17th Century Italian School

'St. Peter Giving Communion', Old Master, Milanese Figural, Romanesque, Baroque

Circa 1660

An early 17th-century Flemish School oil on copper showing the mythological contest between Apollo and Pan in which the mountain god, Tmolus, gives judgement for Apollo. Unsigned. Pa...

An early eighteenth-century, Italian baroque figural oil showing a group of cherubs or Amorini grouped together before red velvet drapes, one reclining on a wooden cross and wearing ...

Signed lower left, 'D. Guillot' for Donat Guillot (French, 19th Century) and painted circa 1870. Displayed in a period and antique, carved giltwood and gesso frame...

An early 19th century, figural oil of a young woman with chestnut hair, shown wearing a headscarf and glancing towards the viewers left. A detail from a copy of 'Rebeca at the Well',...

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...

Oil on canvas attributed to Philipp Peter Roos Rosa da Tivoli, realized in the late 17th Century in Italy. Large work with very fine workmanship, in particular in the creation of an...

Vincenzo Re (Parma, Italy, 1695 - Naples, Italy, 1762) Title: Christ Healing a Paralytic Medium: Oil on canvas Dimensions: without frame 50 x 62 cm - with frame 70 x 92 cm Expertise...

Antonio Travi, called Sestri (Genoa, Sestri Ponente 1608 - Genoa 1665) Landscape with ruins and biblical scene First half of the seventeenth century oil on canvas, 82 x 121 cm The beautiful painting published, which presents a vast landscape with architectural ruins, fully reflects the pictorial poetics of Antonio Travi (Sestri Ponente 1608 - Genoa 1665), the first landscape painter of the Genoese pictorial school; A poetic that remains constant throughout his career: Bernardo Strozzi...