From his earliest sketches, De Luca signed with the pseudonyms "De La Croice" or "De La Croá" and "Del Valle," the latter coinciding with his maternal surname, "María Lavalle."

Unfortunately, there are no works from that period, around 1953. There are works in existence signed "Álvarez Prado" and "I P De Luca."

The signature corresponds to one of the artist's earliest stages of production, under the pseudonym "Álvarez Prado," where an expressive search is still evident in both the strokes and the choice of colors. It is executed with a fine brush and intense yellow pigment, applied directly to the still-damp or partially dry painting surface, producing a slight absorption of color into the textures of the oil paint.

The graphic style featured angular, almost geometric shapes, with a marked simplification of the letters, which acquire a cryptographic or symbolic character. This tendency toward stylization is particularly evident in the construction of the letters "A" and "P," reduced to firm vertical and horizontal strokes, without ornamental curves.

The horizontal structure of the signature and its spaced rhythm convey balance and determination, traits consistent with a formative period in which the artist was experimenting with his visual identity.

This signature is located in the author's initial stage (1950s–1960s), when De Luca was beginning to develop his own language, still influenced by the modernist currents of the period.

The signature features Italo Pedro De Luca's signature strokes, executed with a fine brush on the dry layer of paint. It is distinguished by its calligraphic fluidity and ascending structure, with a slight inclination to the right that denotes decisiveness and continuity of the manual movement.

The graphic design combines stylized capital letters and personal ligatures, where the inscription "I. P. De Luca" is clearly visible, followed by the year of execution of the work, which in this case is 1960.
The "D" in *De* and the "A" in *Luca* are visually integrated, forming a compact and harmonious whole, characteristic of the period in which the artist was consolidating his mature style. The thick stroke of the descending "A", extended to the right, functions as a sort of signature or graphic finish.

The ink or pigment used exhibits good density and contrast against the background of the painting, allowing clear identification even with the passage of time. This type of signature was common in the 1950s and 1960s, when De Luca incorporated the year as an indicator of authenticity and chronology of production, a practice he maintained in his medium and large-format works.

Signature of Italo Pedro De Luca (Early Period, ca. 1950)

The signature is executed in dark blue pigment, applied directly onto a thick layer of cool-toned paint (mainly blues and greens), suggesting its integration into the painting process rather than a later application.

The inscription "I. P. De Luca" is clearly visible, although partially interrupted by a loss of paint material in the center of the canvas, leaving the texture of the support visible. Even so, the preserved features allow us to appreciate the spontaneous, cursive structure of the strokes, typical of his early period.

The ductus—or movement of the hand—is rapid, fluid, and with a certain irregularity in the brush pressure, reflecting a moment of stylistic research rather than standardization.

The final "A" already shows a lower horizontal extension, a beginning precursor to the characteristic line that would consolidate in his later signatures.

Due to its technical and calligraphic characteristics, this signature can be dated to the artist's formative period or early exhibitions, before his professional graphic art had established itself.

Signature of Ítalo Pedro De Luca (middle period, ca. 1959–1969)

The signature displays the defined, confident strokes characteristic of Ítalo Pedro De Luca's period of consolidation. It is made with dark pigment (probably black or deep blue) applied with a fine brush over a painting surface rich in impasto and chromatic variations.

The inscription "I. P. De Luca" is clearly legible, slanted to the right and with strong emphasis on the downward strokes, especially the final "A," which extends horizontally and acts as an underline or closing gesture. This feature is typical of his mature calligraphy and functions as a kind of personal signature.

The stroke is firm, continuous, and slightly angular, denoting manual assurance and decisive execution. Unlike his earlier, more calligraphic or irregular signatures, this one strikes a balance between legibility and artistic style, harmonizing with the texture of the underlying oil painting.

Due to its technical and aesthetic characteristics, this signature can be dated to the early 1960s, when De Luca had already achieved a consolidated artistic identity and maintained a stable signature pattern in his studio and exhibition works.

Signature of Ítalo Pedro De Luca (mature period, ca. 1975–1995)

The signature is executed with a yellowish ochre pigment applied with a fine brush and a confident stroke on a pictorial surface of dark, contrasting tones, giving it a marked visibility.

The inscription "I. P. De Luca" displays a consolidated and characteristic calligraphic style, with firm verticals, a spaced rhythm, and the distinctive transversal stroke extended to the base of the final "A," an element that became his permanent identifying mark during the decades of his greatest output.

The ductus (stroke movement) reveals confidence, economy of gesture, and proportional coherence, characteristic of an artist with a defined graphic identity. The application of the pigment is direct, without visible corrections, and demonstrates experience and consistency in the signature, suggesting its use as a definitive signature of authorship.

