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Save ◆Venice ◆ Inc

Dedicated to preserving the artistic heritage of Venice

Save ◆Venice ◆ IncDirectors

Jesse Robert Lovejoy Chairman

Sarah Schulte President

Mrs. Dennis C. Stanfill Vice President

John R. Staelin Treasurer

John Leopoldo Fiorilla Secretary

Prof. David Rosand Project Director

Randolph H. Guthrie, M.D.Chairman Emeritus

Bernadette J. BergerLaura Maioglio Blobel

Francesca Bortolotto PossatiProf. Patricia Fortini Brown

Mrs. Hilary P. CalifanoTia Fuhrmann Chapman

John W. DayAllison Hyde Drescher

Robert E. DukeBeatrice Esteve

Adelina Wong EttelsonJ. Winston Fowlkes III

Donald T. FoxMary E. Frank

Irina Tolstoy GansBeatrice H. Guthrie

Anne HawleyFrederick Ilchman

Dayssi Olarte de KanavosManfred KuhnertElizabeth Locke

Mrs. Guido LorenzottiJohn LoringEmily Mead

Mary Kathryn NavabRichard E. Oldenburg

Juan M. PrietoProf. Theodore K. Rabb

Beatrice Rossi-LandiJames B. Sherwood

Sidney H. StiresJack Gumpert Wasserman

George C. WhiteMatthew White

Hutton WilkinsonBaroness Mariuccia Zerilli-

Marimò

Elizabeth S. Makrauer Executive DirectorKaren L. Marshall

Associate Director, New York & Assistant Treasurer

Melissa Conn Associate Director, Venice

Palladio at The MorganOn Wednesday, March 26, 2008, at The Morgan Library and Museum, Prof. Theodore K. Rabb presented A Most Agreeable Sight: The Legacy of Palladio. Celebrating the 500th anniversary of the birth of Andrea Palladio, Prof. Rabb offered a glimpse of both Palladio’s own age and his profoundly influential approach to architecture.

Interns Assist Venice OfficeStudent interns generously donated time to assist in Save Venice’s Venice office in 2008.

Summer: Ben Brown, Skidmore College; Jack Carter, Brunswick School; Ali Damico, Colgate University; Laura Blanco, Elaine Burchman, Andrew Greene, Kevin Jason, Columbia University Center for Study in Venice at Casa Muraro. Fall: Victoria Cubera, Nicki Finberg, Gi Young Lee, Michelle McLaughlin, Daniel Muniz, Emily Olsson, Rachel Wassel, George Zeitler, Colgate University.

Newsletter 2008

Save the Date Carnival Gala

in VeniceFebruary 11–14, 2010 (Presidents’ Day Weekend)

Four days of unforgettable festivities in support of

Save Venice’s restorations.

15 East 74th StreetNew York, NY 10021

Tel: 212-737-3141Fax: 212-249-0510

San Marco 2888a30124 Venice, ItalyTel: 041 52-85-247Fax: 041 52-31-843

newyork@savevenice.orgvenice@savevenice.orgwww.savevenice.org

UNESCO-Private Committees for the Safeguarding of Venice.

Visit our Web site, developed by The Media Center for Art History, Columbia University.

Sponsored by The Hazen Polsky Foundation, Inc.

Save Venice Inc., based in New York, has raised more than 20 million dollars to restore over 350 works of art and architecture in Venice. Every year, the Board of Save Venice, including a Projects Committee of renowned experts, selects restoration projects in col-laboration with the Venetian Superintendencies of Monuments, Fine Arts and Museums. Save Venice currently has 45 projects underway throughout the city, made possible with support from individuals, foundations, and chapters in Boston and California.

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Save Venice would like to thank Michael LaPlaca and the staff of LaPlaca Cohen for their generosity in designing and producing this newsletter. Ar

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San Sebastiano Restoration Campaign

Conservation work is underway in the church of San Sebastiano, Save Venice’s current major project. The church’s three large ceiling can-vases, painted by Paolo Veronese in 1555 and dedicated to the Old Testament heroine Esther, were removed in early October from their position high above the church’s nave and transported to a restoration laboratory in Venice for conservation treat-ment. A scaffolding platform, installed in the church to allow the ceiling canvases to be dis-mantled, is now the base from which conservators will under-take the painstaking restora-tion of Veronese’s painted and gilded wooden ceiling and mas-sive coffered frames that house the Esther series. The church remains open to the public dur-ing the conservation campaign, and despite the scaffolding, the majority of Veronese’s pictorial decoration remains visible to visitors.

