ALESSANDRI LORENZO
Turin 1927 - 2000 Giaveno (TO)
"Pearl" 1975
50x35, pencil on …

Description

ALESSANDRI LORENZO Turin 1927 - 2000 Giaveno (TO) "Pearl" 1975 50x35, pencil on paper Work signed lower center verso right and titled, dated and numbered lower right Artist's label on the back

249

ALESSANDRI LORENZO

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Estim. 10 000 - 12 000 EUR

GODOFREDO ORTEGA MUÑOZ (San Vicente de Alcántara, Badajoz, 1899 - Madrid, 1982). "Landscape of Lake Maggiore", ca.1920. Oil on cardboard. Provenance: -Private collection, Massimo Uccelli, Italy. Inherited from his grandparents, in turn, received it from the painter while he lived in his house in Via Antonio Rosmini, in Stresa, near Lake Maggiore (Italy). -Private collection, Turin. With certificate of the Ortega Muñoz Foundation. With export permit from Italy and Spain. Measurements: 34 x 43 cm. Ortega Muñoz immortalizes in this painting a wide panoramic view of the idyllic mountainous landscape of the Maggiore Lake, outlined in the background by bluish motañas of snowy summits. Ortega lived in this area of northern Italy, close to the Swiss border, so he portrayed it on numerous occasions, showing a great handling of the shades and lights of this icy region. Ortega, heir to the Vallecas school, often prioritized this type of stark landscapes, realistic but far from academic, a solitary space with which he sought to awaken the viewer's emotions. Ortega Muñoz was one of the great creators of the contemporary Spanish landscape. He started in art when he was still a child, self-taught, and despite his father's advice, in 1919, at the age of twenty, he decided to move to Madrid to devote himself to painting. There he will dedicate himself from the first moment to making copies of the great masters in the Prado Museum and in the old Museum of Modern Art. He continued his self-taught training and began to paint outdoors in the surroundings of the Dehesa de la Villa, accompanied by other young artists such as the Filipino Fernando Amorsolo. A year later he decided to move to Paris, where he met his lifelong friend, the poet Gil Bel. In Paris he also got to know the work of Van Gogh, Gauguin and Cézanne, but at the same time he experienced the formal and ideological crisis that was developing in this interwar period, which would lead him to leave France to travel south, to Italy, where he would find in the masters of the past more authentic values of spirituality, simplicity and purity. Ortega Muñoz will travel through Italy from North to South between 1921 and 1922, and in Lago Maggiore he meets the English painter Edward Rowley Smart, with whom he will spend a short period of apprenticeship. With him Ortega Muñoz comes to the conclusion that, in the face of the apparent unreasonableness of contemporary art, it is necessary to return to nature and return to are the authenticity of spiritual truths and simple emotions. In 1926 he returned to Spain, where he was the protagonist of one of the founding excursions of the Vallecas School. Shortly afterwards, in 1927, he held his first exhibition at the Círculo Mercantil in Zaragoza. Then he leaves Spain again, and this time he travels through Central Europe, passing through Zurich, Brussels and several German cities. In 1928, in Worpswede, he comes into contact with a colony of artists of expressionist language, interested in landscapes and peasant life, as a reaction against the sophisticated artifices and refinements of the avant-garde. Notably influenced by his experience in Worpswede, Ortega Muñoz returns to France in 1928, and between 1930 and 1933 he continues to travel between Central Europe and Northern Italy; he finally arrives in Cairo in 1933, a date at which his skills as a portraitist have provided him with a comfortable lifestyle and important contacts. He exhibits in Alexandria with an enormous success, which will lead him to repeat the experience a year later, presenting an almost anthological exhibition in which his love for nature, the balance between color and mood, and the atmosphere of stillness and sadness characteristic of his language can already be appreciated. In 1935 he returns to Spain and the following year he presents an exhibition at the Círculo de Bellas Artes in Madrid. However, the Civil War forced him to leave Spain; after the war he returned to his hometown, and finally reunited with the silent and lonely expanse of his landscape and with the close reality of that world that he felt as authentically his own.

