BIAF_2024_English

33˚ · La Grande Mostra dell’Arte Italiana ·

2024

MEMBRI COMITATO DIRETTIVO

Sara Funaro - Presidente

Riccardo Bacarelli – Firenze – Vice Presidente

Enrico Frascione – Firenze – Vice Presidente

Fabrizio Moretti – Firenze – Segretario Generale

Massimo Bartolozzi – Firenze

Bruno Botticelli – Firenze

Alessandra di Castro – Roma

Fabrizio Guidi Bruscoli – Firenze

Carlo Orsi – Milano

Luigi Salvadori – Firenze

Furio Velona – Firenze

Organizzazione Mostra:

Fondazione Expo Arte e Cultura ETS

Redazione e traduzione delle didascalie a cura di Erminia Luccarelli

FIRENZE PALAZZO CORSINI 28 SETTEMBRE | 6 OTTOBRE 2024

2024

EXHIBITORS XXXIII BIENNALE

800/900 ARTSTUDIO

AGNEWS

AL FINE ART

ANTONACCI LAPICCIRELLA

ALTOMANI & SONS

ANTICHITÀ GIGLIO

PAOLO ANTONACCI

GIOVANNI ASIOLI MARTINI

ANTIQUARIO

BACARELLI ANTICHITÀ

GIORGIO BARATTI ANTIQUARIO

BENAPPI FINE ART

BOTTEGANTICA

BOTTICELLI ANTICHITÀ

MAURIZIO BRANDI ANTIQUARIO

BRUN FINE ART

BURZIO

BUTTERFLY

CALLISTO FINE ARTS

ROBERTO CAMPOBASSO

CANTORE GALLERIA ANTIQUARIA

CARETTO&OCCHINEGRO

MIRCO CATTAI FINE ART

& ANTIQUE RUGS

ATTILIO CECCHETTO ANTIQUARIO

CECI ANTICHITÀ

COLNAGHI

COPETTI ANTIQUARI

CORTONA FINE ART

ALESSANDRA DI CASTRO

DICKINSON

ENRICO GALLERIE D’ARTE

FONDANTICO

DI TIZIANA SASSOLI

ENRICO FRASCIONE

FRASCIONE GALLERY

GALERIE CANESSO

GALLERIA BERARDI

GALLERIA CONTINUA

GALLERIA D’ARTE

FREDIANO FARSETTI

GALLERIA ROBERTO DUCCI

GALLERIA GOMIERO

GALLERIA MARLETTA


GALLERIA POGGIALI

GALLERIA CARLO VIRGILIO & C.

GALLO FINE ART

GALLORI TURCHI ANTICHITÀ

MICHELE GARGIULO “ANTIQUARIO”

GIACOMETTI OLD MASTER PAINTINGS

FLAVIO GIANASSI FG FINE ART

NICHOLAS HALL

IOTTI ANTICHITÀ

MATTEO LAMPERTICO

ARTE ANTICA E MODERNA

DYS44 LAMPRONTI GALLERY

LEONE

LONGARI ARTE MILANO

LULLO • PAMPOULIDES

SANDRO MORELLI

MORETTI

RENZO MORONI

MAURIZIO NOBILE FINE ART

CARLO ORSI

ORSINI ARTE E LIBRI

WALTER PADOVANI

PARRONCHI DIPINTI ‘800-‘900

RAFFAELLO PERNICI

PIVA & C.

PORCINI

REVE ART

ROBERTAEBASTA

ROBILANT+VOENA

ROMANO FINE ART

ROMIGIOLI ANTICHITÀ

SALAMON & C.

RICHARD SALTOUN

SANTA TECLA

SCULTURA ITALIANA

DI DARIO MOTTOLA

SECOL-ART ANTICHITÀ

DI MASOERO DAVIDE & C.

ROB SMEETS

OLD MASTER PAINTINGS

SOCIETÀ DI BELLE ARTI

GIAN ENZO SPERONE

TETTAMANTI ANTICHITÀ

TORNABUONI ARTE

VERDINI


800/900 ARTSTUDIO

800/900 ARTSTUDIO

Via Roma 63-67

57126 Livorno

Tel. +39 0586 815 200

Via del Battistero 22/24

55100 Lucca

post@800artstudio.com

postmaster@800artstudio.com

studioarte800@libero.it

www.800artstudio.com


Francesco Gioli

(San Frediano a Settimo, Pisa, 29 June 1846 – Florence, 4 February 1922)

Divertimenti infantili

Oil on canvas, 65x45 cm

1875

Signed and dated bottom left: F Gioli 1875

Provenance

Private collection.


Vittorio Matteo Corcos

(Livorno, 4 October 1859 – Florence, 8 November 1933)

Le due vergini

Oil on canvas, 53x102.5 cm

1892

Signed and dated bottom right: V. Corcos / maggio 92

Provenance

Private collection.


AGNEWS

AGNEWS

6 St James’s Place

SW1A 1NP Londra

Tel. +44 207 491 9219

anna@agnewsgallery.com

www.agnewsgallery.com

Giovanni Battista Benvenuti, known as

L’Ortolano

(Ferrara c. 1487-88 – c. 1525-27)

Madonna with Child

Oil on panel, 38.2 x 31.2 cm

c. 1510-1520


Pietro Annigoni

(Milan, 7 June 1910 – Florence, 28 October 1988)

The weary philosopher

Oil on panel, 49.5 x 59.8 cm

1948


AL FINE ART

ANTONACCI

LAPICCIRELLA

AL FINE ART

ANTONACCI LAPICCIRELLA

Via Margutta 54

00187 Roma

Tel. +39 06 4543 3036

info@alfineart.com

www.alfineart.com

Simon Denis

(Antwerp, 1755 – Naples, 1813)

The Eruption of Mount Vesuvius

Oil on paper applied on cardboard, 46x61 cm

1804

Dated bottom right: 1804


Umberto Boccioni

(Reggio Calabria, 1882 – Verona, 1916)

Portrait of a young girl

Pastel on cardboard, 50.7x35 cm

c. 1905

Provenance

Private collection.

Bibliography

M. Calvesi, E. Coen, Boccioni. L’opera completa, Milano 1983, p. 226, cat. 279 (dated

1908-1909); Boccioni prefuturista, catalogue of the exhibition (Reggio Calabria, Museo

Nazionale, July - September 1983, and Rome, Palazzo Venezia, October – November

1983), Milano 1983, p. 115, cat. 143 (dated 1908-1909); Umberto Boccioni (1882-

1916). Genio e memoria, catalogue of the exhibition (Milan, Palazzo Reale, March –

July 2016), Milano 2016, pp. 100, 298, cat. 84 (with the title Ritratto di giovane donna,

dated 1907-1908); M. Calvesi, A. Dambruoso, Umberto Boccioni. Catalogo generale,

Roma 2016, p. 264, cat. 165 (dated 1903); Boccioni prima del futurismo. Opere 1902-

1910, catalogue of the exhibition (Mamiano di Traversetolo, Parma, Fondazione

Magnani Rocca, September – December 2023), Milano 2023, p. 123, cat. 87 (dated

1905 c.).

Exhibitions

Boccioni prefuturista, Reggio Calabria, Museo Nazionale (July - September 1983)

and Rome, Palazzo Venezia (October – November 1983); Umberto Boccioni (1882-

1916). Genio e memoria, Milan, Palazzo Reale (March – July 2016); Boccioni prima del

futurismo. Opere 1902-1910, Mamiano di Traversetolo, Parma, Fondazione Magnani

Rocca (September – December 2023).


ALTOMANI & SONS

ALTOMANI & SONS

Via Borgospesso 12/14

20121 Milano

Tel. +39 02 201033

Via Baviera 18/20

61100 Pesaro

mail@altomani.com

www.altomani.com

Camilla Guerrieri

(Fossombrone, 1628 – Pesaro, after 1690)

Portrait of Vittoria Della Rovere


17 th century

Initialled “CAF” (CAmilla Fecit)

Provenance

Milan, private Collection.

Bibliography

Study: Dr. Claudio Giardini, 2022; Prof. Liana De Girolami Cheney, 2024.

L. De Girolami Cheney, Camilla Guerrieri’s Portrait of Vittoria della Rovere, in ‘Journal of

Arts & Humanities’, vol. 13, issue 01, 2024.


Sano di Pietro

(Siena 1405 – 1481)

Embriachi workshop

Wall frame depicting Saint Catherine of Alexandria

Poplar wood; carved bone; bone, horn and wood ribbon inlays;

tempera and gold leaf

Diameter of the central painting 10 cm; Frame 38x23.5 cm

Early 15 th century

In the middle is a painted depiction of Saint Catherine of Alexandria, framed with

bone reliefs representing eleven festive spirits and bone, horn and wood inlays (Embriachi

workshop). The panel is painted on the reverse side with leaf motifs and a

fawn.

Provenance

1900, Rome, Galleria San Giorgi; Anton Philips Collection.


ANTICHITÀ GIGLIO

ANTICHITÀ GIGLIO

Via C. Pisacane 53

20129 Milano

Tel. +39 02 294 031 46

Cel. +39 335 637 9151

info@antichitagiglio.it

www.antichitagiglio.it

Carlo Romano

(Viggiù, Varese, 1810 – Milan, 1883)

Samson mauling the lion

Marble sculpture, 105x55x42 cm

Complemented by an attribution entry by Dr. Stefano Grandesso.

Provenance

Novara, private collection.

Exhibitions

Milan, 1852, Imperial Regia Accademia di Belle Arti, Brera Palace.

Bibliography

Esposizione delle opere di belle arti nelle gallerie dell’I. R. Academia per l’anno 1852,

edizione corretta ed accresciuta, Milano 1852, p. 47, cat. 335; G. Giachetti, Pubblica

esposizione di belle arti nelle sale del palazzo di Brera in Milano, in ‘Il Pirata. Giornale

letterario-teatrale’, year XVIII, n. 26, Sunday 26 September 1852, p. 101; F. Villani,

Pubblica mostra dell’I.R. Academia di Belle Arti in Milano nell’autunno 1852, in Letture di

famiglia. Opera illustrata con incisioni in acciaio che si pubblica dalla sezione letterarioartistica

del Lloyd Austriaco, A. I, Trieste 1852, p. 270.


Mauro Mosini

(Active in the second half of the 19 th century)

Double-body cabinet

Ebonised wood with burnished gilded bronze friezes, 221x91x60 cm

second half of the 19 th century

The work bears a small metallic plate with the inscription: M. Mosini, Milano, 1881.

Provenance

Novara, private collection.


PAOLO ANTONACCI

PAOLO ANTONACCI

Via Alibert 16a

00187 Roma

Tel. +39 06 326 516 79

info@paoloantonacci.com

www.paoloantonacci.com

Peter Eduard Stroeling

Düsseldorf, 1768 – London, dopo il 1826

Three children with a dog in an interior

Oil on copper, 38x48 cm

Signed and dated on the chair’s band “P. Stroeling 1789”.

In an elegant interior in the Louis XVI style, characterised by a beautiful boiserie on

the wall and various pieces of furniture, among which is a comode with a gilded

mirror and a sofa with a chair, are portrayed three boys, most probably brothers, an

older boy, a girl and a small boy riding a large dog. The three are elegantly dressed

in the fashionable clothes of the last quarter of the 18 th century: the young girl wears

a white organza dress while the young boy is dressed in yellow trousers and a green

tailcoat and the child riding a dog wears a red tailcoat.

Although we do not know the identity of the subjects today, we can certainly assume

that the painting was commissioned to depict three scions of an aristocratic family,

presumably in Russia, where the painter resided for a long time.

Peter Eduard Stroeling was a portrait painter and miniaturist. Born in Düsseldorf,

he began his studies in Russia, where he was protected by Tsar Alexander I, and

continued his studies in Italy.

He travelled through France, Russia and Austria before settling in London in the

early 19 th century, where he exhibited regularly at the Royal Academy from 1803 to

1826. From 1810 to 1820 he was the official painter of the Prince of Wales, the future

King George IV, who commissioned several portraits as gifts for his friends.

Some of his paintings are preserved in various European museums and institutions

including the British Museum, the National Museum in Warsaw and the Frankfurt

Museum.


Antoine-Claude Ponthus-Cinier

Lyon, 1812 – 1885

Moonlight on the Tevere with Castel Sant’Angelo and San Pietro


Signed bottom right Ponthus-Cinier.

On the back it bears a label at the bottom right with “n°536”.

Provenance

Rome, private collection.

Our painting is one of the finest examples of that classical and majestic landscape

painting, pervaded by a strong scenographic tendency, which spread widely in

Europe in the 19 th century and of which Antoine-Claude Ponthus-Cinier was one of

the most brilliant interpreters. Probably painted during his years in Rome, the view

of the Tevere River encapsulates all the fascination and mystery exerted on the artist

by the great monuments of ancient and modern Rome. Considered one of the most

characteristic views of the Eternal City, the same subject was in fact immortalised

in Giovanni Battista Piranesi’s famous engravings and Gaspar van Wittel’s paintings,

just to mention a few examples. In the foreground, a man advances with a boat on

the waters of the river: a lantern signals his presence and is reflected in the water.

On the right, Castel Sant’Angelo rises majestically in front of the bridge that bears

its name. On the horizon, enveloped in a mantle of light, stands St Peter’s Basilica

with its famous dome. However, the full moon in the background amidst the clouds

is the real protagonist of the painting: it irradiates on the sleeping and dark city,

illuminated only by a few street lamps, a light that is cold and romantic at the same

time, in which everything seems pervaded by mystery.


GIOVANNI

ASIOLI MARTINI

ANTIQUARIO

GIOVANNI ASIOLI MARTINI

ANTIQUARIO

Via Emilia 3

40026 Imola (Bologna)

Tel. +39 335 817 94 36

asiolimg@libero.it

Roman workshop

of the late 13 th and early 14 th centuries

Jug

Polychrome and glazed engobe ceramic, h c. 18.5 cm

Coat of arms of the Orsini family and another unidentified one.

Unpublished artwork, historical and artistic study by Romualdo Luzi.

Conservation

Small integrated loss on the spout.

Provenance

Private collection.


Sforza di Marcantonio

(documented from 1543 to 1580) in the

workshop of Lanfranco delle Gabicce

Plate

High fire polychrome majolica, diameter 23.7 cm

1547

Made in Pesaro. On the back «Leandro in mare et ero alla finestra». Unpublished

artwork.

Conservation

Fair state of conservation, one recomposed breakage (visible).

Provenance

Private collection.




Via dei Fossi 45r

50123 Firenze

Tel. +39 055 215 457

bacarelli@bacarelli.com

www.bacarelli.com

Francesco Celebrano

(Naples, 27 March 1729 – Naples, 22 June 1814)

The Rape of Europa

Wax, 28.5x26x19 cm

c. 1785

Manufacture of the Real Fabbrica Ferdinandea of porcelain in Naples, under the

direction of Domenico Venuti and Filippo Tagliolini.

Provenance

Private collection, Rome.

Bibliography

F. Leone, Ratto d’Europa, Roma 2023.

Exhibitions

TEFAF Maastricht 2024.


Ambrogio Borghi

(Nova Milanese, 1 October 1848 – Milan, 4 May 1887)

The Hair of Berenice, Queen of Egypt

Polychrome plaster, h 196 cm

1878

Polychrome plaster version of the sculpture displayed by Borghi at the Paris

International Exposition in 1878.

Provenance

Private collection.

Bibliography

A. Borghi, La chioma di Berenice regina d’Egitto, Firenze, January 2023.

Exhibitions

Panorama L’Aquila 2023; Arte e Collezionismo a Roma 2023.


GIORGIO BARATTI

ANTIQUARIO

GIORGIO BARATTI ANTIQUARIO

Via Bigli 11

20121 Milano

Tel. +39 02 367 064 46

baratti@giorgiobaratti.com

www.giorgiobaratti.it

Giovanni Domenico Ferrucci

(Florence, 1619 – Lucca, post 1669)

Cleopatra



Sebastianone

(Active in Lombardy at the end of the 17 th century)

Self portrait



BENAPPI FINE ART

BENAPPI FINE ART

27 Dover Street

W1S 4LS Londra

Tel. +44 203 865 2953

london@benappi.com

www.benappi.com

Giovanni De Fondulis

(Crema, c. 1435 – Padua, ante 1491)

Saint John the Baptist

Terracotta, 107x36x20 cm

1475-1480

Bibliography

M. Scansani, in Il fuoco Sacro della Terracotta. Giovanni de Fondulis tra Lombardia e

Veneto, Mantova 2024, pp. 206-209, n. 22, with the complete previous bibliography.

Exhibitions

La scultura al tempo di Andrea Mantegna: tra classicismo e naturalismo, Castello di San

Giorgio, Palazzo di San Sebastiano, Mantova (16 September 2006 - 14 January 2007),

curated by V. Sgarbi; Rinascimento e passione per l’antico. Andrea Riccio e il suo tempo,

Castello del Buonconsiglio, Trento (5 July – 2 November 2008), curated by A. Bacchi

and L. Giacomelli.


BOTTEGANTICA

BOTTEGANTICA

Via Manzoni 45

20121 Milano

Tel. +39 02 626 954 89

info@bottegantica.com

www.bottegantica.com

Guido Trentini

(Verona, 1889 – 1975)

La fanciulla sommersa

Tempera on canvas, 40.5 x 188 cm

c. 1914

Signed bottom left: Guido Trentini.

