Bernardino Capitelli

Orpheus and the Animals, A Study after an Ancient Bas-Relief

1626-1629

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: Private Collection, UK After initial training under Justus Suttermans and Vincenzo Dandini, in 1673 Anton Domenico Gabbiani em...

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...

Provenance: Elsie de Woolfe, Lady Mendl, Paris; by whom given in 1950 to: Arlene Dahl, New York (until 2021) Inventive, whimsical, and fantastic; delightful, imaginative, and maca...

Provenance: Elsie de Woolfe, Lady Mendl, Paris; by whom given in 1950 to: Arlene Dahl, New York (until 2021) This delightful sheet is a newly rediscovered work by the eighteenth-ce...

Provenance: Wilhelm Suida; thence by descent to: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA. Moritz von Schwind had a long and varied career. He first trained at the Akademie der Bildende Künste in Vienna in the early 1820s, and by the 1840s held positions as professor of painting at the Städelsche Kunstinstitut in Frankfurt am Main and later at the Akademie der Bildenden Künste in Munich. Schwind was the painter and illustrator par excellence of medieval German...

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This bronze was most likely acquired while on the "Grand Tour" of Europe. It is signed M Amadoi N (Napoli) on the backside of the base. The Dying Gaul, also called The Dying Galatian[1] (in Italian: Galata Morente) or The Dying Gladiator...

The painting comes with the richly carved gilded wood frame (watercolors tempera on paper, 17.7 x 24.4 inch; with frame 28.7 x 33 inch). Reclined in a relaxed position aimed to emphasize the muscular tension, the figure stands out from a warm ochre and brownish nuances landscape, blending with the colour of the environment. The attributes (a club and the Nemean lion’s skin, of which the man touches the tail) and the physical size let him being identified in the demi-god Hercules from Thebes, depicted in a moment of rest during the Twelve Labours. The only details distracting from the apparent tranquillity is the head-alert and with a gloomy look-and the club-well sustained and ready to be used. The body of the hero takes inspiration from the canons of the tradition of the Farnese Hercules, based on a strong rendering of the physical anatomy, in which also the feet-wide feet, well curved, with big toes and evident metatarsus-are giving the idea of strength and stability. The pose itself has ancient echoes recalling the relief of the Athens Archaeological Museum passing through the customs of the river allegories and by the Michelangelesque's intensity in the Medici Chapels. A direct confrontation is with the small marble of the 18th century Hercules resting, bequest of the Viscount Robert Fitzwilliam and now held in the homonym museum in Cambridge1, of wich the painting must be a study from live. The dissimilarity between our work and the sculpture is in the background, painter’s idea, that outdistance the Neoclassicism of the figure and look at the Romanticism lesson, filtered by John Constable and, most of all, by the “painter of light...

Portrait of two horses in a cameo mat. Larger horse has "Sister Sarah" on the bridle. Signed and dated in lower left on smaller horse. Sight measures 18.5" wide x 25" high.

Circle of Ridolfo Ghirlandaio 1483 - 1561 Oil on panel Image size: 20 ½ x 16 ½ inches (52 x 42 cm) Handmade contemporary style gilt frame The lamentation of Christ was one of the most popular scenes depicted in European art from the 11th to the 18th century. Depicting the lamentation or pieta from the Italian word for ‘Pity’ of Christ with Jesus’s mother Mary cradling his body. Christ is depicted nude, wearing only a blueish loincloth around his waist, a horizontal scar marking his rib cage. His head and torso are held upright, and his eyes are closed, his right arm lays to his side as does his left. Standing behind him, is the Virgin Mary, outfitted in her traditional dress of a robe with a white veil. She stands behind Christ and bends slightly, looking looking away from Christ to something that has caught her attention, her right hand holding his shoulder. Her left-hand carefully holds his arm. This work is quite unusual with Mary . This stunning work jumps out with its dark background and strong flesh colours. Ridolfo Ghirlandaio was the son of the eminent painter Domenico Ghirlandaio. Following his father’s death in 1494, when he was just eleven years old, Ridolfo is thought to have continued his training with his uncle Davide, who had taken over the Ghirlandaio workshop. Vasari noted that Ridolfo also studied with Fra Bartolommeo...

