Bontempelli - Correspondence - 1930s For Sale

Collect this Correspondence by Massimo Bontempelli to the Countess Pecci-Blunt. This lot is composed of 6 items, in...

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Bontempelli - Correspondence - 1930s

Name: Bontempelli - Correspondence - 1930s
Price: 1306 USD
Availability: InStock

$1,306

Wallector Srl

Roma, IT

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Dimensions: 10.63ʺW × 0.39ʺD × 7.09ʺH

Period: 1930s

Item Type: Vintage, Antique or Pre-owned

Condition: Good Condition, Unknown, Some Imperfections

Color: Gray

Tear Sheet

Condition Notes: Very Good — This vintage item has no defects, but it may show slight traces of use\. Please note that … moreVery Good — This vintage item has no defects, but it may show slight traces of use\. Please note that an additional handling period of up to 4 weeks may apply to this item less

Description: Collect this Correspondence by Massimo Bontempelli to the Countess Pecci-Blunt. This lot is composed of 6 items, in Italian, written … more Collect this Correspondence by Massimo Bontempelli to the Countess Pecci-Blunt. This lot is composed of 6 items, in Italian, written from 1934 to 1937. Excellent conditions, perfectly readable. Including original envelopes. In details: Autograph Telegram Signed. Frascati, 1934. Autograph Telegram Signed. Viareggio, August 17th 1934 Autograph Letter Signed. Frascati, April 25th 1934. One page, single-sided. On letterhead paper '' Reale Accademia d'Italia''. Autograph Greeting Postcard Signed. Altomare, January 3rd 1935. Signed by Montempelli and his wife. Autograph Letter Signed. Rome, January 13th 1935. One page, single-sided. On letterhead paper '' Reale Accademia d'Italia''. Autograph Letter Signed. Milan, May 30th 1937. One page, single-sided. On letterhead paper '' Reale Accademia d'Italia''. From the Royal Academy of Italy, Massimo Bontempelli writes to the Countess Pecci-Blunt, meditating on congresses and literary conferences and declining invitations to sumptuous lunches, because of previous commitment. During this period, Bontempelli was close to the Fascism, and as a member of this political movement and for literary honors he gained the chair for the Royal academy of Italy. He served as a secretary of the fascist writers' union and spent time abroad lecturing on Italian culture. promoting Italian Culture was the common mission of the Countess Pecci-Blunt and Bontempelli. However, in 1938 he was kicked out of the Fascist party, drifting towards Communism. Massimo Bontempelli (1878 - 1960) Italian poet, playwright, novelist and composer, Massimo Bontempelli was influential in developing and promoting the literary style known as Magical Realism. After the war, he settled in Milan and became interested in the Futurist and Magical realist literary styles. In 1926, along with Curzio Malaparte, founded the journal ''900'', with the contribution of James Joyce, Max Jacob, and Rainer Maria Rilke, Virginia Woolf and Blaise Cendrars. During the late 1920s and early 1930s, Bontempelli was close to the Fascism, and as a member of this political movement and for literary honors he gained the chair for the Royal academy of Italy. He served as a secretary of the fascist writers' union and spent time abroad lecturing on Italian culture. However, in 1938 he was kicked out of the Fascist party, drifting towards Communism. In 1953, Bontempelli's ''L'amante Fedele'' won't the Strega Prize, Italy's most prestigious literary award. Countess Anna Laetitia Pecci (Rome, 1885 - Marlia, 1971) Better known as Mimì Pecci-Blunt , the Italian noblewoman was an art collector, patron and nephew of Pope Leo XIII. Extremely volcanic, she was very active in the cultural field, opening numerous lounges, galleries and theaters. In 1919 she married Cecil Blumenthal, later changed to Blunt, a wealthy Jewish banker from New York, heir to an important collection of nineteenth-century French painting. His Parisian and Roman salons was frequented by artists and intellectuals of the caliber of Salvador Dalì, Paul Valery, Poulenc, Paul Claudel. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity

issues arising from misattribution less

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