Untitled - Copetti Antiquari

GALLERY “COPETTI ANTIQUARI”
The Gallery “Copetti Antiquari” is headed by Giorgio and Ernesto Copetti.
It was founded in 1982 and is based in the historic centre of Udine. The Gallery is on the books of A.A.I.
(Associazione Antiquari d’Italia) and of CINOA. It offers highly selected antiquities and is specialized in Medieval
sculptures, old paintings and paintings from the masters of XXth Century.
It takes part to the following exhibitions: Biennale Internazionale di Antiquariato (Palazzo Venezia - Rome),
Collezioni d’Arte (Palazzo della Permanente – Milan), MINT (Milan).
It has organized many thematic exhibitions in its base, and it has edited many publications.
It constantly collaborates with important experts and with museum-directors.
Through the years, the Copetti Antiquari Gallery has supplied various Italian museums with many items.
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A ROMAN MARBLE BUST OF GANIMEDE
MARBLE PATERA
Marble sculpture.
Italy, IIth century A.D.
Measures: h. 61 cm
Provenance: American collection
Greek marble.
Italy, Venice, XIVth century.
Measures: 11x38x38 cm.
This figure of the Trojan prince Ganymede, beloved of Zeus and cup-bearer to the gods of Olympos, ultimately derives
from a Hellenistic prototype.
Depicted nude, standing in contrapposto with his weight originally on his left leg, the right leg relaxed, his torso
twisting with his right shoulder slightly forward, holding an eagle in his left arm, his hand at the bird's left wing, its
tail feather curving along the contours of the boy's hip, remnants of a strut along the boy's right thigh, a fragment of a
support preserved along the back of his left thigh.
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The term patera is used to indicate the circular reliefs dating from the Venetian-Byzantine, with mainly zoomorphic
subjects, applied on the facades of the oldest palaces in Venice. These circular reliefs are widely used in areas surrounding
Venice (Veneto, Friuli, Istria) and are made mostly of greek marble from the beginning of the eleventh century to the
fourteenth century. Often there are pairs of animals like birds, lions, griffins. A lot of these circular reliefs are now preserved
in various museums worldwide: Berlin (Bode Museum), Boston (Museum of Fine Art), Detroit, Wien, London, Lion,
Brescia, Ferrara, Milan, Padua, Ravenna (Museo Nazionale), Turin, Verona, Cividale del Friuli (Museo Archeologico
Nazionale), Aquileia, Udine.
Related literature: A. Rizzi, Scultura esterna a Venezia, Venice 1987.
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POPE GREGORY
CARVED STONE CAPITAL
Stone sculpture with traces of polychromy and gilding.
Italy (Veneto), half of XIVth century.
This sculpture can be compared with the one representing Pope Gregory blessing on throne, located in the front of Saint
Gregory’s Abbey in Venice, on the Grand Canal.
Measures: Height 162 cm.
Related literature: W. Wolters, La scultura veneziana gotica, Alfieri editori, Venice 1976.
Istrian stone capital.
Italy (Veneto), XV century.
Measures: 43x43x50 cm.
Related literature: W. Wolters, La scultura veneziana gotica, Alfieri editori, Venice 1976.
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HEAD OF MARS
GREEK MARBLE COLUMNS
Onyx and Egyptian alabaster.
Italy, Florence, first half of XVIIth century.
Measures: h. 59 cm.
Literature: VII Biennale Internazionale di antiquariato di Roma, Rome 2010, ill.
Exhibitions: VII Biennale Internazionale di antiquariato di Roma, Rome 2010, ill.
Greek marble columns
XVIIth century.
Measures: 191x30x30 cm
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FRANCESCO ASCO
(Trieste 1899-1970 Milan)
Marble sculpture performed around 1920.
Measures: 101x62x30 cm.
Signed: F. ATSCHKO
Francesco Atschko was born in Trieste by a mother of Polish origins. His surname was Italianized in Asco in 1929. He
moved to Milan In 1933, at the age of 34. In 1941 he took part to Venice Biennial with the sculpture “Anadyomene”.
In Trieste there are various statues of Asco, in Piazza Garibaldi, at the Maritime Station, at the cemetery of s.Anna and
other places.
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TOBIA VESCOVI
TOBIA VESCOVI
(1893- Bergamo -1978)
“Mephistopheles’ head”.
Sculpture in Zandobbio marble, performed around 1930.
Measures: 52x44x43 cm.
(1893- Bergamo -1978)
“Male head”.
Sculpture in Zandobbio marble, performed around 1930.
Measures: 51x47x45 cm.
Literature:
“Tobia Vescovi alla Galleria Giorgio Scaccabarozzi”,
Bergamo 2009, p.38 ill.
Exhibitions:
“Tobia Vescovi alla Galleria Giorgio Scaccabarozzi”,
Bergamo 2009, p.38 ill.
Related literature:
P. Mosca, Bergamo nella storia dell’arte ottocento
novecento, Bergamo 1985
F. Rossi, Maestri e artisti 200 anni della Accademia
Carrara, Skira, Milan 1996
“Tobia Vescovi alla Galleria Giorgio Scaccabarozzi”,
Bergamo 2009
Literature:
“Tobia Vescovi alla Galleria Giorgio Scaccabarozzi”,
Bergamo 2009, p.40 ill.