Estim. 3 000 - 4 000 EUR

BOCCACCIO, John. Ameto. Venice, Gregorio de Gregori, 1526 In 8vo. 150x100 mm. Binding in brown Morocco decorated in blind and gold. Concentric gold frames, the outer one with scroll decoration, the inner one with fillet decoration and fleuron at corners. In center of plates "Fortune" riding a dolphin and the motto VIRBIAM SERVO. 95 cards, 1 blank. Frontispiece enclosed within xylographic frame with phytomorphic elements and birds. Colophon at paper 95. Early hand annotation to first paper. On third paper coeval possession note by G. Giacomo Bosso. Defects to binding, internally slight traces use, some spotting, genuine specimen. Joined with: BOCCACCIO, Giovanni. Fiammetta Amorosa ... Nouamente ricorretta. Venice, Bindoni and Pasini, 1527. Papers 88 unnumbered. Marks: A-L8. Colophon to paper L8 recto. Frontispiece within woodcut frame with columns, putti and other decorations. Woodcut capilettera on criblé background. Cut to B4 paper. Good conservation. Magnificent Venetian binding of the second half of the 16th century, executed in Venice, of the "aldino" genre. The ornamental layout is reminiscent of bindings executed in Venice by bookbinder Andrea di Lorenzo, active between c. 1520 and 1550. Hobson: "The aspect of Fortuna that Italian bookbinders like to bring out is fleetingness, so they put her on the back of a dolphin, a symbol of speed." Of it, numerous versions are known in male and female variants. In Italy, Fortuna is mainly found on brown or reddish, but also white, morocco bindings from the first half of the 16th century, executed in Venice, Padua and Bologna. "Sander 1058. See Exhibition of Manuscripts, Documents and Editions, Certaldo, 1975, v. 2, no. 72.For the binding: A. Hobson, Humanists and bookbinders: the origins and diffusion of the Humanistic bookbinding 1459-1559 ..., 1989, pp. 163-164. In 8vo. 150x100mm. Brown morocco binding gilt and blind tooled. Concentric gilt frames, the outer one with volute decoration, the inner one with fillet with fleuron at the corners. At the center of the covers, "Fortuna" rides a dolphin and the motto VIRBIAM SERVO. 95 leaves, 1 blank. Title page enclosed within a woodcut frame with plant elements and birds. Colophon on leaf 95. Ancient handwritten note on first leaf. On the third leaf contemporary note of possession of G. Giacomo Bosso. Defects on the binding, internally slight traces of wear, some stains, unsophisticated copy. Bound with: Fiammetta Amorosa ... Nouamente ricorretta Venice, Bindoni and Pasini, 1527 88 unnumbered leaves. Collation: A-L8. Colophon on leaf L8 recto. Title page within a woodcut frame with columns, cherubs and other decorations. Woodcut Initials a criblé background. Cut to leaf B4. Good conservation Magnificent Venetian binding from the second half of the 16th century, made in Venice, of the "Aldine" type. The ornamental layout recalls the bindings made in Venice by the binder Andrea di Lorenzo, active between about 1520 and 1550. Hobson: The aspect of Fortune that Italian binders wished to emphasize was fleetingness. They did this by placing her on the back of a dolphin. [...] Fortune standing on a dolphin back was a reminder to the reader that opportunity passes in a flash." Numerous versions of it are known in male and female variants. In Italy the Fortuna is found mainly on bindings in brown or reddish morocco, but also white, from the first half of the 16th century, made in Venice, Padua and Bologna.

Estim. 1 800 - 2 000 EUR

BOTERO, John. Le relationi universali. Venice, Alessandro Vecchi, 1612. 4to, mm. 200x145. Full vellum binding, title on morocco gusset at spine. 6 parts in 1 volume. I: 32, 240, 80, 4 folded endpapers outside text. II: 20, 152. III: 183, 9. IV: 16, 79, 1b. V: 8, 70, 2b. VI: 8, 95, 1b. Old possessor's signature on title page "Candido Petrolo." Moisture stains to first few papers, end page with reinforcement and small woodworm hole, defects. Beautiful edition with maps of the four continents engraved by Giuseppe Rosaccio. Of particular interest is the map of America derived from Giovanni Lorenzo d'Anania's 1582 map of the Americas and further based on Ortelius' geography. Notable is the characteristic bulge of the west coast of South America and the huge southern continent that connects to New Guinea. Anian and Quivira appear on the west coast of North America. John Botero (1544 - 1617) was considered for more than a century the best existing geographer. Borba de Moraes I, 114: "For more than a century considered the best geographer in existence." Dizionario Biografico degli Italiani, vol. 13. The work is an extensive collection of historical, geographical and political news of all parts of the known world, including religious aspects.P. D. Burden, The Mapping of North America, 149. 4to, mm. 200x145. Full vellum binding, title on morocco label at the spine.6 parts in 1 volume. I: 32, 240, 80, 4 folded maps o.t. II: 20, 152. III: 183, 9. IV: 16, 79, 1b. V: 8, 70, 2b. VI: 8, 95, 1b. Signature of previous owner on titlepage "Candido Petrolo." Dampstains on the first pages, final page with reinforcement and small worm hole, defects. Beautiful edition with maps of the four continents engraved by Giuseppe Rosaccio. Beautiful edition with maps of the four continents engraved by Giuseppe Rosaccio. Of particular interest is the map of America which is derived from Giovanni Lorenzo d'Anania's 1582 map of the Americas and further based on the geography of Ortelius. Most notable is the characteristic bulge to the west coast of South America and the huge Southern Continent that attaches to Nova Guinea. Anian and Quivira appear on North America's bulbous western coast. The map of Africa extends to show the Arabian Peninsula and parts of Brazil. Giovanni Botero (1544 - 1617) was considered the best existing geographer for more than a century. Borba de Moraes I, 114: "For more than a century considered the best geographer in existence." Dizionario Biografico degli Italiani, vol. 13. The work is a large collection of historical, geographical and political information from all parts of the known world, including religious aspects.

