Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940
Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-2Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-3Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-4Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-5Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-6Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-7Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-8Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-9Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-10Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-11Otello-Brescia-Teatro-Grande-Stagione-di-Fiera-1887-Antique-Poster-Art-Print-190836670940-12

Otello Brescia Teatro Grande Stagione di Fiera 1887 Antique Poster Art Print

$45.00

1 in stock

Category: .

Product Description

You are bidding on this 30 Inch by 41 3/4
Inch Wood Oak Frame that has two poster type prints on each side of them.


The only damage that I have noticed is on the one with TEATRO
GRANDE.  Where OTELLO is, there is a scuff mark on the right side of the
“O” and where it says COMM FRANGO FACCIO, on the COMM there is a small
tear comming up, it looks like someone had this side laminated and I think
the laminate is torn a little bit.  This side also is a little dirty and some of the red lettering has faded.

Please note that there are two mattes with the same color and it appears
that they are glued back to back, I did not want to try to separate
them. 
This would look great hanging down in someones kitchen entry,
studio or in between a wall or attached to part of a door, you decide what would be best for you.

You will get the frame to this  if you want, but no glass will come with it unless
you request it.  I have always had problems shipping things with glass,
every time the carrier brakes the glass and it damages the work.  If you
want the glass it will be shipped separately and you will need to pay
for additional shipping on the glass. 

These are simply assembled with two different pieces of glass,
each piece of glass goes in front of each side of the work for protection
purposes.

The art goes in between each piece of glass and all three pieces (Glass and Art) slides into a groove of the
frame, I have not taken any photos of this feature. 
The wood does need
some cleaning because this, and others that I will be listing came out of
an Italian Restaurant in Portland Oregon about five years ago, the restaurant had been there for years.

Information Regarding The Art


One side Brescia TEATRO GRANDE OTELLO is behind the matte and measures 27 x 19 Inches.

This is of Williams Shakespeare Opera/Play of OTELLO performance in February of 1887 at the BRESCIA TEATRO GRANDE (Great Theater) located in Pompeii Italy.   
Otello is an opera in four acts by Giuseppe Verdi to an Italian Libretto by Arrigo Boito, based on Shakespeare’s play.  It was Verdi’s penultimate opera, and was first performed at the Teatro alla Scala, Milan, on February 5, 1887.

There are other works of this, but this looks like nothing I have seen.  The colors of this are blue and what I have seen in other works are Red. I have no idea of the artist or author of this, it is known to be anonymous.

The other side to this Measures 7 x 26 Inches.  This is attatched to the front of the matte.  This is of a woman sitting down reading the newspaper with a man looking
over her shoulder with a Cigarette or Cigar in one hand and a cup of Coffee or Tea in
the other hand.  I do not know what the artist vision was, but I understand that he did art for plays and operas. 

This is Adolfo Hohenstein (signed top left) work of art,  Il Resto de Carlino. 
il Resto del Carlino is an Italian local newspaper founded March 21, 1885 based in Bologna Italy with Italian Language.  It is indirectly owned by a group of Italian industrialists, and reflects their political stance.  Its rather evocative name means “the change you get from a Carlino,” the smallest part of the Papal bajocco, which was legal tender at the time, when a sheet of local news was
given out in shops to make up for any change owing after buying a cigar.

Hohenstein was born March 18, 1854 in St. Petersburg, Russian Empire.  He died on April 12, 1928 (age 74)in Bonn Germany.  His field of expertiese was Painting, Illustration and Decorative Art.  His works include Tosca and La Boheme posters and Campari adds.  He was influenced by Alfons Mucha.

German Art Nouveau master Adolpho Hohenstein (1854 – 1928) advertised
the drama of the 19th century Italian opera with equally dramatic
posters. Hohenstein was so immersed in the Italian spirit that he was
nicknamed “Father of the Italian Poster.” While working for publishing
house, Ricordi, he created postcards and immense posters promoting its
music. Hohenstein’s flamboyant posters paired well with the drama of
the opera, and transformed the Italian poster into art.

