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Very rare bearer of 10 shares of 200 Lire each. Turin 15 March 1920. 39x23 cm.



Superb and evocative graphics, with allegorical images of bucolic flavor that enrich the frame, conceived by a famous artist of the time: the abbreviation in the lower right corner of the document is in fact by Adolfo De Carolis (1874 - 1928), painter and silographer who among other things he illustrated the works of Gabriele D'Annunzio.

The company was established in Turin in 1872 with the aim of buying, reclaiming and cultivating land in the Ferrara area, as well as vast lands in the provinces of Arezzo, Pisa, Brindisi and Lecce. The initial name was then changed to the Company for the Reclamation of the Ferrarese Lands and for Agricultural Companies and subsequently in Bonifiche Ferraresi SpA. The company has been listed on the Italian Stock Exchange since 1902.

Adolfo De Carolis (Montefiore dell'Aso, 6 January 1874 - Rome, 7 February 1928) was an Italian painter, engraver, illustrator, xylographer and photographer.

The protagonist of Italian idealist and symbolist art in the nineteenth and twentieth centuries, De Carolis has had a decisive influence on the formative development of floral taste, working equally in the fields of illustration, painting and photography. While its location in the liberty context is problematic, in which it is frequently placed by critics. His artistic faith in the Renaissance and hermetic tradition is, in fact, polemically opposed by him against the organicistic vagaries of "new art", as appears in particular in an article on Leonardo after a visit to the International Exhibition of Modern Decorative Art in Turin of 1902. His work exhibits rather an evolution of the Pre-Raphaelite aesthetic, strongly conditioned by models and styles of Japanism, on the one hand, and by a restless Michelangelo-style formalism, on the other.

De Carolis collaborated with great writers, illustrating with drawings and xylographs works by Gabriele D'Annunzio and Giovanni Pascoli, with an unmistakable graphic style, decoratively organic for both typographical architecture and contents.

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