Provenance

Sommaruga Collection, Verona; private collection, Verona.

Bibliography

Verona anni Venti, catalogue of the exhibition curated by L. Magagnato e G. P. Marchi

(Verona, Palazzo della Gran Guardia, 1971), Verona 1971, p. 15, tav. 68; G. Bertolino,

F. Poli, Catalogo generale delle opere di Felice Casorati, Torino 1995-2004, vol. I, p. 205;

Klimt e l’arte italiana, catalogue of the exhibition curated B. Avanzi (MART Rovereto,

15 March - 27 August 2023), Milano 2023, pp. 115, 262-263 n. 84 (ill.).

Exhibitions

Verona anni Venti, curated by L. Magagnato e G. P. Marchi, Verona, Palazzo della Gran

Guardia, 1971, n. 39; Guido Trentini e il suo tempo, Verona, Museo di Castelvecchio,

1981, n. 21.


Angelo Barabino

(Tortona, 1883 – Milan, 1950)

Idillio

Oil on canvas, diameter of the tondo 84.5 cm

c. 1918-1922

Inscription A. Barabino on the back of the frame.

Provenance

Private collection, New York.

Bibliography

M. Poggialini Tominetti, Angelo Barabino, Torino 1974, tav. 50.




Via Maggio 29

50125 Firenze

Tel. +39 055 230 20 95

bruno@botticelliantichita.com

eleonora@botticelliantichita.com

www.botticelliantichita.com

Collaborator of Arnolfo di Cambio

Head of the Bishop Andrea de’ Mozzi

Sandstone “pietra serena” with traces of polychromy, h 39 cm

c. 1296-1300

Provenance

Florence, lost church of San Gregorio della Pace; Florence, Stefano Bardini; Château

de la Rochelambert, Louis-Pierre Bresset collection.

Bibliography

E. Palandri, Il vescovo Andrea de’ Mozzi nella storia e nella leggenda, in “Il giornale

dantesco”, XXXII, 1929, pp. 93-118; S. Colucci, Un sepolcro vescovile del Museo Bardini e

qualche ipotesi sull’origine di una tipologia funeraria tardoduecentesca, in “Prospettiva”,

134-135, April-July 2009, pp. 76-90; S. Diacciati, Mozzi Andrea, in Dizionario biografico

degli Italiani, LXXVII, Roma 2012.


Lombard sculptor,

First Master of the Loggia degli Osii

Madonna and Child

Painted walnut wood sculpture, 80x43x30 cm

1315-1320

Bibliography

G. Previtali, Una scultura lignea in Lombardia e la Loggia degli Osii, in “Prospettiva”, I,

April 1975, pp. 18-24; G. Previtali, Studi sulla scultura gotica in Italia. Storia e geografia,

Torino 1991, pp. 85-92, speciatim pp. 85-87 figg. 122-123; L. Cavazzini in A. Bacchi

(curated by), Dalla Bibbia di Corradino a Jacopo della Quercia. Sculture e Miniature

italiane del Medioevo e del Rinascimento, catalogue of Galleria Nella Longari, Milano

1997, pp. 34-37 n. 8.


MAURIZIO BRANDI

ANTIQUARIO

MAURIZIO BRANDI ANTIQUARIO

Via D. Morelli 9

80121 Napoli

Tel. +39 081 764 3882

Via Bisignano 24

80121 Napoli

mauriziobrandi@live.com

www.antiquarinapoletani.it/brandi

Giustiniani Manufacture

Giant Poodle dog

Glazed earthenware sculpture, h c. 60 cm

First quarter of the 19 th century

«Il nostro Cane Barbone sembra corrispondere alla descrizione riportata negli Annali

Civili del Regno del 1828: “cane riccio di terraglia naturale, inverniciato a fuoco, ad

eccezione del pelo, ducati 8”» (excerpt from the expertise by Angela Carola Perrotti).

Provenance

Naples.

Bibliography

Catalogo de’ saggi dei prodotti dell’industria nazionale presentati nella solenne

Esposizione di Napoli (volumes from 1809 to 1853); L. Mosca, Napoli e l’arte ceramica

dal XIII al XX secolo. Con marche e piante di antiche fabbriche, Napoli 1963 (reprint of

the first edition of 1908); G. Donatone, La terraglia napoletana (1782-1860), Napoli

1991.


Anonymous (XVII century)

Mascaron

Marble, h c. 60 cm

17 th century

Big marble fountain mascaron depicting a fluvial divinity.

Provenance

Rome.


BRUN FINE ART

BRUN FINE ART

38 Old Bond Street

W1S 4QW Londra

Tel. +44 207 7493 0195

Via Gesù 17

20121 Milano

Tel. +39 02 295 180 31

info@brunfineart.it | info@brunfineart.com

www.brunfineart.it | www.brunfineart.com

Luigi Miradori known as Il Genovesino

(Genoa, c. 1605 – Cremona, c. 1656)

Series of four paintings depicting Stories of Samson

Oil on panel within a lacquered and gilded wooden frame, c. 50x75 cm

17 th century

Provenance

Private collection.

Exhibitions

Il Seicento lombardo, Milan, Palazzo Reale, Pinacoteca Ambrosiana (June - October

1973), curated by S. Boccardi.


Giovanni Maria Benzoni

(Songavazzo, 28 August 1809 – Rome, 28 April 1873)

Pair of sculptures representing

Love imposing silence and Psyche hiding the butterfly

White Carrara marble, h 116 cm and h 112 cm

1868

Both signed and dated “G.M. Benzoni F. Roma 1868”

Provenance

Northern European private collection.



BURZIO

BURZIO

38 Dover Street

W1S 4NL Londra

Tel. +44 750 257 1587

info@lucaburzio.com

www.lucaburzio.com

François Ladatte born Francesco Ladetto

(Turin, 9 December 1706 – Turin, 18 January 1787)

Remarkable pair of rococò style candlesticks,

convertible in two-flames chandeliers

Chiseled and mercury-gilded bronze, 42.5 (h) x 30 cm

c. 1745

Provenance

Private collection of the Fabre antiquarians of Paris.


Reale Manifattura of San Carlo

alle Mortelle in Naples

Neoclassical center table top

Belgian black marble, richly inlaid with hardstones and petrified wood, embellished

with chiseled silver, diameter 83.5 cm

Early 19 th century

Provenance

Naples.

Bibliography

Scientific entry written by Dr. Enrico Colle, Director of Museo Stibbert in Florence.

Exhibitions

An absolutely analogous exemplar, although not presented as Genoese but as

French, attributed to Henry Peters, was displayed by the Bensi Gallery, Milan, at the

VI Biennale Internazionale dell’Antiquariato di Firenze in Palazzo Strozzi in 1969.


BUTTERFLY

BUTTERFLY

Viale Giuseppe Cattori 5A

6900 Lugano

Tel. +41 91 682 6222

info@butterflyinstitute.com

www.butterflyinstitute.com

Giovanni Boldini

(Ferrara, 31 December 1842 – Paris, 11 January 1931)

Portrait of Madame Veil-Picard

Oil on panel, 82x63 cm

c. 1896

Provenance

Private collection, courtesy of Museo archives Giovanni Boldini Macchiaioli, Pistoia.

Bibliography

T. Panconi, Giovanni Boldini. L’opera completa (Catalogo generale ragionato), Firenze

2002, p. 376; Boldini Mon Amour, catalogue of the exhibition (Montecatini Terme,

Terme Tamerici, 18 September - 30 December 2008) curated by T. Panconi, Pisa 2008,

pp. 292-293; Boldini e la Belle Époque, catalogue of the exhibition (Como, Villa Olmo,

26 March - 24 July 2011) curated by T. Panconi, S. Gaddi, Cinisello Balsamo 2011, p.

133; Giovanni Boldini, catalogue of the exhibition (Rome, Complesso del Vittoriano,

Ala Brasini, 4 March - 16 July 2017) curated by T. Panconi, S. Gaddi, Milano 2017, p. 211;

Giovanni Boldini. Genio e pittura, catalogue of the exhibition (Reggia di Venaria Reale,

Sala delle Arti, 29 July 2017 - 28 January 2018) curated by T. Panconi, S. Gaddi, Milano

2017, pp. 173, 211; Giovanni Boldini. Il piacere, catalogue of the exhibition (Rovereto,

Mart, 18 January - 29 August 2021) curated by B. Avanzi, T. Panconi, Genova 2020,

p. 324; Giovanni Boldini. Lo sguardo nell’anima, catalogue of the exhibition (Bologna,

Palazzo Albergati, 29 October 2021 - 13 March 2022) curated by T. Panconi, Milano

2021, p. 147.

Exhibitions

Boldini Mon Amour, Montecatini Terme, Terme Tamerici (18 September - 30 December

2008), curated by T. Panconi; Boldini e la Belle Époque, Como, Villa Olmo (26 March -

24 July 2011), curated by T. Panconi, S. Gaddi; Giovanni Boldini, Rome, Complesso

del Vittoriano, Ala Brasini (4 March - 16 July 2017), curated by T. Panconi, S. Gaddi;

Giovanni Boldini. Genio e pittura, Reggia di Venaria Reale, Sala delle Arti (29 July

2017 - 28 January 2018), curated by T. Panconi, S. Gaddi; Giovanni Boldini. Il piacere,

Rovereto, Mart (18 January - 29 August 2021), curated by B. Avanzi, T. Panconi;

Giovanni Boldini. Lo sguardo nell’anima, Bologna, Palazzo Albergati (29 October 2021

- 13 March 2022), curated by T. Panconi.


Giovanni Boldini

(Ferrara, 31 December 1842 – Paris, 11 January 1931)

Portrait of a Gentleman in an evening suit (René Cole)


1893

Signed and dated bottom right: “Boldini 1893”

Courtesy of Museo archives Giovanni Boldini Macchiaioli, Pistoia.

Bibliography

Pitture e sculture dell’Ottocento provenienti da tre collezioni fiorentine, catalogue of the exhibition (Firenze,

Saletta Gonnelli, 1958), Firenze 1958, tav. XII; O. De Scolari, in ‘Antichità’, I, n. 3, March 1962; Macchiaioli

toscani ed altri pittori dell’Ottocento, catalogue of the exhibition-sale (Firenze, Saletta Gonnelli, February

1969), Firenze 1969; C.L. Ragghianti, E. Camesasca, L’opera completa di Boldini, Milano 1970, n. 241, p. 109 ill.;

Il Ritratto nell’Ottocento: dipinti, disegni, incisioni, catalogue of the exhibition (Florence, Libreria Antiquaria

Gonnelli) curated by M.P. Gonnelli Manetti, Firenze 1978, pp. 30, 31 ill.; G. Sari, Boldini a Parigi (1871-1931),

Alghero 1980, pp. 74, 226 tav. 52; B. Doria, Giovanni Boldini. Catalogo generale dagli archivi Boldini, vol. I,

Dipinti, tav. 305, vol. II, Schede, n. 305, Milano 2000; T. Panconi, Giovanni Boldini. L’opera completa, Firenze

2002, p. 341 ill.; S. Bietoletti, in Boldini, Helleu, Sem. Protagonisti e miti della Belle Époque, catalogue of the

exhibition, (Castiglioncello, Centro per l’arte Diego Martelli, 7 July - 12 November 2006), curated by F. Dini,

Milano 2006, n. 55, pp. 224, 225 ill.; Boldini. Lo spettacolo della modernità, catalogue of the exhibition (Forlì,

Musei San Domenico, 1 February – 14 June 2015) curated by F. Mazzocca, Cinisello Balsamo 2015, p. 19 ill.; F.

Mazzocca, “C’est un classique”. Boldini e gli antichi maestri, in Boldini. Lo spettacolo della modernità, catalogue

of the exhibition (Forlì, Musei San Domenico, 1 February – 14 June 2015) curated by F. Mazzocca, Cinisello

Balsamo 2015, pp. 302 ill., 303 (with the date 1873); R. Campana, in Boldini. Lo spettacolo della modernità,

catalogue of the exhibition (Forlì, Musei San Domenico, 1 February – 14 June 2015) curated by F. Mazzocca,

Cinisello Balsamo 2015, pp. 371-372; Boldini e la moda, catalogue of the exhibition (Ferrara, Palazzo dei

Diamanti, 2019) curated by B. Guidi, V. Hill, Ferrara 2019, p. 71 ill; Boldini y la pintura española a finales del

siglo XIX. El espíritu de una época, catalogue of the exhibition (Fundación MAPFRE, Madrid 2019), Madrid

2019, p. 57; Boldini, retratista de la Belle Époque (1890- 1920), in Boldini y la pintura española a finales del siglo

XIX. El espíritu de una época, catalogue of the exhibition (Fundación MAPFRE, Madrid 2019), Madrid 2019,

pp. 312, 313 ill.; Dargnies-de Vitry, Portraits intimes et officiels, in Boldini. Les plaisirs et les jours, catalogue of

the exhibition (Paris, Petit Palais, 2022) curated by B. Guidi, S. Dargnies-de Vitry, Paris 2022; Dargnies-de

Vitry, in Boldini. Les plaisirs et les jours, catalogue of the exhibition (Paris, Petit Palais, 2022) curated by B.

Guidi, S. Dargnies-de Vitry, Paris 2022, n. 54, pp. 106, 107; P. Thiebaut, Portraits d’hommes. Artistes, bourgeois

et hommes du monde, in Boldini. Les plaisirs et les jours, catalogue of the exhibition (Paris, Petit Palais, 2022)

curated by B. Guidi, S. Dargnies-de Vitry, Paris 2022, p. 114; Giovanni Boldini e il mito della Belle Époque,

catalogue of the exhibition (Asti, Palazzo Mazzetti, 2022) curated by T. Panconi, Milano 2022, pp. 24 ill., 25.

Exhibitions

Pitture e sculture dell’Ottocento provenienti da tre collezioni fiorentine, Florence, Saletta Gonnelli, 1958; Il

Ritratto nell’Ottocento: dipinti, disegni, incisioni, Florence, Libreria Antiquaria Gonnelli, 1978, curated by M.P.

Gonnelli Manetti; Giovanni Boldini, Pistoia, Convento di San Domenico (28 September - 15 November 1984);

Boldini, Helleu, Sem. Protagonisti e miti della Belle Époque, Castiglioncello, Centro per l’arte Diego Martelli (7

July - 12 November 2006), curated by F. Dini, n. 55; Boldini. Lo spettacolo della modernità, Forlì, Musei San

Domenico (1 February – 14 June 2015), curated by F. Mazzocca, n. 247; Boldini e la moda, Ferrara, Palazzo

dei Diamanti, 2019, curated by B. Guidi, n. 11; Boldini y la pintura española a finales del siglo XIX. El espíritu de

una época, Madrid, Fundación MAPFRE, 2019, n. 100; Boldini. Les plaisirs et les jours, Paris, Petit Palais, 2022,

curated by B. Guidi, S. Dargnies-de Vitry, n. 54.


CALLISTO FINE ARTS

CALLISTO FINE ARTS

44 Duke Street, St. James’s

SW1Y 6DD Londra

Tel. +44 207 839 7037

info@callistoart.com

callistofinearts@gmail.com

www.callistoart.com

Cantagalli Manufacture

Double looped handles vase with grotesque decorations

Ceramic, h. 90 cm

c. 1900


Giovanni Baratta

(Carrara, 13 May 1670 – Carrara, 21 May 1747)

Mars

Marble, 77x65 cm

Provenance

Gore Vidal collection, Villa La Rondinaia, Ravello.

Bibliography

V. Brunetti, Un Marte “da galleria”, opera di Giovanni Baratta, in “Predella”, 47 (2020), pp.

33-39, XLII-XLVIII; Giovanni Antonio Cybei e il suo tempo, catalogue of the exhibition

(Accademia di Belle Arti of Carrara, 9 July - 10 October 2021) curated by G. de Simone

and L. Massari, Ospedaletto (Pisa) 2021.

Exhibitions

Giovanni Antonio Cybei e il suo tempo. Insigne statuario per le corti europee e Primario

Direttore dell’Accademia di Belle Arti di Carrara, Accademia di Belle Arti of Carrara (9

July - 10 October 2021), curated by G. de Simone and L. Massari.


ROBERTO

CAMPOBASSO

ROBERTO CAMPOBASSO

Via Carlo Poerio 17

80121 Napoli

Tel. +39 081 764 0770

robertocampobasso3@gmail.com

www.robertocampobasso.com

Giovanni Paolo Panini

(Piacenza, 17 June 1691 – Rome, 21 October 1765)

A Sybil preaching


Feeble traces of a signature in the bottom right corner

Provenance

Private collection, Piacenza.

Bibliography

F. Arisi, Gian Paolo Panini e i fasti della Roma del ‘700, Roma 1986, cat. 422 p. 440;

Scientific entry by Francesco Leone.


Filippo Tagliolini

(Fogliano di Cascia, 1745 – Naples, 1809)

Bacchus and Cupid

Biscuit of the Real Fabbrica Ferdinandea of Naples, h. 55.5 cm

Provenance

Museo di Capodimonte, Naples.