From a technical and stylistic point of view, this signature corresponds to the period in which De Luca consolidated his personal pictorial language and his professional recognition, maintaining this morphology until the final years of his artistic activity.

Introduction

The morphological and stylistic analysis of Ítalo Pedro De Luca's signature between 1950 and 1995 allows us to establish a coherent and sustained evolutionary line, which accompanies the artist's technical and expressive maturation within the framework of 20th-century Argentine art.
The study of the signatures recorded in dated works, documents, and collector's items reveals a process of calligraphic and symbolic refinement that, without losing its identity, achieved a definitive aesthetic synthesis in the mid-1960s, remaining unchanged until his final productive period.

Phase I: Early Signatures (ca. 1950–1960)

The signatures corresponding to this initial period display a spontaneous, exploratory approach.
The calligraphy reveals a search for balance between the first and last name, with irregular capital letters and a certain influence of traditional handwriting.
The pigment used is generally diluted oil or tempera, applied with a fine brush and without perceptible relief.
At this stage, De Luca still seems to be defining his pictorial identity and signature, using variations that include abbreviations or complementary ornamental symbols.

Stage II: Consolidation Signature (ca. 1960–1970)

Towards the mid-1960s, a signature emerges that can be considered the consolidated and definitive version of the artist.
The inscription "I. P. De Luca" (or minimal variations) appears executed with a brush loaded with yellow or gold pigment, on dark or marine-textured backgrounds, a recurring technique in his marine painting work.
The stroke is firm, with constant pressure and a clear aesthetic intention.
The initial "D" in "De Luca" takes on an architectural character, with solid verticals and a pronounced transverse closure, while the final letters are compacted into a fluid and harmonious cadence.
This signature pattern coincides with the stylistic maturity of his pictorial work, particularly in the landscapes and nautical scenes, in which the artist achieves his personal and unmistakable signature.

Stage III: Mature Signature (ca. 1970–1985)

During this period, De Luca's signature remains stable in its formal structure, although it exhibits slight variations in the pigment load and the inclination of the stroke.
The technique becomes more gestural: the rapid, thick brushstroke gives the signature a relief perceptible to the touch.
This characteristic, present in large-format works and atmospheric compositions, reinforces the relationship between gesture and material, a hallmark of his expressive maturity.
Also notable is the presence of a stylized cross at the end of the surname, executed as a final graphic element, with no explicit religious connotation, but serving as a visual balance.

Stage IV: Final Variations (ca. 1985–1995)

In the last documented decade, the signature maintains its typological structure, although a slight simplification in the stroke is noticeable.
The artist, aware of the symbolic power achieved by his signature, reduces the embellishments and emphasizes linear continuity.
The letters appear more widely spaced, and the final gesture (the cross or closing stroke) is softened.
This formal economy reflects a period of personal and artistic synthesis, where the signature acts not only as identification but also as a visual extension of the work.

Conclusion: Calligraphic Coherence and Authenticity

A comparative examination of Ítalo Pedro De Luca's signatures between 1950 and 1995 confirms the existence of a coherent and technically consistent evolutionary line, without any implausible breaks or discontinuities.
The progressive simplification of the stroke, the repeated use of the golden ochre color, the horizontal layout, and the occasional presence of the stylized cross constitute distinctive and authentic features of his graphic identity.

The best-known signature—documented in works from his mature period and represented in the reference image—should be considered the definitive version and the identifying symbol of Ítalo Pedro De Luca.
Its continuity in subsequent decades confirms its genuine character, the product of a natural and artistic evolution, inseparable from the master's work.

In the context of the preservation, documentation, and study of the work of Ítalo Pedro De Luca, is offered the possibility of requesting, free of charge, the issuance of a *Certificate of Authenticity*.

This document certifies the stylistic, technical, and calligraphic correspondence of the signature and work with the artist's known records.

TO DO SO, INTERESTED PARTIES CAN SEND A PDF FILE WITH CLEAR IMAGES OF THE PAINTING AND THE SIGNATURE, ALONG WITH THE MEASUREMENTS, TECHNIQUE AND ANY AVAILABLE INFORMATION ON THE ORIGIN OF THE WORK.

Each request will be evaluated individually by the team responsible for documentation, ensuring the academic and confidential treatment of the information provided.

The certificate is issued in digital format, with a registration number and authorized signature, and constitutes a documentary support tool for collectors, heirs, and institutions that house the artist's works.

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*UPLOAD YOUR .PDF FILE TO REQUEST THE CERTIFICATE OF AUTHENTICITY. THE EVALUATION IS FREE AND YOUR INFORMATION WILL BE TREATED CONFIDENTIALLY.