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Ambigramma

Montegrappa

Arte Fountain Pen, Gustav Klimt

Arte

150.000 €

Nib grade

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Specifications
Material: Resin
Trim: Yellow Gold 18K
Nib: 18k Gold
Filling system: Piston
Packaging: Premium
Included: Ink Bottle (50ml)
Length: 155 mm
Diameter: 18,00 mm
Weight (gr): 68,00 gr

Small variations in colour are a natural result of the artisanal manufacturing process and attest to the authenticity and exclusivity of each piece. Lighter colours may exhibit slight transparency.

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Description

Few writers experience the privilege of owning an Arte, but many dream of one day sighting one. Detailed from end to end with exquisite brushwork, our elite Atelier silhouette showcases the captivating beauty of bespoke production on a body handcrafted from resin and solid gold.

Every Arte commission requires meticulous planning and execution, resulting in seamless images of stunning fidelity. Choose an artwork that channels your passion. Arte is a fountain pen even the masters themselves would be proud to call their own.

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Each Arte creation is a world of its own.

Arte is a series of singular masterpieces that Montegrappa dedicates to the great figures of art history. Every pen begins with an in-depth iconographic study that evolves into a project of the highest craftsmanship–not a mere reproduction, but an act of true creation.

From the heart of Montegrappa’s Atelier, a unique artistic vision unfolds, as master artisans transpose the poetics of each chosen subject onto the precious surface of Montegrappa’s most exclusive silhouette. The result is a total immersion in the visual repertoire of the world’s greatest artists.

Klimt

To Art, Its Freedom

Gustav Klimt is the name that, more than any other, embodies the spirit of the Vienna Secession. A pivotal figure of Art Nouveau, he succeeded in fusing sensuality with elegance in a pictorial language without precedent—one in which the female form becomes symbol, enigma and ornament. His art is a celebration of form and desire, constructed upon rigorous, harmonious design and enriched by a decorative impulse that borders on the Gothic. Gold, line and colour intertwine to create a visual universe of transparency and flatness, yet capable of evoking emotional and sculptural depth–most powerfully in his portraits. Klimt did not merely paint: he chiselled. Each of his works is a dance of patterns, symbols and chromatic caresses.

Judith I, 1901

Judith II, 1909

The kiss, 1907–1908

Poppy Field, 1907 / The Tree of life 1905–1909

Judith I and Judith II (Salome) are the masterpieces chosen to adorn the barrel of the pen. Judith I, painted in 1901, portrays the young Hebrew widow who, through deceit, seduced and slew the Assyrian general Holofernes. Splendidly adorned and framed in perfect frontal perspective, viewed from below, the heroine stands immobile, eyes half-closed and lips parted, suspended between ecstasy and defiance. Her right arm, elegantly bent, holds aloft the severed head of her foe.

Yet in Klimt’s visual language, the biblical subject becomes mere pretext. The sacred narrative yields to another focus: the semi-nude body, the bewitching gaze, the hypnotic power of the female figure. In Judith I, she is the femme fatale–seductive, commanding, exalted in her unattainable beauty. In Judith II, the body sheds all moral ambiguity and embraces passion openly, even as it trespasses into death. Klimt transforms the biblical heroine into a modern Salome: no longer the agent of salvation, but an icon of desire and perdition.

On Arte: Klimt, Alessandra Malesan experimented for the very first time with painting in gold powder and gold leaf–a precious homage to the great master of the Viennese Secession. Most spectacular is the reproduction upon the cap of The Kiss (1907–1908), perhaps Gustav Klimt’s most celebrated work. Kneeling upon a flowery ledge, seemingly suspended over a golden void, two lovers merge in an embrace of total abandon, enveloped by an aureole of golden spirals interlaced with blossoms of blue, yellow and violet.

All converges in the gesture of union: the floral motifs woven into their hair evoke an Edenic, primordial state, where nothing exists beyond the creative force of love and desire.

A golden ecstasy—eternally fixed upon the precious surface of the cap.

The Embrace, a detail from The Tree of Life–the monumental mosaic frieze created between 1905 and 1909 to adorn the Stoclet Palace in Brussels—encircles the pen’s grip section, forging a circular bond with the passion depicted upon the cap.

On the blind cap, the blossoming landscape drawn from Poppy Field (1907) speaks through vivid colours and shimmering light of love’s radiance… and of its fleeting, aching beauty.

Da Ponte

Suspended Between Heaven and Earth

An undisputed master of the Italian Cinquecento, Jacopo da Ponte–better known as Jacopo Bassano–was among the most refined and original painters of the Venetian school. Emerging from the lingering glow of Giorgione, he quickly revealed a genius for assimilation and transformation, distilling every encounter into a pictorial language of extraordinary richness and startling modernity. Nourished by a restless cultural curiosity, his art is marked by expressive freedom and a prescient vision, anticipating themes and sensibilities that would only find full resonance centuries later. Born and raised in Bassano del Grappa–the picturesque town that, since 1912, has also been home to Montegrappa’s historic manufactory–Jacopo was among the very first to ennoble the rural scene, weaving into sacred subjects the intimacy of domestic life and the tangible rhythms of the countryside. Unlike the great protagonists of Venetian Renaissance splendour, his gaze was drawn not only heavenward but earthward: to shepherds, animals, and the humble implements of agricultural labour. In his hands, these became central figures in a visual narrative composed of light, substance, and a naturalism at once profound and timeless.

