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Still Life Musical Instruments Bettera Paint 17/18rt Century Oil on canvas Art

1680-1718

$12,260.33
$15,325.4120% Off
£8,996.74
£11,245.9320% Off
€10,192
€12,74020% Off
CA$16,667.64
CA$20,834.5520% Off
A$18,669.90
A$23,337.3720% Off
CHF 9,706.27
CHF 12,132.8420% Off
MX$230,535.64
MX$288,169.5520% Off
NOK 123,650.24
NOK 154,562.8020% Off
SEK 116,892.07
SEK 146,115.0820% Off
DKK 77,579.44
DKK 96,974.3020% Off
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About the Item

Bonaventura Bettera (Bergamo, 1663 - documented until 1718) Still Life with Musical Instruments (LINK) Oil on canvas 90 x 116 cm - Framed 105 x 131 cm. The merit of the 17th century Bergamasque school of painting is to have ‘invented’ a type of still life, almost exclusively of musical instruments, that was as successful with the collectors of the time as it continues to be with critics and the modern market. Alongside the dominant figure of Evaristo Baschenis, the great initiator of this pictorial strand, was Bartolomeo Bettera, who had the ability to seize the inheritance but still forged his own identity, with his own pictorial characteristics. Our beautiful canvas is to be placed precisely in the sphere of this second great painter, and in particular is attributable to the hand of his son, Bonaventura Bettera (Bergamo, 1663 - documented until 1718), and illustrates, according to a scenography dear to the artist, the usual display of musical instruments lying on a surface covered by an elegant draped carpet and framed by a curtain with golden motifs descending from above. This attribution is corroborated by a comparison with two signed canvases by Bonaventura, around which the painter's, albeit meagre, body of work has been reconstructed: the first is dated 1718 and comes from Palazzo Passi in Bergamo (now in La Spezia, private collection), the second was originally painted for Palazzo Greppi in Milan (now in a private collection in Bergamo) (1). (1) For both paintings see most recently A. Morandotti, Bonaventura Bettera, in La natura morta in Italia , edited by F. Porzio, 2 vols., Milan 1989, I, p. 278, fig. 324 and p. 275, fig. 325. It should be borne in mind that many paintings on the art market have often been attributed to his father, given the great consonance in style, although a more in-depth analysis could indeed bring them closer to the production of the younger Bettera: in particular, in Bonaventura we can see the transition to an 18th century decorative taste characterised by a marked lightening and cooling of the chromatic tone compared to his father's paintings, together with a strong simplification of details. This characteristic can precisely be seen in the painting in the Puskin Museum in Moscow (2), where we see the young Bettera, who, starting from a phase of strict adherence to his father's models, declines them through a brighter register and the adoption of celestial and pastel tones. Returning to the details of our work, and to its pendant, we thus find all the elements of the Bergamasque still life, with the display of objects and musical instruments, such as musical scores, violin, lute, viola, all arranged on a table placed in an asymmetrical position with respect to the proportions of the canvas and accompanied by a worked carpet; in addition, we can see other objects, such as a globe, a casket, a book, and various animals, all typical details of the Bettera workshop. There are no human figures, but musical instruments left there, inanimate objects, seemingly randomly arranged, as if abandoned, some upturned, on top of others; there is even a layer of dust, next to the musical manuscripts. By way of comparison, we illustrate below a roundup of works that might be similar to ours, in terms of scenic import and style of composition. ADDITIONAL INFORMATION: The painting is sold complete with a nice gilded frame and comes with a certificate of guarantee and authenticity. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional, tracked and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you.
  • Attributed to:
    Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
  • Creation Year:
    1680-1718
  • Dimensions:
    Height: 41.34 in (105 cm)Width: 51.58 in (131 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Riva del Garda, IT
  • Reference Number:
    1stDibs: LU988115154472

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Giacomo Nani (Porto Ercole 1698 - Naples 1770) Still life with flowers, riser with crystals and liqueurs, icebox, china and basket with biscuits (LINK) Oil on canvas cm. 64 x 73 - Framed cm. 83 x 93 Provenance (see images): - Dorotheum (April 14, 2005) Vienna, Lot 37 Est: €20,000 EUR - €30,000 EUR - Dorotheum (October 15, 2008), Lot 281 East: €18,000 EUR - €25,000 EUR The proposed painting is a work by the Neapolitan painter Giacomo Nani (Porto Ercole 1698 - Naples 1770) and delights us with a selection of his favourite elements in the creation of his precious still lifes; On a stone shelf, on which an embroidered carpet is laid, we see a series of objects, including two painted porcelain cups, a riser with two liqueur bottles and crystal goblets; then there is a transparent glass vase filled with flowers, and finally some foodstuffs, a basket with biscuits, a wrapped Neapolitan aubergine and an icebox with an oyster. Everything is arranged to create a refined and elegant ensemble. A pupil of Gaspare Lopez (Naples - Venice ca. 1732), one of the leading generalists of the time, Giacomo Nani developed an autonomous personality over time, much appreciated by 18th century nobles and collectors, including the Duchess of Terranova and the Duke of Limatola, as well as the Bourbons. Numerous in particular were his paintings owned by King Charles of Bourbon, which are now preserved in Naples and Caserta at the picture gallery of the Royal Estate of Carditello. Twenty-four canvases by Giacomo Nani were sent to Spain by Charles of Bourbon as gifts for his mother, Elisabeth Farnese, and are today kept at the Royal Palace of Riofrío, one of the residences of the Spanish royal family, and at the Royal Palace of the Granja de San Ildefonso, in Segovia. A painter of still lifes, his works were often devoted to a wide variety of foodstuffs. In his compositions, foodstuffs of the period appear and, in particular, in the series conserved in Spain, most of the dishes that were served on the tables of the Neapolitans in those years are depicted as in a select menu. He sometimes depicted objects typical of Neapolitan tradition, as in the present painting, the typical rosolio wine, Capodimonte ceramics...
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