Correspondence by Alberto Arbasino to Countess Pecci Blunt, Mid-20th-Century

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The batch of correspondence with Countess Anna Laetitia Pecci Blunt includes: Headed Business Card ''Alberto Arbasino'' with a handwritten message … Read more The batch of correspondence with Countess Anna Laetitia Pecci Blunt includes: Headed Business Card ''Alberto Arbasino'' with a handwritten message from the author. Rome, July 1, 1958. Front and back. (9x7 cm). Perfect conditions. Alberto Arbasino's business card with a handwritten message from the author, including a letter envelope. Blue ink. Stamp dated November 4, 1965 (9x7 cm). Perfect conditions. Alberto Arbasino's business card with a handwritten message from the author. Rome, March 26, 1962. Blue ink. (9x7 cm). Perfect conditions. Alberto Arbasino's business card with a greeting handwritten message by the author, including an envelope. ''19 December'' is only readable on the stamp. (9x7 cm) Perfect conditions. C.P.S. of wishes. January 1, 1970. (15x10.5 cm) Perfect conditions. Award-winning writer, sophisticated and experimental novelist, costume journalist, theatrical and musical critic, intellectual. With legal background, Alberto Arbasino worked in the publicity field and had collaborations in newspapers and magazines of culture (Il Verri, Quindici, Corriere della Sera, and La Repubblica from the day of his foundation). In the sixties, he joined the ''Group 63'', personifying the most European soul and interpreting the words of his own sophisticated amateurism (as a critic, he was interested in music, theatre, cinema, costume). And precisely at this period of avant-garde and experimentalism that his postcards and messages to Pecci Blunt took place. The period of correspondence is well described in Arbasino words: ''While I wrote ''Fratelli d'Italia'' in the early sixties, awful and ridiculous trickeries appeared, because the old literary establishment felt threatened in vacancies and salaries by Group 63''. In those years, he was also involved in the cinematographic transposition of ''La bella di Lodi'', for which he participated since the genesis, from the treatment and screenplay stages, sitting next to the director Mario Missiroli during filming. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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