Antonio Palma

Joseph and Potiphar's Wife

c. 1545-50

Charming watercolor of an intimate family scene in beautiful painted period frame. Signed in the lower right-hand corner.

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...

Provenance: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA One of the leading artists in Genoa during the second half of the seventeenth century, Domenico Piola came from a successful family of artists, renowned for their many illusionistic ceiling programs throughout Genoese churches and palaces. A prolific draughtsman and painter, Domenico oversaw an extremely productive studio. In addition to his collaborations with numerous other artists, Domenico also provided many designs for book illustrations and prints that circulated throughout Europe, earning him international exposure and high acclaim in his own day. As Dr. Anna Orlando has indicated (written communication), the present work is an early work by Piola, datable from the late 1640s. At this time the young artist came strongly under the influence of Castiglione and Valerio Castello, while admiring the works of Giulio Cesare Procaccini. Piola’s works from this period are exuberant and fluid, and the artist’s love of portraying children is evident from the angels and putti that populate both his altarpieces and more intimate paintings. The present work depicts three angels...

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