Studio of Sir Peter Lely Figurative Paintings

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...

Dutch/English artist Abraham Hulk the Younger (1851-1922) is most known for landscapes of the British countryside. This work is one of a pair (the second work is also available by s...

Italian painter (18th century) - Saint Monica in prayer. 56 x 32 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Good state of conservation of th...

Large 17th Century Italian Old Master, The Garden - Noli me tangere, Pier Francesco Cittadini (attr.) Description In the stillness of a garden in bloom, Noli me tangere captures a p...

17th century English/Dutch School, from the Circle of Sir Peter Paul Rubens A very interesting and well-painted 17th-century oil on canvas of two men seated on horseback in a landsc...

17th century Italian School The Virgin and Child with Saint John the Baptist Oil on canvas Dimensions: h. 106 cm, l. 77 cm Important 17th century Italian carved giltwood frame Fram...

The composition repeats that of a large altarpiece designed by Annibale Carracci for the church of San Francesco a Ripa, Rome (now in the Louvre, Par...

Italian painter (18th century) - Chrono. 90.5 x 106 cm. Antique oil painting on canvas, without frame (not signed). Condition report: Lined canvas. Good state of conservation of t...

Antonio Mondino (information from c. 1610 to c. 1626) Title: Mystic Marriage of St Catherine of Alexandria Medium: Oil on canvas Dimensions:...

17th Century Mexican Maestro Title: Virgin of Solitude Medium: Oil on canvas Dimensions: without frame 165 x 123 cm - with frame 194 x 152 cm Bla...

Carle Vanloo (Nice 1705 – Paris 1765) Perseus and Andromeda Oil on canvas. H. 081; W. 065. Alongside François Boucher (1703-1770) and Charles-Joseph Natoire (1700-1777), Carle Vanlo...

French 18th century old master portrait of a majestic lady dressed "à la Turque" The sitter at the viewer with a kind and enigmatic smile and twinkling eyes. She looks elegant and kind, yet also has an intelligent and determined aura, reflecting the character of someone who is in charge of her own life and destiny. De Silvestre paid great attention to her spectacular outfit, which is striking in its portrayal of the sumptuous fabrics and their decorative richness. She is wearing a luxurious royal blue robe à la...