Bibliography

C. Minieri-Riccio, Delle porcellane della Real Fabbrica di Napoli delle vendite fattene

e delle loro tariffe: memoria letta all’Accademia Pontaniana nella tornata del 7 aprile

1878, Napoli 1878, p. 57; G. Morazzoni, Le porcellane italiane, Milano 1935, tav. CXVII;

A. De Franciscis, Restauri di Carlo Albacini a statue del Museo Nazionale di Napoli, in

“Samnium”, XIX (1946), p. 100; G. Morazzoni, S. Levy, Le porcellane italiane, II, Milano

1960, tav. 369; A. Mottola Molfino, L’arte della porcellana in Italia, II, Il Piemonte,

Roma e Napoli, Busto Arsizio 1977, fig. 346; A. Caròla-Perrotti, La porcellana della

Real Fabbrica Ferdinandea, Cava dei Tirreni 1978, fig. 290; Le porcellane dei Borbone

di Napoli: Capodimonte e Real Fabbrica Ferdinandea 1743-1806, catalogue of the

exhibition (Museo Archeologico Nazionale of Naples, 19 December 1986 - 30 April

1987) curated by A. Caròla-Perrotti, Napoli 1986, cat. 451; A. González-Palacios, Lo

scultore Filippo Tagliolini e la Porcellana di Napoli, Torino 1988, cat. 2 p. 155, fig. 2.


CANTORE

GALLERIA ANTIQUARIA

CANTORE GALLERIA ANTIQUARIA

Via Farini 14

41121 Modena

Tel. +39 059 225 400

info@galleriacantore.it

www.galleriacantore.it

Gaspare Traversi

(Naples, documented from 1749 – Rome, 1770)

Portrait of the Prince Troiano Spinelli

Oli on canvas, 77x64 cm

Bibliography

A.B. Rave, in Gaspare Traversi. Heiterkeit im Schatten, catalogue of the exhibition

curated by A. Bernhard Rave, Stoccarda 2003, fig. p. 156, p. 166 cat. 60; L. Rocco in

Gaspare Traversi. Napoletani del ‘700 tra miseria e nobiltà, catalogue of the exhibition

curated by N. Spinosa, Napoli 2003, p. 190, n. 66, pp. 249, 258, n. R146; Luce sul

Settecento. Gaspare Traversi e l’arte del suo tempo in Emilia, catalogue of the exhibition

(Parma) curated by L. Fornari Schianchi and N. Spinosa, Napoli 2004, pp. 245, 255 n.

R146.


Daniele Crespi

(Busto Arsizio, 1598/1600 – Milan, 1630)

Saint Bartholomew

Oil on panel, 50x39.9 cm

Bibliography

N. W. Neilson, Daniele Crespi, Soncino 1996, p. 64 n. 75, p. 135 n. 8D; F. Frangi, A.

Morandotti, in Dipinti lombardi del Seicento: collezione Koelliker, curated by F. Frangi,

A. Morandotti, Torino 2004, p. 190, n. 34; Daniele Crespi, un grande pittore del Seicento

lombardo, curated by A. Spiriti, Cinisello Balsamo 2006, pp. 194-195.



CARETTO&OCCHINEGRO

CARETTO&OCCHINEGRO

Via A. Massena 87

10128 Torino

Tel. +39 338 871 2326

info@carettoeocchinegro.com

www.carettoeocchinegro.com

David Vinckboons

(Mechelen, 1576 – Amsterdam, 1629 or 1633)

Peasant Feast


17 th century

Signed

Provenance

Private collection.

Bibliography

J Briels, Peintres Flamands En Hollande, 1987, p. 138-139, fig. 164; El Siglo de Oro

del Paisaje Holandés, catalogue of the exhibition (Museum Thyssen-Bornemisza,

Madrid, 1994) curated by P. Sutton e J. Loughman, Madrid 1994, p. 55, fig. 57; David

Vinckboons (1576-1632) Oeuvrekatalog der Gemalde und Zeichnungen, curated by K.

Ertz, Christa Nitze-Ertz, Lingen 2016.


Ambrosius Benson

(Lombardy, c. 1495 – Bruges, 1550)

Saint Jerome in prayer

Oil on panel, 77.5x59 cm

c. 1540

We would like to thank the following experts for confirming the authorship and

quality of the work: Peter van den Brink, Didier Martens, Catheline Périer-D’Ieteren,

Alexandre Dimov.


MIRCO CATTAI

FINE ART

& ANTIQUE RUGS

MIRCO CATTAI FINE ART

& ANTIQUE RUGS

Via Manzoni 12

20121 Milano

Tel.+39 02 760 089 59

info@mircocattai.com

www.mircocattai.com

Ushak “Tintoretto”

167x107 cm

mid-16 th century, West Anatolia

This elegant and finely woven small-medallion rug belongs to one the most

successful 16 th century Ushak. The elegant main border showing red and yellow

cloudbands, a motif borrowed from Chinese art, alternating with six-tooth rosettes

is absolutely outstanding.

Bibliography

Comparable examples: A closely similar example, with the same distinctive hanging

device, is published in J. Thompson, Milestones in the history of carpets, Milano 2006,

plate 9, pp. 110-111.


Double-niche “Transylvanian” rug

166x121 cm, Anatolia

second half of the 17 th century

This rug has the typical colours of the “Transylvanians”, red, blue, yellow, and stands

out for the good proportions and fine profile of the double-niche. By the mid-17 th

century, given the high demand of “Transylvanians” rugs, a second variant became

popular: the two mosque lamp motifs were replaced by lotus palmettes. Progressively,

the double-niche design was simplified, tending to become symmetrical on both

axes; the central ascending palmette disappeared, and the motifs tended to remain

isolated. In the composition we often find a cogwheel rosette, similar to the half ones

in the spandrels. The blue-ground spandrels remained unchanged during the 17 th

century, showing the canonical design, with stylised saz leaves and large rosettes.

This pattern is only found in double-niche “Transylvanian” rugs. The distinctive main

border reflects the usual pattern, with ivory and yellow cartouches on a red ground.

The construction of the border is always the same, with the central cartouches in

the horizontal borders centred to the field’s median axis. The cartouche design is

slightly simplified, with the ‘shield’ containing an eight petalled rosette. The main

border is framed by elegant inner and outer reciprocal minor borders, which are

typical for the early examples. By comparing this double-niche rug with inscribed

examples that survived in Transylvania, we can ascribe the rug of the Cattai Gallery to

a production shortly after mid 17 th century, but prior to 1670, when the cartouches

became symmetrical.

Bibliography

Comparable examples: S. Ionescu, Antique Ottoman Rugs in Transylvania, 2007, cat.

231, Evangelical church A.C. of Râşnov / Rosenau.


ATTILIO CECCHETTO

ANTIQUARIO

ATTILIO CECCHETTO ANTIQUARIO

Piazza San Vito 3

31030 San Vito di Altivole (Treviso)

Tel. +39 0423 72948

Cel. +39 348 721 8170

Cel. +39 349 075 2540

info@attiliocecchettoantiquario.com

www.attiliocecchettoantiquario.com

Antonio Balestra

(Verona, 1666 – 1740)

Venus and Hippomenen


c. 1705

Bibliography

Antonio Balestra. Nel segno della grazia, catalogue of the exhibition (Museo di

Castelvecchio, 16 November 2016 – 19 February 2017) curated by Andrea Tomezzoli,

Verona 2016, p. 68, cat. 19.

Exhibitions

Antonio Balestra. Nel segno della grazia, Verona, Museo di Castelvecchio (16 November

2016 – 19 February 2017), curated by Andrea Tomezzoli.


Genoese Manufacture

Pair of painted wooden benches

Wood carved and painted with polychromy, 182 x 143h x 40 cm

Louis XIV period (first decades of the 18 th century)

Pair of parade benches made of wood, carved and painted with polychromy, with

a prevalence of green and neutral tones. The painted coat of arms on the dossal

belongs to the patrician and doge family Centurione Scotto of Genoa.


CECI ANTICHITÀ

CECI ANTICHITÀ

Via per Pompeano 4253

41028 Serramazzoni (Modena)

Tel. +39 335 315 307

enricoceci@enricoceci.com

enricoceciantichita@gmail.com

www.enricoceci.com

Antonio Barili (attributed)

(Siena, 12 August 1453 – Siena, 1516)

Mirror frame

Gilded wood, 39x25 cm; sight 9.5x7.9 cm

1480

Provenance

Salvadori collection, Florence.

Bibliography

L. Dami, Cornici da specchio del Cinquecento, in “Dedalo”, year I (March 1921), fasc.

X, p. 627; Italian Renaissance frames, catalogue of the exhibition (The Metropolitan

Museum of Art of New York, 5 June – 2 September 1990) curated by T. Newbery, G.

Bisacca, L. B. Kanter, New York 1990, pp. 80-81, n. 54; T. Newbery, Frames in the Robert

Lehman Collection, XIII, New York 2007, cat. 18 p. 28; M. Guggenheim, Le cornici

italiane dalla metà del secolo XV allo scorcio del XVI con breve testo riassuntivo intorno

alla storia ed all’importanzia delle cornici, Milano 1897, figg. 44, 55, 81, 98.


Workshop of the 16 th century

Ancient frame

Carved wood, 49x44.5 cm; sight 19x15.5 cm

Provenance

Salvadori collection, Florence.

Bibliography

Italian Renaissance frames, catalogue of the exhibition (The Metropolitan Museum

of Art of New York, 5 June – 2 September 1990) curated by T. Newbery, G. Bisacca, L.

B. Kanter, New York 1990, cat. 19 p. 49.


COLNAGHI

COLNAGHI

26 Bury Street

SW1Y 6AL Londra

Tel. +44 207 491 7408

contact@colnaghi.com

Calle General Castaños 9

Planta Baja, Dcha.

28004 Madrid

spain@colnaghi.com

1 Rue aux Laines

1000 Bruxelles

brussels@colnaghi.com

23 East 67th Street, Fourth Floor

NY 10065 New York

Tel. +1 917 3883825

newyork@colnaghi.com

www.colnaghi.com

Giovanna Garzoni

(Ascoli Piceno, 1600 – Rome, 1670)

Still life of flowers in a glass vase

Tempera on vellum with traces of black pencil, 44.4x37 cm

c. 1640 - 1650

The beautiful present miniature, originally mounted on a copper slab, has been

recently restored and is in excellent condition. The dismantling unveiled the writing

on the top, alongside the perimeter of the support on the unpainted margin, of

the name Margarita Rothier. In 1689, Margherita Rothier married Francesco Lupis in

Trento. The notarization of her dowry dates back to the same year and is followed

in 1690 by a corrected act to raise the dowry. In this document, for the first time, a

series of still lifes called ‘miniatures’ appear, among which we find the present one:

‘un quadro di Miniat.ra con un Vaso di fiori tulipani Narcisi Ranocoli Anemoli Giacinti

e Narcisi troni 250’ (‘a miniature painting with a Vase of Tulips, Daffodils, Buttercups,

Anemones, Hyacinths and Daffodils, Trones 250’).

Giovanna Garzoni can probably be considered the greatest miniaturist of the 17 th

century in Italy. Born in the Marche region to a family of Venetian artists and artisans,

she was trained in Venice in the studios of Palma il Giovane and Tiberio Tinelli, who

became her husband. After their divorce, she settled in Rome and then moved to

Naples, Turin and other European countries.


COPETTI ANTIQUARI

COPETTI ANTIQUARI

Via Natisone 1

33040 Premiaracco (Udine)

Tel. +39 0432 502 784

Cel. +39 335 809 6532

Cel. +39 392 559 8729

Cel. +39 340 977 7278

info@copettiantiquari.com

www.copettiantiquari.com

Mirko Basaldella

(Udine, 28 September 1910 – Cambridge, 24 November 1969)

The beakhead

Painted mahogany wood sculpture, 203x140 cm

1964

The work was photographed inside the Museo di arte moderna of Udine “Casa

Cavazzini”, where it has been displayed from 2012 to 2024.

Exhibitions

VII Bienal de São Paulo (Brazil), 1965; XXXIV Biennale Internazionale d’Arte of

Venice, 1968; 120 giorni di scultura a Trieste. Mostra antologica di Mirko, curated by L.

Giordani, Trieste, Castello di San Giusto, 1976; Dino, Mirko, Afro Basaldella, curated

by E. Crispolti, Udine, Civici Musei, 1987; Mirko: opere dal 1933 al 1969, curated by G.

Appella, I. Reale, Matera 2007; I Basaldella. Dino, Mirko, Afro, curated by E. Crispolti,

Udine, Villa Manin of Passariano, 2010; Displayed in Udine, Casa Cavazzini, 2012-

2024.


Mirko Basaldella

(Udine, 28 September 1910 – Cambridge, 24 November 1969)

Trophy in ochre and white

Painted wood sculpture, 240x69x75.5 cm

1964

The work was photographed inside the Museo di arte moderna of Udine “Casa

Cavazzini”, where it has been displayed from 2012 to 2024.

Exhibitions

I Basaldella. Dino, Mirko, Afro, curated by E. Crispolti, Udine, Villa Manin of Passariano,

2010; Displayed in Udine, Casa Cavazzini, 2012-2024.


CORTONA FINE ART

CORTONA FINE ART

Corso Monforte 38

20122 Milano

Tel. +39 02 784 617

Cel. +39 349 831 0803

Cel. +39 339 838 0048

enrico@galleriacortona.com

federico@galleriacortona.com

info@galleriacortona.com

www.galleriacortona.com

Daniele Crespi

(Busto Arsizio, 1597-1600 – Milan, 1630)

Lucifer


17 th century

Provenance

Private collection, Milan.

Bibliography

N. Ward Neilson, Daniele Crespi, Soncino 1996, cat. n. 61 p. 61, fig. 3c p. 130; Gli amici

per Nicola Spinosa, curated by F. Baldassari e M. Confalone, Trevi 2019, p. 71 fig. 6 as

Giulio Cesare Procaccini (Anna Orlano).


Alessandro Arrigoni

(Barzio, 1764 – Milan, 1819)

Flowers vase

Tempera on primary canvas, 39.3x29.4 cm

Signed on the back, on the chassis: Alessandro Arigoni f. 1807.

Provenance

Private collection, Milan.

Bibliography

F. Zeri, La natura morta in Italia, Milano 1989, vol. I, n. 37, figg. 370-371, p. 315.


ALESSANDRA

DI CASTRO

ALESSANDRA DI CASTRO

Piazza di Spagna 3-4

00187 Roma

Tel. +39 06 699 231 27

info@alessandradicastro.com

www.alessandradicastro.com

Baldassarre Franceschini known as il Volterrano

(Volterra, 1611 – Florence, 7 January 1690)

Onfale

Oil on canvas, 86x65 cm; 110x89 cm with frame

Exhibitions

Il Seicento Fiorentino. Arte a Firenze da Ferdinando I a Cosimo III, curated by P. Bigongiari,

Florence, Palazzo Strozzi, December 1986 – May 1987.

Bibliography

M. C. Fabbri, A. Grassi, R. Spinelli, Volterrano. Baldassarre Franceschini (1611-1690),

Firenze 2013, pp. 164-165, n. 35; Il Seicento Fiorentino, Arte a Firenze da Ferdinando I

a Cosimo III, catalogue of the exhibition (Florence, Palazzo Strozzi, December 1986 –

May 1987) curated by P. Bigongiari, Firenze 1986, cat. 1.225; G. Cantelli, Repertorio della

Pittura Fiorentina del Seicento, Fiesole (Florence) 1983, tav. n. 381; L. Berti, Mostra di

Pietro da Cortona, Roma 1956, p. 75, n. 5.


Fausto Melotti

(Rovereto, 8 June 1901 – Milan, 22 June 1986)

Naked Polimnia

Chalk with bronze patina, 166 (h) x 99 x 47 cm

1943

Exhibitions

Il Mito quotidiano. Arte Italiana del 900 dalla Collezione Tilocca, Orani (NU), Museo

Nivola, July - December 2016; IV Quadriennale d’Arte Nazionale, Rome, Palazzo delle

Esposizioni, May - July 1943.

Bibliography

G. Celant, Melotti. Catalogo generale, vol. I, Sculture 1929 -1972, Milano 1994, p. 51, n.

1943.14.


DICKINSON

DICKINSON

58 Jermyn Street

SW1Y 6LX Londra

Tel. +44 207 493 0340

london@simondickinson.com

managingdirector@simondickinson.com

www.simondickinson.com

Alessandro Allori

(Florence, 1535 – 1607)

Portrait of Antonio de’ Medici, three-quarter length, standing,

in a white doublet with bands of gold and a black cloak

Oil on panel, 107.3x86.4 cm

Early 1590s


Massimiliano Soldani Benzi

(Montevarchi 1656 – Galatrona, 1740)

Ganymede and the Eagle

Bronze, 31.5x28.5x16.5 cm

c. 1714


ENRICO

GALLERIE D’ARTE

ENRICO GALLERIE D’ARTE

Via Senato 45

20121 Milano

Tel. +39 02 8723 5752

Via Garibaldi 11

16124 Genova

Tel. +39 010 247 0150

enricogallerie@iol.it

angelo@enricogallerie.com

www.enricogallerie.com

Federico Zandomeneghi

(Venice, 1841 – Paris, 1917)

Femme écrivant


c. 1890

Signed and dated bottom left.