Recent contributions to the on-going restoration campaign for San Sebastiano come from the California Chapter of Save Venice, from Friends in Honor of Mary and Howard Frank earmarked for the restoration

of Veronese’s Coronation of Esther canvas, from Elizabeth Locke through the sale of 35 limited edition Elizabeth Locke San Sebastiano pendants, and from Walter Mead.

Paolo Veronese(1528–1588)San Sebastiano Dorsoduro

The restoration of San Sebastiano is supported in part by Save Venice General Funds and generous gifts to the campaign from:California Chapter of

Save VeniceThaw Charitable TrustFriends in Honor of Mary and

Howard FrankElizabeth LockeWalter MeadBoston Chapter of Save VeniceIrina Tolstoy and John G. Gans

Head of Scientific Committee:Giovanna Nepi Scirè, Superintendent of Fine Arts and State Museums of Venice

Project Director for ceiling canvases: Giulio Manieri Elia, Superintendency of Fine Arts and State Museums ofVeniceRestorer: Lucia Tito and the CBC restoration firm

Project Director for painted wooden ceiling: Amalia Donatella Basso, Superintendency of Monuments of Venice

Project Director for struc-tural verifications: Alberto Lionello, Superintendency of Monuments of Venice

Above right: The removal of Corona-tion of Esther from the painted ceil-ing. Right: Art handlers lowering the wrapped canvas to the ground.

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“The Venetian church of San Sebastiano is a temple dedicated to the art of Paolo Veronese. Painting in a variety of techniques and surfaces, in oil on canvas and on wood and in fresco and tempera on plaster, his brush animated its ceilings and walls with historical narratives, iconic images, and decorative motifs of remarkable inventiveness.”

– David Rosand, Save Venice Project Director and

Meyer Schapiro Professor of Art History at

Columbia University

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This painting is thought to have originally decorated a fifteenth-century altar in the Gothic church of San Francesco della Vigna. When the church was enlarged and rebuilt by architect Jacopo Sansovino starting in 1534, the painting was adapted to fit a new Morosini family chapel and altar within Sansovino’s Renaissance church.

One striking hypothesis, recently advanced, is that the picture may have once been the center panel of a triptych, with the two lateral panels now being lost. This idea is supported by evidence revealed during conservation that the painting we see today was modified (possibly more than once and by a second artist) with skillfully painted additions to enlarge the background of the pictorial scene of the panel, whose original dimensions evidently were not ideal for the new chapel and marble altar Sansovino designed for the Morosini family between 1540 and 1552. Scholars consider that the words “ordinis minorum,” referring to the Franciscan Friars whose church this is, were also added on that occasion to the scroll in the painting’s foreground, which con-tains the artist’s signature: “Frater Antonius de Nigropon pinxit.” In addition, a can-vas lunette of God the Father, attributed to Benedetto Diana or Francesco Bissoli, was placed above the painting, within the marble frame.

Antonio Falier remains an enigmatic art-ist, and this is his only known painting. From his name we determine that he came from the Venetian colony of Negroponte

near Greece, and that he was a man of the Church, hence his clerical title of “Fra”, standing for “frate,“ or monk. He is thought to have collaborated artistically with Jacopo Bellini, as is evident from stylistic similarities as well as a document dated 1469 describing an attempt on Bellini’s part to recover money owed to him by Fra Antonio.

Fra Antonio Falier da Negroponte (second half 15th century)Madonna and Child Enthroned, 1460s (?) with modifications in the 1530s (?)San Francesco della Vigna

Funded by Young Friends of Save Venice, Boston Chapter

Project Director: Emanuela Zucchetta, Superintendency of Monuments of VeniceConservator: Andrea Libralesso

Cover: Madonna and Child Enthroned by Fra Antonio Falier da Negroponte.

