ASTA 263 - ARTE ANTICA E DEL XIX SECOLO

Lot N: 0286

JEAN BAPTISTE PILLEMENT (1728 - 1808)

Attributed to. Orientals figures in a landscape.

151.5 x 213 cm

Defects.

Starting Price

Euro 2.000,00

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Lot N: 0287

GIUSEPPE CADES (1750 - 1799)

Attributed to. Saint Francis.

39 x 48 cm

Starting Price

Euro 1.500,00

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Lot N: 0288

GIACINTO BRANDI (1621 - 1691)

Saint John the evangelist.

63 x 80 cm

In first canvas. Antique frame.

Sold at

Euro 3.500,00

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Lot N: 0289

ARTISTA DEL XVIII SECOLO

Architectural capriccio with figures.

112 x 78 cm

The Capriccio is due to the activity of Bernardo and Lorenzo Bellotto of the court of Stanislao Poniatowski, when they arrived in Warsaw in 1767. Lorenzo's collaboration with his father Bernardo, where in the cartouches appears the collective signature through the words "Canaletti", in the series of views of ancient and papal Rome, is well known. Other views of the series, sometimes signed "Bellotti" or not signed, connect stylistically with these canvases and are to be considered works of both painters. In the year 1768 appear for the first time the signature "Canaletti" which officialized his son Lorenzo as an official collaborator. it can be pointed out, that the signature bearing the family name bellotto had not disappeared, will be used again for many other paintings. In this case the surname of the family declined to the plural, for the quality of the painting, gives us confirmation of the attribution to Bernardo and Lorenzo. The painting is in a very good state of preservation. The enamelled quality of thr pigments is beauiful. Signature lower left B. L. BELLOTTI F.

Starting Price

Euro 15.000,00

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Lot N: 0290

ALESSANDRO MARCHESINI (1664 - 1738)

Attributed to. Dario's family in front of Alexandre.

184 x 133 cm

Sold at

Euro 4.700,00

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Lot N: 0291

ARTISTA DEL XVIII SECOLO

Portrait of child with piffeto and score.

49.5 x 67.5 cm

Starting Price

Euro 4.000,00

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Lot N: 0292

ARTISTA VENETO DEL XVIII SECOLO

Susanna and the old men.

30 x 36 cm

Sold at

Euro 3.000,00

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Lot N: 0293

ARTISTA VENETO DEL XVII SECOLO

Christ at the column.

38 x 50 cm

Starting Price

Euro 3.000,00

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Lot N: 0294

FRANCESCO ZUGNO (1709 - 1787)

Saint Mark.

29 x 40 cm

Bibliography: Pilo G. M. Sui Margini tiepoleschi: inediti di Francesco Zugno, in Studi di storia dell'arte in onore di Antonio Morassi, 1971, pp. 327-331. Provenance: Private Collection, Milan; Antique market, Verona. Published in Fototeca Zeri n. 68071.

Sold at

Euro 4.100,00

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Lot N: 0295

SCUOLA DI FONTAINBLEAU (XVI-XVII SECOLO)

Winning David.

164.5 x 49 cm

Defects.

Starting Price

Euro 4.000,00

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Lot N: 0296

GIOVANNI BATTISTA SALVI DETTO IL SASSOFERRATO (1609 - 1685)

Follower of. Madonna with Child and Saint.

95 x 75 cm

Sold at

Euro 3.800,00

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Lot N: 0297

ARTISTA CENTROITALIANO DEL XVII SECOLO

Still life, composition with bread, salami, cherries.

55 x 45 cm

Starting Price

Euro 3.000,00

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Lot N: 0298

ARTISTA CARRACCESCO DEL XVII SECOLO

Landscape with fishermen.

71 x 96 cm

The author of this intiguing painting, where the spatial suggestion is cleverly constructed from the lines of the tree-lined rows and from the alternating chiaroscuro of the plans, is evidently to be found in the ambitof those artist, emilians and not, who in Rome, on the tracks of Annibale Carracci and his close collaborators, gave life to that extraordinary line of artistic culture that became a real autonomous and independetn genre: landscape painting. Of this naturalistic context are also the fortified houses visible in the distance, high up, on the right, and the boat with beefies fishermen landing at the shore, at the bottom, in the ravine of a river, very similar, these, for an Italic and fast stretch, to some figurette of the countries by Pietro Palo Bonzi, also called "il Gobbo dei Carracci". In the direction of the frame the sealing seal of an ancient collection: three lilies and, at the bottom, a tower are visible. Could be a branch of the Roman family of Bennicelli Coutns.

Starting Price

Euro 3.000,00

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Lot N: 0299

JAN MIEL (1599 - 1663)

The blacksmith's shop.