Provenance

Paris, Durand-Ruel; Paris, Angelo Sommaruga; Milan, Maria Caputo Sommaruga.

Bibliography

Federico Zandomeneghi. Catalogo generale, Nuova edizione aggiornata e ampliata,

curated by Fondazione Enrico Piceni, Milano 2006, n. 274, p. 263 (with extensive

previous bibliography).

Exhibitions

Zandomeneghi, Paris, Galerie Durand-Ruel (May – July 1967); Boldini, De Nittis,

Zandomeneghi. Mondanità e costume nella Parigi fin de siècle, Trento, Palazzo delle

Albere (12 April - 29 July 2001); Dai Macchiaioli agli Impressionisti. Il mondo di

Zandomeneghi, Castiglioncello, Centro per l’arte Diego Martelli (17 July - 31 October

2004), curated by F. Dini; Federico Zandomeneghi. Un veneziano tra gli impressionisti,

Rome, Chiostro del Bramante, (2005-2006), curated by R. Miracco.


Antonio Mancini

(Albano Laziale, 1852 – Rome, 1930)

The Model


c. 1878

Provenance

Naples, Barone Chiarandà; Valdagno, Marzotto Collection; Milan, Marta Marzotto.

Bibliography

C. Virno, Antonio Mancini, Catalogo ragionato dell’opera, Roma 2019, vol. I, n. 230, pp.

201-202 (with extensive previous bibliography).

Exhibitions

Esposizione artistica degli Indipendenti, Rome (1911); Prima Quadriennale d’arte

Nazionale, Roma (1931); XIX Esposizione internazionale d’arte della città di Venezia,

Venice (1934); L’art italien des XIX et XX siècles, Paris, Musée des Écoles Étrangères

Contemporaines (1935); Akademie der Kunste, Berlin (1937); Ottocento italiano

dalla Raccolta Gaetano Marzotto, Fondazione Magnani Rocca, Corte di Mamiano

di Traversetolo (1992); Capolavori dell’Ottocento italiano dalla raccolta Gaetano

Marzotto, Vicenza, Basilica Palladiana (1994); La Collezione d’Arte di Marta Marzotto,

Milan, Museo della Permanente (1994), curated by A. Bossaglia; L’Ottocento elegante:

Arte in Italia nel segno di Fortuny, 1860 – 1890, Rovigo, Palazzo Roverella, (29 January

- 12 June 2011), curated by F. Cagianelli, D. Matteoni.


FONDANTICO

DI TIZIANA SASSOLI

FONDANTICO

DI TIZIANA SASSOLI

Via de’ Pepoli 6/e

40125 Bologna

Tel. +39 051 265 980

info@fondantico.it

www.fondantico.it

Giovanni Lanfranco

(Parma, 1582 – Rome, 1647)

Sleeping Venus with Cupid and an amorino


c. 1618-1620

Photographic references: Fototeca Zeri, entry n. 51054 (as Giovanni Lanfranco in a

piemontese private collection, 1983).

Provenance

Giuseppe Pignatelli Collection, 1647, Rome.

Bibliography

D. Benati, in Tefaf Maastricht 2024, Fondantico, catalogue of the exhibition, Bologna

2024, pp. 32-35, n. 6.

Exhibitions

Tefaf Maastricht 2024.


Gaetano Gandolfi

(San Matteo della Decima, 1734 – Bologna, 1802)

The Continence of Scipio

Oil on canvas, 34.5x44.5 cm

1784

Preparatory study for the canvas preserved in the Museo della Sanità in Santa Maria

della Vita, Bologna.

Provenance

Marchese Giacomo Marescotti Collection, 1784, Bologna.

Bibliography

Entry curated by Donatella Biagi Maino.


ENRICO FRASCIONE

ENRICO FRASCIONE

Via dei Fossi 61/r

50123 Firenze

Tel. +39 055 709 365

enricofrascioneantiquario@gmail.com

info@enricofrascione.com

Luca Forte

(Naples, 1600/1605 – 1670)

Still life with fruit, a jay, a kestrel, a butterfly and a snail


17 th century


Giovanni Francesco Barbieri, called Il Guercino

(Cento, 1591 – Bologna, 1666)

Saint Ambrose reading

Pen, brown ink on paper, 28x32 cm

17 th century


FRASCIONE GALLERY

FRASCIONE GALLERY

Via Maggio 5/7

50125 Firenze

Tel. +39 055 239 9205

256 Worth Avenue, Via Amore

Palm Beach, Florida 33480

Tel. +1 561 444 2072

info@frascione.com

www.frascione.com

Benvenuto di Giovanni

(Siena, 1436 – 1518)

Madonna with Child, Saint John the Baptist and Saint Jerome

Tempera and gold on panel, 53.3x36.2 cm

1475-1480

Benvenuto di Giovanni was one of the main artists active in Siena in the second half

of the 15 th century. The panel belongs to the artist’s maturity and can be compared

in terms of the composition of the figures with the Madonna and Child, St. Jerome

and St. Bernadino of Siena in the National Gallery of Art in Washington, and for its

modelling with the one in the Metropolitan Museum of Art in New York.


Niccolò Soggi

(Monte San Savino, c. 1479 – Arezzo, 1552)

The Holy Family

Oil on panel, 116.5x87.5 cm

c. 1520

Bibliography

Treasures of Tuscany: Renaissance in Arezzo, catalogue of the exhibition (Fred Jones Jr.

Museum of Art, 14 October 2023 – 28 January 2024) curated by N. Baldini, Norman

OK 2023, pp. 38-40; N. Baldini, in Al battesimo fu chiamato Pietro: Perugino a Città

della Pieve, catalogue of the exhibition (Palazzo della Corgna, 2 July - 30 September

2023) curated by N. Baldini, V. Garibaldi, F.F. Mancini, Milano 2023, s. IV.6, pp. 134-

135; A. Nesi, C. Meoni, L’Adorazione dei pastori col poeta. Un tema sacro virgiliano tra

Quattrocento e Cinquecento, Firenze 2019, p. 8.

Exhibitions

Al battesimo fu chiamato Pietro: il Perugino a Città della Pieve, Palazzo della Corgna (2

July - 30 September 2023), curated by N. Baldini, V. Garibaldi, F.F. Mancini; Treasures

of Tuscany: Renaissance in Arezzo, Fred Jones Jr. Museum of Art (12 October 2023 - 28

January 2024).


GALERIE CANESSO

GALERIE CANESSO

26 rue Laffitte

75009 Parigi

Tel. + 33 1 4022 6171

contact@canesso.com

www.canesso.art

Galleria Canesso Lugano

Piazza Riforma 2

6900 Lugano

Tel. +41 091 682 8980

info@galleriacanesso.ch

www.galleriacanesso.ch

Via Borgonuovo 24

20121 Milano

Tel. +39 02 9155 5544

info@galleriacanesso.art

Via Maggio 5/7

50125 Firenze

Tel. +39 055 239 9205

info@frascione.com

256 Worth Avenue,

Via Amore

Palm Beach, Florida

33480

Tel. +1 561 444 2072

www.frascione.com


Agnolo di Cosimo, known as Bronzino

(Monticelli, Florence, 1503 – Florence, 1572)

Madonna with Child


1525-1526

Provenance

Sotheby’s London Sale, 16 November 1960, lot n. 50A (sold as ‘Florentine School’,

16th century); displayed at the II Biennale dell’Antiquariato di Firenze in 1961 (as

Pontormo); Finarte Sale, Milan, 29 October 1964, n. 69; Private collection.

Bibliography

J. Cox-Rearick, The drawings of Pontormo, I, Cambridge (Massachussets), 1964, p. 373,

n. A75 (as Bronzino); C. Falciani, Spigolature sul Bronzino (e sul Pontormo), in ‘Paragone’,

LXIV, 2013, 763, pp. 27-46 (as Bronzino); G. Fattorini in Donatello. Il Rinascimento,

catalogue of the exhibition curated by F. Caglioti (Florence, Palazzo Strozzi, 19 March

– 31 July 2022), Venezia 2022, pp. 424-425, n. 14.12 (as Bronzino).

Exhibitions

Donatello. Il Rinascimento, Florence, Palazzo Strozzi (19 March – 31 July 2022), curated

by F. Caglioti, n. 14.12.


Bartolomeo Bimbi

(Settignano, Florence, 1648 – Florence, 1730)

Little bear



GALLERIA BERARDI

GALLERIA BERARDI

Corso Rinascimento 9

00186 Roma

Tel. +39 06 976 061 27

galleria.berardi@gmail.com

info@berardiarte.it

www.berardiarte.it

Luce Balla

(Rome, 1904 – 1994)

Limoni preziosi


1943

On the back title and date 1943.

Provenance

Rome, private collection.


Attilio Selva

(Trieste, 1888 – Rome, 1970)

Caryatid

Marble, 93x40x48 cm

c. 1925

Specific bibliography

Prima mostra del Sindacato Laziale Fascista degli Artisti, Roma 1929, p. 42, n. 12; Uno

sguardo d’assieme alla Mostra del Sindacato Laziale degli Artisti, in ‘La Stirpe’, 1929, n.

4, p. 224.

Reference bibliography

P. Marconi, Corriere architettonico: la fontana di Piazza dei Quiriti in Roma dello Scultore

Attilio Selva, in ‘Architettura e arti decorative’, 1928, vol. 1, n. 3, pp. 114-116; Giudizi

e opinioni di osservatori romani sulla “sconvenienza” di Piazza dei Quiriti, in ‘Il Tevere’,

1 May 1928; F. Matitti, Fontane e fontanelle (1918-1945), in La capitale a Roma. Città

e arredo urbano 1870-1945, Roma 1991, pp. 198-200, 207-208; G. C. de Feo, Attilio

Selva (Trieste 1888 - Roma 1970): scultore a Villa Strohl-Fern, Roma 2010, pp. 29, 35-37;

Percorsi della scultura in Italia. Dalla Secessione al Novecento 1915-1935, curated by C.

F. Carli, M. Carrera, Roma 2015, pp. 11, 29, 47-48; L. Masolini, Attilio Selva. L’enigma e

il ritmo della forma, in Attilio Selva 1888-1970 Sergio Selva 1919-1980: dentro lo studio,

curated by M. Carrera, L. Masolini Roma 2018, p. 52.

Exhibitions

Prima mostra del Sindacato Laziale Fascista degli Artisti, Rome, 1929.


GALLERIA CONTINUA

GALLERIA CONTINUA

Via del Castello 11

53037 San Gimignano (Siena)

Tel. +39 0577 943 134

milo@galleriacontinua.com

sangimignano@galleriacontinua.com

Dashanzi Art District 798#8503, 2

Jiuxianqiao Road,

Chaoyang Dst.

100015 Pechino

Tel. +86 105 978 9505

beijing@galleriacontinua.com

46 Rue de la Ferté Gaucher

77169 Boissy-le-Chatel

Tel. +33 164 203 950

lemoulin@galleriacontinua.com

Rayo 108 entre la Zanja y Dragones

Barrio Chino, Centro L’Avana

Tel. +53 586 92 922

Tel. +53 555 165 07

habana@galleriacontinua.com

www.galleriacontinua.com

Carlos Cruz-Diez

(Caracas, 1923 – Paris, 2019)

Couleur Additive 109

Acrylic on canvas, wood, 80x80 cm

1974


Anish Kapoor

(Mumbai, 1954)

Random Triangle Mirror

Stainless steel and resin, 100x100 cm

2023


GALLERIA D’ARTE

FREDIANO FARSETTI

GALLERIA D’ARTE

FREDIANO FARSETTI

Via della Spiga 52

20121 Milano

Tel. +39 02 794 274

Tel. +39 02 760 132 28

info@galleriafredianofarsetti.it

www.galleriafredianofarsetti.it


Giorgio de Chirico

(Volo, Greece, 1888 – Rome, 1978)

Le figlie di Minosse (Scena antica in rosa e azzurro II)

Oil on canvas, 55.2x75 cm

1933


Alberto Savinio

(Athens, Greece, 1891 – Rome, 1952)

Senza titolo


1929


GALLERIA

ROBERTO DUCCI

GALLERIA ROBERTO DUCCI

Via Maggio, 47r

50125 Firenze

Tel. +39 055 020 2786

Cel. +39 335 8028 283

galleriarobertoducci@gmail.com

www.galleriarobertoducci.com

Andrea Scacciati

(Florence, 1642 – 1710)

Flowers vase with parrot and butterfly


Monogram and date bottom left “ASc. 1699”


Andrea Scacciati

(Florence 1642 – 1710)

Flowers vase with carnations and kingfishers


Monogram and date bottom right “ASc. 1699”.


GALLERIA GOMIERO

GALLERIA GOMIERO

Corso Terme 4

35036 Montegrotto Terme (Padova)

Tel. +39 348 263 7330

info@galleriagomiero.com

Giacomo Manzù

(Bergamo, 22 December 1908 – Aprilia, 17 January 1991)

Portrait of Cesarina Gualino

Carrara marble, h 23x21x22 cm

c. 1945


Medardo Rosso

(Turin, 21 June 1858 – Milan, 31 March 1928)

Antioco

Wax on plaster, 36x23x26 cm, mounted on a 17 th century bell-shaped base of Campan

grand melange marble, h 15 cm

c. 1900

Provenance

Private collection, Paris; Mazzola collection, Milan; Mola collection, Milan;

Galleria Gomiero, Padua.

Exhibitions

Medardo Rosso, Rome, Museo Nazionale Romano, Palazzo Altemps (10 October 2019

– 2 February 2020), curated by F. Stocchi e P. Zatti.


GALLERIA MARLETTA

GALLERIA MARLETTA

Piazza S. Felice 10r

50125 Firenze

Tel. +39 055 294 592

info@alessandromarletta.com

am@alessandromarletta.com

www.alessandromarletta.com

Francois Joseph Kinsoen

(Bruges, 1771 – 1839)

Portrait of Adèle Auguié


1801-1802


Francois Joseph Kinsoen

(Bruges, 1771 – 1839)

Portrait of Adèle Auguié


1801-1802


GALLERIA POGGIALI

GALLERIA POGGIALI

Via della Scala 35a

Via Benedetta 3r

50123 Firenze

Tel. +39 055 287 748

Via Garibaldi 8

Via Marconi 50

55045 Pietrasanta (Lucca)

Tel. +39 334 923 6625

Foro Buonaparte 52

20121 Milano

Tel. +39 02 7209 5815

info@galleriapoggiali.com

www.galleriapoggiali.com

Karel Appel

(Amsterdam, 25 April 1921 – Zurich, 4 May 2006)

Deux têtes


1959

Provenance

Karel Appel Foundation.


Arnulf Rainer

(Baden, 8 December 1929)

Übermalung

Oil on canvas, c. 51.5x66.5x4 cm

1958

Courtesy of the artist and Galleria Poggiali.

GALLERIA RUSSO

GALLERIA RUSSO

Via Alibert 20

00187 Roma

Tel. +39 06 678 9949

info@galleriarusso.com

fabrizio.russo@galleriarusso.com

www.galleriarusso.it

Paul Cézanne

(Aix-en-Provence, 1839 – 1906)

Paysage avec moulin


c. 1860

Signed and dated bottom right “Cezanne”.

Provenance

Paul Cézanne (son), Paris; E. Bignou Gallery, Paris; Hôtel Drouot (Etienne Ader), Paris,

28 June 1963, n. 58bis; Catherine S. Carter; Estate of Catherine S. Carter; Christie’s,

New York, 19 November 1998, n. 226, illustrated; Private collection; Christie’s, New

York, 7 November 2001, n. 126, illustrated; Christie’s, London, 3 February 2004, n.

135, illustrated; Private collection.

Bibliography

G. Rivière, Le Maître Paul Cézanne, Parigi 1923, p. 195 (with the title Le Barrage); L.

Venturi, Cézanne. Son art son oeuvres. 1600 illustrations, Parigi 1936, vol. II, p. 73, n.

26 (with the title Paysage romantique); G. Berthold, Cézanne und die alten Meister,

Stoccarda 1958, listed in p. 154; G. Rewald, with W. Feilchenfeldt, J. Warman, The

paintings of Paul Cézanne. A Catalogue Raisonné, New York 1996, vol. II, n. 16 (with the

title Paysage avec moulin).


Umberto Boccioni

(Reggio Calabria, 1882 – Verona, 1916)

Portrait of a young girl


1911

Provenance

Margherita Sarfatti Collection.

Bibliography

G.C. Argan, M. Calvesi, Umberto Boccioni, Roma 1953, p. 305; XXXIII Biennale

Internazionale d’Arte di Venezia, 18 June - 16 October 1966, room I e VI, catalogue

with presentation of G. Ballo, n. 39, p. 10; Archivi del Divisionismo, raccolti e ordinati

da T. Fiori, Roma 1968, n. XVIII. 209, fig. 2413 (with the title Ritratto di Fiammetta); G.

Bruno, L’opera completa di Boccioni, Milano 1969, n. 129a; M. Calvesi, E. Coen, Boccioni.