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Members of the Scuola dei Mercanti, a wealthy merchants’ guild, commissioned this canvas for their chapter hall, located adjacent to the church of Madonna dell’Orto in Cannaregio. The Angel Gabriel and the Virgin are depicted against a theatrical architectural backdrop. The temple that appears in the background may have been inspired by the church of Santa Maria Nuova in Vicenza, completed by Andrea Palladio in 1578, the same date as this painting. Palladio was a familiar figure to the merchants’ guild as well, for they remodeled their premises in 1570 according to the great architect’s plans. The symbol of the merchants’ guild, a bless-ing hand with a cross, is evident in the center

of the painted arch, while the columns’ pilas-ters display the shields of the commissioning families, Cadabrazzo and Cottoni.

The painting arrived at the Accademia Galleries in 1812 in the aftermath of the suppression of numerous guilds during Napoleon’s reign in Venice. It had been heavily repainted and was covered with a layer of discolored varnish that masked its luminous quality and its extraordinary details, such as the glass vase on the balus-trade (see detail right). Conservation efforts removed disturbing additions and inpainted losses. Veronese’s light touch and expert technique are now once again visible in this masterpiece.

Paolo Veronese (1528–1588)Annunciation, 1578Accademia Galleries

Funded by Tiffany & Co., Gino Seguso and Family, and Save Venice General Funds in mem-ory of Ferdinanda Seguso

Project Director: Sandra RossiConservator: Sandra Pesso

All images reproduced with the permission of the Ministero per i beni e le Attività Culturali. Ar

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Marco Ricci (1676–1730) Landscape with Horses and Landscape with Stream, circa 1715Accademia Galleries

Funded by Young Friends of Save Venice

Project Director: Giulio Manieri Elia, Superintendency of Fine Arts and State Museums of VeniceConservator: Annalisa Lusuardi

All images reproduced with the permission of the Ministero per i beni e le Attività Culturali.

Two Marco Ricci paintings in the Accademia Galleries depict the Piave river valley north of Venice and offer glimpses of the serenity of country life and daily activities in a poetic vision reminiscent of Giorgione’s pastoral imagery.

In the painting above, travel-worn horses drink at a fountain under grandiose trees near architectural ruins. The second canvas focuses on a stream where women wash clothes and peasants lounge, with monks

and horsemen passing by. The artist’s gentle light and subtle passages have been renewed through a meticulous restoration that removed dirt, grime, discolored varnish, and heavy repainting.

Marco Ricci’s artistic training benefited from a variety of sources and locations. He first studied in Venice with his renowned uncle, Sebastiano, who excelled in late Baroque paintings and frescoes, followed by an apprenticeship with a landscape painter

in Dalmatia, where he fled after killing a gondolier in a brawl. Ricci worked in Milan, Florence, and Rome, studied Dutch land-scape in the Netherlands, and designed stage sets in London. Having returned to Venice by 1716, Ricci specialized in landscapes and was among the first Venetians to make etch-ings. Ricci’s art influenced Venetian painting of the time by introducing an informal approach that drew upon nature and the human aspects of rural life instead of creating a conventional scene with a classical theme.

The Boston Chapter of Save Venice funded maintenance conservation of Titian’s dra-matic last painting, the Pietà, which was sub-sequently featured in the highly acclaimed Late Titian exhibition on view from January through April 2008 at the Accademia Galleries. Restorers removed dust and grime from the surface of the painting, on top of the protective varnish, in order to reestablish the delicate balance of dark and light areas,

and reemphasize depth and contrast in the painting.

The painting’s sixteenth-century (?) wooden frame was subject to a complete restoration to protect it from termites and wood worms. Conservators painstakingly reattached flaking gold leaf gilding and consolidated wood losses. The intricately carved wooden pieces were adapted to form a frame for Titian’s monumental painting when it joined the Accademia

Galleries collection in 1814. Titian intended the Pietà for his burial site

at the church of the Frari, and documents confirm that it was displayed there in 1575, but was returned to Titian’s studio because the artist was unsatisfied with its location within the church. During the plague of 1576 that eventually claimed his life, Titian transformed the painting into a large ex voto against the plague, adding autobio-graphical details such as depictions of him-self and son Orazio in a painting within the painting. After Titian’s death in August 1576, Palma il Giovane completed the flying angel left unfinished by Titian, and made a few small modifications, in addition to adding a Latin text stating “what Titian left incomplete, Palma completed and dedicated to God.” The painting is thought to have remained in Palma’s possession until his death in 1628, and then passed to the church of Sant’Angelo in 1631, where it remained until the church was destroyed in the early nineteenth century.