68 x 50.5 cm

The painting is accompanied by a card by Arabella Cifani. The painting is a characteristic scene of Roman "bambocciata". Depicting a blacksmith shoeing a horse surrounded by characters who observe it, in the foreground a "picnic" of populace next a cart with animals. On the right a Roman farmhouse in which you can recognize ancient remains embedded by the building, with a red rag indicating the presence of an inn. The artwork, both for the cutting of the scene and for the layout of the composition, is part of the typical production of the Flemish painter Jan Miel, master of the genre of the bambocciata, who, inspired by the founder of the genre, Pieter Van Iaer said the child, painted rural and popular scenes, set in urban glimpses in part of fantasy or picturesque scenes of the vast Roman countryside, perhaps dotted with ruins and other ancient elements. But always present in his paintings a tasty and lively attention to the realistic datum. Compared to Van Iaer's production, Miel enriched his canvases with many anecdotal and descriptive details. Miel was born in Beveren-Waas (Anversa) in 1599 and died in Turin in 1664. After a first training at home, perhaps at the workshop of Gerard Seghers and then Anton Van Dyck, the painter was documented in Rome from 1636, where in 1648 he joined the Academy of San Luca, of which he became Prior in 1661. The update on Correggio painting and then the collaboration with Andrea Sacchi lead him towards a personal interpretation of classicism and open the way for the important Roman commissions. After the frescoes, lost, in Santa Teresa at the waterfront painted for the Barbierini, painting for the churches of San Martino ai Monti, Santa Maria dell'Anima and San Lorenzo in lucina and participates, with influences from Cortona, to the important decorative enterprise of the Gallery of Pope Alexander VII Chigi in the Palazzo del Quirinale. To the production of cultured painter of history, however, alongside that of the most famous "bambocciate", often confused with those of Pieter Van laer and Michelangelo Cerquozzi, collaborating also with architectures painters such as Alessandro Salucci and viviano codazzi. At the end of 1658 the miel was called to Turin by Duke Carlo Emanuele II, who greatly appreciated his painting. For Piedmont he had in fact painted since 1651, the Madonna that presents the Child and Saint Anthony of Padua of the Duomo di chieri. Thanks to the prestigious Roman credentials he was commissioned to fresco the vault of Diana’s hall in the Reggia di venaria (1661-1663) and to provide for the walls the canvas with the equestrian portrait of Adelaide and Ferdinando Maria elector of Bavaria and the ten hunts now kept at the Civic Museum of Ancient Art of Palazzo Madama in Turin. The Doge’s commission also concerns the City Palace, where the miel performs the plafonds of the Throne Room and the Council Hall, already alcove and alcove, as well as numerous superintendents, then removed in the following settings. His sudden and mature death, but not too late, was felt in Turin and particularly saddened the Duke of Savoy. The painting, here studied, belongs to the Roman period of his activity and can easily and convincingly be compared with his well-known paintings. Comparisons could still be many for this work, in which, even in reduced proportions, there is a popular world very articulated and characterized by identical situations. Similar and specular by setting are also a painting of the Louvre and two of the Prado. The numerous comparisons proposed confirm the autography of the canvas and allow it to be placed chronologically around 1640-45: at the time of its fruitful and long Roman stay. Excellent conditions. Bibliography: A. Busiri Vici, Opere di Jan Miel alla corte sabauda, in: "Bollettino della società piemontese di archeologia e di belle arti", 1958-1959, pp. 94-118; A. Griseri, Pittura, in V. Viale (a cura di), Mostra del Barocco piemontese, Torino 1963, vol. II, pp. 62-63; A. Baudi di Vesme, Schede Vesme. L'arte in Piemonte dal XVI al XVIII secolo, Vol. II, Torino 1966, pp. 686-690; A. Griseri, Le metamorfosi del Barocco, Torino 1967, pp. 160-164, 176; Didier Bodart, les peintres des Pays-Bas meridionaux et de la principaute de Liege a Rome au XVIIeme siecle/par Didier Bodart. Institut Historique Belge de Rome, Bruxelles, Institut historique belge de Rome, 1970, ad indicem; M. di Macco, C. Spantigati e G. Romano, La Venaria Reale: un libro e un'impresa decorativa, in B. Bertini Casadio e I. Massabò Ricci (a cura di), I rami incisi dell'Archivio di Corte: sovrani, battaglie, architetture, topografie, catalogo della mostra, Torino 1981, pp. 321-339; L. Trezzani, Jan Miel, in G. Briganti, L.Trezzani, L. Laureati, I bamboccianti. Pittori della vita quotidiana a Roma nel Seicento, Roma 1983, pp. 91-131; M. di Macco, Quadreria di palazzo e pittori di corte. Le scelte ducali dal 1630 al 1684, in G. Romano (a cura di), Figure del Barocco. La corte, la città, i cantieri, le province, Torino 1988, pp. 58, 61,62, 64,66, 67, 72, 130-132, 134, 136; Friso Lammertse, Hannibal's dream: a painting by Jan Miel after an idea by Emanuele Tesauro, in: Journal of the Warburg and Courtauld Institute, London, 52. 1989, pp. 253-256; Arabella Cifani - Franco Monetti, I piaceri e le grazie. Collezionismo, pittura di genere e di paesaggio fra Sei e Settecento in Piemonte, Torino 1993, ad indicem; ivi ulteriore bibliografia.