L’opera completa, Milano 1983, n. 692, p. 381; Boccioni prefuturista, catalogue of the

exhibition (Reggio Calabria, Museo Nazionale, 5 July - 30 September 1983 and Rome,

Palazzo Venezia, Appartamento Cybo, 18 October - 27 November 1983) curated by

M. Calvesi, E. Coen, A. Greco, Milano 1983, p. 152, n. 196 (with the title Ritratto di

Fiammetta); Da Boccioni a Sironi. Il mondo di Margherita Sarfatti, catalogue of the

exhibition (Brescia, Palazzo Martinengo, 13 July - 12 October 1997), Milano 1997, pp.

110-111, 219, n. 30; Boccioni prima del futurismo. Opere 1902 – 1910, catalogue of the

exhibition (Parma, Fondazione Magnani Rocca, 9 September - 10 December 2023)

curated by V. Baradel, N. D’Agati, F. Parisi, S. Roffi, Milano 2023, tav. 207 pp. 220-221,

254.

Exhibitions

XXXIII Biennale Internazionale d’Arte di Venezia, 18 June - 16 October 1966, room I e VI;

Omaggio a Umberto Boccioni, Cortina d’Ampezzo, Galleria d’Arte Falsetti (25 December

1971 - 10 January 1972), tav. XVI; Boccioni prefuturista, Reggio Calabria, Museo

Nazionale (5 July - 30 September 1983) and Rome, Palazzo Venezia, Appartamento

Cybo (18 October - 27 November 1983), curated by M. Calvesi, E. Coen, A. Greco

(with the title Ritratto di Fiammetta); Da Boccioni a Sironi. Il mondo di Margherita

Sarfatti, Brescia, Palazzo Martinengo (13 July - 12 October 1997); Boccioni prima del

futurismo. Opere 1902 – 1910, Parma, Fondazione Magnani Rocca (9 September - 10

December 2023), curated by V. Baradel, N. D’Agati, F. Parisi, S. Roffi.


GALLERIA CARLO

VIRGILIO & C.

GALLERIA CARLO VIRGILIO & C.

Via della Lupa 10

00186 Roma

Tel. +39 06 687 1093

Cel. +39 338 242 7650

info@carlovirgilio.it

www.carlovirgilio.it

Lorenzo Bartolini

(Savignano di Prato, 7 January 1777 – Florence, 20 January 1850)

La Donati (Beatrice Donati)

Marble, h 97.5 cm

c. 1846

The sculpture is the smaller version of the work completed in 1845 for the Russian

Countess Ol’ga Orlova. Before sending it, Bartolini made two chalk moulds from it,

one for the Accademia in Florence and one for himself. From the latter he derived

the reduced-size chalk model used for the ‘small’ version. The artist wrote about this

in a letter to his pupil Enrico Mirandoli.

Provenance

Russia, Princess Sof’ia Golicyna born Korsakova; Germany, private collection.


Luigi Pampaloni

(Florence, 1791 – 1847)

Venus entering the bath

Terracotta preliminary model, h 38 cm

1836-1837

Notes

Venus is depicted standing in the act of approaching the water; as she moves forward, the large cloth hiding her nudity slides to the ground, and the

goddess, in an attempt to shield her body from prying eyes, bends slightly on herself, covering her breasts with her right hand, while turning her head to

the same side, as if to ensure that she is not observed. Such a concomitance of spontaneous gestures infuses the figure with movement and enhances its

spontaneity, suggesting a transcendent and additional vision.

With skill and finesse, the sculptor moulds the tender female nude, suggesting its fragrant sensuality through skillful chiaroscuro passages and wellconsidered

variations in the modelling; the light creates delicate modulations of trembling shadows on the chest and belly, then flows softly over the

back and bottom of the statue, almost inviting a caress, while the rich drapery, which wraps the legs with flowing folds, produces an enthralling ‘chromatic’

prominence, juxtaposed with the smooth compactness of the flesh.

The terracotta is the preliminary model for the life-size marble sculpture ordered in 1836 by Meredith Calhoun, a wealthy Pennsylvania-born Alabama

landowner and collector of modern Tuscan works, including a replica of the Fiducia in Dio by Lorenzo Bartolini. Presented in September 1838 at the annual

exhibition of the Accademia di Belle Arti in Florence, Venus entering the bath was received with general acclaim by both critics and the public for the artist’s

inventive capacity, who, departing from the «Greek type» had been able, «with grateful originality», to create «a type of local beauty» of much greater

emotional involvement.

Bound by the client’s request to measure himself against a subject that was by then considered incapable of moving to sentiment, and moreover lacking

in moral implications, Pampaloni was committed to elaborating an innovative way of representing the classical divinity, in such a way as to decree the

surpassing of the models taken from the figurative tradition and in particular from Antonio Canova’s Venus Italica, a work well known to the artist and which

he had practised copying at the time of his neoclassical training, when he had also executed a small-scale version of that celebrated precedent, revising it on

the original. Persuaded of the importance of Lorenzo Bartolini’s lesson on the artistic imitation of nature, Pampaloni took as his model the ‘real’ emendated

of its defects, and suitably adapted to the subject, to renew the mythological theme from the depths by bringing it back into an earthly context.

In Florence, during the years when Romantic taste was affirmed, a similar disposition of thought was common to the most up-to-date artists, and to

Giuseppe Bezzuoli among the first; their art, attentive to the variety of nature and with sweet sensual inflections, was capable of drawing engaging and

plainly comprehensible sentiments even from mythological fables, interweaving them with truths borrowed from human experience. It is therefore no

coincidence that formal characteristics considered by the most sensitive and astute critics to be distinctive of the most modern artistic expressions, such as

«simplicity», the inspiration solicited by nature «imitated in its ineffable variety», the ability to «rise at the same time with the robustness of the imagination

to solemn concepts that touch the heart», were considered by Melchior Missirini - a profound admirer of Luigi Pampaloni - to be peculiar to the sculptor’s

work, profuse with the «unsought and wholly inherent grace of the subjects», the seductive simplicity of movements, the naturalness of physiognomies, the

affectionate expression of sentiments, and, eventually, the mastery in treating with «equal perfection the amorous and the terrible».

In order to achieve the touching ‘truth’ that he had in mind for his depiction of Venus entering the bath, the sculptor took great care in experimenting with

the most appropriate forms and attitudes for such a subject, as the preparatory model demonstrates even more than the finished work.

From what can be judged by comparison with the plaster of the statue - now preserved at the Accademia di Belle Arti in Florence - of the marble, which

came into the collection of the Californian industrialist Eli P. Clark in 1910 and whose traces have been lost, Pampaloni, in moulding the terracotta, created

an image of the goddess with her hair loose, parted in two bandeaux on the forehead, and flowing down in ringed locks at the sides of the neck to

then merge on the nape with the ribbons of the cap that barely holds them in place. A simple hairstyle, capable of suggesting naturalness and «perfect

spontaneity», ennobled by the cultured references to antiquity mediated by the masters of the 15th century Tuscany, according to the indications of

methodological Purism.

However, when it came to translating the thought he had worked out in clay into plaster, the sculptor conceived an entirely different way of styling the

hair, with a braid gathered into a chignon, and a bow made from the hair on the head; a hairstyle evocative of the fashion of those years and at the same

time giving the statue’s head a late 18th-century, Chinard-like gracefulness. This was probably a manner sought by Pampaloni to accentuate the sensual

sweetness of the figure and that, combined with the smile hovering over the goddess’s face, endowed the sculpture with a mischievous grace that is not

dissimilar to that which characterises Love in ambush, executed by the artist around 1835 and commissioned by Louis Cambray Digny; an attitude that

determined the general appreciation of Venus entering the bath, and especially of her head, so much so that lithographic reproductions were still being

made at the end of the 19th century, and replicas of it were included in the catalogue of the Manifattura di Signa, a prestigious Tuscan ceramic industry.

Only Melchior Missirini, while praising the formal qualities of the statue, regretted the excessively seductive appearance of «that terrestrial Venus» capable

of «enchanting the breasts of excessively human feelings».

And indeed, if Pampaloni, in completing the work, had stayed true to the thought set out in the model, in which sensuality emerges with extraordinary

naturalness and sensitivity, and without any complacency, he would have deserved once again the praise bestowed on him by Missirini with regard to Cloe:

being, he, «the Andrea del Sarto of sculpture», because «like that, with only natural elements well chosen, well conducted, he obtained praise».

1 Vedi M. Amedei, Dagli Stati Uniti alla Toscana. Artisti nordamericani a Firenze dal 1815 al 1850, Pisa 2021, pp. 24-25. La raccolta di Calhoun, acquisita

nella sua interezza dall’industriale Eli P. Clark di Los Angeles nel 1910, è andata dispersa.

2 G. Pagni, Cenni intorno alla vita e alle opere di Luigi Pampaloniz, II parte, ‘Il Genio’, I, 7, 1852, pp. 51-52.

3 ASGU, Firenze, 1813-1814, XXXVIII, 45; vedi A. Caputo, in Accademia di Belle Arti di Firenze. Scultura 1784-1915, a cura di S. Bellesi, Pisa 2017, n.

12, pp. 348-349.

4 Ant.M. Izunnia, Prefazione, in Reminiscenze pittoriche di Firenze, Firenze 1845, pp. 7-10, p. 9.

5 M. Missirini, Memorie sulla vita e sui lavori dell’insigne scultore fiorentino Luigi Pampaloni, raccolte da Melchior Missirini e pubblicate per cura di

Lorenzo Antonini, Firenze 1882, p. 7.

6 C. Pontani, Delle opere del sig. professore Luigi Pampaloni scultore fiorentino, Roma 1839, p. 8.

7 M. Amedei, cit., p. 26.

8 M. Missirini, cit., p. 7.

9 A. Caputo, cit., p. 349.

10 M. Missirini, Esposizione di Belle Arti di Firenze, anno 1838, ‘Biblioteca Italiana, ossia Giornale di Letteratura, Scienze ed Arti, compilato da varij

letterati’, XCIII, 1939, pp. 124-126, p. 125.

11 M. Missirini, La Cloe, statua di Luigi Pampaloni, Firenze 1837, p. 13.


GALLO FINE ART

GALLO FINE ART

Palazzo Olivazzi Trivulzio – Via Bigli 21

20121 Milano

Tel. +39 02 359 463 70

Via XXVIII Aprile 486

35047 Solesino (Padova)

info@gallofineart.com

info@gallofineart.it

www.gallofineart.com

www.gallofineart.it

Melchior Barthel

(Dresden, 10 December 1625 – Dresden, 12 November 1672)

Bust of a woman

Carrara marble, h 72 cm

17 th century


Francesco Zuccarelli

(Pitigliano, 15 August 1702 – Florence, 30 December 1788)

Country dance in an Italian landscape


18 th century


GALLORI TURCHI

ANTICHITÀ

GALLORI TURCHI ANTICHITÀ

Via Maggio 14r

50125 Firenze

Tel. +39 055 282 279

dnaldon@tin.it

info@galloriturchi.com

www.galloriturchi.com

Milanese armourer

Complete Pisa-style defence armour

50x60x180 cm with base

Last quarter of the 16 th century


Mariano Battista

Active in Naples

Pair of flintlock guns

Lenght 52 cm

Second half of the 18 th century


MICHELE GARGIULO

“ANTIQUARIO”

MICHELE GARGIULO “ANTIQUARIO”

Via C. Poerio 32

80121 Napoli

Tel. +39 081 764 3854

michelegargiulo5@gmail.com

graziagalanterie@alice.it

Giulio Parisio

(Naples, 14 March 1891 – 17 February 1967)

Pulcinella and Colombina

Bronze, 45x40x18.5 cm

1920

Bibliography

A. Basilico, Fratelli d’arte. Luigi e Giulio Parisio, Napoli 2010; M.G. Gargiulo, Quando la

scultura diventa ricerca: Luigi Parisio e il bronzo inedito di “Pulcinella e Colombina”, in

‘Studi di scultura, età moderna e contemporanea’, year IV, n. 4 (2022), p. 205.


Rosina Schaub

Donn’Anna Palace, view under the moonlight


Bibliography

Catalogo delle opere di belle arti poste in mostra nel Real Museo Borbonico nel dì 1

ottobre 1851, Napoli 1851, p. 76 n. 564 «Rosina Schaub, Veduta del così detto Palazzo

D. Anna a Posillipo a chiaro di Luna»; F.P. Bozzelli, Sulla pubblica mostra degli oggetti

di belle arti nell’autunno del 1851, Napoli 1852, p. 84.


GIACOMETTI

OLD MASTER

PAINTINGS

GIACOMETTI OLD MASTER PAINTINGS

Via D. Morelli 24

80121 Napoli

Tel. +39 320 372 0492

info@giacomettiomp.com

umbertogiacometti@gmail.com

www.giacomettiomp.com

Didier Barra, known as Monsù Desiderio

(Metz, c. 1593 – Naples, c. 1656)

Panoramic view of the city of Naples from the sea

with the fleet of Cardinal Antonio Zapata y Cisneros


1622-1623

Provenance

2022, Lyon (France), antiquarian market.

Bibliography

Unpublished work.

Exhibitions

TEFAF Maastricht (9-14 March 2024).


Giuseppe Recco

(Naples, 1634 – Alicante, 29 May 1695)

The five senses


1673

Initials “G. R.” and signature “Recco” bottom right, date 1673 in the centre.

Provenance

20 th century Île-de-France, France, G. Baroni; c. 1950 Rome, G. Briganti Collection;

1963, Rome Gasparrini Gallery; from 1963, Naples, Cafiero Collection.

Bibliography

R. Causa, La Natura morta a Napoli nel Sei e nel Settecento in La pittura del Seicento a

Napoli, Napoli 1972, tav. 416; L. Salerno, La natura morta italiana. 1560-1805, Roma

1984, p. 214.

Exhibitions

Panorama Monferrato, Monferrato, Castle of Montemagno (4-8 September 2024),

curated by C. Falciani.


FLAVIO GIANASSI

FG FINE ART

FLAVIO GIANASSI FG FINE ART

50 Shad Thames

SE1 2LY Londra

Tel. +44 787 968 6849

fg@flaviogianassi.com

www.flaviogianassi.com

Master of Mezzana

(Prato, active c. 1320-1340)

Enthroned Madonna with Child between Saints Louis of Toulouse and Francis

(central panel); Crucifixion under the Angel of the Annunciation (left side);

Madonna of Mercy under the Virgin Annunciate (right side)

Tempera on panel, 39.1x48.9 cm (open)

Provenance

Rome, Ettore Sestieri, early 1950s; Florence, Carlo de Carlo; Florence, Finarte Semenzato

Sale, 11 June 2003, lot 18 (as Bettino di Corsino da Prato); Private collection; London,

Christie’s, 7 December 2006, lot 41; Delaware, Alana Collection.

Bibliography

R. Offner, A Critical and Historical Corpus of Florentine Painting. Close Following of the

S. Cecilia Master, section III, vol. VI, New York 1956, pp. 62-63, pl. XVII; M. Boskovits,

The Painters of the Miniaturist Tendency. A Critical and Historical Corpus of Florentine

Painting, sec. III, vol. IX, Firenze 1984, pp. 25-26; G. Ragionieri, in L. Bellosi, A. Angelini

e G. Ragionieri, Le arti figurative, Firenze 1991, p. 952, note 1; A. Tartuferi in The Alana

Collection: Italian Paintings from the 14th to 16th Century, vol. III, ed. S. Chiodo and S.

Padovani, Roma 2014, pp. 175-78, cat. n. 24.


Gian Lorenzo Bernini

(Naples, 1598 – Rome, 1680)

Four screaming grotesque heads

Gilded bronze on Marquina black marble, 15.5 cm (24.5 cm with base)

Provenance

Rome, Gian Lorenzo Bernini; Rome, Paolo Valentino Bernini; Rome, Prospero Bernini (1694-1771);

Rome, Mariano Bernini; Rome, Prospero Bernini (1780-1858); Rome, heirs of Bernini.

Bibliography

Inventario dei beni ereditari della bo. Me. Cavalier Prospero Bernini ad istanza della Signora Concetta

Caterina Bernini in Galletti, 19 May 1858, Archive of Palazzo Chigi, Ariccia; G. Baracconi, I rioni di

Roma, Città di Castello 1889, pp. 350-351; S. Fraschetti, Il Bernini, la sua vita, la sua opera, il suo tempo,

Milano 1900, pp. 198-199; Italian Bronze Statuettes, catalogue of the exhibition (London 1961), n.

187; Meesters van het Brons der Italiaanse Renaissance, catalogue of the exhibition (Amsterdam 1962),

n. 182; Bronzetti italiani del Rinascimento, catalogue of the exhibition (Florence 1962) curated by L.

