Giuseppe Ponga (attr.)
Chioggia 1856 - Venice 1925
Venetian Capricci
pair of oil…

Description

Giuseppe Ponga (attr.) Chioggia 1856 - Venice 1925 Venetian Capricci pair of oils on canvas, 38x48 cm.

253

Giuseppe Ponga (attr.) Chioggia 1856 - Venice 1925 Venetian Capricci pair of oils on canvas, 38x48 cm.

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Estim. 2 000 - 3 000 EUR

Pair of armchairs; attributed to VALENTINO (Astragal, Italy,1829-, Venice, 1902); Venice, c. 1880. Walnut and partially gilt embossed leather. They have tow on the inside. The original leather has been preserved and one of the moldings of the front pillar is missing. Measurements: 78 x 57 x 57 cm (x2). Pair of armchairs made of molded and carved walnut wood. Both have the same design of curved openwork backrest decorated with fantastic animals leaning on each other. The upper part of the backrest is decorated in high relief with a mask. The legs are baluster-shaped and have vegetal detailing on the knees. The style of this pair of chairs is very reminiscent of works by Valentino Besarel in fact in the book "Valentino Panciera Besarel (1829-1902) Storia e arte di una bottega d'intaglio in Veneto" you can see a very similar fireplace front made in marble. "Besarel" is a nickname of popular origin used to distinguish the artist's family from other homonymous lineages, but it has come to dominate even the surname, to the point that even in the artistic world he is known simply as "Valentino Besarel". The last representative of the "Besarel" Panciera was Valentino's daughter Caterina, who died in 1947. The Besarel family had been engaged in wood carving for generations: his great-grandfather Valentino (1747-1811), a pupil of Giampaolo Gamba "Zampòl" and disciple of the master Andrea Brustolon, his grandfather Giovanni (1778-1842) and also his father Giovanni Battista (1801-1873) had been carvers; the latter had achieved some local fame by leaving works in several churches in the Zoldo area. Valentino received his first training in his father's workshop, to which he added, in the early 1840s to the school of the Belluno draughtsman Antonio. The turning point came when he met Giuseppe Segusini, who saw him work while, following his father, he decorated the archdeaconry church of Agordo. Thanks to the architect from Feltre, he was able to attend the Accademia di Venezia from 1853 to 1855, although he was unable to complete his studies. His first independent works, also commissioned by Segusini, were Saints Peter and Paul for the high altar of the parish church of Tiser and the Four Evangelists for the cathedral of Belluno (1855-1856). Besarel worked for a long time in his native land, until in the sixties he moved to Venice, where he received great honors and European fame, to the point of becoming an official supplier to the main monarchies of the continent. Not even the disability he suffered with the loss of four fingers could interrupt Valentino's activity. They have tow in the interior. The original leather is preserved and one of the front pillar moldings is missing.

Estim. 25 000 - 30 000 EUR

Fireplace front; attributed to VALENTINO BESAREL (Astragal, Italy,1829-, Venice, 1902); Venice, c.1880. Carved walnut. It shows wear on the base. Provenance; Palace of the Marquises of Unza. Measurements: 259 x 204 x 44 cm. Front of fireplace made of carved walnut. The piece, which stands out for its monumental dimensions, is supported on a base whose pilasters adopt the realistic form of Atlas. Above them a delicate cornice shows a detailed ornamentation based on carved acanthus leaves, accompanied by sparrows of extreme lightness in form and in the center a feminine face of horses on a rampage. This horizontal frieze gives way to a cornice entablature inspired by classical architecture. Above it, a large crest presents in relief a scene of mythological inspiration that seems to represent Venus and Hephaestus in the workshop of the latter, framed by a large garland. This detail is accompanied by a round sculptural group with two little love birds on the top and a male and a female figure flanking the sides. The technical quality of the carving of this large fireplace frontal suggests that it is a work by Valentino Besarel. In fact, in the book "Valentino Panciera Besarel (1829-1902) Storia e arte di una bottega d'intaglio in Veneto" you can see a very similar fireplace frontal made in marble. "Besarel" is a nickname of popular origin used to distinguish the artist's family from other homonymous lineages, but it has come to dominate even the surname, to the point that even in the artistic world he is known simply as "Valentino Besarel". The last representative of the "Besarel" Panciera was Valentino's daughter Caterina, who died in 1947. The Besarel family had been engaged in wood carving for generations: his great-grandfather Valentino (1747-1811), a pupil of Giampaolo Gamba "Zampòl" and disciple of the master Andrea Brustolon, his grandfather Giovanni (1778-1842) and also his father Giovanni Battista (1801-1873) had been carvers; the latter had achieved some local fame by leaving works in several churches in the Zoldo area. Valentino received his first training in his father's workshop, to which he added, in the early 1840s to the school of the Belluno draughtsman Antonio. The turning point came when he met Giuseppe Segusini, who saw him work while, following his father, he decorated the archdeaconry church of Agordo. Thanks to the architect from Feltre, he was able to attend the Accademia di Venezia from 1853 to 1855, although he was unable to complete his studies. His first independent works, also commissioned by Segusini, were Saints Peter and Paul for the high altar of the parish church of Tiser and the Four Evangelists for the cathedral of Belluno (1855-1856). Besarel worked for a long time in his native land, until in the sixties he moved to Venice, where he received great honors and European fame, to the point of becoming an official supplier to the main monarchies of the continent. Not even the disability he suffered with the loss of four fingers could interrupt Valentino's activity. It shows wear at the base.