Adolfo Hohenstein was born in the town of Saint
Petersburg, Russian Empire, to German parents, Julius and Laura Irack.
His father was a forest
engineer, whose career prompted him to travel extensively. Julius,
forest engineer. Adolf moves to Vienna
where he grows up and completes his studies. His travels take him to
India, where he decorates the houses of the local nobility.


The Italian experience

In 1879, he settles down in Milan, Italy. He becomes a set and costume designer for La Scala
and other theaters. There he meets the musical publisher Giulio
Ricordi, and in 1889 begins to work for the Ricordi Graphical Workshops,
where he shortly becomes the artistic director in charge of the
graphical part. He’ll create the posters for                La Boh
ème  and Tosca, as well as publicity for Campari, Buitoni and Corriere della Sera,
numerous postcards, covers for scores and booklets. His work will
continue to cover the theatrical dimension: scenarios and wardrobes for
several works, among them Giuseppe Verdi’s Falstaff (1893) and a major part of the works of Giacomo Puccini, from the sketches of the Villas to posters of Madoma Butterfly (1904). At Ricordi’s he has as colleague Giovanni Mario Mataloni and as students Leopoldo Metlicovitz and Marcello Dudovich.



Return to Germany


In the first years of the 1900s, after marrying Katharina Plaskuda, a
widow, he travels more and more frequently between Italy and Germany
till 1906, year in which, after winning the competition for the
graphical symbol and the poster for the “Esposizione per il Traforo del
Sempione”, he leaves Milan for Bonn and Düsseldorf definitively. He will
settle in Bonn in 1918. The German years see him engaged mostly as a
painter and involved in the decoration of numerous buildings, among them
one of first in constructed reinforced concrete in Renania (1911). He
is associated with the D
üsseldorf school of painting.

Additional Infomation regarding OTELLO:

Othello has its source in the 1565 tale, “Un Capitano Moro” from Gli Hecatommithi by Giovanni Battista Giraldi Cinthio. 

While no English translation of Cinthio was available in Shakespeare’s
lifetime, it is probable that Shakespeare knew both the Italian original
and Gabriel Chappuy’s 1584 French translation. Cinthio’s tale may have
been based on an actual incident occurring in Venice about 1508.   It also resembles an incident described in the earlier tale of “The Three Apples”, one of the stories narrated in the One Thousand and One Nights (Arabian Nights). 
Desdemona is the only named character in Cinthio’s tale, his other
characters being identified as the Moor, the squadron leader, the
ensign, and the ensign’s wife.

While Shakespeare closely followed Cinthio’s tale in composing Othello,
he departed from it in some details, particularly in the tale’s
depiction of Desdemona’s death. In Cinthio, the Moor commissions his
ensign to bludgeon Desdemona to death with a sand-filled stocking. In
gruesome detail, Cinthio follows each blow, and, when the lady is dead,
the Moor and his ensign place her lifeless body upon her bed, smash her
skull, and then cause the cracked ceiling above the bed to collapse upon
her, giving the impression the falling rafters caused her death.

The
two murderers escape detection. The Moor then misses his wife greatly,
and comes to loathe the sight of his ensign. He demotes him, and refuses
to have him in his company. The ensign then seeks revenge by disclosing
to “the squadron leader” (the tale’s Cassio counterpart), the Moor’s
involvement in Desdemona’s death. The two men denounce the Moor to the
Venetian Seignory. The Moor is arrested, transported from Cyprus to
Venice, and tortured, but refuses to admit his guilt. He is condemned to
exile; Desdemona’s relatives eventually put him to death. The ensign
escapes any prosecution in Desdemona’s death but engages in other crimes
and dies after being tortured.

*************************************************************

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will receive.

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Additional Information

Original/Reproduction

Unknown

Size

30 x 42

date of Creation

Unknown