Michelangelo Cerquozzi
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Michelangelo Cerquozzi (Rome 18/02/1602-Rome 29/03/1660) - Antica locanda per cambio cavalli, 17th century H cm 44x58 - in frame H cm 57x70 Oil on canvas Work published as autograph by Michelangelo Cerquozzi. Published in the text Briganti-Trezzani -Laureate, Sozzio publisher September 1988. Within original gilt frame.
Jacques Courtois Il Borgognone (attribuito a)
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Jacques Courtois The Burgundian (attributed to) (Saint Hippolyte 1621) - Clash of horsemen H cm 48x72 - in frame H cm 75x98 Oil on canvas
The painting under consideration can be attributed to Jacques Courtois, known as The Burgundian, a renowned 17th-century French painter who specialized in depictions of battles, military scenes and horses. His works marked by precise details and intense dynamism help define his prominent role in the artistic scene of the time. In addition to war scenes, Courtois demonstrated excellence in the depiction of horses, highlighting grace and power through accurate details and vivid colors. This work attributable to Burgundy represents a notable blend of battle epicism and equine elegance, underscoring his artistic versatility. His attention to detail, combined with vibrant color rendering, gives the painting an extraordinary realism. Courtois' celebrity is based not only on technical expertise but also on his ability to convey the beauty and vitality of horses through his brush, becoming known for his "strikingly true" way of expressing himself and coloring.
Comparisons refer to the Battle of Horsemen passed at auction in 2016 at Pandolfini Auction House or, for the rendering of the horses, similar traits are found with a Burgundian Battle held in a Private Collection in Florence.
ASOR Studio
Adam Frans van der Meulen (attribuito a)
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Adam Frans van der Meulen (attributed to) (Flemish 1632-1690) - Battle between horsemen H cm 28.5x36 - in frame H cm 36x43 In coeval frame.In coeval frame.
Francesco Graziani Ciccio Napoletano
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Francesco Graziani Ciccio Napoletano - Challenge between horsemen on horseback, Second half of the 17th century H cm 22.5x31 Oil on canvas
"The work is to be considered part of the artistic production of the seventeenth-century painter Francesco Graziani, known as Ciccio Napoletano, reminiscent with that epithet of his place of birth and training.
The painting under consideration is characterized by a crowded composition, where among the contrasts of areas in light and areas in shadow, characters with physiognomies and garments of Neapolitan pictorial reminiscence from the first half of the century stand out.
Graziani is mentioned within the Barberini inventories as the author of scenes with horses, seascapes and battles, and his fame is linked to this genre of painting. The horsemen assert themselves against a clear landscape background, delineated with a rapid, nervous stroke, enlivened by effective areas of light and uniform chromatic vibration. This is not a heroic tale but a realistic one; the brush strokes are snappy and lively, the subject matter takes shape through strands of pure color to violently depict horses and horsemen. The great fury and bizarreness that are narrated in this painting are to be compared with other works by the artist such as the Battle Scene preserved at Palazzo Bardini in Florence or the Combattimento di cavalieri at the Museo di Palazzo Pretorio in Prato.
ASOR Studio"
Cupid with quiver and putti musicians, 17th century painter H cm 40x54 - in frame H cm 57x70 Oil on poplar panel Traces of antique collection seals on back.
Oronzo Malinconico
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Oronzo Malinconico (Naples 1661-1709) - Penitent Magdalene, 17th century H cm 180x121, in frame cm 195x145 Oil on canvas Expert opinion by Professor Claudio Strinati: "The painting derives from a well-known prototype of the Guercino environment muchimitated throughout the seventeenth century and beyond in the various schools of 'Italy. Here the figure is whole and the work is enriched by a valuable Still Life at the feet of theSaint.The painting is conducted with a very correct design and appears welllumed in the 'tenebrista' fashion that from the Venetian environment radiates
also in southern Italy during the second half of the seventeenth century.Precisely for this reason I refer the painting to the interesting and rare Neapolitan painter Oronzo Malinconico, a member of the well-known family of artistsalmost all gravitating in the circle of Luca Giordano.
Such a stylistic reference would seem to be justified by interesting and vividanalogies found for our painting in the few certain works of this artist, who was well known in his time, and then entered a kind of conodobscurity from which he is beginning to re-emerge in recent times thanks to the studies ofauthoritative specialists of the period.
The Guercinesque component, evident in our painting, is also very clear in some of Oronzo's crucial works, as can be seen in the cycle of canvases he executed for the d'Avalos Chapel in Montesarchio, presumably between the eighth and ninth decades of the seventeenth century.This observation leads, therefore, to date the painting here under consideration at the same time.
We see there the same robust manner and the same mastery of drafting thatpurely induce a visual effect of sad and introverted meditation comecompete to the character depicted.