Estim. 5 500 - 6 000 EUR

Venetian school; XVI century. "St. Peter and St. Paul". Bronze and marble base. Measurements: 17,5 x 5 cm; 18 x 8 x 4,5 cm; 7 x 6,5 x 6,5 x 6,5 cm (bases,x2). Pair of sculptures made in gilded bronze, except for the nimbus sanctity. Aesthetically the two figures show a great quality in the modeling of the elongated and delicate forms added to the great lightness provided by the movement of the drapery and its folds. Both figures have a religious theme as they represent St. Peter, holding the keys and St. Paul with his usual attributes. It is clear the influence of neoclassicism in these sculptures, not only for the modeling of both pieces that shows a perfect knowledge of classical anatomy, but also for the elegant pose adopted by the figures, which stand out for their great stylization. They are pieces of exceptional quality, reminiscent to a great extent of a figure of St. Philip attributed to the artistic circle of Sansovino and a reference in the Cleveland Museum Catalog. This type of pieces were worked in a meticulous and exquisite way, paying so much attention to detail as can be seen in the treatment of the clothing and facial features that in both cases are completely individualized. Aesthetically this couple is related to the Venetian school, which is described thanks to elegance, and opulence. Characteristics of a booming city, with a great trade linked to a strategic geographical location, gateway to the East. Venice became a school that delved into both Western and Eastern traditions, resulting in a vaporous aesthetic shown from a magnificent point of view.

Estim. 13 000 - 14 000 EUR

GIROLAMO FORABOSCO (Venice, 1605 - Padua, 1679). "Joseph and the wife of Potiphar". Oil on canvas. -Bibliography: Girolamo Forabosco. Chiara Marin. Venezia Barocca. Close Edizioni. Page 457. Fig. 98 (cat.69). Measurements: 105 x 135 cm. In this magnificent painting the biblical episode of the attempt of Potiphar's wife to seduce Joseph is narrated. This one tries to flee from the embrace of the beautiful young woman, whose nudity reveals an agile and slender body. Joseph, dressed in tunic and cloak, tries not to look at her, adopting a gesture of rejection. Her sensual insinuation and frank nudity contrasts with his double layer of clothing and modesty. Since the Renaissance, this has been a much treated theme, and the artist picks up this legacy by entering into a fruitful dialogue with tradition, as is usual in his best compositions. In the flesh tones ignited by passion, in the histrionic gestures and the satin finishes of the garments, the painter succeeds in reviving the sensuality of the Venetian school, infusing it with a romantic imprint. Potiphar, who was a high official belonging to the Pharaoh's court, had acquired Joseph, who had been sold as a slave. After his diligence, Potiphar, appointed Joseph head of the house, it was at that moment, when Potiphar's wife began to notice Joseph, trying to seduce him. Taking advantage of an occasion when the house did not have any of the men in charge, the woman insinuated herself to Joseph, who fled. However, upon Potiphar's return, the woman accused Joseph of attempted rape, for which Joseph was sent to prison. Girolamo Forabosco or Gerolamo Ferrabosco was a 17th-century Venetian Baroque painter active in Padua and Venice between 1636 and 1644. After studying with Alessandro Varotari (il Padovanino) in Venice, Girolamo Forabosco was artistically influenced by Bernardo Strozzi. He was admitted to the Fraglia dei Pittori between 1634 and 1639 and was a paying member from 1640 to 1644. He adopted the compositional style and subjects of Tiberio Tinelli. By 1653 he had a studio in Padua, but the following year he was back in Venice, where he painted an altarpiece for the patriarch Federico Cornaro, who died in 1654, and a Portrait of Carlo Contarini, Doge. Throughout his career he produced a relatively small number of works, mainly portraits, a genre that secured his reputation, recovering models of sixteenth-century compositions and reviving them through a more vibrant use of color. -Bibliography: Girolamo Forabosco. Chiara Marin. Venezia Barocca. Cierre Edizioni. Page 457. Fig. 98 (cat.69).

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