Sold at

Euro 4.400,00

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Lot N: 0300

ARTISTA MANTOVANO DEL XVI SECOLO

Mythological scene.

158 x 108 cm

Starting Price

Euro 3.000,00

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Lot N: 0303

ARTISTA GENOVESE DEL XVII SECOLO

Sansone and Dalila.

120 x 152 cm

Sold at

Euro 7.600,00

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Lot N: 0304

ARTISTA NAPOLETANO DEL XVII SECOLO

Battle between Turkish and Christians.

142 x 111 cm

The artwork is accompanied by a card by Ferdinando Arisi (January 1976) who attributed to Aniello Falcone.

Sold at

Euro 10.500,00

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Lot N: 0305

JOHANNES LINGELBACH (1622 - 1674)

Assault to a wayferer.

37 x 47 cm

Monogram lower left. Pubblication: Giulano Briganti, Ludovica Trezzani, Laura Laureati, I bamboccianti, Ugo Bozzi Editore, Rome, 1983, p. 261.

Sold at

Euro 4.100,00

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Lot N: 0306

ALESSANDRO MAGNASCO (1667 - 1749)

Follower of. Acrobats.

37 x 46 cm

Starting Price

Euro 3.000,00

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Lot N: 0307

ELISABETTA (XVII-XVIII SECOLO) MARCHIONNI

Attributed to. Stll life of flowers.

102.5 x 77 cm

Starting Price

Euro 4.000,00

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Lot N: 0308

ENRICO ALBRICI (1714 - 1773)

Homey celebrate with figures.

97 x 70 cm

Sold at

Euro 13.000,00

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Lot N: 0309

ALEXANDER COOSEMANS (1627 - 1689)

Still life with grapes, lemon, oysters and shellfish.

74 x 56.5 cm

Provenance Caretto Gallery, Turin. Private collection Turin from 1987. Exhibition: Caretto Gallery, Turin, 27 mostra Maestri Fiammenghi ed Olandesi del XVI-XVII secolo, 51 opere d'autore, n.11, November 1986. Bibliography: W. Bernt, "Die Niederlandischen Maler des 17 Jahrhunderts", 1979, vol. I n. 272; E. Greindl, "Les Peintres Flamands de nature morte au XVII siecle", 1983, p. 130.

Sold at

Euro 9.400,00

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Lot N: 0310

PITTORE EMILIANO DEL XVIII SECOLO

Flora.

73 x 98 cm

Frame of epoch.

Starting Price

Euro 4.000,00

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Lot N: 0311

ARTISTA CENTROITALIANO DEL XVI SECOLO

Madonna with child and Saints.

85 x 93 cm

Starting Price

Euro 5.000,00

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Lot N: 0312

FRANCESCO CALDEI detto FRANCESCO MANTOVANO (1630 - 1663)

Attributed to. Still life of flowers in a historiated vase.

99 x 118 cm

Starting Price

Euro 5.000,00

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Lot N: 0313

ARTISTA DEL XVIII SECOLO

Still life of flowers with historiated vase.

54 x 73.2 cm

Starting Price

Euro 5.000,00

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Lot N: 0314

FILIPPO COMERIO (1747 - 1827)

Baccante with Cupid.