Good state of preservation.
In faith,
Claudio Strinati"
St. Joseph with Child, 17th century painter H cm 100 x 73, in frame cm 116 x 88 Oil on canvas.
Work obtained by cleaning du two overlapping paintings. Comparisons can be made with canvases by Ercole de Maria also known as Ercolino di Guido or Ercolino di Bologna from the Archbishop's Palace in Milan and Houston published by Pepper.
Expertise of Professor Claudio Strinati:
"The painting depicting Saint Joseph with Child (oil on canvas, cm. 71 x 103) falls very well within that tradition derived largely from Guido Reni, which saw numerous painters active during the seventeenth century, both direct pupils of Reni and simple followers.
The theme of Saint Joseph with Child was highly appreciated at the time, especially in the Bolognese school, and constituted a beautiful example of the artistic consecration of fatherhood in a historical period in which the theme of the Madonna and Child, which has its origins in the Middle Ages, had instead remained almost exclusive.
The painting under consideration here reflects well the Reni iconography and is to be attributed to a very close follower of the great Emilian master, Ercole de Maria, remembered by ancient sources (first and foremost Carlo Cesare Malvasia, the greatest biographer of Bolognese painters) as a faithful follower of Reni and a painter endowed with singular virtues (also as a copyist) that made him highly esteemed in his time.
The little information we have about him is summarized in Marina Cellini's excellent modern biography published in La scuola di Guido Reni, edited by M. Pirondini and E. Negro, Artioli Modena 1992, p. 203 ff.
On the basis of the indications provided by the scholar, I believe I can refer our painting with certainty to Ercole de Maria, a countryman but much younger than Reni, fixing its dating to just before the middle of the seventeenth century, although the artist's dates of birth and death are unknown.
The work is conducted in de Maria's typical style of lumpy, dense brushwork with a broad, nobly expressive stroke. The work appears to be in excellent state of preservation."
Filippo della Valle
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Filippo della Valle (Florence 1698-Rome 1768) - Flora on tracing paper with watermark H mm 430x270 Sanguigna Expert opinion by Professor Claudio Strinati: "The inscription on the sheet itself that refers without any doubtquesto drawing to Luca Giordano is totally unfounded and must have been affixed, if only judging by the handwriting, long after the execution of the work.
The only noteworthy testimony is that the drawing was acquired in Rome and the author is in fact Roman, although Tuscan by birth.This is a superb autograph by the great eighteenth-century sculptor Filippodella Valle, remembered with immense praise by ancient sources for some of the most beautiful works executed at the time, a participant, moreover, in the undertaking of theFontana di Trevi where he left some of his memorable things.
And it is precisely the comparison with the two Allegories of Salubrity and Abundance carved, around 1760, on the front of the Fountain of Trevidal della Valle, that induces us to consider this drawing under consideration here as a study elaborated by the Master for a large allegorical statue of similarimposition and exactly at the same time when he put his hand toiprojects for those two admirable statues for the Trevi Fountain.The subtlety of the stroke and the harmonious complexity of the drapery give this image that typical Baroque movement that Filippo della Valleexpresses without any temptation to rhetoric or, worse, fatuity,keeping instead sober and vigilant.This drawing is of the noblest expression and the perfect preservation contributes and makes it as fascinating as ever.
In faith,
Claudio Strinati"
Filippo Frigiotti
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Filippo Frigiotti (Rome) - Maddalena penitente H mm 413x270 Sanguigna Expert opinion by Professor Claudio Strinati: "Very rare and very fine work by a notable Roman painter whosebiographical data, however, are very little known and of whom a nucleus of certain and very significant works is preserved that demonstrate his excellencein the Roman artistic environment of the first half of the eighteenth century.
In particular, it is possible to establish a convincing comparison between our drawing under consideration here and the cycle of frescoes dated to the middle of the fourth decade of the eighteenth century, which the painter executed, signing it, in theconvent of the Church of Santa Susanna in Rome, where the treatment of the figures and the landscape denotes similar finesse of draftsmanship and intimate and quiet
sentiment.
These factors bring the artist's experience back into the sphere of that vigifine and antirhetorical taste that already preludes, at least forty years earlier,to the noble eloquence of early Neoclassicism.While not being able to indicate a precise relationship with a certain work of thisMaestro it is well possible that our drawing is to be considered as a preliminary study for an altarpiece, however, today not preserved or not yet identified, to be dated within 1730-35.Precious and well preserved this drawing is a splendid vestige of the Roman eighteenth century, still rich and fertile with new discoveries and insights.
