Monique Eleb Vidal, Anne Debarre-Blanchard
Archives d'Architecture Moderne

Giuseppina Perusini
Forum

Il conte Giuseppe Uberto Valentinis (1819-1901), pittore e studioso di storia dell'arte regionale, fu il più importante restauratore friulano della seconda metà dell'Ottocento. Per la sua attività di conservatore fu in contatto con rilevanti personalità italiane e straniere che pure si dedicavano allo studio e alla tutela dei beni culturali. Grazie alla sua perfetta padronanza del tedesco, Valentinis tradusse il trattato su "Il restauro e la rigenerazione dei dipinti ad olio" (1870) del chimico bavarese Maximilian Pettenkofer, e quindi s'adoperò per diffondere il metodo da questi ideato con una serie di corsi presso le più importanti gallerie italiane.

AA.VV.
Farnborough

Marco Eugenio
Silvana Editoriale

Emilio Sereni
Editori Laterza

Carlo Pirovano
s.e.

Joseph Azzi
Chirico

Anche all'interno del quadro mentale musulmano, dovrebbe essere possibile la discussione sulla natura del testo del Corano - discussione portata avanti da tradizionalisti come Suyuti (morto nel 1505). In tempi a noi più vicini, un dignitario ufficiale dell'Università di Al-Azhar, Muhammad Abdullah Draz, affrontava la questione in piena serenità, consapevole che l'atto di fede che stabilisce l'origine del testo non poteva bastare agli uomini della nostra epoca penetrati di critica filosofica e storica.

André Kedros
Marsilio editori

Jehovah Ordonnant de sa Main Puissante une Famille Cosmique, 1970

Oil on canvas. Signed and dated lower right. In ORAZI's abstract pictorial phase, his strong inclination to create circular shapes, often knotted or concentric, is often expressed. This tendency becomes central in the pictorial phase of the years 1970-1977, called Ligne Circulaire, in which he abandons creations in relief and the reference to the shapes and impressive events of nature, to instead depict the harmonious dimension of the universe, the birth and movement of the planets, the vastness of the firmament. The colors soften, are rich and at the same time tender. In some paintings ORAZI also depicts fascinating representations of Mother Earth embracing her creatures (insects, birds, flowers) or of the Moon. Or as in this work, he expresses a direct reference in the title to divine creation, depicting "God who orders the cosmic family with his powerful hand". The work comes from the artist's family collection. It is presented in a frame.

Ceiling lamp with 5 "drops" in brass and opal glass.

Table in stained beech wood with 4-spoke base in enamelled metal and brass and wooden top covered in laminate.

The Drinker

Oil on canvas. The painting harks back in its pictorial methods and subject to the production of Giacomo Francesco Cipper, known as Todeschini, an artist of Austrian origins who established himself in Milan. He was a specialist in market scenes, open-air concerts, card players, and scenes of humble daily life created with laughing caricatures and a search for comic effect. As in this work, which portrays a commoner, intent on drinking wine: despite the poverty that shines through his clothes, the man appears cheerful and laughing, perhaps due to excessive drinking, to represent not the desolation but the vitality and fun of daily life, however miserable. The painting has been restored and relined and features, on the back of the frame, a small cartouche with details of the restoration carried out. It is presented in a readjusted antique frame.

50s-60s

3-seater sofa, foam padding and fabric covering, enamelled metal legs with brass tips.

Italy, Mid XIX Century

Finely carved walnut and walnut casket supported by four animal-paw feet. Four carved caryatids on the corners embellish the casket. The lid features a faux embroidery decoration enclosed within a frame with repeated motifs. Interior covered in paper.

Italy, Early XIX Century

Pair of Empire bedside tables from the early 19th century. Resting on two tall plinth feet, they feature on the pilaster strips, at the sides of the doors, two ebonized half columns with gilded capitals, one of which has been replaced, above these a projecting drawer under the top. Made of solid walnut with poplar interiors.

Chiavari, Late XIX Century

Five "chiavarine" chairs from the end of the 19th century. Made of maple, super light, they have the typical turned workmanship on the legs and the rods of the backrest. Cane seat. These chairs were very successful in the 19th century for their design and lightness, and were exported all over the world; not only very popular, but considered elegant, they can be found in all European palaces.

1960s

Dresser with mirror, mahogany veneer and drawer front with chromatic play with combination of exotic wood veneers, back-treated glass top, marble effect.

60s-70s

Swivel stool, plywood and enamelled metal.

70's

Wall mirror, with lighting, mirrored glass, and white glass diffusers.

Tête-Paysage 1970 ca.

Oil on canvas. Signed lower left. The painting belongs to ORAZI's production from 1970 to 1977. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or heads of fauns and mythological figures (sometimes accompanied by their insect companions): the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, or as in this work, hide a head or a face, often "faunesco". The work comes from the artist's family's private collection.

Late 19th Century

French freestanding mirror from the late 1800s made with a large beaded moulding on the inside. Minor damage

Angus C. Graham
Neri Pozza

Figures of Lovers 1975

Oil on canvas. Signed and dated lower right. The painting belongs to ORAZI's production from the 1970s. In this phase the artist abandoned completely abstract and relief painting and returned to figurative painting, rendered however with simplified and distorted lines. In particular, he created the series called Lignes Circulaires and the one, to which this work belongs, of paintings called Têtes-Paysage, in which he created compositions that depict mysterious human heads or heads of fauns and mythological figures (sometimes accompanied by their insect companions), often couples of lovers kissing: the lines, in these paintings, intertwine to simultaneously form compositions, intertwining bodies, often in an erotic attitude. The work comes from the artist's family's private collection.

65 x 37 In

Asian carpet in cotton and wool, fine knot, hand made.