37 x 22 cm

The painting is accpompanied by a card by Emilio Negro, September 26th 1999. The painting, oil on board, it is well preserved and depicted a Baccante with Cupid. Since the Greek antiquity the cult of Bacchus (in Greek Dioniso) attracted particulary the young women. His devoted, call Menadi or Baccanti, they are represented then as attractive young girl and scantily dressed, with the head crowned by leaves of ivy, the sacred plant to the pagan god, while they are holding up in hands cups of wine. Cupid (Amore in Latin and Eros in Greek), the god of the love, is represented here at the moment when, with an arrow, is going to pierce the heart of the young baccante; this is posed in total abandonment of the senses. As for the stylistic characteristics of the artwork, are in the presence of a painting decidedly pleasant, executed by a valiant artist active between the eighteenth and nineteenth century, in whose cultured and refined ways are combined Lombard, Venetians and Bolognese manners. A multifaceted culture in which there are significant characters derived from the works of Felice Giani and Giuseppe Bernardino Bison, which are highlighted above all in the elegantly elongated shapes of the figures and it the bright shades of enamelled colors. Therefore, for these reasons, it is possible to return this artwork to Filippo Comerio who was one of the leading exponents of Italian neoclassicism. The Lombard artist was active in Romagna and in the north-western Italy, where he created complex decorative cycle of considerable originality. To confirm this attributive proposal it will suffice to compare the artwork under examination with other paintings of the Lombard artist, such as, "Psiche incoronata da Amore", or better still with "Allegoria dell'inverno", where the feminine figure in the lower left is mirrored in our baccate. Nor should we conceal the fact that in these paintings, like ours, a savory and quick painting emerges, suitable to describe tapered and seductive feminine figures, typical of the Comerio's artwork.

Sold at

Euro 3.100,00

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Lot N: 0315

PIETER CASTEELS III (1684 - 1749)

Still life of flowers.

32 x 38.5 cm

Signature lower right. In golden and antique frame.

Starting Price

Euro 3.000,00

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Lot N: 0316

SINIBALDO SCORZA (1589 - 1631)

Attributed to. Hunting scene with lions, tiger and cougar.

74 x 48 cm

Sold at

Euro 4.000,00

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Lot N: 0317

JAN BOTH (1615 - 1652)

Attributed to. Landscape with river and horsemen.

150 x 74 cm

Starting Price

Euro 5.000,00

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Lot N: 0318

ARTISTA DEL XVII SECOLO

Fruits and vegetables seller.

133 x 104 cm

Sold at

Euro 4.600,00

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Lot N: 0319

ARTISTA VENETO DEL XVIII SECOLO

Venus and cherubs.

50 x 64 cm

In golden frame.

Starting Price

Euro 4.000,00

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Lot N: 0320

CARLO FRANCESCO NUVOLONE (1608 - 1661)

Saint Anne and the Vergin.

97 x 131 cm

Starting Price

Euro 6.000,00

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Lot N: 0321

GIOVANNI GHISOLFI (1623 - 1683)

Attributed to. Architectural capriccio with figures.

146 x 113 cm

Starting Price

Euro 5.000,00

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Lot N: 0322

GIORGIO GIACOBONI (1716 - 1777)

A pair of interiors with characters.

50 x 42 cm

Starting Price

Euro 5.000,00

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Lot N: 0323

ARTISTA LOMBARDO ATTIVO FRA XVI E XVII SECOLO

Saint Jerome the Penitent.

97 x 132 cm

In antique, carved and golden frame.

Sold at

Euro 22.000,00

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Lot N: 0324

ARTISTA LOMBARDO DEL XVII SECOLO

Martyrdom of a Saint in a landscape with architecture.

124 x 97 cm

The painting is accompanied by expertise by Luciano Anelli.

Starting Price

Euro 6.000,00

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Lot N: 0325

ARTISTA VENETO DEL XVIII SECOLO

Allegory of the Spring.

155 x 122.5 cm

Sold at

Euro 8.600,00

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Lot N: 0326

ARTISTA NAPOLETANO DEL XVIII SECOLO

Lot composed of 4 paintigs depicting arts' allegory.

58 x 67.5 cm

Starting Price

Euro 6.000,00

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Lot N: 0327

KARL PAVLOVIC BRJULLOV (1799 - 1852)

Baccante and joyful satyrs.