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Titian (circa 1485–1576)Detail of the conserved Pietà, 1570–1576Accademia Galleries

Unknown woodcarver Frame for Titian’s Pietà, 16th century (?)Accademia Galleries

Funded by the Boston Chapter of Save Venice

Project Director: GiulioManieri Elia, Superintendencyof Fine Arts and State Museums of VenicePainting Conservators: Alfeo Michieletto of the Accademia Galleries staff and Erica BianchiniFrame Conservator: Charles Thomas Nelson

Above right: The conserved Pietà. Below: The sixteenth-century (?) wooden frame during restoration.

All images reproduced with the permission of the Ministero per i beni e le Attività Culturali.

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Domenico Tintoretto (1560–1635)Saint Mark Blessing the Origins of Venice, prior to 1612Scuola Grande di San Marco

Project Director: Luca Caburlotto, Superintendency of Fine Arts and State Museums of VeniceConservator: Maria Beatrice Girotto

Right: Detail of Domenico Tintoretto’s Saint Mark Blessing the Origins of Venice.

Giuseppe Porta Salviati (1520–1575) Annunciation, 1570sSan Lazzaro dei Mendicanti

Funded by the Boston Chapter of Save Venice

Project Director: Grazia Fumo, Superintendency of Monuments of VeniceConservator: Valentina Piovan

Right: Detail of Porta Salviati’s Annunciation.

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Giambattista del Moro (?) (1514–1573) Marcello Family Altarpiece, 1560 (?)Accademia Galleries

Project Director: Giulio Manieri Elia, Superintendency of Fine Arts and State Museums of VeniceConservator: Giulio Bono

Giuseppe Porta Salviati painted the Annunciation for the church of San Salvatore in the sixteenth-century Incurabili hospital complex in Dorsoduro. The church was demolished after the Napoleonic suppres-sions and the painting was moved in 1832 to the church of San Lazzaro within Venice’s city hospital at Campo Santi Giovanni e Paolo in Castello. The scene depicts the Angel Gabriel, holding a lily and pointing to God the Father and several swirling angels, announcing to the Virgin Mary that she will bear the Christ Child. Restoration has renewed the rich color tones of the composi-tion, which had been gravely compromised by yellowed varnish and dust deposits. This altarpiece is a fine example of Porta Salviati’s style, which is best characterized as a synthe-sis of central-Italian Mannerism and the art of Venice, influenced by Titian and Tintoretto.

Originally on the Marcello family altar in the church of Santa Maria Maggiore in Santa Croce, this painting came to the Accademia Galleries in 1838. Seven Marcello family members, including four young boys, kneel before the Madonna and Child, who sit beneath a tree interlaced with putti. Saint John the Baptist and another saint, possibly Saint Mark, introduce the Marcello family.

The Marcello altarpiece is remarkable for its iconography — the way in which it sets a sacra conversazione into the landscape, with the tree (of Life?) rising from the Madonna and Child. Even more striking are the lively

portraits of the family members. No docu-ments have been found attesting to the art-ist, although scholars are now considering Giambattista del Moro, an artist from Verona best known for his fresco cycles in Veneto vil-las. After years in the Accademia Galleries’ storage due to lack of exhibition space, this very impressive and relatively unknown painting will be permanently displayed in the new wing of the museum, expected to open in 2010, where its prominent position will induce scholars to once again concen-trate on this important monument in the history of Venetian altarpieces.

In 1585, Jacopo Tintoretto offered to paint a series of narrative canvases for the Scuola Grande di San Marco in exchange for scuola membership for his son Domenico, as well as his son-in-law, his grandson, and one other person. Jacopo had already completed four other Saint Mark paintings for the scuola, and it was probably his intention to promote the career of his son Domenico by having him work on the commission. Domenico painted Saint Mark Blessing the Origins of Venice sometime prior to 1612. In the paint-ing, Saint Mark stands in a boat in the act of blessing the site where four hundred years later, in 421, the descendants of the hut-dwellers depicted in the painting will found Venice, and where Mark envisions his body will come to rest; the words of his vision would be adopted as the Venetian motto Pax Tibi Marce Evangelista Meus (Peace be with you, Mark, my Evangelist). Save Venice restored two of Domenico Tintoretto’s can-vases depicting episodes in the life of Saint Mark in the Scuola Grande di San Marco in 2005, and is currently undertaking another painting, Apparition of Saint Mark.