Estim. 3 000 - 4 000 EUR

BINI, Pietro. Memoirs of Florentine soccer taken from various writings. Florence, Stamperia di S.A.S. alla Condotta, 1688. In 4to. 234x168 mm. Rear binding in half green morocco with corners, friezes and title in gold on spine. Pages [12], 118, 2 copper-engraved plates outside text. Markings: §⁶ A-F⁴ G-K² L⁴ M² N-P⁴ Q⁴(-Q4) R⁴ S²; paper §3 marked §. Italic, Greek and Roman typeface. Ornate initials, Typographic headpieces and endpapers. Medici coat of arms on Frontispiece engraved in copper by Francesco Nacci. The two engraved plates contain the View of Piazza Santa Croce, drawn by Alessandro Cecchini and the Plan with the tactical deployments of the two teams at the start of the match. Page 64 Copper-engraved finial. Sporadic slight foxing, nice copy with good margins. Rare figured edition, the most valuable. This is the most important treatise on the game of Florentine soccer, published for the wedding of Ferdinand Prince of Tuscany and Violante Beatrice of Bavaria. The players in this celebratory game were all members of the Florentine aristocracy and are all listed at the end, in the two formations 'Europeans' (Rosino color) and 'Asiatics' (Green color)'. The works in this anthology include a new, expanded edition of Bardi's "Discorso," originally published in 1580 and which was the first printed book on soccer. There is also a Latin treatise on the game by the Jesuit G.B. Ferrari, a description of the game in Greek verse by Georgios Koresios followed by a translation into Tuscan dialect by A.M. Salvini, and a 'Cantata in musica' by Jacopo del Borgo.Vinciana: "It is well known how the game of soccer described corresponds to that jocund feast which the Greeks called Sferomachia and the Latins Arpasto ... Very fine reprint. The plates are identical with those of the previous edition but carved with better taste." Gamba: "far more copious than any other" The name of the editor, Pietro di Lorenzo Bini, is at the foot of the dedication, on paper §3v. Cicognara, 1570; Gamba, 99; Moreni I, 84 (note); Pinto, Nuptialia, 462; Vinciana, 127. In 4to. 234x168mm. Later binding in half green morocco with gilt corners, gilt title and ornaments on the spine. Pages [12], 118, 2 plates engraved in copper out text. Collation: §⁶ A-F⁴ G-K² L⁴ M² N-P⁴ Q⁴(-Q4) R⁴ S²; the §3 leaf marked §. Italic, Greek and Roman type. Ornate initials, typographical head and tailpieces. Medici coat of arms on the title page engraved in copper by Francesco Nacci. The two engraved plates contain the View of Piazza Santa Croce, designed by Alessandro Cecchini and the Plan with the tactical line-ups of the two teams at the start of the match. On page 64 copper engraved tailpiece. Slight foxing, fine copy with wide margins. Rare illustrated edition, the most valuable. This is the most important treatise on the game of historic football of Florence, published for the wedding of Ferdinando prince of Tuscany and Violante Beatrice of Bavaria. The players of this celebratory game were all members of the Florentine aristocracy and are all listed at the end, in the two formations 'European' (Rosino color) and 'Asiatic' (Green color)'. The works in this anthology include a new expanded edition of Bardi's "Discorso," originally published in 1580 and which was the first printed book on football. There is also a Latin treatise on the game by the Jesuit G.B. Ferrari, a description of the game in Greek verse by Georgios Koresios followed by a translation in Tuscan dialect by A.M. Salvini, and a 'Cantata in musica' by Jacopo del Borgo.Vinciana: "It is well known how the game of soccer described corresponds to that playful feast which the Greeks called Sferomachia and the Latins Arpasto ... Very valuable reprint. The plates are identical with those of the previous edition but carved with better taste." [It is well known that the game of football described corresponds to that merry party which the Greeks called Spheromachia and the Latins called Arpasto ... Very valuable reprint. The plates are identical to those of the previous edition but carved with better taste]. Leg: "assai più copiosa di ogni altra" [much more abundant than any other].The name of the editor, Pietro di Lorenzo Bini, is at the bottom of the dedication, on page §3v.

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