100.5 x 75.5 cm

Publication: a cura di Alessandra Baroni Vannucci, Musica dipinta - dipinti e disegni dal XV al XIX secolo, Enrico Frascione 2018, p. 36. A suggestive trace for the attribution of this painting to Karl Pavlovic Brjullov is the evident similarity, physiognomic but also stylistic, between the baccante with the tympanums at the center of the scene and two female figures present in the works of the thirties of the Russian painter: "Portrait of the Princess Ekaterina Pavlovna Bagration", whose face has the same symmetry based on the eyebrows that converge on the nose stretched towards the mouth gracefully posed; and "Portrait of the painter in boat with the baroness Yekaterina Meller-Zakomelsky" where the noblewoman turns to the spectator with dreamy gaze highlighting the same somatic characteristics of the previous one and of our mythological creature. A comparison that induces to place this painting in a temporal span that includes, in part, the Italian stay of Brjullov begun in 1823 and concluded in 1835: a period of fundamental formative experiences that sees the painter travelling between Venice, Bologna and Florence where he has all the ease to study the masters from which he will draw stylistic and compositive ideas especially for his paintings of historical genre. The Baccanale, beyond the mentioned similarities, can find further evidence in the interest for the "bacchici" subjects demostrated by the artist in some drawings datable by the 1930s; while the formal politeness that accompanies the chromatic composition with warm and soft tones lead to suppos the understanding, by the painter, of the Venetian and Bolognese masters matured in the remembered travels and started, in Rome, with Raffaello's study. Also for this Baccanale, remained in Italian territory, one could hypothesize a commissione from the demidov prince that we know attracted by "bacchici" themes. A brilliant intuition of Francesco Taddei has identified in the satyr "linguaggiuto" and "irridente" behind the baccante the self-portrait of the artist that is evident from the comparison with that conserved in the Gallery Tret'jakov of Moscow, sulphur and already predisposed to further disguises as demonstrated by our painting to be considered an escape in the Mediterranean myth pursued by Brjullov in the years of his passionate Italian experience.

Starting Price

Euro 8.000,00

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Lot N: 0328

GIUSEPPE BERNARDINO BISON (1762 - 1844)

River landscape with ruins (flight to Egypt).

85.5 x 64.5 cm

The artwork is accompanied by a card by Fabrizio Magani. The painting in question, which records with originality the emotional vibrations of the great theatre of nature, also leads to represent the call of the place and the atmospheric light towards artists ninenteenth century, attracted by the variable physiognomy of such landscapes and endowed with that ineffable filter of the eyes such as to possess in the memory the profound truth of the physiognomy of the mountain, of the water and of the sky. The interweaving of stylistic data allows in addition to determine the personality of the painter, certainly sure of his own means and his limpid vocation, that is the way of Giuseppe Bernardo Bison, raised artistically in Venice, become one of the leading figures in the lively atmosphere of Trieste and open to explore the opportunities of a capital such as Milan, when in 1831 he chose to reside there untile 1844, encountering death. The vision of the river seems to instantly capture the eye of the artist, who knows how to develop the tools for the definition of the locus amoenus and, almost to rehabilitate the tried and tested classic tradition - literary of the eighteenth century Arcadia, qualifies its peculiarities as a sort of refuge where travelers seem to spend good hours, if it were not the episode of the Holy Family during the flight to Egypt to unmask the possible subject of the painting, hidden in clear horizons. The teacher resolves the contrast between direct study of places and imaginative faculty, accompanies the observer to an immediate adherence to the fleeting essence of nature and therefore to the commitment to witness in its most authentic expression. A quiet diffused nitor, which tends to crystallize the effects of light, reaches the complete focus of spaces dilated and controlled by the wise direction of composition. This is a work of absolute finesse dating back to the last period of the artist of Friuli origin. In the present painting the master at the end of his career knows how to wisely reaffir, the vocation towards compositional virtuosity and the transparency of colour changes. Even the technique employed seems to allude to Bison's predilections in the last years of his career. It is just the case to say that the artist "thickens" the delicate state of suspension in merging the water with the sky, and more generally all the components of that particular universe. The mountains form the backdrop to a very popular vision, almost captured by reality, and here particularly linked to the culture of the Venetian lanscape of the eighteenth century, with a more open adhesion to the ways of Marco Ricci and Giuseppe Zais. The master, as shown by the many gender drawings, was attracted by the minor portagonists of street life, such as farmers, fishermen, the wayferers and shepherds whom he recognizes in their expressive autonomy in picturesque annotations and which returns to the quiet archaic dimension in the subsequent landscape elaboration. The sharpness of the character of the street characters is reached by the essentiality of the touch, but also by the quick synthesis of the sign, as also shown by the many drawings in which the use of ink stain prevails accompanied by the free improvisation of pencil marks, characteristics that show an incomparable and interrupted vitality. Like genre paintings of obvious Flemish origin, the work under consideration clearly identifies the roots of inspiration and the direct references to a theme of costume, which leads the artist to face "philanderal" repertoiresin the evidence given, for example, to the showy headdress of the seventeenth century knight. Certainly the master has adhered, in proposing the work, to the notion of taste "troubadour", according to which the analytical combination of the elements characterizing the fashion of the past, at the beginning inspired by the imaginary three - fifteenth century, it approaches in time to sentimental tones more generally romance. It is, as is well known, one of the many declinations of contemporary romantica sensibility, in whose bed is fully entitled, for reasons of taste and style, also the work presented here.

Sold at

Euro 7.600,00

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Lot N: 0329

ARTISTA DEL XVII SECOLO

The horseman's arrival.

