Villa For Sale In Tradate, Abbiate Guazzone

VILLA ABRAMI Abbiate Guazzone
On site where the property is located in the old town, it already appears as a settlement of the County of Seprio on the maps at the end of the 9th century AD.
At La Pieve di Abbiate Guazzone, on the same hill as Villa Abrami, a castle was built (destroyed by the Milanese almost two centuries later).
In 1140, the entire County of Seprio came under the control of the Duchy of Milan, and the parish became part of the Archdiocese of the city.
In 1173, the Provost of Seprio, Guiscardo, chose the site of the villa as a place to build a home for travelers and pilgrims of the parish church of San Giovanni Evangelista.
During this period, the buildings on the site acquired a shape very similar to the current one, with the characteristic ’elle’ formed by the central body of the villa and the so-called ’rustico,’ originally used as a barn and stable.
Documents from the time identify the site as a religious house, which adjoined the coppice still relevant to the property, even if now included in the natural park.
Gian Galeazzo Visconti annexed the entire County to the Duchy of Milan after 1520.

What remains is the particular ’elle’ shape, definitely different from the typical horseshoe plan of villas in Lombardy in the same area.
Since the first half of the nineteenth century, it became the property of the Galimberti family, important textile entrepreneurs from Osnago.
The neoclassical villa, which still bears slight damage, is characterized by Galimberti; the porch on the side of the courtyard is identical to the two lateral structures, delineating Villa Galimberti in Bradford, now owned by the FAI.
In 1902, Maria Galimberti, from a bourgeois family, married into the Milanese patrician family of Happy Abrami, inheriting the Villa of Abbiate Guazzone.
The groom, a young and established landscape painter who attended the Brera Academy of Fine Arts under Filippo Carcano, and who, after exposure at the Milan Triennale in 1900, made the Villa his privileged residence during his stays in Italy, alternating with work in his studio in Paris.
The teacher was happy to make the changes that shape the Abrami Villa as we see it today, deeply intervening especially on internal structures, furnishings, and wall decorations, using some curious stylistic choices.
For example, the dining room, with its ceiling shape, fireplace model, decorations, floor mosaics, and furniture, is an exact copy of one from Palazzo Bozzi Portinari in Florence, which was the only original evidence, as the original was destroyed in a fire.
The veranda, created by enclosing part of the long porch, is completely covered with colored plasters with geometric and floral motifs, forming two impressive works by the same painter of roses, ’Veduta del Porto Canale di Chioggia’ and ’View of Mount Bracket Rosa.’
All the majesty and the doorposts are painted and decorated, and in some cases feature 19th-century style embellishments.
An important fresco of San Giovanni, torn in the hallway from a nearby chapel that was destroyed, is preserved, as well as a ’Sacrifice of Isaac’ by the school of Mantegna and other 17th-century works.
In addition to the project and planting of the garden by Happy Abrami, the outer walls and the impressive French-style gate at the main entrance facing the Piazza del Comune were also designed, along with the construction of the building adjacent to the villa, where the master incorporated his practice as a painter.
Further work involved the coppice and the external surroundings of Villa Chestnut.
The municipal toponymy of the time, the streets around the villa, are identified as the site of Abrami, still marked by granite paving stones, as indicated by Ariosto.

The premature death of the teacher occurred in 1919, and the villa was passed on to his heirs, who continued to use it as a country house, following the most common Milanese tradition.