100 - GIORGIO BUSATO (Venice, 1836 – Nottingham, 1916).

GIORGIO BUSATO (Venice, 1836 – Nottingham, 1916). “View.” Oil on canvas. Signed in the lower right corner. 19th-century frame with mother-of-pearl inlays. Measurements: 40 x 98 cm; 50 x 109 cm (frame). Provenance: Estate of Ramon Martí Alsina and Ricard Martí Aguiló. Artistic and heritage collection originating in the legacy of Catalan painters Ramon Martí Alsina (1826–1894), a seminal figure of 19th-century Catalan Realism, and his son Ricard Martí Aguiló (1857–1935). Passed down and enriched across successive generations, the collection brings together works from the original holdings of both artists alongside acquisitions made by their descendants. Dedicated to preserving and recovering the family legacy, the descendants actively reacquired works by the painters as they entered the market, progressively expanding the collection to encompass paintings, sculptures, archaeological artifacts, and other items of artistic and historical significance. Giorgio Busato, also known as Jorge Busato, was a painter and set designer of Venetian origin who later became a naturalized Spanish citizen; his career played a prominent role in the renewal of theatrical set design in Spain during the second half of the 19th century. He trained under his father, Giovanni Busato, and at the Academy of Fine Arts in Venice. At the age of fourteen, he began an apprenticeship at the Parisian studio of set designers Domenico and Augusto Ferri, whose team later moved to the Teatro Regio in Turin in 1851.In 1856, Augusto Ferri was hired by the Teatro Real in Madrid and brought with him a group of collaborators, among whom was Busato. The success of this team led to numerous commissions from the leading Spanish theaters of the time, cementing Busato’s reputation as a set designer. His work also extended to the decoration of private residences in Madrid, rooms in the Royal Palace, churches, and other prominent buildings, including the Madrid Stock Exchange. Seeking to broaden his knowledge, he traveled to Vienna in 1876 and also made trips to Berlin. After returning to Venice in 1899, he went back to Spain, where he continued to work on smaller-scale commissions. Later, his career took him to Paris, Italy, and London, until he finally settled in Nottingham with his son, a correspondent for the *Heraldo de Madrid*. His body of work, linked to various European artistic centers, is preserved primarily in private collections, though it is also represented in institutions such as the National Theater Museum in Almagro. His legacy highlights the importance of Italian set designers in shaping 19th-century Spanish theater, as well as their contribution to the design of highly significant theatrical and architectural spaces.