Berti, M. Moriondo Lenzini, Firenze 1962, n. 180; J. Pope-Hennessy, Italian Bronze Statuettes - II, in

‘The Burlington Magazine’, vol. 105 (February 1963), n. 719, p. 71; J. Pope-Hennessy, Essays on Italian

Sculpture, London 1968, p. 198, ill. 248; G. Briganti, Catalogo e stima dei dipinti e delle sculture di proprietà

della famiglia Forti e provenienti dalla successione di Casa Giocondi erede di Gian Lorenzo Bernini, 20

February 1964; R. Wittkower, Gian Lorenzo Bernini, The Sculptor of the Roman Baroque, 3° ed. Oxford

1981, p. 271; C. Acidini, Gian Lorenzo Bernini: il testamento, la casa, la raccolta dei beni, Firenze 1981,

pp. 52, 108; J. Montagu, Roman baroque sculpture: the industry of art, New Haven 1989, pp. 188-189;

R. Wittkower, Bernini. The Sculptor of the Roman Baroque, 1990, p. 303; V. Martinelli, L’ultimo Bernini

1665–1680: nuovi argomenti, documenti e immagini, Roma 1996, p. 254; C. Avery, Bernini. Genius of

the Baroque, London 1997, p. 132, fig. 174; A. Weston-Lewis, Effigies and ecstasies. Roman Baroque

sculptures and design in the age of Bernini, catalogue of the exhibition (Edinburgh 1998), pp. 39, 92; M.

Fagiolo Dell’Arco, L’immagine al potere. Vita di Bernini, Roma 2001, p. 294; V. Martinelli, Gian Lorenzo

Bernini e la sua cerchia. Studi e contribuiti (1950 -1990), Napoli 1995, pp. 451-452; E. Tamburini, Gian

Lorenzo Bernini e il teatro dell’arte, Firenze 2012, p. 209; R. Carloni, Palazzo Bernini al Corso: dai Manfroni

ai Bernini, storia del palazzo dal XVI al XX secolo e della raccolta di Gian Lorenzo Bernini, Roma 2013, pp.

163-164, 241; F. Scholten, Caravaggio and Bernini. Early Baroque in Rome, catalogue of the exhibition

(Monaco, London, New York 2019), pp. 278-279, 299.

Exhibitions

Italian Bronze Statuettes, London, The Victoria and Albert Museum (27 July - 1 October 1961);

Meesters van het Brons der Italiaanse Renaissance, Amsterdam, Rijksmuseum (29 October 1961 – 14

January 1962); Bronzetti italiani del Rinascimento, Florence, Palazzo Strozzi (February – March 1962);

Caravaggio and Bernini: Early Baroque in Rome, Wien, Kunsthistorisches Museum (15 October 2019

- 19 January 2020); Caravaggio and Bernini: Early Baroque in Rome, Amsterdam, Rijksmuseum (14

February 2020 - 7 June 2020).


NICHOLAS HALL

NICHOLAS HALL

17 East 76th Street

New York NY 10021

USA

Tel. +1 212 772 9100

www.nicholashall.art

info@nicholashall.art

Salvator Rosa

(Naples 1615 – 1673 Rome)

La Strega (The Witch)

c. 1645

Oil on canvas with original frame

212 x 147 cm

Provenance

with Galleria Altomani, Milan, by March 2003; Private collection, Europe; Acquired

from the above by the present owner

Exhibitions

New York, David Zwirner, Endless Enigma: Eight Centuries of Fantastic Art (organized in

collaboration with Nicholas Hall), 12 September - 27 October 2018

Bibliography

Andrea Ciaroni, Altomani & Sons: Altomani, Milan, 2003, no. 6, reproduced.

Sara Fabbri, Salvator Rosa ‘La Strega’, Notizie da Palazzo Albano, Università degli studi

de urbino / istituto di storia dell’arte e di estetica, Urbino, 2010, vol. 38.

Caterina Volpi, Salvator Rosa (1615-1673), ‘Pittore Famoso’, Rome, 2014, pp. 163, 477,

no. 158, reproduced p. 167, fig. 138. Dawn Ades, Olivier Berggruen, Nicholas Hall and

J. Patrice Marandel, Endless Enigma: Eight Centuries of Fantastic Art, New York, 2018,

exh. cat., reproduced, pp. 184, 186-87. Hannah Segrave, Conjuring Genius: Salvator

Rosa and the Dark Arts of Witchcraft, PhD Diss., University of Delaware, 2022.

Hannah Segrave, “Salvator Rosa’s La Strega (1647-1650): The Witch’s Body”, Magic: A

Companion, Oxford and New York, 2022, pp. 217-25, fig. 35, reproduced.


IOTTI ANTICHITÀ

IOTTI ANTICHITÀ

Via Amendola 55/a

42100 Reggio Emilia

Tel. +39 0522 552 838

siottiantichita@libero.it

Roman Manufacture

Pair of four-legged carved and gilded wooden wall-tables with volute motifs

and feminine heads, depicting the four seasons, coeval tops of breccia pontificia

marble with a smooth string in antique green marble

h 170x75x96 cm

18 th century

Bibliography

G. Lizzani, Il mobile romano, Milano 1997, pp. 69, 74, 80.


Domenico Piò

(Bologna, 1715 – Rome, 1801)

One of four oval polychrome terracotta reliefs depicting genre scenes within

coeval carved, gilded and lacquered wooden frames.

44x58 cm; with frame 80x70 cm

Bibliography

E. Riccomini, Vaghezza e furore. La scultura del Settecento in Emilia, Bologna 1977,

pp. 35-36, 114-119; A. Mampieri, Giacomo De Maria (1760-1838), Bologna 2020, pp.

24-26; D. Lipari, Terrecotte bolognesi dei secoli XVIII e XIX: Domenico Piò, Giacomo de

Maria, Giovanni Putti, in ‘Atti e studi / Accademia Raffaello’, year 22, III series (2023),

pp. 84-90.

Exhibitions

Bologne au siècle des Lumières. Art et science, entre réalité et théâtre, Palais Fesch,

Musée des beaux-arts, Ajaccio (13 July – 30 September 2024).


MATTEO LAMPERTICO

ARTE ANTICA

E MODERNA

MATTEO LAMPERTICO

Arte Antica e Moderna

Via Montebello 30

20121 Milano

Tel. +39 02 365 865 47

info@matteolampertico.it

www.matteolampertico.it

Francesco Hayez

(Venice, 1791 – Milan, 1882)

In the harem


Signed and dated bottom right


Girolamo Romani, known as Romanino

(Brescia, 1484/1487 – post 1562)

The Dead Christ seated on the tomb supported by two angels

c. 1509-1510

Panel, 117.5x85.3 cm

DYS44

LAMPRONTI

GALLERY

DYS44 LAMPRONTI GALLERY


SW1Y 6DD Londra

Tel. +44 207 839 2977

info@cesarelampronti.co.uk

www.cesarelampronti.com

Jakob Philipp Hackert

(Prenzlau, 1737 – San Pietro di Careggi, 1807)

The Gulf of Pozzuoli

Gouache on paper mounted on canvas, 154x341 cm

1778 or 1779

Signed.

Provenance

Casino of Prince Aldobrandini, Frascati.

Bibliography

C. Nordhoff, Jakob Philipp Hackert’s ‘Gulf of Pozzuoli’ for the Casino of Prince

Aldobrandini, in ‘The Burlington Magazine’, 146 (March 2004), pp. 174-176.


Gaetano Gandolfi

(San Matteo della Decima, 1734 – Bologna, 1802)

Holy Family with Saint John the Baptist and an Angel

Oil on canvas, 81x83 cm (oval)

1780s

Bibliography

D. Biagi Maino, Gaetano Gandolfi, Torino 1995, fig. 167, p. 385 cat. 148.


LEONE

LEONE

Via S. M. a Cappella Vecchia 49

80121 Napoli

Via D. Morelli 13

80121 Napoli

Tel. +39 081 764 4244

Cell. +39 336 846 580

Cel. +39 339 6457 827

Cel. +39 335 621 4533

info@leoneantiquariato.com

leoneantiquariato@libero.it

www.leoneantiquariato.com

Agostino Beltrano (attributed)

(Naples, 1607 – 1656)

Jacob and the Angel – The Dream of Jacob


17 th century


Real Fabbrica Ferdinandea

(1771 – 1806)

Puerpera cup with royal portraits

Decorated porcelain, 22x32 cm

1800

The works bear the mark with the crowned ‘N’ in red. In the centre of the underplate

is an effigy of Maria Theresa of Austria and on the lid of the cup the members of the

royal family. An identical exemplar, with the effigy of Maria Carolina of Bourbon, is

on display in the Capodimonte Museum.


LONGARI ARTE

MILANO

LONGARI ARTE MILANO

Corso Monforte 23

20122 Milano

Tel. +39 02 896 978 48

Cel. +39 335 5929 301

info@longariartemilano.com

www.longariartemilano.com

Lombard sculptor

Capital with acanthus leaves, lions and human protomes

White marble, 22.5x22.5x46 cm

12 th century

Bibliography

A. Milone, in Dalla Bibbia di Corradino a Jacopo della Quercia. Sculture e miniature

del Medioevo e del Rinascimento, catalogue of the exhibition (Milan, Galleria Nella

Longari, 1997) curated by A. Bacchi, Milano 1997, pp. 20-21, n. 2.


Venetian school

The Lamentation

Painted glass plate, 23x19 cm

Mid 16 th century




58 Jermyn Street, St James’s

SW1J 5NF Londra

Tel. +44 207 494 2551

info@lullopampoulides.com

www.lullopampoulides.com

Pompeo Batoni

(Lucca, 1708 – Rome, 1787)

Madonna and Child with the Infant Saint John the Baptist


c. 1774

Probably cut on the left side.

Provenance

Private collection, United Kingdom; Sold Sotheby’s, London, 8 July 1981, lot 261;

Acquired by Appleby Brothers Fine Arts, London, 1984; Christie’s, London, 29

October 2008 lot 4, (as “Studio of Batoni”), where purchased by present owner;

Private collection, United Kingdom.

Exhibitions

The Museum of Fine Arts, Houston, 2014-2023.


Francesco Montelatici, known as Cecco Bravo

(Florence, 1601 – Innsbruck, 1661)

Presentation of Mary to the Temple


c. 1653

Provenance

Artcurial, 26 September 2023; Private collection, Florence; From whom acquired by

the present owner.


SANDRO MORELLI

SANDRO MORELLI

Via Maggio 59r

50125 Firenze

Tel. +39 055 282 789

sanmorelli@gmail.com

Bartolomeo Bellano

(Padua, 1437–1496)

Madonna in adoration of the Child

Polychrome stucco bas-relief, 81x52x9 cm

1450 c.

Provenance

Padua.

Bibliography

Scientific study: Prof. Alfredo Bellandi.


Sienese workshop of the 14 th century

Monstrance

Gilded copper and enamels, h 37 cm

Second half of the14 th century

Notes

«It is a reliquary, or rather a monstrance, as shown by the presence of the lunula

inside the shrine and the cross on top. It can be ascribed to the second half of the

14 th century and is almost certainly from the Sienese area; it can be compared to the

similar monstrance housed in the Bargello Museum and the one in the church of

Santa Maria Assunta in Staggia, of similar background and chronology. I therefore

believe that, given its rarity and excellent state of preservation, it can be published

in the catalogue of the Biennale dell‘Antiquariato.» (Dora Liscia)

Provenance

Siena.

MORETTI

MORETTI


SW1Y 6DB Londra

Tel. +44 207 491 0533

Park Palace – 27 Avenue de

la Costa

98000 Monte Carlo

Tel. +377 999 909 70

1 Place du Louvre

75001 Parigi

Tel. +33 975 754 304

enquiries@morettigallery.com

www.morettigallery.com

Carlo Dolci

(Florence, 1616 – 1686)

Female Martyr Saint



RENZO MORONI

RENZO MORONI

Via del Babuino 51

00187 Roma

Tel. +39 06 687 5284

Cel. +39 338 170 8807

moronirenzo@hotmail.it

www.moronirenzo.it

Mario Nuzzi, known as Mario dei Fiori

(Penna San Giovanni, 1603 – Rome, 1673)

Still life with flowers


17 th century


Abraham Brueghel

(Antwerp, 1631 – Naples, 1697)

and figure painter (Luigi Garzi?)

Young girl with flowers and a putto


17 th century


MAURIZIO NOBILE

FINE ART

MAURIZIO NOBILE FINE ART

Via Santo Stefano 19/a

40125 Bologna

Tel. +39 051 238 363

bologna@maurizionobile.com

www.maurizionobile.com

2 rue Chapon

75003 Parigi

Tel. +33 01 4563 0775

paris@maurizionobile.com

Via Santo Spirito 7

20121 Milano

Tel. +39 02 5030 6384

Cel. +39 338 579 6509

milano@maurizionobile.com

Giovanni Colacicchi

(Anagni, 1900 – Florence, 1992)

Portrait of Piero Gadda Conti


1941

Signed and dated bottom right: “Colacicchi 1941”

Provenance

Gadda Collection, Milan; Private collection, Lucca.

Bibliography

S. Ragionieri, in Giovanni Colacicchi, curated by M. Fagiolo dell’Arco, Milano 1991, n.

71, pp. 100, 205, fig. 91.


Girolamo Coltellini

(documented in Bologna from 1526 to 1560)

Madonna with Child

Marble, h 70 cm

16 th century

Provenance

Bologna, San Francesco.

Bibliography

A. Bacchi, Da Gian Cristoforo Romano ad Alessandro Menganti: note sulla scultura

del Cinquecento a Bologna, in ‘Nuovi Studi’, I, 1996, 1, pp. 70-71, 84, figg. 148-149.


CARLO ORSI

CARLO ORSI

Via Bagutta 14

20121 Milano

Tel. +39 02 760 022 14

info@galleriaorsi.com

www.galleriaorsi.com

Frans Floris

(Antwerp, 1517 – 1570)

Susanna and the Elders


1548

The painting, initialled and dated “1548 / FF”, belongs to a small group of works

made by Frans Floris in Antwerp on his return from a long study trip to Italy. The

panel, fascinating and richly detailed, manages to bring together the lesson of

Italian Renaissance art and the Nordic tradition of oil painting in an admirable

manner.

Provenance

Private collection.


Louis Gauffier

(Rochefort, 1762 – Livorno, 1801)

Portrait of divisional commissioner Étienne Michaux

with Florence in the background


1801

Signed and dated bottom left: “L. Gauffier. Flor. / an 9e”.


ORSINI ARTE E LIBRI

ORSINI ARTE E LIBRI

Via Cappuccio 18

20123 Milano

Tel. +39 02 897 773 54

info@orsiniartelibri.it

www.orsiniartelibri.it

Antonio Gualdi

(Guastalla, 1796 – 1865)

Portrait of Tommaso Minardi with Raphael’s presumed skull


1827

Signed and dated bottom right: “Antonio Gualdi 1827”.

Provenance

Private collection.

Bibliography

L’officina neoclassica. Dall’Accademia de’ Pensieri all’Accademia d’Italia, catalogue of

the exhibition (Faenza, Palazzo Milzetti, 15 March – 21 June 2009), curated by F. Leone,

F. Mazzocca, Cinisello Balsamo 2009, pp. 45-46, 70, 77; E. Lissoni, in Romanticismo,

catalogue of the exhibition (Milan, 26 October 2018 – 17 March 2019) curated by F.

Mazzocca, Cinisello Balsamo 2018, p. 344.

Exhibitions

L’officina neoclassica. Dall’Accademia de’ Pensieri all’Accademia d’Italia, Faenza, Palazzo

Milzetti (15 March – 21 June 2009), curated by F. Leone, F. Mazzocca.


Antonio David

(Venice, before 1684 – c. 1735)

Finely and densely carved parchment sheet with miniature portraits of

Clemente XII (Lorenzo Corsini, 1652-1740) and his nephew Cardinal Neri Maria

Corsini (1685-1770)

Watercolour on parchment with gold embossing, 320x220 mm

c. 1730

Provenance

Milan, Collezione Imbert.

Bibliography

Unpublished.


WALTER PADOVANI

WALTER PADOVANI

Via Santo Spirito 26/a

20121 Milano

Tel. +39 02 763 189 07

galleria@walterpadovani.it

www.walterpadovani.it

Domenico Andrea Pelliccia

(Carrara, 1736 – Carrara, 1821)

Portrait of Pietro Leopoldo I Grand Duke of Tuscany

Marble, h. 80 x 65 cm

1777

Provenance

Sotheby’s, Collection Violette De Talleyrand, Duchesse De Sagan, Former Collection

Gaston Palewski, 18 March 2010, Paris, lotto 36; Private collection, USA.

Bibliography

A. Fusani, Pietro Leopoldo I Granduca di Toscana. Un ritratto inedito. Domenico Andrea

Pelliccia (1736 - 1821), Walter Padovani, Milano 2024.


PARRONCHI

DIPINTI ‘800-‘900

PARRONCHI DIPINTI ‘800-‘900

Via dei Fossi 18r

50123 Firenze

Tel. +39 055 215 109

info@parronchidipinti.it

www.galleriaparronchi.it

Primo Conti

(Florence, 1900 – Fiesole, 1988)

The painter’s daughter


1949

Signed at top right: P. Conti 1949.

Provenance

Private collection.

Bibliography

Novecento. Catalogo dell’arte italiana dal Futurismo a Corrente, curated by P. Baldacci

and R. Bossaglia, number 5, Milano 1995, p. 91.


Silvestro Lega

(Modigliana, 1826 – Florence, 1895)

Gabbro’s Hills


c. 1890

Signed bottom right. On the back: Art Gallery A. Vitelli, Genoa. Dr. B. Pellerano

Collection, Genoa.

Provenance

Private collection.


