Null Marilena Boccato, Gian Nicola Gigante, Antonio Zambusi, prod. Rhyme
Italy, …

Description

Marilena Boccato, Gian Nicola Gigante, Antonio Zambusi, prod. Rhyme Italy, 1970s, 72x142 cm., circular Silos mod. table in chromed steel and transparent glass

293

Marilena Boccato, Gian Nicola Gigante, Antonio Zambusi, prod. Rhyme Italy, 1970s, 72x142 cm., circular Silos mod. table in chromed steel and transparent glass

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Estim. 1 400 - 1 600 EUR

Spanish or Novo-Hispanic school; second half of the 18th century. "Saint Anthony of Padua and Saint Christopher". Oil on canvas. Relined. It has a frame of the nineteenth century, c. 1860. Measurements: 66 x 59 cm; 83 x 73 cm (frame). During the baroque and in a more consolidated way in later times, scenes were popularized where several saints starred in images together with a didactic purpose, since they represented analogous concepts. In this particular case it is the representation of St. Anthony of Padua holding Jesus in his hands and next to him we recognize the legend of St. Christopher, that giant who carried on his shoulders a child he did not know, only out of kindness, to help him cross a river. That child turned out to be Christ, which made him the patron saint of travelers. The two monumental and placed figures cover the entire scene that develops in an open landscape, in whose distance another religious figure can be appreciated, located in the right zone of the composition. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.

Starting price 250 EUR

V. ALOJA (19th), Theatre in Pompeii, 1806, Etching Vincenzo Aloja (19th century): Theatre in Pompeii View of the ancient ruins, 1806, Etching Technique: Etching on Paper Inscription: Lower right signed in the printing plate: "Vincenzo Aloja inc.". At the lower part inscribed in the printing plate: "Veduta del Teatro di Pompei [...] In Napoli presso Nicola Gervasi al Gigante di Palazzo №23". Date: 1806 Description: This detailed engraving shows the ruins of the ancient amphitheatre of Pompeii, surrounded by lush vegetation. Several figures move through the scenery, indicating human presence and interaction with the historical site. Source: Raccolta di [...] Vedute dell'Citta e Regno di Napoli dipinte da Filippo Hackert, Carlo Grasso, Luigi Fergola etc. incise da Vincenzo Aloja, 1806 | print suite, Landscape, Architecture Keywords: Pompeii; Campania; Vesuvius; engraving; ruins; amphitheatre; vegetation; figures; ancient; historical site; archaeology; art; cultural history, 19th century, Romanticism, Cities, Italy, Pompeii (Campanian), Size: Paper: 31,1 cm x 42,0 cm (12,2 x 16,5 in), Plate: 23,4 cm x 30,8 cm (9,2 x 12,1 in), Depiction: 17,5 cm x 26,0 cm (6,9 x 10,2 in)

Starting price 250 EUR

V. ALOJA (19th) after FERGOLA (*1768), Grabmal auf Scodillo Hill, 1806, Etching Vincenzo Aloja (19th century) after Luigi Fergola (1768 - 1834 ): View of an ancient tomb on the Collina dello Scodillo near Naples, 1806, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Luigi Fergola dis. dal vero / Vincenzo Aloja incise". At the lower part inscribed in the printing plate: "Veduta di un Sepolcro antico sopra la Collina dello Scodillo a Napoli [...] In Napoli presso Nicola Gervasi al Gigante di Palazzo No. 23". Date: 1806 Description: This engraving shows an ancient burial site in an idyllic landscape near Naples. Individual figures and a dog enliven the scene, while mountain contours and a tree-lined ruin can be recognised in the background. Source: Raccolta di [...] Vedute dell'Citta e Regno di Napoli dipinte da Filippo Hackert, Carlo Grasso, Luigi Fergola etc. incise da Vincenzo Aloja, 1806 | print suite, Landscape, Architecture Keywords: Campania; Naples; Vesuvius; engraving; antique; tomb; landscape; figures; dog; mountains; trees; ruin; idyll, 19th century, Romanticism, Architecture, Italy, Size: Paper: 31,1 cm x 41,9 cm (12,2 x 16,5 in), Plate: 21,9 cm x 29,8 cm (8,6 x 11,7 in), Depiction: 17,2 cm x 26,0 cm (6,8 x 10,2 in)

Starting price 500 EUR

G. GIGANTE (1806-1876), Cave of Seiano (Posillipo), 1827, Etching Giacinto Gigante (1806 Naples - 1876 ibid.): View of the sea from the hill of the Grotta di Seiano (Posillipo), 1827, Etching Technique: Etching on Paper Inscription: lower left signed in the printing plate: "Gigante". Inscribed by another person: "Fuori Grotta". lower left dated: "1827". Date: 1827 Description: The Gulf of Naples, with its azure waters and volcanic rocky landscape, has long attracted artists and pleasure travellers to its shores. In addition to Naples and Sorrento, it was the small coastal town of Posillipo in particular that Romantic artists favoured in the 1930s. To the west and east, the slopes there offer stunning views of Naples, Mount Vesuvius and the islands and peninsulas near the coast. Depending on the location, a forest landscape and the architecture of a small settlement could even come into view, as in this brochure, while the sweeping bay of the famous gulf remains visible on the horizon. A group of landscape artists centred around Anton Smick van Pitloo (1790-1837), whose pupil was Giacinto Gigante, settled in Posillipo and founded the so-called "Posillipo School". The paintings of this group were characterised by their detailed and realistic depiction of the landscape in the Gulf region. One looks in vain for heroic exaggerations in the vedute of the "School of Posillipo", and instead finds harbour views with fishermen and country folk going about their daily lives. In view of our etching, which, apart from the prominent friar in the foreground, is sparsely populated but contains many scenic details, it is hardly surprising that Gigante also worked as a topographer during his training. The precise understanding of topographical features, the location and course of coasts and roads, as well as the accurate depiction of towns and landscape markers, were important foundations for the artist's work, whose vedutas became increasingly picturesque and romantic as he grew older. Keywords: Naples, Posillipo, Grotto, Sea, Italy, Etching, 19th century, Romanticism, Landscape, Italy, Size: Paper: 27,3 cm x 37,7 cm (10,7 x 14,8 in), Plate: 22,2 cm x 29,0 cm (8,7 x 11,4 in), Depiction: 18,4 cm x 26,1 cm (7,2 x 10,3 in)

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