SEBASTIANO LAZZARI (VERONA C. 1730-1790/1800 VENICE?)
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Sebastiano Lazzari (Verona c. 1730-1790/1800 Venice?)

A trompe l'oeil of a zither, a guitar, a lute, a globe, with an hourglass and pewter platter with pomegranates on a wooden table, before a planked wall with a map of Europe and other objects; and A trompe l'oeil of a violin, a lute, a trumpet and an oboe on a harpsichord, before a planked wall with a portrait, a pocketwatch, a map and other objects

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Sebastiano Lazzari (Verona c. 1730-1790/1800 Venice?)
A trompe l'oeil of a zither, a guitar, a lute, a globe, with an hourglass and pewter platter with pomegranates on a wooden table, before a planked wall with a map of Europe and other objects; and A trompe l'oeil of a violin, a lute, a trumpet and an oboe on a harpsichord, before a planked wall with a portrait, a pocketwatch, a map and other objects
the former inscribed 'Coll'occhio in un balen, in un sol volo Senza a corsiér veloci, e senza legni Scorrendo terra, e mar, provincie, e regni, Giungner portrai dall'uno all'altro polo.' (upper left); 'al Sig. Antonio Mazzoni' (on the rolled musical scores); 'Domenico Sellas Venetia alla' (lower irght, on the guitar); and dated '[1]755' (centre right, on the planked wall); the latter signed, dated and inscribed 'Al Sig Sebastiano Lazzari Pittore. Verona.' (lower centre); 'Verona 1755 spese fatte [...]no Lazzari [...]ner conto' (upper right, on the letter); 'Celesti cose son le Cetre, e il Canto, Onde già l'Uomo si solleva a Dio; Beato chi n'intende il pregio, e il vanto!' (upper left); 'ALEXANDRI·TRASONTINI·M·D·XXXIIII·' (on the harpsichord); and 'Sig. Egiziello Non so frenar il pianto Cara nel dirti addio ma questo pianto mio ...' (on the score)
oil on canvas
33 x 44 in. (83.9 x 101.7 cm.)
a pair (2)
Special notice

VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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Alexis Ashot
Alexis Ashot

Lot Essay

These are exceptional examples of the activity of Sebastiano Lazzari as a trompe l'oeil painter. Very little is known about the artist, except that he was from Verona, as he often stated in his signature. It seems that he started depicting trompe l'oeil still-lifes in 1750, mostly against planked walls, which is why they were often called 'finti assi'. He also worked as a designer for majolica and porcelain factories, first in Nove, near Vicenza, and later in Venice and Bologna.
In the first painting, the inscription on the guitar refers to Domenico Sellas, who, with his father Matteo, was a successful instrument maker in Venice in the 17th century. The crown inscribed on the peghead was the shop sign used by these two Venetian luthiers. The name on the rolled scores refers to the Bolognese composer Antonio Mazzoni (1717-1785), who set several dramas by Metastasio to music. In the second painting, the inscription on the harpsichord probably refers to the Venetian maker of keyboard instruments Alessandro Trasuntino, called Alessandro degli Organi, of whom Titian painted a portrait in 1540 in exchange for a harpsichord. The 'Sig. Egiziello' mentioned in the score is certainly Gioacchino Conti (1714-1761), called Gizziello, a celebrated castrato whose career took him throughout Europe, and even to London. He delivered many of the debut performances of the most celebrated composers of the time: amongst these he sang Metastasio's Demetrio in 1747, set to music by Johann Adolf Hasse, from where the 'Aria di Alceste' (Non so frenare il pianto) is taken.

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