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UnknownThe Archangel Michael Defeating Satancirca 1640
circa 1640
Price:$10,000
$16,591.57List Price
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Located in New York, NY
Provenance: Private Collection, Argentina.
A work of great delicacy and intimacy, this small painting on copper by Pietro Bardellino treats a subject which grew in popularity during the Baroque period: Saint Joseph and the Christ child...
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Three Angels
By Domenico Piola the Elder
Located in New York, NY
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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Pair of 18th century Italian Still Life Paintings of Flowers
Located in Rome, IT
Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures .
18th century, oil on canvas, with original gilt-wood frames.
This pair is an exce...
Category
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$17,221 Sale Price
20% Off
H 33.47 in W 27.56 in D 1.97 in
Pair of 18th century Italian Still Life Paintings of Flowers
Located in Rome, IT
Pair of very decorative Italian Still-life paintings of flowers with vases and classical figures .
18th century, oil on canvas, with original gilt-wood frames.
This pair is an exce...
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$21,527
H 33.47 in W 27.56 in D 1.97 in
Pair of Exceptional Italian Still Life Paintings of Flowers 18th century
By Anna Caterina Gilli
Located in Rome, IT
- ANNA CATERINA GILLI or
GILLI Anna Caterina Turin 1729- 1751
Her paintings recorded in Turin as a decorative artist for the Royal Palace and the Stupinigi,
working in a simil...
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Pair of Exceptional Italian Still Life Paintings of Flowers 18th century
By Anna Caterina Gilli
Located in Rome, IT
- ANNA CATERINA GILLI or
GILLI Anna Caterina Turin 1729- 1751
Her paintings recorded in Turin as a decorative artist for the Royal Palace and the Stupinigi,
working in a simil...
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$203,314
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Pair of 18th century Italian Still Life Paintings of Flowers
Located in Rome, IT
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This pair is an exce...
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$21,527
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Saint John the Baptist Preaching, 18th Century, Old Master, Pittoni, Italian
By Giovanni Battista Pittoni
Located in Greven, DE
Pittoni came from a family of painters and architects. He received lessons from his uncle Francesco Pittoni in Venice and later from Antonio Balestra....
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H 8.67 in W 12.6 in
Fenzoni, Painting AND preparatorial Drawing, John the Baptist, Italy Renaissance
By Ferrau Fenzoni
Located in Greven, DE
The painting and the preparatory drawing are offered together.
Provenance
Private collection, Germany, Trier, c. 1980- 2013
Saint John the Baptist
Brown ink and wash over red chalk on oatmeal paper
31 x 20.5 cm
Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“.
bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso
On the reverse is a partial drawing of a Pieta, pricked for transfer.
Provenance
New York, Doyle, 14. October 2015, No. 6
The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm).
Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590.
The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”.
Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ).
Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”.
Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque.
Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...
Category
16th Century Mannerist Figurative Paintings
Materials
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Ferrau FenzoniFenzoni, Painting AND preparatorial Drawing, John the Baptist, Italy Renaissance, 1590
$28,703 Sale Price
25% Off
H 12.21 in W 8.08 in
Head of Saint John the Baptist on a platter, Rubens, Flemish, Old Master
By Peter Paul Rubens
Located in Greven, DE
This painting, attributed to the circle of Peter Paul Rubens, presents a classic depiction of the Johannesschüssel—the severed head of John the Baptist on a platter. While Rubens him...
Category
17th Century Baroque Portrait Paintings
Materials
Oil, Panel
$14,351
H 14.57 in W 20.48 in
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Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres).
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Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm.
Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum.
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Provenance: Private Collection, Lambourn
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Seymour was born in London. His father was an amateur artist and art dealer, whose other business dealings (as a banker, goldsmith, and diamond merchant) afforded young Seymour the leisure time to study art on his own, either his father's or the art at the Virtuosi Club of St. Luke - a gentleman's club his father belonged to, specializing in art. In a short time the boy was a self-taught artist, familiar with many of the prominent artists of the period.
Seymour's love of art was matched only by his love of horses. He began spending time at racetracks early on, and before long found himself absorbed in the sport - drawing, painting, owning, breeding, and racing horses. His art proved popular among the prominent sporting families of the day, eventually garnering Seymour patrons in Sir William Jolliffe and Charles Seymour, 6th Duke of Somerset...
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