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A business idea was born, the intention was to realise copies of frescoes by several artists. Gianni Mazzoran and Marco Gelmetti, on the advice of a friend Giovanni Antonini, decided to take advantage of the experience they had accumulated in the work of restoring antique plaster on the walls of old buildings, bringing them back to their original state. The difficulty in reproducing faithfully, designs that were often extremely complicated, convinced them of the need to find a way of transferring them using the tracing or stenciling technique, something similar to what the artist used to mark out on the plaster the outlines within which he would then spread the colours.

They found themselves faced with the need to find answers to completely ne

They found themselves faced with the need to find answers to completely new requirements: to obtain a plaster suitable to a non-rigid surface (impossible, for transport and packaging problems, to use a real piece of wall), which would adhere perfectly to the canvas or cloth on which it was based, which would not crack with the passing of time and which would maintain its permeability towards stable chromatic pigments and finally which would bind perfectly with the plaster.


it was necessary to seek out the way to get legal permission for the reproduction of art treasures, which come under many strict regulations, with a limited number of copies, as foreseen by Italian law; which also requires the production of the copies reproduced using the same procedure as the original but in a different size from the original. Once all these complications had been solved, at last the very first piece could be finished: the prototype presented to get reproduction contract number 1! Cupid with quiver by Tiepolo, which was to become article 6001.

Our collection finds in “Classicism” its inspiration for the selection of its subjects and the techniques for their execution.