study one of the lesser known facets of Asian art. This proper classification of this genre has always attracted much debate, making the book by Professor Piriya Krairiksh especially valuable in what is a fairly controversial area. The items in question are very rare, previously unpublicised, and difficult to pin down in terms of their style and date.

1977 marked the twenty-seventh year since Cornèr Bank was founded and, true to its tradition, the bank decided to celebrate the anniversary with a new publishing initiative. Following the path, marked out five years earlier, it drew attention to a collection of very ancient and highly valuable vases. Local collections in Ticino bring together as many as 23 of these artistic works dating back between 2,400 and 2,500 years. In addition to presenting these remarkable examples of ancient art, the author of the monograph on stamnoi brings out the religious and cultural implications associated with these masterworks.

1977 marked the twenty-seventh year since Cornèr Bank was founded and, true to its tradition, the bank decided to celebrate the anniversary with a new publishing initiative. Following the path, marked out five years earlier, it drew attention to a collection of very ancient and highly valuable vases. Local collections in Ticino bring together as many as 23 of these artistic works dating back between 2,400 and 2,500 years. In addition to presenting these remarkable examples of ancient art, the author of the monograph on stamnoi brings out the religious and cultural implications associated with these masterworks.

Following a six-year interval since the last volume it had published, Cornèr Bank decided on a new series of books. Dedicated to art collections in Ticino Canton, they sought to highlight some of the artistic wealth to be found this country, much of which is unpublicised. In summer 1972, it published this stylish volume, comprising twenty-four colour plates, an introduction by Brenno Galli, and scholarly annotations to the illustrations penned by the New York specialist Wang Chi-Chien. A valuable anthology, this collection is the only one of its kind.

Following a six-year interval since the last volume it had published, Cornèr Bank decided on a new series of books. Dedicated to art collections in Ticino Canton, they sought to highlight some of the artistic wealth to be found this country, much of which is unpublicised. In summer 1972, it published this stylish volume, comprising twenty-four colour plates, an introduction by Brenno Galli, and scholarly annotations to the illustrations penned by the New York specialist Wang Chi-Chien. A valuable anthology, this collection is the only one of its kind.

In 1966 the publication of a third book on the xylographs of Aldo Patocchi concluded a cycle dating back to 1958. On 15^th December Cornèr Bank, as the first bank in Ticino, opened its own data processing centre with the then state-of-the art IBM 370 computer. The new volume was published “so that the progress of the bank and the advance of science are recorded through enduring artistic expression”.

In 1966 the publication of a third book on the xylographs of Aldo Patocchi concluded a cycle dating back to 1958. On 15^th December Cornèr Bank, as the first bank in Ticino, opened its own data processing centre with the then state-of-the art IBM 370 computer. The new volume was published “so that the progress of the bank and the advance of science are recorded through enduring artistic expression”.

On 3^rd July 1962 Cornèr Bank celebrated the tenth anniversary of its foundation by continuing its tradition of spreading the word about - and giving substance to - local art in Ticino. It published a second volume on historic monuments in Ticino, an intended follow-up to the 1^st volume released in 1958. Once again, it drew on the xylographs of Patocchi, a dominant figure in sculpture and illustration who, in 1915, transferred to Lugano from Basel, where he was born in 1907.

On 3^rd July 1962 Cornèr Bank celebrated the tenth anniversary of its foundation by continuing its tradition of spreading the word about - and giving substance to - local art in Ticino. It published a second volume on historic monuments in Ticino, an intended follow-up to the 1^st volume released in 1958. Once again, it drew on the xylographs of Patocchi, a dominant figure in sculpture and illustration who, in 1915, transferred to Lugano from Basel, where he was born in 1907.

Published in 1960 as a Christmas gift edition, this volume is a detailed study of General Mainoni written by the abbot, Louis Delcros. His narration covers numerous events and episodes in Lugano, responding to the bank’s aim of forming closer relations with the local community through a story and a volume of outstanding originality.

Published in 1960 as a Christmas gift edition, this volume is a detailed study of General Mainoni written by the abbot, Louis Delcros. His narration covers numerous events and episodes in Lugano, responding to the bank’s aim of forming closer relations with the local community through a story and a volume of outstanding originality.

On 1^st December 1958, Cornèr Bank inaugurated its new head offices at via Canova 16, now the premises of its parent company. The Board of Directors, in response to the event and in recognition of the creative genius of Ticino Canton, voted to publish the xylographs etched for the occasion by Aldo Patocchi and which reproduced the most prestigious historic monuments in the Ticino area. The bank, through that first initiative, embarked on a long series of artistic publications each timed to coincide with an important event in its business affairs and its development.

On 1^st December 1958, Cornèr Bank inaugurated its new head offices at via Canova 16, now the premises of its parent company. The Board of Directors, in response to the event and in recognition of the creative genius of Ticino Canton, voted to publish the xylographs etched for the occasion by Aldo Patocchi and which reproduced the most prestigious historic monuments in the Ticino area. The bank, through that first initiative, embarked on a long series of artistic publications each timed to coincide with an important event in its business affairs and its development.