This recently rediscovered portrait of Santi di Tito depicts a Florentine senator, with a letter in his hand indicating that the painting was executed in 1574 when the sitter was 66 years old. On the basis of these clues, it is tempting to view it as a portrait of Bartolomeo Panciatichi, who was painted some thirty years before by Bronzino (1503 - 1572). While the treatment of the hands recalls the Florentine tradition of Mannerist portraits, the comparison with Bronzino's portrait illustrates Santi di Tito's search for greater realism, despite the stereotyped composition. 1. Santi di Tito, Counter-Reformation painter and portraitist Santi di Tito was the great painter of the Florentine Counter-Reformation. He proposed a new artistic language that broke away from Mannerism. Little is known about his training in Florence (perhaps alongside Bronzino or Baccio Bandinelli), but this period of training enabled him to join the Company of Saint Luke, the guild of Florentine painters, in 1554. Between 1560 and 1564, Santi di Tito spent time in Rome, where he frequented the workshop of Taddeo Zuccari. This stay had a fundamental influence on his work, thanks to the discovery of the late work of Raphael, but also his encounters with the painters Francesco Salviati and Federico Barocci. Around 1565, Santi di Tito returned to Florence, where he remained until the end of his life, dividing his talents between the creation of important religious paintings and countless portraits. He became one of the city's leading painters, distinguishing himself, in particular, in the creation of large religious compositions in which the spirit of the Counter-Reformation was reflected. In 1568, Santi di Tito became a member of the Confraternity of Saint Thomas Aquinas...

A large, museum-quality, late-16th century, cedar, Venetian, cassone on its original stand ; the sea creature ornament probably drawn from De la Cosmographie Universelle, livre III, engraving 1550-1568 • This is the only, known, cassone of this type retaining its original stand. • The collection in Italy that it originally came from was a palazzo that it had reputedly been in for generations of the same family and this most likely why the stand has survived. • The decoration is very unusual, and delightful in the array of sea creatures depicted. The connection of the region with the sea is very strong. • The inner lid is very practical and can be used for display or serving. The interior offers masses of storage space which is particularly suitable for textiles being cedar which repels moths. • The cassone is a beautiful, rich colour and has developed a lustrous patina. • The cassone is Illustrated & discussed in discussed in ‘Woods in British Furniture Making’, (Bowett) c13 Provenance: Private collection, Mayorca. Private collection, Italy Related to: Cassone in V&A collection, no 4886-1858 Width 177 cm., 70 in., Height 87 cm., 34 ½ in. Depth 68 cm. 26 ½ in. With lid open 155 cm., 61 in “Late 16th and 17th century, London inventories confirm that cypress wood chests were relatively common in prosperous households. In 1598 there was a cypress chest in the hall of John Mason, a vintner, valued at 50 shillings. It was the most expensive piece of furniture in the house. Similarly there was a ‘fair cypress chest’ in the great chamber of Adrian Moore, haberdasher, in 1618, and a cypress chest worth £ 9 in the hall of Thomas Willis, a clotherworker in 1630. The chests were sometimes described as ‘great’ or ‘small’ but not otherwise described – presumably they were familiar to the compilers of the inventories. They were placed in halls, chambers and parlours, places where they would have been on prominent view. It is noteworthy that only the chests were imported and not, apparently, the wood. “ (p282, Cypress, Woods in British Furniture making) The decoration is very unusual, and delightful in the array of sea creatures depicted. The connection of the region with the sea is very strong. I have never seen one of these chests on its original stand. The collection in Italy that it came from was a palazzo that it had reputedly been in for generations of the same family and this most likely why the stand has survived. In practical terms, the stand makes the chest a comfortable height to use. The exterior of the chest is a beautiful, mellow colour and has developed a lustrous patina. The top comprises three planks faced with a shallow, cleated, moulded edge nailed on. The front retains its original hasp and lockplate and, as is commonly found, the lock has been removed but, unusually the original ring hinges have survived. The top opens to reveal an inner lid with ring hinges and a brass ring, revealing a large open storage compartment below, the bottom lined with an old fabric. The underside of the lid retains its original penwork and pierced decoration. The central panel depicts sea creatures, sharks, flatfish, monster fish, sea horses, Neptune and mermaids, probably drawn from De la Cosmographie Universelle, livre III, engraving 1550-1568. The panels either side depicting a crown, the sun and unicorns amongst stylised floral sprays. The surrounding naive penwork border features repeats of three naked ladies in the sea, a man wearing an animal mask with two dogs in a forest and a huntsman with two dogs. The floor of the inside of the cassone is upholstered in an 18th century red and yellow striped woven textile the colours of the Catalan flag. The front is decorated with pierced, silhouettes of beasts, trees and figures. The sides are plain with iron carrying handles. On its original stand, with similar decoration, and bearing a cartouche which would have been decorated with the arms of its original owner. Italian, last quarter of the 16th century. Condition Report : Old repair to bottom left moulding of top. Some hairline cracks to top. The hasp, lockplate and ring hinges are original, the lock has been removed. Handles probably 18th century. The inner lid was probably added in the 18th century and supporting mechanism in the 19th century. Exceptional original, lustrous colour and patina. Measures: Width 177 cm. 70 in., height 87 cm. 34 ½ in., depth 68 cm. 26 ½ in. The cassone was the principal piece of furniture in 16th century, Italy. These chests were made as bridal gifts for nobles and aristocrats from cedar specifically for storing their much prized and valued hangings, clothing and linens, as the wood repels moths and the sweet fragrance delicately scents fabrics. Consquently the cassone, as in this example might be decorated with the family coat of arms or with depictions of virtue and edifying episodes from the Bible. A young woman could not be allowed to enter marriage without some instruction. Later, many cassoni were taken apart so that the decorated front panel could be hung as a painting. The stand of this cassone has a cartouche that would have contained a painted coat of arms in the centre which shows that it was conceived for a noble family. Such cypress or cedar chests, incised in bas relief and pyrographically engraved, have long been associated with Venice and typically have a naïve decoration on the exterior. Literature: The 'cypress chests' containing 'arras, counterpoints, costely apparel, tents, and canopies, fine linen, Turkey cushions...