This image is reproduced with the permission of the Ministero per i beni e le Attività Culturali.

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Caricature drawings by the eighteenth-century artist Anton Maria Zanetti were recently studied and catalogued at the Giorgio Cini Foundation in memory of Save Venice Board member and esteemed art his-torian Roger Rearick (1930–2004). Fellowship recipient Dr. Enrico Lucchese worked on an album of seventy-seven sheets

containing 350 caricatures of Venetian personalities, includ-ing the male soprano Farinelli and artists Sebastiano Ricci and Rosalba Carriera. The Giorgio Cini Foundation intends to publish a catalogue featuring the drawings and the results of the new research.

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New York Lectures Fall 2007 – Spring 2008

San Sebastiano: Veronese’s ChurchDavid Rosand

Color, Painting and Pigments in Renaissance Venice: Views from the Archives and the LaboratoryLouisa C. Matthew

The History of Jewelry Making in VeniceAlberto Nardi

Heaven on Earth: the Fourteenth-Century Paintings in the Sala del Maggior ConsiglioCaroline Wamsler

Marco Polo: The Venetian as World CitizenLaurence Bergreen

Giorgione’s Tempesta – First Painted Capriccio?Colin Eisler

Left, from top: Adelina Wong Ettel-son and Bill Ettelson; Peter Iacono and Manfred Kuhnert; Alex and Mary Kathryn Navab; Sandrino Romanelli demonstrating a truffle hunt at Barbetta; Barbetta owner Laura Maioglio Blobel with Günter Blobel and Malcolm Graff. Below: Irina Tolstoy and John Gans at Barbetta.

Save Venice Board Welcomes New Members Adelina Wong Ettelson recently served a 3-year term as Chairman of Young Friends of Save Venice. As a dynamic and creative leader, she played a vital role in its success and growth through recruitment and fund raising. Her exten-sive marketing experience in domestic and international markets, combined with her enthusiasm and her love for Venice, make her a welcome addition to the Board. Adelina resides in New York with her husband, Bill, and son, Tyler.

Manfred Flynn Kuhnert’s passion for the fine arts and humanities has drawn him to Venice repeatedly. Like the wide-eyed Charles Ryder, he was mesmerized by La Serenissima after watching Brideshead Revisited — the old one! As a stage director, he has directed 38 productions, including works by Chekhov, Beckett, and Shakespeare. In addition to working with directors such as Robert Wilson and Peter Sellars, he has taught at Harvard and Duke. He is a graduate of Harvard’s ART Institute with degrees from the University of California and Northwestern. Manfred and his partner, Peter Iacono, who serves as President & Managing Director of ITV Worldwide, are honored to col-laborate with Save Venice.

Mary Kathryn Navab, an ardent supporter of the arts, human-ities, and diverse charitable organizations, shares with the Board a passion for the preservation of this magical city. A graduate of Southern Methodist University in advertising and marketing, with a minor in business and art history, Mary Kathryn worked for twelve years as a Senior First V.P. for Solomon Smith Barney, and for another six years in the same position at Prudential Securities. She was the co-founder of the interior design store Norman Kincade in Southampton. Mary Kathryn resides in Manhattan with her husband, Alex Navab, a senior partner at KKR, and their children, Julian and Arabella.

Piemontese Truffle Feast On November 29, 2007, friends of Save Venice gathered at Barbetta Restaurant, owned by Board member Laura Maioglio Blobel, for a Piemontese truffle feast. Guests in truffle-hunt inspired attire watched a demonstration of a truffle hunt by trifolau Sandrino Romanelli and retired truffle hounds Diana, Apollo, and Pluto. Sommelière Alessandra Rotondi guided guests through the numer-ous wines, many of them generously donated by Palm Bay International.

The menu included carne cruda alla Monferrina, gnochetti ai formaggi Piemontesi, quail’s nest of fonduta with quail eggs, and roast rack of venison, all dusted, of course, with a fresh shaving of white truffles.