65.5 x 50 cm

In antique frame.

Starting Price

Euro 6.000,00

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Lot N: 0330

ARTISTA TOSCANO DEL XVII SECOLO

Aurora falls in love with Titone.

204 x 255.5 cm

Starting Price

Euro 7.000,00

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Lot N: 0331

ANDREA SCACCIATI (1644 - 1710)

Attributed to. Still life of flowers in a golden vase.

71 x 86.2 cm

Bibliography of reference: R. Spinelli, 'La natura morta a palazzo e in villa. Le collezioni dei Medici e dei Lorena', catalogo della mostra, a cura di M. Chiarini, Firenze 1998, pp. 160-161, nn. 79-80. M. Mosco, M. Rizzotto, 'Andrea Scacciati, in La natura morta in Italia', a cura di F. Porzio, Milano 1989, II, p. 589, fig. 697. M.L. Terlizzi, 'I fiori dei Medici', Milano, 2005, ad vocem. S. Bellesi, 'Andrea Scacciati. Pittore di fiori, frutta e animali a Firenze in età tardobarocca', Fireze 2012, ad vocem.

Starting Price

Euro 7.000,00

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Lot N: 0332

ANTONIO BECCADELLI (1718 - 1803)

Village fete.

168 x 110 cm

Antonio Beccadelli was born in Bologna in 1718 and he died in 1803. He was a pupil of Felice Torelli and may have studied with Giuseppe Carlo Pedretti. He mainly paints genre subjects and everyday life, interpreting at best the painting of Giuseppe Maria Crespi. With the passing of the years he diminished his career as a painter to devote himself to the trade of works of art and to the restoration. In 1754 he was elected clementine academic. It is the artist’s peculiar operation to combine the naturalism of frizz with the inventive ideas offered by the Flemish and Dutch traditions. His paintings are mainly found in private collections, but they have also appeared in public galleries. Pubblication: Angelo Mazza, Antonio Beccadelli, pittore "negoziante di quadri", scena di convito, Fondazione Cassa di Risparmio di Cesena, Galleria dei dipinti antichi, 2011, p. 89.

Starting Price

Euro 7.000,00

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Lot N: 0333

DANIEL VAN HEIL (1604 - 1662)

Attributed to. Flight from Troy.

119 x 83.5 cm

We are grateful to Maria Rosaria Nappi for suggesting the attribution of the present painting. Born into a family of artists in Brussels specializes as a landscaper, especially winter landscape and fires cities like the one presented here. Often he articulates themes of classicism adapting them to contemporary architectural settings, taking as a reference, among others, the monuments of the city of Anversa, like its cathedral. The fire of Troy has been several time the starting point for the realization of light dark and suggestive effects of light. Here we see in the foreground the flight of the Aeneas' family that his shoulders the father also and the small Ascanium that supports a small statue referring to the ancestors proctetors of the fireplace and the family, near the Cretan wife, around buildings in flames and in the background the reference to the history of the defeat or the entrance of the horse in which tha achei were hidden.

Starting Price

Euro 8.000,00

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Lot N: 0334

ANDREA DEL SARTO (1486 - 1530)

Follower of. Madonna with child and Saints.

70 x 88 cm

Starting Price

Euro 8.000,00

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Lot N: 0335

MAESTRO SENESE DEL XV SECOLO

Saint Francis and Saint Benedict.

75 x 92.5 cm

Starting Price

Euro 10.000,00

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Lot N: 0336

FRANCESCO ZUCCARELLI (1702 - 1788)

Landscape with peasants, herds and young girl to horse.

