A SET OF FOUR NORTH ITALIAN GRAINED WALNUT OPEN ARMCHAIRS
Christie's is selling all lots in this sale as age… 顯示更多
A SET OF FOUR NORTH ITALIAN GRAINED WALNUT OPEN ARMCHAIRS

VENICE, CIRCA 1750, REDECORATED

細節
A SET OF FOUR NORTH ITALIAN GRAINED WALNUT OPEN ARMCHAIRS
VENICE, CIRCA 1750, REDECORATED
Each with a cartouche-shaped back and seat upholstered in watered pale green silk, the molded frame centered by pierced foliage on cabriole legs and scrolling toes, two branded A.S. and I.M. both enclosed by circles, one branded A.S. only and a fourth branded I.M. only (4)
來源
[Probably] The Counts Valmarana, Villa Valmarana, near Vicenza (according to Adolph Leowi). with Adolph Loewi, Los Angeles, 25 April 1941 ($2,500).
注意事項
Christie's is selling all lots in this sale as agent for an organization which holds a State of New York Exempt Organization certificate. Seller explicitly reserves all trademark and trade name rights and rights of privacy and publicity in the name and image of Doris Duke. No buyer of any property in this sale will acquire any right to use the Doris Duke name or image. Seller further explicitly reserves all copyright rights in designs or other copyrightable works included in the property offered for sale. No buyer of any property in the sale will acquire the rights to reproduce, distribute copies of, or prepare derivative works of such designs or copyrightable works.

拍品專文

The Villa Valmarana is celebrated as one of Palladio's great villas and also for the 18th century frescoes executed by both Giambattista Tiepolo and his son Giandomenico. The father and son visited twice, once in 1757 and again in 1759. They were invited to decorate rooms in both the Villa and in the adjoining guest quarters, the so-called 'foresteria'. Their patron was Count Giustino Valmarana, a scholar and theater enthusiast. Tiepolo frescoed the vestibule and four ground-floor rooms, while his son executed the decoration in the adjacent guest house. Giandomenico's lively genre scenes featuring peasants and merchants were intended to form a marked contrast with Giambattista's noble and tragic themes in the Villa, borrowed from famous works of Greek, Roman, and Italian literature.

For further information on Adolph Loewi, see note to lot 296.