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Bartolomeo Vivarini (c. 1432–c. 1499)Madonna and Child, 1480Sant’Eufemia

Project Director: Annalisa Bristot, Superintendency of Monuments of VeniceConservator: Lucia Tito, CBC restoration firm

Cataloguing of the Library of the Church of San Nicolò da Tolentino 15th–20th centuries

Cataloguing and Storage of the Torcello Parish Archives19th and 20th century

Funded by The Gladys Krieble Delmas Foundation

Drawings Fellowship in Honor of W. R. Rearick Giorgio Cini Foundation

Funded by José and Beatrice Esteve and Elizabeth Locke and John Staelin

Fellowship recipient: Enrico Lucchese

Bartolomeo Vivarini, along with his broth-er Antonio and his nephew Alvise, were prominent artists from Murano active in the second half of the fifteenth century. Working in a conservative style, Bartolomeo had an expert painterly technique and used an intense color palette. This lunette of the Madonna and Child, accompanied by two vivid, winged angels, is thought to have been part of a multi-paneled polyptych in the church of Sant’Eufemia, where it now surmounts the only other remaining panel, depicting Saint Roch. Both paintings were

restored in 1971 by Save Venice’s precur-sor, International Fund for Monuments, but a second, more defined treatment of the panels was undertaken in 2008 by Save Venice (lunette) and Banca Intesa (Saint Roch panel). Save Venice’s treatment of the lunette removed heavy repainting of the extensive background losses that had been filled in with an orange hue to resemble base-prepa-ration for the missing gold leaf. The areas of lost gold were instead retouched with a neu-tral tone to blend visually with the portions of the background still intact.

Since 1995, The Gladys Krieble Delmas Foundation has generously funded the pres-ervation and cataloguing of Venetian parish archives and libraries as part of a large-scale operation organized by the Patriarchal Archives of Venice to safeguard the historic documents and make an inventory available to scholars online at www.archiviostorico-delpatriarcatodivenezia.it. The most recent archives and libraries to benefit from this program are San Nicolò da Tolentino in Venice and Santa Fosca on Torcello.

Project Director: Francesca Romanelli, Patriarchal Archives of VeniceArchivist: Alessia Giachery

Project Director: Francesca Romanelli, Patriarchal Archives of VeniceArchivist: Davide Trivelato

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Palladian Gala In Venice Raises Funds for the Restoration of San SebastianoFrom July 16 to July 19, 2008, guests at the Palladian Gala celebrated the 500th anniversary of the birth of architect Andrea Palladio and La Festa del Redentore. The Gala was chaired by Mary Kathryn Navab. The International Gala Chairman was Francesca Bortolotto Possati. Highlights included:

•APre-Galaday,withvisitstoPalladianvillasledbyexpertsPatricia Fortini Brown, Tracy Cooper, Sonia Evers, Deborah Howard, and Frederick Ilchman.

•AtreasurehuntdesignedbyMichaelLaPlacaand underwritten by the Arthur Loeb Foundation. Winners of the hunt were awarded prizes donated by Missiaglia.

•OpeningnightcocktailsatPalazzoPolignacDecazes,givenby Elizabeth Locke and John Staelin, followed by gondola rides, which carried the guests to the Hotel Bauer for dinner.

•AluncheonataprivatePalladianvilla,givenbyMr.andMrs. Julio Mario Santo Domingo. The luncheon was designed by Matteo Corvino, who contributed his design expertise to many of the Gala events.

•AconcertatSanGiorgioMaggiore,sponsoredbytheFrancena T. Harrison Foundation Trust, followed by dinner in the cloisters of the Cini Foundation. Designed by Matteo Corvino, the evening featured tables adorned with elaborate models of Palladian buildings. Each guest received a glass piece from Giampaolo Seguso of Seguso Viro.

•AluncheonandfashionpreviewofSete-CentoatthePalladioHotel & Spa, given by Francesca Bortolotto Possati.

•Expert-ledtoursaswellaslecturesbyPalladioexpert Dr. Guido Beltramini and Prof. Theodore K. Rabb.

•DinneratSanFrancescodellaVigna,givenbyDoForni.•AnopenhouseandlunchatthehomeofRubelli.•An evening at the Hotel Cipriani celebrating La Festa del

Redentore with cocktails, a feast with décor by Matteo Corvino, fireworks over the lagoon, and dancing by the pool.