Exhibitions:
“Tobia Vescovi alla Galleria Giorgio Scaccabarozzi”,
Bergamo 2009, p.40 ill.
Related literature:
P. Mosca, Bergamo nella storia dell’arte ottocento
novecento, Bergamo 1985
F. Rossi, Maestri e artisti 200 anni della Accademia
Carrara, Skira, Milan 1996
“Tobia Vescovi alla Galleria Giorgio Scaccabarozzi”,
Bergamo 2009
Tobia Vescovi’s work is influenced by Arturo Martini and Adolfo Wildt. His sculptures are kept at the palace of the
town of Bergamo, in the hall of the palace of the province of Bergamo, in the private apartment of the Pope in Vatican.
He made several large public sculptures: the six large statues on the facade of the public library in Bergamo, the war
memorial of Zandobbio and Covo, the four heads of the winds around the clock tower of the fallen in Bergamo, the
Victorious Athlete in the Foro Italico in Rome.
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AUGUSTO PEREZ
AUGUSTO PEREZ
(Messina 1929-2000 Naples)
“Regina”, 1959.
Sculpture in black cement.
Unique piece.
Measures: 202x51x44 cm.
Signed: PEREZ 1959
Provenance: Galleria dell’Obelico Rome
Literature: C. Brandi, VIII Quadriennale nazionale d’arte di Roma, ed. De Luca, Rome 1959, p. 91
Augusto Perez, ed. L’ Obelisco, Rome 1959
V. Corbi, Il mito della scultura, ed. Morra, Naples 2000, ill.
F. Gallo, Origini, ed. Fondazione Orestiadi, Scicli 2001, p. 110 ill.
Exhibitions: C. Brandi, VIII Quadriennale nazionale d’arte di Roma, ed. De Luca, Rome 1959, p. 91
Augusto Perez, ed. L’ Obelisco, Rome 1959
V. Corbi, Il mito della scultura, ed. Morra, Naples 2000, ill.
F. Gallo, Origini, ed. Fondazione Orestiadi, Scicli 2001, p. 110 ill.
(Messina 1929-2000 Naples)
“Trofeo n. 3”, 1962.
Bronze with dark patina.
Unique piece.
Measures: 208x50x54 cm.
Signed: PEREZ
Provenance: Galleria dell’Obelico Rome
Augusto Perez took part to the VII Quadriennale of art of Rome in 1955. In 1956 he took part to the
Venice Biennale. In 1959 he was invited to Paris at the International of young people, at the V
International Biennial of Art in Sao Paulo and at the VIII Quadriennale of art of Rome. His works
were exhibited at the Rodin Museum, at the Gallery of Modern Art in Paris, at the International
biennial of Antwerp, at the Museum of Le Havre, at the Museum of Hague, at the Kongreshalle in
Berlin. In 1960 and 1966 he exhibited again at the Venice Biennale. In 2001, the Gallery of Modern
Art of Bologna devoted him an exhibition.
Literature: V. Corbi, Il mito della scultura, ed. Morra, Naples 2000, ill.
F. Gallo, Origini, ed. Fondazione Orestiadi, Scicli 2001, p. 111 ill.
Exhibitions: V. Corbi, Il mito della scultura, ed. Morra, Naples 2000, ill.F. Gallo, Origini, ed. Fondazione Orestiadi,
Scicli 2001, p. 111 ill.
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GIACOMO MANZU’
(Bergamo 1908 – 1991 Rome)
“Chair with drapery and vine branch”, 1966.
Bronze dark patina.
Unique piece.
Measures: 84,3x72x51,6 cm.
Signed: MANZU’ NFMM
The sculpture was recorded at the Fondazione Manzù by Inge Manzù under no. 5/2008
Provenance: Paul Rosenberg collection, New York
Manzù was one of the most important Italian sculptors of the twentieth century. In 1933 he exhibited a series of busts at the
Triennale di Milan, which granted him national popularity. The following year he held in Rome a personal exhibition with
the painter Aligi Sassu, with whom he shared a studio. In 1940 he obtained a teaching position in the Accademia di Brera in
Milan, but later he moved to the Accademia Albertina in Turin. During World War II Manzù moved to Clusone, returning to
teach at Brera after the end of the conflict, a position he held until 1954. Until 1960 he lived in Salzburg. Here he met Inge
Schabel, his future wife, who was the model of numerous portraits together with her sister Sonja. In 1964 he completed
the “Death Gate” for the St.Peter’s Basilica in Rome. In the same year he moved to Ardea, near Rome, in a locality now
rechristened Colle Manzù in his honor.
Literature: C. Brandi, Exhibition of recent work by Giacomo Manzù, P. Rosenberg & CO., New York 1968, p. 38 no. 17 ill.; M. De Micheli, Giacomo Manzù, Fratelli Fabbri Editori, Milan 1971, no. 57 ill.
C. Strinati, Manzù L’ Uomo e l’ Artista, De Luca Editori d’Arte, Rome 2002, p. 64 no. 6 ill.
Exhibitions: C. Brandi, Exhibition of recent work by Giacomo Manzù, P. Rosenberg & CO., New York 1968, p. 38 no. 17 ill
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