RAFFAELLO PERNICI

RAFFAELLO PERNICI

Via A. Gramsci 121/a

57016 Rosignano Marittimo (Livorno)

Tel. +39 0348 7745998

info@pernici.eu

www.pernici.eu

Giovanni Ponti, known as Gio,

Richard-Ginori Manufacture

(Milan, 18 November 1891 – Milan, 16 September 1979)

“Donatella” from the series “Le mie donne”

c. 1925-1928

Rare parade plate in hand-painted maiolica.

Bibliography

Ceramiche moderne d’arte Richard-Ginori, Milano 1930; L. Manna, Gio Ponti. Le

maioliche, Milano 2000; Gio Ponti. Il fascino della ceramica, curated by D. Matteoni,

Cinisello Balsamo 2011.


Mario Sturani, Lenci Manufacture

(Ancona, 1906 – Turin, 1978)

Dimmi di sì

Glazed earthenware decorated with polychrome enamels, 37x29.5x14 cm

1930

Extremely rare figure in glazed earthenware decorated with polychrome enamels.

Made in Turin.

Bibliography

D. Bonardi, Maioliche e stoffe d’arte in ‘Il Corriere della Sera’, 1929; U. Ojetti, Mostra

delle ceramiche di Lenci, catalogue of the exhibition (Milan, Galleria Pesaro, December

1929), Milano 1929; A. Panzetta, Le ceramiche Lenci 1928-1964, Torino 1992; L.

Proverbio, Lenci. Ceramiche da collezione, Torino 2001; Lenci. Sculture in ceramica

1927-1937, catalogue of the exhibition (Turin, Palazzo Madama, Museo civico d’arte

antica, 23 March - 27 June 2010), Torino 2010; Lenci. Le ceramiche della collezione

Giuseppe e Gabriella Ferrero, catalogue of the exhibition (Faenza, 4 March - 3 June

2018) curated by V. Terraroli, C. Casali, Milano 2018; Ceramiche Lenci. La collezione

Giuseppe e Gabriella Ferrero, catalogue of the exhibition (Turin, Musei Reali, Galleria

Sabauda, 23 June 2023 - 31 December 2023) curated by E. Pagella, S. Cretella, V.

Terraroli, Genova 2023.


PIVA & C.

PIVA & C.

Via Bigli 7

20121 Milano

Tel. +39 02 4548 1210

info@pivaec.it

www.pivaec.it

Gandhara sculpture

Head of Bodhisattva

Schist, h 34 cm

Kushan Dynasty, II-IV century AD

Provenance

Private collection.


Venetian cabinetry workshop

Lacquered and gilded wood folding desk, decorated in arte povera style,

surmounted by a mirror with small gilded bronze arms

222x105x52 cm

First half of the 18 th century

Provenance

Private collection.

Bibliography

S. Levy, Lacche veneziane settecentesche, Milano 1967, vol. I, tav. 127.


PORCINI

PORCINI

Piazza Vittoria 6

80121 Napoli

Tel. +39 081 764 3550

info@porcinigallery.com

www.porcinigallery.com

Master of the Glasgow Adoration

(Alessandro Buono?)

(Active in Naples in the second decade of the 16 th century)

Madonna with Child, Saint Bruno and Saint Lawrence

Triptych, fat tempera on panel, gold ground

128x56 cm; 100x39 cm


Gaspare Traversi

(Naples, 1722 – Rome, 1770)

Old beggar woman, Old beggar man

Oil on canvas, 63.5x77 each

On the back of both canvases, the inscription “N[?] | n° 13”.


REVE ART

REVE ART

Via dal Luzzo 4

40125 Bologna

Tel. 348 235 5901 – 335 244 706

info@reveartgallery.com

www.reveartgallery.com

Jehudo Epstein

(Sluzk, 1870 – Johannesburg, 1945)

A feast in Burano


1905

Signed and dated bottom right. Labels on the back: Künstlerhaus, Vienna 1920/3001

and 1926/88 (conferma di Mag. Paul Rachler, Künstlerhaus-Archiv, Vienna); XV.

Esposizione Internazionale d’Arte della Città di Venezia 1926/1454; Verificato Dogana

Italiana IX. 3286.

Provenance

1920, Rudolf Thorn, Wien (Künstlerhaus-Archiv); 1926, Dr. Max Silberstein

(Künstlerhaus-Archiv); late 1920s, Private collection, Austria; 23.10.2018, Wien, Im

Kinsky Auktionshaus, lot. n. 376; Verona, private collection; Rovigo, private collection.

Bibliography

Catalogo della XV Esposizione Internazionale d’Arte della Città di Venezia, 1926, p. 40,

n. 7, p. 26; La pittura nel Veneto. Il Novecento. Dizionario degli artisti, curated by N.

Stringa, Milano 2009, p. 174; L’angelo degli artisti. L’arte del Novecento e il ristorante

all’Angelo a Venezia, catalogue of the exhibition (Padova, Stabilimento Pedrocchi,

02 July - 26 September 2021), curated by G. Romanelli, P. Vatin, Venezia 2021, p. 10.

Exhibitions

XV Esposizione Internazionale d’Arte della Città di Venezia, Venezia (aprile - ottobre

1926), n. 1454; L’angelo degli artisti. L’arte del Novecento e il ristorante all’Angelo a

Venezia, Venice, Fondazione Querini Stampalia (7 December 2019 – 1 March 2020);

Tullio Silvestri (1880-1963) artista d’Europa fra Trieste e il Friuli, Trieste, Civico Museo

della Civiltà Istriana (6 October – 3 December 2023).


Galileo Chini

(Florence, 1873 – 1956)

Il Flagello


1917

Signed and dated bottom right; initialled, titled and dated on the back with the

motto “Non dare quello che/ t’avanza/ dai quello che ti è/ caro”.

Provenance

Italy, private collection.

Bibliography

P. Pacini, Postille sul ricorrente simbolismo laico e umanitario di Galileo Chini, in ‘Critica

d’Arte’, VIII series, LXVIII (2005), pp. 143-145, figg. 17- 17bis, p. 156, note 25; Galieo

Chini. Dipinti, decorazione, ceramica, teatro, illustrazione, catalogue of the exhibition

(Rome, Galleria nazionale d’Arte Moderna), curated by F. Benzi, M. Margozzi, Milano

2006, p. 58, fig. 4; Galileo Chini all’Antella. Inediti e riscoperte (1904-1954). Un percorso

nell’arte sacra e umanitaria, catalogue of the exhibition curated by P. Pacini, P. Chini

Polidori, Firenze 2012, pp. 16-17, ill. cover; E. Lucchese, Galileo Chini. Il Flagello,

Bologna 2024.

Exhibitions

Galileo Chini all’Antella. Inediti e riscoperte (1904-1954). Un percorso nell’arte sacra e

umanitaria, Antella, Florence (2012), curated by P. Pacini, P. Chini Polidori.


ROBERTAEBASTA

ROBERTAEBASTA

Via Fiori Chiari 2

20121 Milano

Tel. +39 02 861 593

85 Pimlico Road

SW1W 8PH London

london@robertaebasta.com

info@robertaebasta.com

www.robertaebasta.com

Salvatore Mangione, known as Salvo

(Leonforte, 22 May 1947 – Turin, 12 September 2015)

Senza titolo


Italy, 1994

Signed on the back, autentication by photography of Archivio Salvo N. S1994 - 28.


Giovanni Ponti, known as Gio

(Milan, 18 November 1891 – 16 September 1979)

Three-drawer cabinet in maple wood

Cabinet in maple wood; handles consisting of irregular, protruding geometric bands;

brass front support. h 100x47x84 cm.

Made in Italy. Designed for the rooms of the Hotel Royal in Naples.

c. 1955

Provenance

Private collection, Italy.


ROBILANT+VOENA

ROBILANT+VOENA

38 Dover Street

W1S 4NL Londra

Tel. +44 207 409 1540

19 East 66th Street

10065 New York City

Tel. +1 917 409 0549

Via Fontana, 16,

20122 Milano

Tel. +39 02 805 6179

art@robilantvoena.com

www.robilantvoena.com

Andrea Appiani

(Milan, 1754 – 1817)

Portrait of Achille Fontanelli (1775–1838)


1813

Signed and dated on the left wall “A. Appiani / 1813”


ROMANO FINE ART

ROMANO FINE ART

Borgo Ognissanti 36

50123 Firenze

Tel. +39 055 239 6006

info@romanofineart.com

www.romanofineart.com


Augustin Cárdenas

(Matanzas, Cuba, 1927 – L’Havana, Cuba, 2001)

Verso la luce

Plaster, 60 cm

Scale study in plaster for the black belgian marble sculpture Verso la Luce (1984).

Bibliography

Augustin Cárdenas. Sculture 1947 - 1997, catalogue of the exhibition (Galleria Gruppo

Credito Valtellinese, Refettorio delle Stelline, Milan, 24 April 1997 - 13 June 1997)

curated by E. C. Malagodi, Milano 1997; Le Monde légendaire de Cárdenas, catalogue

of the exhibition (Le château de Biron at les jardins d’Eyrignac, 23 June - 16 September

2012), Paris 2012; Carrara, Cárdenas e la Negritudine, catalogue of the exhibition

(Galleria Duomo and Centro Arti Plastiche of Carrara, 10 July – 13 September 2015)

curated by E. C. Malagodi and E. Lombardi, Verona 2015.


Giovan Battista Spinelli

(Chieti 1613 – Ortona 1657)

The Samaritan woman at the well


Provenance

Salvatore Romano collection, Florence; Private collection, Florence.

Bibliography

Mostra della Pittura Napoletana del ‘600 - ‘700 - ‘800, catalogue of the exhibition

(Naples, Castelnuovo, March - June 1938), Napoli 1938, p. 319, n. 1; F. Abbate,

Giovanni Battista Spinelli: La Samaritana al pozzo, in ‘Paragone’, 21 (1970), 239, pp.

61-62; N. Spinosa in La pittura a Napoli da Caravaggio a Luca Giordano, catalogue

of the exhibition (Turin, Palazzo Reale, September - October 1983), Napoli 1983, p.

272; N. Spinosa, Aggiunte a Giovan Battista Spinelli, in ‘Paragone’ (1984), 411, p. 21; D.

M. Pagano in AA.VV. Civiltà del Seicento a Napoli, Napoli, 1984, p. 177 e p. 465; D. M.

Pagano, Giovan Battista Spinelli in Pittori Bergamaschi - Il Seicento- IV, Bergamo 1987,

p. 6; pp. 24-25; fig. 2 p.33.

Exhibitions

Displayed as a work by Bernardo Cavallino at the exhibition Mostra della Pittura

Napoletana del ‘600 - ‘700 - ‘800, Naples, Castelnuovo (March - June 1938).




Viale Toselli 68

20025 Legnano (Milano)

Cel. +39 348 412 8148

romigioli@romigioli.it

www.romigioli.it

Pier Francesco Foschi

(Florence, 1502 – 1567)

Madonna with Child


1530-1535

The composition derives from a lost drawing that Andrea del Sarto made for the

figured embroidery of the altar frontal commissioned by Cardinal Silvio Passerini for

the Cathedral of Cortona.

Provenance

Private Italian Collection.

Bibliography

A. Pinelli, Pier Francesco di Jacopo Foschi, in ‘Gazette des Beaux Arts’, 109, 69 (1967),

pp. 87-108; S. Giordani, Madonna and child with the young St John the Baptist by

Pier Francesco Foschi, Firenze 2019; E. Altiero, in Pier Francesco Foschi (1502-1567):

pittore fiorentino, catalogue of the exhibition (Florence, Gallerie dell’Accademia, 27

November 2023 – 10 March 2024) curated by C. Hollberg, E. Altiero, N. Damiano, S.

Giordani, Firenze 2023, p. 112.

Exhibitions

Pier Francesco Foschi (1502-1567): pittore fiorentino, Florence, Gallerie dell’Accademia

(27 November 2023 – 10 March 2024), curated by C. Hollberg, E. Altiero, N. Damiano,

S. Giordani.


Goswijn van der Weyden

(Brussels, c. 1465 – Antwerp, post 1538)

Enthroned Madonna and Child between Saints Catherine of Alexandria

and Margaret of Antioch


1500-1510

Grand Duchy of Lucca 1817-1824; probably Orsucci family, subjected to the

supervision of the Commission of Michele Ridolfi, established by Maria Luisa of

Borbone in 1819. On the back are two sealing waxes of the Grand Duchy of Tuscany

and the Grand Duchy of Lucca. The painting constitutes a precious and extremely

rare testimony of the presence of works from beyond the Alps in Lucca’s private

collections.

Provenance

Colnaghi Gallery, displayed in 1983; in 1992 it was sold from the auction house

Sotheby’s London (9-12-1992, lot n. 64) and, after having passed into a private

collection, it was sold by Christie’s.

Bibliography

Published in A. Bacchi, A Collector’s Choice, Lugano 1987.

Exhibitions

The Northern Renaissance: 15 th and 16 th century netherlandish paintings, New York,

Colnaghi Gallery (6 April – 14 May 1983); Mostra di Maestri fiamminghi ed olandesi

del XVI-XVII secolo, Torino, Galleria Luigi Caretto (5 November - 5 December 2004).


SALAMON & C.

SALAMON & C.

Palazzo Cicogna

Via San Damiano 2, primo piano

20122 Milano

Tel. +39 02 760 246 38

info@salamon.it

matteo@salamon.it

www.salamon.it

Jacques Courtois, known as Il Borgognone

(Saint-Hyppolite, 1621 – Rome, 1676)

Mattias de’ Medici and Odoardo Farnese dictate the Treaty of Peace

in Ponte a Centino


1652

Provenance

Mattias de’ Medici collection, Villa di Lappeggi (FI), 1652-1667; Cardinale Francesco

Maria de’ Medici collection, Villa di Lappeggi (FI), 1667-1711; Andrea di Girolamo

Gerini Bonciani and heirs collection, Florence, 1711-1766?; Lord William Russell

collection, London, 1766?-1809; Hazlitt Gallery, London, 1977; John Frederic Tillotson

collection, London, until 1980; Christie’s, London, 1980, 1985; Private collection,

Turin.

Bibliography

F. Baldinucci, Notizie dei professori del disegno da Cimabue in qua (Firenze 1681-1728),

edition curated by F. Ranalli, vol. V, Firenze 1847, p. 211; L. Salerno, Pittori di paesaggio

del Seicento a Roma, Roma 1977, II, p. 635, fig. 105.1; N. Barbolani di Montauto,

Pandolfo Reschi, Firenze 1996, p. 94 (illustrated); G. Sestieri, I Pittori di Battaglie. Maestri

italiani e stranieri del XVII e XVIII secolo, Roma 1999, p. 185, fig. 63; E. Gavilli, Lappeggi,

luogo di delizie del Serenissimo principe Mattias, in ‘Arte Musica Spettacolo. Annali del

Dipartimento di Storia delle arti e dello spettacolo’, I, 2000, pp. 267-268, fig. 5.


Girolamo Macchietti

(Florence 1535 – 1592)

Bacchanal of the Adrians


1565-1570

Provenance

Matthiesen Fine Art, 1987; Sotheby’s, Selected Renaissance and mannerist works of art

assembled by Fabrizio Moretti, New York, 25 January 2015, lot 137; Private collection.

Bibliography

Calendar in ‘The Burlington Magazine’, vol. CXXIX n. 1009, April 1987, p. 280; M.

Privitera, Girolamo Macchietti. Un pittore dello Studiolo di Francesco I, Milano 1996,

pp. 96-97, n. 8.

Notes

The painting depicts a passage from the Images (Εἰκόνες) of Philostratus (I, 25) in which the author describes the characters on

the Greek island of Andros, crossed by a river of wine created by Dionysus. The artist portrays Philostratus’ verses in a broad and

faithful interpretation with, on the left-hand side, the personification of the river of wine flowing from left to right, depicted

as a superhuman giant with a long white beard, lying on bunches of grapes below the barrel, whose upper hole has a lion’s

head, and surrounded by young tritons filling their shells at the spring where the wine flows out to drink it. In the background

is the ship of Dionysus, which, according to Philostratus, carried bacchae, satyrs, libation demons and Silenes, a female satyr,

half-naked bacchae and tritons; all shown in varying degrees of intoxication as they lie, dance, sing or drink. The entire scene

is enveloped in a bright light characteristic of the sunset hour, a prelude to the intemperance of the night.

In 1996, Marta Privitera published the current work attributing it to Girolamo Macchietti within the artist’s biography, an

attribution later confirmed by Carlo Falciani, who described this painting as the artist’s absolute masterpiece. Macchietti

trained in Florence under Vasari, working on the renovation of the Palazzo Vecchio in the 1550s, and then moved to Rome

before returning to Florence and becoming a member of the Accademia del Disegno.

The Bacchanal of the Andrii - of which a preparatory sketch is in the Ashmolean Museum in Oxford - is undoubtedly the result

of the artist’s elaborate study of classical sculptural forms while in Rome. Indeed, every figure depicted seems to be directly

derived from existing models of classical sculpture; the naked female figure in the foreground is most likely inspired by Ariadne

Sleeping in the Belvedere in Vatican City. Similarly, the tritons are easily connected to the figures at the base of the same

sculpture. Likewise, the dancing figures on the banks seem to be based on the models of the Apollo of the Belvedere or Diana

the Huntress now in the Louvre.