Clockwise from top left: Bob and Pat Lovejoy; John Fiorilla and Paolo Costagli; Francesca Bortolotto Possati; John Staelin and Elizabeth Locke. Center: Howard and Mary Frank with Dick and Jill Almeida. Left: Beatrice Guthrie, Jim Sherwood, Bob Guthrie and Shirley Sherwood. Below left: Daphne Max-well Reid and Tim Reid. Below center: Daniel and Kathy Haime with Matteo Corvino. Below: Brian, Colette, Leslie, and Isabella Brille with Arabella, Mary Kathryn, and Alex Navab.

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Young Friends of Save Venice Restore Two Paintings in the Accademia GalleriesSeveral successful events enabled Young Friends of Save Venice to raise funds for two paintings: Landscape with Horses and Landscape with Stream, by Marco Ricci.

The Iridescent BallOn Friday, March 7, 2008, Young Friends of Save Venice gathered to celebrate their Iridescent Masked Ball, which was generously sponsored by Hollywould.

Adelina Wong Ettelson was Honorary Ball Chairman and Olivia Chantecaille, Blair Voltz Clarke, and Alexandra Lind Rose were the Ball Chairmen. Vice-Chairmen were Christine Cachot, Holly Dunlap, John Leopoldo Fiorilla, SunHee Grinnell, George Rudenauer, Christian Salvati, Sarah Jane Sculco, Susan Shin, and Melissa Skoog. Dance Chairmen were Martin Dawson, Fiona Scarry, and Luigi Tadini.

The masked guests started the evening with champagne at the generously donated Dom Pérignon Bar. They then dined among the iridescent décor by H DeVinn Bruce, followed by dancing to the music of DJ Frank Delour. Prizes were con-tributed by Barbetta, Dom Pérignon, Faraone Mennella by R.F.M.A.S., Hollywould, and Karen L. Marshall Photography.

Clé de Peau Supports the work of the Young FriendsTo celebrate the inspiration of their new line, Comme Vénus, Clé de Peau Beauté joined with Young Friends Vice President Alexandra Lind Rose on December 4, 2007 at the National Academy Museum to introduce the work of the Young Friends.

50 Years of Italian Style On February 1, 2008, Olivia Chantecaille, Eva Jeanbart Lorenzotti, and Alvise Casellati, along with Elettra Rossellini Wiedemann, hosted the photo exhibition 50 Years of Italian Style at the Twelve 21 Gallery in New York, presented by Vogue Italia and Peroni Nastro Azzuro.

Top: Marco Ricci’s Landscape with Stream during restoration. Center, clockwise from top left: Kate Schelter and Holly Dunlap; Claude Shaw and Lara Meiland-Shaw; Adelina Wong Ettelson; Natasha Boncompagni and a friend. Bottom row from left: Blair Clarke, Alexandra Lind Rose, and Olivia Chantecaille; Linda Fargo; Christine Cachot.

The image of Marco Ricci’s Landscape with Stream is reproduced with the permission of the Ministero per i beni e le Attività Culturali.

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California ChapterA thrilling Moonlight on the Lido Weekend raises funds for the Gentile Bellini Organ Shutters and San Sebastiano

Thanks to the Moonlight on the Lido Weekend, held January 18–20, 2008, the California Chapter’s restoration of four stun-ning Gentile Bellini organ shutters is now fully funded. The Chapter has generously committed the remaining $150,000 in proceeds to the restoration of San Sebastiano.

The success of the weekend was largely due to the out-standing benefit committee: California Chapter founders Terry Stanfill, Hutton Wilkinson, and Matthew White, as well as Manfred Kuhnert, Sondra Ott, Donna Punj, Carole Abelmann, and Cat Pollon. Beatrice Guthrie was the hon-ored guest.

On Friday night, Ruth and Hutton Wilkinson kicked off the weekend with a party at Dawnridge, the Beverly Hills home of the late legendary designer Tony Duquette. Cocktails and buffet supper were served throughout the house and tented terraces as guests wandered around the exotic gardens and explored the paths to the lake.

The next morning, the group gathered at the magnificently restored Getty Villa, with its collection of Greek and Roman antiquities. Festivities continued at La Villa Contenta, the Malibu estate of Liane and Richard Weintraub, where guests dined in a shell-encrusted natatorium and sipped delicious wines compliments of Laetitia Vineyard & Winery.