Vintage sculpture after Lorenzo Bartolini "Fiducia in Dio (Trust in God)" Sculpture Grand Tour Marble Figure 5/8 Size of 1835 Original Nude Female acquired from a Palm Beach estate. ...

"Don Quixote," an original silver edition bas relief with previous metal patina by Salvador Dalí, is a piece for the true collector. Cervantes' novel, Don Quixote, is perhaps one of Dalí's most famous recurring themes – his muse, only secondary to that of his wife, Gala. Dalí's ability to capture emotion in its simplest form is evident in this exceptionally executed work. This piece of art would make a great addition to an art collection and enhance most any home, perfect for those who have an affinity for Dalí's works, surrealism, Don Quixote, Cervantes, Spanish literature, or figurative art. Not so easily seen from the images is the unique three-dimensionality of the work, with the main subject projecting out at the viewer. This is a highly collectible work, which includes its original presentation case. Forty-one years after it was produced, it is rare to find Dalí bas reliefs...

Tea at the Ritz, New York Colored chalk, 1912 Signed with the estate stamp verso. (see photo) Authenticated by the artist's daughter, Mme Paulette Johnston. Image size: 10 5/8 x 10 1...

This is an original India ink, graphite, chalk, and pen on paper drawing by Hunter Stabler measuring 14.25”h x 20.25”w framed. The piece ships in the pictured frame. Hunter Stable...

Garth Bayley Thunder Original Art Pen and ink on paper Image size: H:24 cm x W:32 cm Complete Size of Unframed Work: H:24 cm x W:32 cm x D:0.1cm Sold ...

Garth Bayley Heart of the Race Original Figurative Pen and ink on watercolour paper Image size: H:24 cm x W:32 cm Complete Size of Unframed Work: H:24 cm x W:32 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Garth Bayley Heart of the Race Original pen and ink painting on watercolour paper Pen and ink on paper Image size: H24 cm x W32 cm x D 0.1cm Sold Unframed Please note that in situ images are purely an indication of how a piece may look. Heart of the Race is an original painting by Garth Bayley. Pen and ink horse racing painting. When you stuck in the middle you have to jostle for space. Horse racing art...

Moshe Avni was born in 1937, in Kibbutz Kfar Blum in the Upper Galilee in Israel. Presently, he lives and paints in Jerusalem. During the years 1956-1957, he studied Painting and Gra...

This work was done on the assignment and illustrate myths and culture of a book on the Pima and Papago Indian tribes of southern Arizona and northern Mexico. Tinkelman's vision of t...

Viktor Schreckengost (American, 1906-2008) Bovine Watercolor and pen and ink on paper Signed lower right 7.5 x 9 inches 12 x 14 inches, framed The son of a commercial potter in Sebr...