141 x 77 cm

The artwork is accompained by a card by Federica Spadotto. Bibliography of reference: E. Martini, La pittura veneziana del Settecento, Venezia, 1964; F. Spadotto, Francesco Zuccarelli, catalogo ragionato dei dipinti, Milano, 2007. The painting in question harbours a large country track with a stream where some herds drink; next to them stands a young woman on horseback, to whome some peasants turn on the other side. Very similar to the example "zuccarelliano"i made known by Martini (1964) and already in private collection in Lombardy, shares its English origin and chronology. As for the first aspect, in fact, although the origjnal location is not known, a nineteenth century cartouche places on the back of the frame records the presence of our work overseas, that is, in the nation that had loved Francesco's painting more than any other, and than hosted the artist for a long time (1752-1762; 1765-1771) conferring him the maximum honors ( the Pitiglianese was the only Italian to serve as founding member of the Royal Academy). As for, instead, the placemetnt in the corpus of the Tuscan master, significant and illuminating stylistic-formal characteristics determine a limited chronological height in the late sixties, or close to the definitive return to Italy (1771). To this conclusion we are led by the analysis of the work, which hosts the platform of references linked to the lucky Arcadian recipe conaminated by a macrocosm of pure Nordic ancestry, traverse by mood completely foreign to the "rococo vezzoso", on the basis of the results of contemporary British painting. In the inspiration appears to be closely linked to a compositional bouquet already frequented on several occasions in the middle of the century ( cf. Spadotto, 2007, cat. 57, 107; figg. 1-2), ours does not fail to introduce a completely new spirit,able to revisit himself in the light of an art in continuous confrontation with the moods of his own epoch. Such capacity to receive suggestions has very distant roots, that sink in the youth of Zuccarelli, when still very young frequents in Florence (1728-1732) the collection of Niccolò Gabburri, which boasted firstfruits of the major European schools thanks to the fruitful intellectual exchange with the Mariette. Looking at our painting, it seems as if we are witnessing a summa of what has been reported, as within the confines of the canvas a thematic universe is "shredded", poetic expressive characterized by a synthesis and an awareness that only a great teacher would be able to formalize. In this scenario dominates the usual, large tree with a large crown that overlooks the two characters in the foreground, marked by an accentuated realism, reminiscent of the riccesca season (Marco Ricci, Belluno, 1676 - Venice 1730) frequented by the Pitiglianese in the thirties (Spadotto, op. cit, pp.16-18). The chromatic register, played on the contrast between the blue of the sky and the earthy tones in the foreground, lit by the red cloth on which the girl is placed on the left margin of the composition, testifies, instead, the influence of contemporary Thomas Gainsborough ( Sudbury 1727 - London 1788) a privileged reference for Francesco in the seventh decade. As reported above, we are witnessing a real dialogue between schools very different, repeated from the stylistic point of view, where dominates a real difference between characters and country background: the ones, real seals-poetic artist, are defined by a soft brush stroke, but at the same time attentive to detail; the other, puntuated by the usual rustic buildings, betrays an expressive urgency already almost involved in the romantic language, which in England boasts among the most significant seasons.

Sold at

Euro 35.000,00

...

Lot N: 0337

GIROLAMO DI BENVENUTO (1470 - 1524)

The nativity with a shepherd.

45 x 62 cm

Provenance Ricci Collection, 1909 Casa di vendite S. Innocenti, Vendita Ricci 15/27 marzo 1909, lot n 310. Faldella Collection 1974 References Galleria Enrico Frascione, "Immaginifico viaggio dipinto in sette quadri e una miniatura attraverso l'Italia XV-XX secolo", p. 16. Fototeca Zeri n 17504. This panel is documented in the Ricci collection in Rome in 1909, the year it was offered for sale together with other pictures from the same property, ascribed to an anonymous Florentine of the fifteenth century. It is catalogued with this provenance in the Federico Zeri Photo Archive, with an attribution to Girolamo di Benvenuto, and the autorship is fully supported by a comparison with similar devotional subjects painted by the artist, which constitute a specific and recognizable aspect of his multiform activity. Girolamo was also a painter of commemorative birth trays, altarpieces and frescoes, having been trained in the workshop of his father, Benvenuti di Giovanni. The Nativity may be compared with the one in Montalcino, accepted as by Girolamo, which has the same Classicizing architectural motifs, and especially with the similar panel in the Siena Picture Gallery, which is also close in dimensions. Indeed the two Holy Families can almost be superimposed, even in the rigidly-established pose of the Child, and the "long-fingered hands" in the Siena panel, "their phalanges and finger-tips indicated one by one with deliberatem intentional uniformity" share the same handling as ours.The subjects, recalling compositions by Pietro di Domenico in the Siena Picture Gallery, reflects the popularity in Sienese territory of the Sassetti Adoration by Ghirlandaio, an artist who had been introduced to Siena thanks to the pro-Florentine tastes of the banker Ambrogio Spannocchi. Clear parallels can also be found in Girolamo's Nativity in the collecion of the Monte dei Paschi di Siena Bank, especially with respect to the composition and Northern European taste of the landscape, with a winding road that leads to a seascape, while the distant dawn "suffuses the landscape with its light, symbolizing the advent of a new era for all humanity". Further characteristic elements are the creepers on the walls of the ruins, in both cases minutely described with the tip of the brush, and the taste for fable-like narrative, which in these Marian images evokes a slightly enchanted, pleasantly ingenuous atmosphere, also perceptible in the "cartoon" presence of the dove of the Holy Spirit, which is almost a signature of the artist in his paintings of the Nativity. The work that offers the most precise parallel with regard to chronology is the panel of similar dimensions in the Salini Collection with the Virgin and Child with Saint Jerome and a Female Martyr Saint, justly dated by Angelini to a moment shortly after the Sozzini altarpiece in the Siena Picture Gallery, that is, around 1510. If we can consider the Madonna in the Salini panel as the sister of the Virgin Mary picture, both in the oval form of the face and in how the erybrows are marked and the eyelashes are painted, the Saint Jerome could be the brother of the figure of Joseph, in the wrinkled face and beard, described with broad, parallel brushstrokes; and we see identical, frothy clouds and dotted haloes, indicating that our Nativity was painted at a date very close to that of the Salini picture. In this phase of his oeuvre we can witness "a gentler handling" in the painter's style - a quality that makes Girolamo di Benvenuto a "refined and subtle" artist, now quite distant from the explicit expressions of his father.