Comparisons with other works by the artist can further confirm this attribution. Examples include the Allegory of Liberality (c.

1565) in the Ca’ d’Oro Museum in Venice, in which Prosperina is depicted with a linearity and definition of form comparable to

the figures here. Further similarities are found in the Madonna and Child with St. Anne (c. 1570) in the Szépművészeti Múzeum

in Budapest, which shows a comparable landscape in the background, suggesting an acquaintance with Roman and

Northern European paintings. The crowded composition, built on several levels, is somewhat reminiscent of the Martyrdom of

St. Lawrence (1573) in the Church of Santa Maria Novella in Florence.

The work thus shows the influence of Vasari’s elaborate mannerist style; Macchietti mastered the teacher’s sophisticated

compositional tension with great skill. The paintings examined here also show an in-depth study of the creation of highly

naturalistic forms and figures, a quality probably induced by Macchietti’s stay in Rome. The influence of Parmigianino,

including the depiction of extremely elegant figures with a certain attitude of disdain, is also evident; the female figure in

the foreground is an obvious example. The link with Raphael’s own style and Macchietti’s profound adherence to the brilliant

figurative manner of the post- Raphaelesque Roman milieu is also significant.

The size, the subject and the unrivalled quality of the present painting would suggest that it was created for an important

patron. Macchietti’s masterpiece was most probably created around the mid-1560s, after the artist’s return from Rome and

before the realisation of the Adoration of the Magi (1567-1568) in the Church of San Lorenzo in Florence.


RICHARD SALTOUN

RICHARD SALTOUN

41 Dover Street

W1S 4NS Londra

Tel. +44 207 637 1225

info@richardsaltoun.com

Via Margutta, 48a-48b

00187 Roma

Tel. +39 06 86678 388

rome@richardsaltoun.com

www.richardsaltoun.com

Bice Lazzari

(Venice, 1900 – Rome, 1981)

Senza Titolo (Q/435)

Acrylic on canvas, 80x162 cm

1972-1973

Signed, titled and dated on the back.

Bibliography

P. Fossati, Bice Lazzari. Opere 1925-1981, Milano 1984, ill. p.126, n. 710; G. Montana,

Bice Lazzari. I valori del segno, Torino 1980.

Exhibitions

Bice Lazzari: The Mark & The Measure. Selected Works from 1939-1981, New York,

Kaufmann Repetto (12 May - 17 June 2023); Bice Lazzari, Fra spazio e misura, Venezia,

Ca’ Pesaro (22 April - 23 October 2022), curated by P. Ugolini; Italy at Frieze, London,

Italian Embassy (2019); Bice Lazzari, Genoa, Galleria Unimedia, (1974).


Antonietta Raphaël Mafai

(Kaunas, 1895 – Rome 1975)

Quarto giorno della creazione

Oil on plywood, 77x45 cm (without frame), 92.5x61x4 cm (with frame)

1968


SANTA TECLA

SANTA TECLA

Via dei Savonarola 66

35137 Padova

Tel. +39 049 856 1460

santateclaltd@gmail.com

Domenico Parodi

(Genoa, 1672 – 1742)

Adonis with his hunting dogs


Early 18 th century


Luca Giordano

(Naples, 1634 – 1705)

The Samaritan woman at the well

Lime on wicker support with pearwood reinforcement chassis, diameter 110 cm

c. 1685

Commissioned by the family of the Marchesi del Rosso of Florence together with

three other paintings of the same format and medium, two of which are now lost. In

the inventory of the patrician collection.

Provenance

Collection of Marchesi del Rosso, Florence.

Bibliography

F. Baldassarri, M. Francucci, L. Castrichini, Luca Giordano: due tondi “su la calce” per

i Del Rosso, Foligno 2017; S. Meloni Trkulja, Luca Giordano a Firenze, in ‘Paragone

Arte’, 1972, 267, pp. 25-74; G. Scavizzi, O. Ferrari, Luca Giordano. L’Opera Completa,

Napoli ed. 1966 e 1992; Luca Giordano: maestro barocco a Firenze, catalogue of the

exhibition (Florence, Palazzo Medici Riccardi, 30 March – 5 September 2023) curated

by R. Lattuada, G. Scavizzi and V. Zucchi, Roma 2023.

Exhibitions

Luca Giordano: maestro barocco a Firenze, Florence, Palazzo Medici Riccardi, (30

March – 5 September 2023), curated by R. Lattuada, G. Scavizzi and V. Zucchi.


SCULTURA ITALIANA

DI DARIO MOTTOLA

SCULTURA ITALIANA

DI DARIO MOTTOLA

Via Santa Marta 21

20123 Milano

Tel. +39 02 869 2922

dario.mottola@tiscali.it

www.sculturaitalianasrl.com

Doccia Manufacture

Pair of vases with reliefs

White porcelain of the Doccia Manufacture, 50 cm

c. 1745, Carlo Ginori’s period

Comment

Baroque glory in Ginori vases.

The history of Carlo Ginori and his porcelain manufacture is notoriously largely based

on his relations with both classical culture and the great Tuscan Baroque artists of

the time. These two vases, so sculptural and with an extraordinary decorative impact,

are a striking example of these relationships. Their model was studied in 2017 by

Rita Balleri, who recalled the purchases of materials from the great late Baroque

Florentine workshops (linked to the relationships mentioned above), among

which appears the wax cast of our vases, still preserved in the Doccia Manufacture.

Possibly the work of a sculptor close to Foggini, from whom it derives the strong

vivacity of the modelling, it is inspired by ancient models such as the Triumph of

Bacchus and Ariadne and the Inebriated Silenus, which are accompanied by a

sumptuous border composed of eagles with heraldic connotations and holding

garlands in their beaks. Furthermore, we can see sculptural volutes, anthropomorphic

and somewhat grotesque masks: the entire repertoire of the wildest Baroque

imagination. We also have documentary traces of these vases: at p. 28, n. 11 of

the Inventario de’ Modelli della manifattura toscana we read: “un urna antica tonda

storiata a bassorilievo, di cera, il detto bassorilievo rappresenta un baccanale con

forma”. There is no shortage of other references that could lead back to our model,

for example at p. 89, n. 9: “Vi sono tre vasi. Il secondo rappresenta un Baccanale”.

As one can easily imagine, this model also met with considerable success in the

period of 19 th century eclecticism, when copies were produced accompanied by a

reproduction of one of the famous St. John’s plates, another masterpiece (this time

made of silver) of Baroque taste.

Bibliography

K. Lankheit, Die Modellsammlung der Porzellanmanufaktur Doccia: ein Dokument

italienischer Barockplastik, München 1982, p. 152, 73:10.


Sirio Tofanari

(Florence, 1886 – Milan, 1969)

Antelopes

Bronze, 60 (width) x 40 (height) cm

1920


SECOL-ART

ANTICHITÀ

DI MASOERO

DAVIDE & C.

SECOL-ART ANTICHITÀ

DI MASOERO DAVIDE & C.

Via Maria Vittoria 27/a

10123 Torino

Tel. + 39 335 805 0537

secolartmasoero@gmail.com

www.secolart.com

Manufacture active in Milan

Double-body cabinet

Chinoiserie lacquered wood, 130x55 cm, h 275 cm

mid-18 th century

Polychrome lacquered wood embellished with hunting scenes in “chinoiserie” style.

Provenance

Private collection.


ROB SMEETS

OLD MASTER

PAINTINGS

ROB SMEETS

OLD MASTER PAINTINGS

3, rue du Port

1204 Ginevra

P.O. Box 3083

1211 Ginevra

Tel. +41 792 859 262

info@robsmeets.com

www.robsmeets.com

Giusto Fiammingo

(Active in Rome between 1615 – 1625 c.)

The flight of the naked young man after the capture of Christ


Provenance

Giustiniani collection before 1638 until 1812-1824, Rome; Private collection, Rome;

Rob Smeets Old Master Paintings.

Bibliography

G. Silos, Pinacotheca Sive Romana Pictura et Scultura, Roma 1673, ed. curated by M.

Basile Bonsante, Treviso 1979, II, pp. 114-115; G. Vasi, Itinerario istruttivo di Roma antica

e moderna, Roma 1804, II, p. 307; F. Zeri, La Galleria Pallavicini in Roma, Firenze 1959,

pp. 71-73; L. Salerno, The Picture Gallery of Vincenzo Giustiniani: The inventory, part

II, in ‘The Burlington Magazine’, CII (1960), 685, pp. 135-148; D. Bodart, Les peintres

des Pays-Bas méridionaux et de la principauté de Liège à Rome au XVIIeme siècle,

Roma 1970, pp. 72-73, 140-141; B. Nicolson, Caravaggism in Europe, ed. curated by

L. Vertova, Torino 1990, vol. I, p. 117, vol. II, tav. 773; A. De Marchi, L’asino d’oro – Jean

Ducamps, detto Giovanni del Campo: congetture e ipotesi, in ‘Gazette des Beaux-Arts’,

CXXXV (2000), p. 163, fig. 6; R. Contini, Ritagli giustinianei, in Caravaggio e i Giustiniani,

curated by S. Danesi Squarzina, Milano 2001, pp. 66-67, fig. 1, note 11, p. 72; G. Papi,

Su Giusto Fiammingo, in ‘Paragone’, 627 (2002), p. 29, tav.20; S. Danesi Squarzina, La

collezione Giustiniani, Torino 2003, vol. I, pp. 311, n. 124, pp. 334-335, n. 158, fig. 125,

vol. II, p. 60, n. 196, p. 294, n. 112, p. 413, n. 184, p. 435, n. 54; G.J. Van der Sman,

Caravaggio and the painters of the North, Madrid 2016, pp. 122-123.


SOCIETÀ

DI BELLE ARTI

SOCIETÀ DI BELLE ARTI

Viale Buonarroti 9

55049 Viareggio (Lucca)

Tel. +39 0584 520 30

Via del Politecnico 9

20121 Milano

Tel. +39 02 760 227 13

info@sba.it

www.sba.it


Moses Levy

(Tunisi, 1885 – Viareggio, 1968)

Folla di sera sul lungomare di Viareggio

Oil and tempera on cardboard, 51x71 cm

1918

Signed and dated bottom left: “Moses Levy / 1918”.

Bibliography

S. Ragionieri, Moses Levy: la stagione delle spiagge, in Moses Levy. Luce marina. Una

vicenda dell’arte italiana 1915 – 1935, catalogue of the exhibition (Centro Matteucci

per l’Arte Moderna-Villa Bardini, 30 October 2014 – 15 February 2015), curated by M.

Ciccuto, Viareggio 2014; Moses Levy. Luce Marina. Una vicenda dell’arte italiana 1915-

1935, catalogue of the exhibition (Centro Matteucci per l’Arte Moderna-Villa Bardini,

30 October 2014 – 15 February 2015), curated by M. Ciccuto, Viareggio 2014, p. 30.

Exhibitions

Moses Levy. Le stagioni del colore, Seravezza, Palazzo Mediceo (13 July - 6 October

2002), curated by E. Dei, n. 25; Il Futurismo a Viareggio e in Versilia. Accadimenti e

riflessi dal 1918 al 1940, Galleria d’Arte moderna e contemporanea “Lorenzo Viani”

(10 October - 20 December 2009), curated by A. Belluomini Pucci, R. Mazzoni, p. 59;

Moses Levy. “Ritornerà sul mare la dolcezza”, Galleria d’arte moderna e Contemporanea

“Lorenzo Viani” (3 February - 15 September 2019), curated by A. Belluomini Pucci, p.

88 (ill.); Accadde in Versilia. Il tempo di Plinio Nomellini, Lorenzo Viani, Moses Levy, Forte

dei Marmi, Forte Leopoldo I (17 June - 5 November 2023), curated by C. Fulgheri, E.

Matteucci, F. Panconi, n. 37.


Federico Zandomeneghi

(Venice, 1841 – Paris, 1917)

Donna al caffè (Au café)


1914

Signed and dated bottom left: “F. Zandomeneghi / 914”.

Documented Durand-Ruel, Parigi (photograph n. 7915).

Bibliography

M. Cinotti, Zandomeneghi, Milano 1960, tav. 80; E. Piceni, Zandomeneghi, Milano

1967, n. 608; F. Dini, Federico Zandomeneghi: la vita e le opere, Firenze 1989, n. 183,

tav. CLXII; E. Piceni, Zandomeneghi, Busto Arsizio 1991, n. 608; C. Testi, M.G. Piceni,

E. Piceni, Federico Zandomeneghi. Catalogo generale, Milano 2006, n. 839, tav. CIV

and overcover reproduction; F. Mazzocca, La fortuna critica di Zandomeneghi dal

dibattito sul realismo alla consacrazione degli impressionisti, in L’impressionismo di

Zandomeneghi, catalogue of the exhibition (Palazzo Zabarella, Padua, 1 October

2016 - 29 January 2017), curated by F. Dini, F. Mazzotta, Venezia 2016, p. 44 (ill.).


GIAN ENZO

SPERONE

GIAN ENZO SPERONE

Chasa dal Guvernatur

7554 Sent (Svizzera)

Tel. +41 79 9135176

info@gianenzosperone.com

www.gianenzosperone.com

Giacomo Balla

(Turin, 1871 – Rome, 1958)

Forze Nuove


1919

Bottom right: FUTUR BALLA

Provenance

Private collection.


Alberto Savinio

(Athens, 1891 – Rome, 1952)

Nocturne

Oil on masonite, 41.5x33 cm

1950

Signed and dated bottom left.

Provenance

Private collection.


TETTAMANTI

ANTICHITÀ

TETTAMANTI ANTICHITÀ

Via Maggio 22r

50125 Firenze

Tel. +39 055 218 044

tettamantiantichita@virgilio.it

Francesco Coghetti

(Bergamo, 12 July 1802 – Rome, 20 April 1875)

Christ deposition from the cross with self-portrait of the painter

Oil on canvas, 142x116 cm; 124x99 cm

c. 1858

In Rome Coghetti was the trusted painter to the prince Alessandro Torlonia (1800 -

1886), who involved him in the decoration of the Villa on the via Nomentana and of

the Palazzo Torlonia in piazza Venezia and via Condotti (Rome). In 1846 the queen

Maria Cristina di Borbone-Due Sicilie (1806 - 1878) commissioned him a large canvas

for the castle of Aglié.

Unpublished painting.

Bibliography

Reference bibliography: F. Gerardi, Il Parnaso dipinto a fresco dal professore Francesco

Coghetti nel palazzo della Villa Torlonia fuori Porta Pia, Roma 1839; A. Campitelli, Villa

Torlonia: i cicli storici di Luigi Fioroni, Francesco Coghetti e Costantino Brumidi, in La

pittura di storia in Italia, curated by G. Capitelli, C. Mazzarelli, Cinisello Balsamo 2008,

pp. 161-169; A. Pacia, Francesco Coghetti e la volta del duomo di Bergamo: un artista

per la città 1833 – 1853, Cinisello Balsamo 2021.


Eliseo Sala

(Milan, 2 January 1813 – Rancate di Triuggio, 24 June 1879)

Portrait of the Rustem Bey, Giovanni Timoteo Calosso

Oil on canvas, 125.5x95.5 cm (canvas); 188x147.5 cm (frame)

Signed and dated 1854

Giovanni Timoteo Calosso (Chivasso 24 January 1789 - Nizza 27 March 1865) is

better known as Rustem Bey, a title he received during his service at the Sublime

Porte under the Sultan of the Ottoman Empire Mahmud II (1785-1839). Calosso is

celebrated for being the author of the Mémoires d’un vieux soldat, considered among

the most reliable and authoritative accounts of Napoleon’s Campaigns in Europe.

The painting is unpublished

Bibliography

Reference bibliography: Giovanni Timoteo Calosso, Mémoires d’un vieux soldat,

Turin-Nice 1857; Eliseo Sala. Un ritrattista e la sua committenza nell’Italia romantica

1813-1879, curated by S. Rebora, Cinisello Balsamo 2001.

Exhibitions

Esposizione delle opere di Belle Arti delle gallerie dell’I. R. Accademia di Milano, Milano

1854.


TORNABUONI ARTE

TORNABUONI ARTE

Lucio Fontana

(Rosario, 1899 – Comabbio, 1968)

Concetto spaziale

Oil, tearing and graffiti on canvas, gold, 81x66 cm

1964


Le Corbusier

(La Chaux-de-Fonds, 1887 – Roccabruna-Capo Martino, 1965)

Taureau

Paper collage, ink and gouache on graphite pencil lines on paper, 75.3x50.3 cm

1953


VERDINI

VERDINI

VERDINI

Via Zanardelli 22

00187 Roma

Tel. +39 06 686 1850

Fax +39 06 454 747 69

Cell. +39 335 614 1202

Via Clementino 98

00186 Roma

Tel./Fax +39 06 6833 542 Cell.

+39 339 674 9094

stefanoverdini@me.com

www.verdiniantichita.it

Caspar van Wittel

(Amersfoort, 1653 – Rome, 13 September 1736)

View of Palazzo Pitti in Florence

Oil on canvas

18 th century


Luigi Podio

(Rome, 1826 – 1888)

Micromosaic table top

Micromosaic, 65 cm

19 th century, Rome


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