Picture Frame
Sandro Gallo 136
33,00 €
Designed, produced and made in Italy
Worldwide shipping
4 days estimated delivery time
This thin, basic, ingenious picture frame is made from a plank of larch from a dock or from the poles of oak wood. It’s also a puzzle to assemble, clearly without instructions.
It can hold a snapshot of one of your most beautiful moments, from the birth of a grandchild to a wedding anniversary, or display a postcard from the Corto Maltese comic, remembering that its name is dedicated to the cultural center named after Hugo Pratt at the Lido of Venice.
Material: Dock Larch or Oak Wood from Venetian Briccole
Luciano Marson
Packaged flat in an envelope, like a puzzle to assemble without instructions, this picture frame invites recipients to immerse themselves in a moment of discovery and creativity, much like getting lost among the narrow streets of Venice.
More about the designer
Sandro Gallo 136
One day we were walking in Lido, and when we came across the cultural center named after Hugo Pratt, we imagined Corto Maltese framed in our picture frame. We were on Sandro Gallo Street, at number 136.
Easy Returns
At Pieces of Venice, we want you to be completely satisfied with your purchase. That's why we offer easy returns if you’re not happy with your product.
Products with Stories
These objects also serve as a bridge between past and future generations, telling a story of Venetian culture, tradition, and excellence.
Circular Economy
Pieces of Venice is a social enterprise with a circular economy model and a short supply chain. We begin with the recovery and recycling of discarded materials from Venice, and through industrial design, we give them new life as souvenirs and practical items.
Alberto Toso Fei narrates...
“Although in Venice the cult of personality was not allowed, and therefore no doge could have a statue in the middle of the squares or in San Marco Square, portraiture was an absolute exception.
The Hall of the Great Council in the Doge’s Palace shows the first 76 princes (except for the traitor Marin Falier, depicted with a black veil concealing his features), and more generally, public representations often featured portraits of individual nobles—‘men and women of Venice’s illustrious heritage’—whose deeds found greater space among the official decorations, especially after the fires of 1574 and 1577.
At the beginning of the same century, a small revolution had already taken place with Giovanni Bellini, who, in portraying Doge Leonardo Loredan, depicted him frontally—a perspective previously reserved for saints and deities—rather than on profile.“