Starting Price

Euro 40.000,00

...

Lot N: 0338

GASPARE VANVITELLI (1653 - 1736)

An ideal landscape (Il lago Maggiore con la rocca di Angera?).

100 x 48 cm

The painting is accompanied by a card by Laura Laureati, August 23th 2017. This is a certain painting of Gaspare Vanvitelli but abnormal compared to his most famous production, that of the city landscape, as Rome, Naple or Venice. The slight ripples of the water in the foreground, on the right of the landscape, as well as the reflections of the mainland on the transparent surface of the lake, the sharpness of the image of the entire monastic complex, in the left area, are some of the typical characters of the way of painting of Vanvitelli. The landscape is ideal and depicted, I think, a place of invention, that is reunite two place geographically far: on the left you see a monastic complex with a church from the Reinassance portal and the Romanesque bell tower, both in the Italian center, in the landscape background stand out those elevated mountain reliefs inspired by models of the northern Italy. On the right at the end, you can see a town that remembers the shape of localities of Lombardy, Lake Maggiore, places such as Pallanza, near the Borromeo Islands, that Gaspare Vanvitelli had visited, designed and that he knew well. At the center a large basin, maybe a river or a lake. The first floor of the view on the left, shows a rocky landscape of green-brown colour that appears sketchy, as if it had been left unfinished by the author. The eye of the Vanvitelli connoisseur, in this case, finds confirmation and is also supported in his assessment by the presence, very important, of a preparatory design for a part of this conceived view. In the rich graphic production of Gaspare Vanvitelli, in fact, in Rome, in the Cabinet of drawings and prints, a drawing of his, just sketched, which is preparatory precisely for the left side of this landscape concived. It represents a mountain landscape with a monastery on the shore of a river or lake. In 1915 G.J. Hoogewerff when he published the drawing, without illustrating it, defined it as: Landscape with monastery on the high bank of a wide river. In the background mountains ( G.J. Hoogewerff, Drawings of Flemish and Dutch masters in the National press office in Rome, in "Bollettino d'Arte" 1915 p. 330 n. 18). It was Giuliano Briganti who, in 1966, illustrated and described so: ideal landscape inspired by the sabino landscape on the banks of the Tevere (G. Briganti, Gaspar Van Wittel e l'origine della veduta settecentesca, Roma 1966 p. 333 n. 236d e G. Briganti, Gaspar Van Wittel, nuova edizione a cura di L. Laureati e L. Trezzani, Milano 1996 pp. 420-421 n. D378). And in the painting that extended portion of water can be interpreted both as a river of central Italy, the Tevere for example, and, more probably, as a lake. Gaspare Vanvitelli, specialist and creator of the view of the city, of the portrait of the city as a pictorial genre, in his concevied views, performed mostly from the early eighteenth century, gave life of a genre, the view of fantasy, loosely inspired by the ways Claude Lorrain, portraying with precision and realistic intent, almost to allude that the painted image is taken from the real, villas, churches, castles, convents and often ancient temples. Some of his ideas, then, are probably inspired by places really existing but now profoundly changed and therefore not identifiable with accuracy. Recent researches by Angela Mascherpa, whom we thank for her collaboration, add some important references for the identification of the landscape. The painting could, in fact, be a free interpretation, with real and imaginative elements, of Lake Maggiore with on the left the Rocca di Angera, a spur of rock overlooking the southern shore of the lake. In a strategic position for traffic control, it was property of the Visconti house, originally from the Verbano, and in 1449 it was purchased by the Borromeso, to which it still belongs.

Sold at

Euro 110.000,00

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First session 1-113 19/06/19

11:00

Second session 114-232 19/06/19

16:00

Third session 233-340 20/06/19

11:00

Fourth session 341-469 20/06/19

16:00

Exposition

14 - JUNE 18TH
10-1PM; 3.30PM-6.30PM (SATURDAY AND SUNDAY INCLUDED).