Anthony Baus

Manhattan Arch

2020

Provenance: Santambrogio Antichità, Milan; sold, 2007 to: Filippo Pernisa, Milan; by whom sold, 2010, to: Private Collection, Melide, Switzerland De Primi Fine Art, Lugano, Switzerland; from whom acquired, 2011 by: Private Collection, Connecticut (2011-present) Literature: Ferdinando Arisi, “Ancora sui dipinti giovanili del Panini,” Strenna Piacentina (Piacenza, 2009): pp. 48, 57, 65, fig. 31, as by Panini Ferdinando Arisi, “Panini o Ghisolfi o Carlieri? A proposito dei dipinti giovanili,” Strenna Piacentina, (Piacenza, 2010), pp. 100, 105, 116, fig. 101, as an early work by Panini, a variant of Panini’s painting in the Museo Cristiano, Esztergom, Hungary. This architectural capriccio is one of the earliest paintings by Giovanni Paolo Panini, the preeminent painter of vedute and capricci in 18th-century Rome. The attribution to Panini has been endorsed by Ferdinando Arisi, and a recent cleaning of the painting revealed the artist’s signature in the lower right. Like many of his fellow painters working in Rome during his day, Panini was not a native of the Eternal City. He first trained as a painter and stage designer in his hometown of Piacenza and moved to Rome at the age of 20 in November 1711 to study figure painting. Panini joined the workshop of Benedetto Luti (1666-1724) and from 1712 was living on the Piazza Farnese. Panini, like many before and after him, was spellbound by Rome and its classical past. He remained in the city for the rest of his career, specializing in depicting Rome’s most important monuments, as well as creating picturesque scenes like this one that evoked the city’s ancient splendor. The 18th century art historian Lione Pascoli, who likely knew Panini personally, records in his 1730 biography of the artist that when Panini came to Rome, he was already “an excellent master and a distinguished painter of perspective, landscape, and architecture.” Panini’s earliest works from this period still show the evidence of his artistic formation in Piacenza, especially the influence of the view painter Giovanni Ghisolfi (1623-1683). However, they were also clearly shaped by his contact in Rome with the architectural capricci of Alberto Carlieri...

The pair consists of the present work and an engraving after it by the hand of Giles DeMarteau (Liège 1722 – 1776 Paris) titled Woman in Fantasy Costume, after Jean Baptiste Le Prince, and measuring, 10 ⅜ x 8 ⅝ inches (26.5 x 22 cm). DeMarteau's engraving is inscribed at the bottom: Le Prince inv. del. / Demarteau sc. / A Paris ches Demarteau Graveur du Roi, rue de la Pelterie à la Cloche...

Inscribed: 3. una Madonna che va in Egitto, verso, and Madonna che va in Egitto, recto Provenance: Private Collection, UK, since 1999 This expressive and boldly executed drawing is the work of Luca...

Provenance: Unidentified collector’s mark “D.G.R,” lower right (Lugt 757b) Wilhelm Suida (1877–1959), New York; by descent to: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA This impressive drawing of the Assumption of the Virgin is the work of the Genoese artist Giovanni Battista Paggi. The son of a nobleman, Paggi received a humanist education and was a self-taught artist. According to Paggi’s first biographer, Raffaele Soprani, it was only after encountering Luca...

Triumphal Arches is a beautiful lot of five hand-watercolored lithographs realized by an Italian artist of the XIX century later watercolored, and repre...

Beautiful New York subject etching by noted Austrian artist Robert Kasimir (1914-2002). The color etching with aquatint on paper measures 15 3/4"h x 11...

ANTON SCHUTZ MANHATTAN c 1940 Etching, signed in pencil, edition 100, no. 15/100. On thin simili-japan paper. Very slight toning around plate mark. Remnants of old tape on verso, s...

Otto Kuhler, 'The Gateway to the New World', etching (artist's proof), edition 16, 1926, Kennedy 25. Signed in pencil and annotated 'Japan Silk Paper - Trial Proof - Ltd. Ed. Del. et...