Null "Civilisation des Villas Venitiennes", Michelangelo Murano, Paolo Marton, E…

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"Civilisation des Villas Venitiennes", Michelangelo Murano, Paolo Marton, Ed. Mengès, 1986

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"Civilisation des Villas Venitiennes", Michelangelo Murano, Paolo Marton, Ed. Mengès, 1986

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起始价格 40 EUR

Paolo Venini (1895-1959) / Murano: Empty pocket circa 1950, mouth-blown bubble glass, amber-tinted, signed with acid stamp under the base, H: 13.2, L: 15.5 cm

起始价格 7250 EUR

Paolo Venini (1895-1959) / Venini Murano Italia: Vase, "Tessuto mosaïco" model, year 1954, mouth-blown filigree glass, signed with an acid stamp under the base, H: 18.7, diameter: 14 cm

估价 400 - 500 EUR

[LOUIS XVI]. -LEARDI (Paolo). In Funere LudoviciXVI. Galliæ et Navarræ regis christianissimi oratio habita in sacello Quirinali ad sansctissimum dominum nostrum Pium sextum pont[tificem] max[imum]. Romæ, apud Lazarinos, 1793. Large in-4 (31x22,8cm), (2dont la seconde blanche)-v-(1)-55-(uneblanche)pp., brown calf, smooth spine adorned with gilt roulette between gilt fillets, wide gilt frame on the boards including flowered medallions linked by foliage scrolls emerging from horns of plenty, decorated edges, gilt edges; top board a little stained, spine faded, covers and edges a little rubbed, some marginal soiling (period binding). First edition, printed in the workshop of Luigi Lazarini, printer to the Apostolic Chamber. Copper-engraved illustrations: 7vignettes by Alessandro Mochetti, Carlo Antonini, Pietro-Leone Bombelli, after drawings by Carlo Antonini, Pietro-Leone Bombelli, Francesco Morro and Luigi Sabatelli: 2bandeaux (portraits of PiusVI and LouisXVI), 2culs-de-lampe, 2initials, and a vignette on the title, allegory of the Revolution represented as a hydra ruining the arts, plundering the horns of plenty and threatening the fleurs de lys. Funeral oration of Louis XVI delivered before the Pope. It was read in Latin on September 28, 1793 in the papal chapel of the Quirinal, in the presence of PiusVI, the Sacred College (including Cardinal de Bernis, former ambassador of monarchical France to Rome, deposed by the Republic, who sang mass for the soul of the deceased king), and Mesames Marie-Adélaïde and Victoire, aunts of LouisXVI. Paolo Leardi, then secret cameraman, would later become apostolic nuncio in Vienna, from 1817 to 1823. If, in his consistorial address of June 17, 1793, PiusVI had been able to envisage the sanctification of LouisXVI as a martyr, he subsequently modified his position, and allowed his secret camerere to decry France here as a hotbed of philosophy and disorder, and to blame the monarchy and the monarch himself for the morals of the Court, the American War, the trust placed in Necker (a foreigner and Protestant), and the approval given to the Civil Constitution of the Clergy. This funeral oration was subsequently published in French and Italian. Beautiful neoclassical Italian binding.

估价 2 800 - 3 000 EUR

SANTIAGO MONTES LUENGAS (Villa de Laredo, Cantabria, 1911 - 1954). "Composition". Oil on canvas. Signed Measurements: 81 x 65 cm.; 103 x 86 cm.(frame). Santiago Montes Luengas was a Spanish painter recognized for his original works and as a copyist of the Prado Museum. During the Spanish Civil War, he faced the challenge of remaining in hiding for eight years, followed by subsequent imprisonment. In Yeserías prison in Madrid, he painted portraits of several of his fellow prisoners, including Cipriano Rivas Cherif, Manuel Azaña's brother-in-law. Coming from a family of fishermen with seven brothers, Santiago experienced the pain of losing his brother Ángel, shot in the Dueso prison as a result of the same conflict. With the arrival of the Civil War, Montes, who fought on the side of the Republican Government, and just before the capture of Santander by the rebels in 1936, tried unsuccessfully to flee to France by boat. Failing all attempts at voluntary exile, he decided to hide, according to common practice, in his own house, in a camouflaged hiding place in the attic, which only he and his wife knew about, and which they kept hidden from their four children to prevent them from unwittingly betraying him. During the forced confinement Montes painted and drew obsessively. At the end of World War II in 1945, coinciding with an amnesty of the Franco regime, Montes decided to come out of hiding and surrender to the authorities, who kept him in prison for almost a year while waiting for the application of the amnesty. During his stay in the prison for political prisoners of Yeserías in Madrid, as well as in Santander, he made numerous portraits of his fellow prisoners, such as that of Cipriano Rivas Cherif, brother-in-law of Manuel Azaña, President of the Second Spanish Republic. In 1946, having gathered enough evidence to clear him of serious crimes, he was released and began a new professional and creative stage that led him to become the official copyist of the Prado Museum, making copies of Mantegna, Van Der Weyden, or Murillo so good that even experts find it difficult to differentiate them from the originals. Parallel to the numerous commissions for copies, almost all of them from foreign tourists visiting the museum, Montes produced his own personal pictorial work in an artistic career that was abruptly interrupted in 1954 by his premature death at the age of forty-three.

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