THE UNREPEATABLE UNIQUENESS OF OWNING A FRESCO CYCLE
VR ASSET MANAGEMENT, the ART Advisory Division, presents an absolute worldwide exclusive historical unicum: THRONUS ABSCONDITUS. A perfectly preserved and extraordinarily detailed Italian 16th-Century detached fresco cycle, a Pellegrino Tibaldi masterpiece, dated between 1570 and 1580.
Thronus Absconditus is a detached fresco cycle composed of four (4) central panels adorned with grotesques inspired by ancient Pompeian and Domus Aurea decoration, framed by pairs of semi-nude male deities and monochrome female figures placed within niches.
The detached frescoes cycle, preserved using the strappo technique, depicts the perfect banquet of the Olympian gods, presented as a harmonious and measured compendium of divine Mythology.
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VR ASSET MANAGEMENT, with full authority as strategic curator of the Thronus Absconditus cycle of frescoes, offers a clearly defined global guarantee protocol for any entity wishing to own the masterpiece, with the purpose of structuring an Italian Law foundation that ensures optimal management of the asset - a consolidated opportunity within the Italian Cultural Heritage context, where legislation favors the integration of private initiative and Public interest. All tools and processes necessary for the protection of the asset and related matters are made available to the beneficiary acquirers, from the establishment of the legal entity to custody and all ancillary and following operations.
According to the Italian Cultural Heritage and Landscape Code (Legislative Decree N. 42/2004), restricted assets - declared of Historical and Artistic Interest pursuant to Article 10 - impose conservation obligations on private owners (Article 30), while also opening avenues for valorisation that can be delegated to entities such as foundations. Governed by the Italian Civil Code (Articles 14 et seq.), serve as ideal vehicles to transform a private artwork into a sustainable cultural asset, attracting resources and ensuring perpetual enjoyment.
In the fields of conservation and art history, the term “detached frescoes” refers to mural paintings that have been physically separated from their original architectural support.
Among the various detachment procedures, the strappo technique - developed and systematised in Italy between the 18th and 19th centuries - involves the delicate removal of the fresco’s painted layer by applying cloths glued with animal glue, which are then lifted. This process transfers the thin painted surface, often together with the preparatory plaster, onto a new support, such as canvas.
While originally conceived as a means of saving works threatened by structural degradation or urban transformations, the strappo technique has also been criticised for the irreversible alteration of the artwork’s material integrity and for separating it from its architectural context.
In both the scholarly literature and museum practice, the expression “frescoes removed using the strappo technique” is therefore frequently encountered, highlighting both the conservation procedure and the historical-artistic implications of the detachment.
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