Fuga in Egitto, 1534

Madonna con il Bambino tra i Santi Matteo, Francesco, Lucia il podestà Matteo Soranzo, la figlia Lucia e il fratello Francesco, 1536

Autoritratto, 1590 ca.

San Valentino battezza Santa Lucilla, 1575

For the cap of Arte: Da Ponte, the master artisans of our Atelier have entrusted their craft to Fuga in Egitto (Escape from Egypt), one of the most poignant and poetic of the Bassano master’s early works. A scene suffused with sacred everydayness, where the divine intertwines seamlessly with the real.

The naturalistic intent of Jacopo da Ponte reveals itself in the quiet detail of the figures on their journey and in the rolling Bassano landscape unfolding behind them: a vista alive with light, suspended between night and the first glimmers of dawn.

Miniaturist Alessandra Malesan interprets the warm, dust-toned palette of the original with masterful touch, capturing its atmospheric softness and compositional complexity. Every detail–whether the contemplative face of the Madonna or the silent bearing of Saint Joseph–contributes to a narrative both intimate and tangible: a perfect balance between spirituality and lived experience.

In the foreground, flowers painted with analytical precision carry layered symbolism: the hellebore on the right alludes to spiritual rebirth, while columbine and daisies evoke the innocence of the Virgin and Child. An iconographic choice that celebrates Jacopo da Ponte’s profoundly humanist vision–his singular ability to ennoble the humility of everyday life through art.

Dominating the barrel of Arte: Da Ponte is the artist’s self-portrait–an intense, contemplative work in which the master reveals himself with extraordinary candour. His face, framed by a white beard, and his steady, penetrating gaze present the image of a painter in full maturity, acutely aware of his journey and of the revolutionary scope of his vision.

That gaze, serene yet watchful, speaks of the man behind the art: the citizen of Bassano who regarded reality with both humanity and rigour. Upon the pen, his likeness stands as a symbol of coherence between art and life, craft and thought—an unspoken invitation to depth, integrity and beauty.

The detail chosen for the grip section is drawn from Madonna con il Bambino tra i Santi Matteo, Francesco, Lucia, il podestà Matteo Soranzo, la figlia Lucia e il fratello Francesco (Madonna and Child with Saints Matthew, Francis, Lucia, and the mayor Matteo Soranzo, his daughter Lucia, and his brother Francesco), painted in 1536 and today preserved at the Museo Civico of Bassano del Grappa.

Here, the young Lucia Soranzo, daughter of the patron, is shown caressing a greyhound puppy that rests trustingly on her knees: an intimate, disarming gesture that softens the sacred atmosphere of the scene with the tenderness of everyday life.

Her vertically striped gown–among the most elegant and distinctive garments of sixteenth-century painting–is rendered with painstaking precision, adding depth to the figure and heightening the richness of the detail. It is a fragment that distils Jacopo da Ponte’s vision: sanctifying the ordinary, and rendering the divine profoundly human.

Boldini

La Belle Époque

No one captured the spirit of the Belle Époque with greater flair than Giovanni Boldini. Hailed as the supreme master of the female portrait, the Italian painter distilled–through glowing, vibrant strokes–the very essence of an age defined by luxury, society and the cult of beauty. His genius lay in seizing the unrepeatable instant: that fleeting moment when a candid gaze betrays the most intimate state of mind, or when the eloquence of a gesture conveys emotions beyond words. The influence of Impressionism lingers in the brisk, energetic rhythm of his brush and in the radiance of his palette. Yet Boldini never relinquished the rigour of realism. Instead, he fused its solidity with Impressionism’s freedom to forge a pictorial language all his own–one in which elegance and magnetism converge, and his sitters emerge in their fullest, irresistible allure.

La Dame de Biarritz, 1912

La danzatrice spagnola, 1900

Provocazione, 1855

La signora in rosa, 1916

For the cap of Arte: Boldini, the master artisans of our Atelier selected Provocazione (1885): a canvas charged with sensuality, where the grace of a simple gesture–the lifting of her hair–distils the tension and suspended allure of a fleeting instant, preserved forever by Boldini’s genius.

On the barrel of Arte: Boldini, La Dame de Biarritz (1912) radiates an aura of enigmatic elegance, draped in a gown of deep rose with cyclamen undertones. Its iridescent hues shift from magenta to fuchsia, dissolving into lighter notes of sugared pink, while the shadows intensify towards a purple depth.

Through Boldini’s luminous, vibrant brushstrokes, the fabric seems to quiver with life, as if imbued with its own inner light. The magnetic gaze of Mademoiselle de Gillespie embodies a new, modern femininity—confident, alluring, and irresistibly seductive.

The grip section and blind cap, recreated through the meticulous, jewel-like brushstrokes of Alessandra Malesan, echo the chromatic vibrations of La Dame de Biarritz. Here, cyclamen-pink fabrics, with their radiant highlights, are transfigured into precious ornament, enveloping the pen in a seamless continuum of rare refinement.

Each hand-applied stroke amplifies and elevates the painted subjects, weaving a chromatic harmony that unites every element of a singular masterpiece—signed Montegrappa.

Country: US