That evening, the 1935 film fantasy of Top Hat, the Astaire-Rogers film set in Venice, was actualized in the ball-room of the historic Casa del Mar in Santa Monica. Manfred Kuhnert was the charismatic impresario of the evening. Guests were swarmed by costumed paparazzi before enter-ing the dining room, where the beautiful Tintor-ettes were joined by a cast of talented vocalists. A 22-piece orchestra, led by Tony Galla, played behind enormous silver clamshell music stands. Academy Award-winning composer David Benoit commanded the Steinway concert grand, on loan, and Shoshana Bean, Jennifer Leigh Warren, Audra Mae, Tim Draxl, and the Three Graces serenaded the crowd with spectacular performances, wearing gowns donated by Pasadena couturier Peter Lai. Michael Starr closed the show with his hilarious “Pancakes Barbara” act.

To complete the festivities, on Sunday everyone dressed in denim and diamonds and met at La Concordia, the for-mer ranch of Sophia Loren, where Michelle Bradway hosted a “Spaghetti Western.” Lunch was prepared by Peggy Dark and The Kitchen for Exploring Foods — the official caterers for the weekend.

Clockwise from top left: Terry and Dennis Stanfill; Manfred Kuhnert; Ruth and Hutton Wilkinson; Cat Pollon and “Charlie Chaplin”; Bob and Michelle Bradway; Liana Grinspan, Sally Perrin, Allison Drescher, and Beatrice Rossi-Landi; Richard and Liane Weintraub with Matthew White; Beatrice Guthrie; Kathy Offenhauser and Sondra Ott.

Boston ChapterMajor Gift Leads to New RestorationA generous gift from Peter Freeman in honor of his father, Donald Freeman, has led to the adop-tion of the restoration of Tintoretto’s Deposition in the Accademia Galleries. This painting is a relatively unknown masterpiece by the artist, probably paint-ed in the mid 1550s, and the bold, sculptural fig-ures show a pronounced debt to Michelangelo. The picture’s present appear-ance is obscured by old restorations and darkened varnish. This restored Tintoretto will eventually find a place of honor in the new installation at the Accademia after renovation work is completed. It will also be featured in the upcoming Titian, Tintoretto, Veronese: Rivals in Renaissance Venice exhibition at the Museum of Fine Arts, Boston. Donald has generously given his time as Treasurer of the Boston Chapter and this contribution is one more example of his dedication to the Chapter and Venice.

Chapter Members Participate in Events around the WorldLed by Chapter Chairman Juan Prieto, members of the Boston Chapter traveled to attend other Save Venice events and support various restoration efforts. In January 2008, the Moonlight on the Lido Weekend in Los Angeles was attended by more than 15 supporters from Boston. In July 2008, several Bostonians traveled across the Atlantic to support the Palladian Gala and to visit San Sebastiano, whose restoration is partially funded by the Boston Chapter.

A Celebration of Venice in Boston, April 30 – May 3, 2009From April 30 through May 3, 2009, the Boston Chapter will host a celebration of Venice in historic Boston. The center-piece of the weekend will be a private visit to the Titian, Tintoretto, Veronese: Rivals in Renaissance Venice exhibition at the Museum of Fine Arts, Boston. Proceeds from the event will help fund the ongoing restoration of San Sebastiano.

Top: Detail of Tintoretto’s Deposition. Center: Frederick Ilchman at San Sebastiano during the Palladian Gala. Left, clockwise from top left: Franc-esca Piper Koss at the Palladian Gala; Anne Fitzpatrick and Steve Cucchiaro at Dawnridge in Los Angeles; Sandra Ourusoff and Ronald Lee Fleming at Dawnridge; Allison Drescher and Juan Prieto at the Moonlight on the Lido Ball.

The image of Tintoretto’s Deposition is reproduced with the permission of the Ministero per i beni e le Attività Culturali.

Boston Lecture Series Spring 2008

Venetophiles and LagoonaticsJudith Martin Glorious Music of Venice and Mantova Featuring Frank Kelley (tenor), Laura Jeppesen (viola da gamba), Julie Leven (baroque violin),Catherine Liddell (theorbo), and Daniel Stepner (baroque violin)

Looking East: Renaissance Venice & the Islamic WorldStefano Carboni

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