In faith,
Claudio Strinati"
Luca Giordano
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Luca Giordano (Naples 1634-Naples 1705) - St. Dominic preaches to the crowds H mm 540x430 Drawing Expert opinion by Professor Claudio Strinati: "This is a magnificent autograph drawing by the great Neapolitan painter,a preparatory study for an altar palette probably executed byGiordano as part of the extensive work for the church of San DomenicoMaggiore in Naples.Almost all of the works (which were numerous between canvases and frescoes) executed by theSommo Maestro for the immense Neapolitan Dominican temple sonorimaste in situ, but some have disappeared or rather can no longer be found in the sites to which they belong.
Among these is precisely the altarpiece of St. Dominic preaching to the turbansthat is now preserved in a private collection in Rome and is stillinedited.Having had the opportunity to study it, I can therefore confirm that the drawing byGiordano under consideration here is precisely the final model for the altarpiece executedthen by the painter with the help of collaborators, all of whom were, moreover, excellent.The fluid and highly sensitive style of the drawing makes it possible to confirm the attribution to Giordano himself, thus dating it to the eighth decade of the seventeenth century when the Master was long active in that context.
Very well preserved, fresh and very enjoyable, this drawing has a certarilevance in the overall reconstruction of the figure of Giordano with respect to his remarkable graphic production.
In faith,
Claudio Strinati"
Knut Alfred Ekwall (attribuito a)
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Knut Alfred Ekwall (attributed to) (Sweden 1843-1912) - Man with colbac, nineteenth century H cm 64x55; in frame cm 78 x 67 Oil painting on canvas
Country Scene with Scottish Cattle, 1840 H cm 20.6x24 - in frame H cm 46.8x52 oil on board Signed and dated lower right. On the back inscribed Scottish tablet signed E. A. Davis 1840.
Charles Coumont
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Charles Coumont (Belgium 1822-Belgium 1889) - Landscape with Roman herdsmen and oxen, nineteenth century h cm 150 x 197 Oil painting on canvas
Large painting, signed at lower left C.Coumont (Charles Coumont).
Dated "Rome 1851."
Unframed work.
The painter Charles Coumont stayed in Rome from 1845 to 1885.
Portrait of oval woman with brooch around neck, 1901 H cm 65x55 - in frame H cm 87x78 Signed half on left side and dated. In gilt wood frameSigned half on left side and dated. In gilt wood frame
Morning Prayer, 1857 H cm 65x54 -in frame H cm 79x69 Oil on canvas Copy from Jean Baptiste Greuze. Signed at lower right Auguste Petiet. In French gilt wooden frame
Giuseppe Bernardino Bison
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Giuseppe Bernardino Bison (Palmanova 16/06/1762-Milano 24/08/1844) - Pair of octagonal tablets with noble genre scenes H cm 13.3x9.5 - in frame H cm 25.5x21.6 Depiction of noble genre love scenes, set in elegant interiors. In beautiful gilt frame. Already at auction with the Porro & C house, at 25,000.00 euro.Depiction of aristocratic love genre scenes, set in elegant interiors. In beautiful gilt frame. Already at auction with the Porro & C house, at 25,000.00 euro.
Adoration of the Shepherds, copy from Palma the Elder, 19th century painter cm 20x29 - in frame H cm 29x38 Painter of the 19th centuryPainter of the 19th century
Telemaco Signorini
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Telemaco Signorini (Italian 1835-1901) - Portrait of an elderly gentleman with a long white beard, probable self-portrait by Telemaco Signorini 62x50 cm; in frame 79x67 cm oil on canvas Signorini. Present expertise by Prof. Claudio Strinati, with estimate of € 15,000-€ 18,000
Cesare Maggi
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Cesare Maggi (Rome 1881-Turin 1961) - Landscape, 1947 cm 86x59, Cm 97x69 Oil paintings on canvas Signed lower right. Expertise of Prof. Claudio Strinati
Angelo Inganni
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Angelo Inganni (Brescia 1807-Gussago 1880) - View of Piazza dei Mercanti or The passage from Piazza dei Mercanti to the Pescheria Vecchia H cm 46.5x36 - in frame H cm 57x45 Oil on canvas
Signed and dated at lower right.
Expertise of Professor Claudio Strinati:
"The very fine painting is signed by Angelo Inganni and is a typical work of his late period, that is, executed during the eighth decade of the nineteenth century, when the master, after various interesting events developed between Milan and Vienna, devoted himself with great commitment and fervor to the representation of daily life in the city, with a most felicitous sense of perspective and with a magnificent aptitude for narrative painting crammed with figurines that were always strongly characterized, scattering his pictures with anecdotes and episodes of all kinds that render as best they could the tumult of a lively and teeming life.
From his early youth, to be fair, Inganni had followed this kind of approach, but over time his style became more minute and delicate, and our painting, here under consideration, fully reflects this extreme stylistic shift. In this work, then, one can still feel very vividly the influence, which had been decisive in his early phase, of the great "city painters" belonging to the generation that had preceded him, such as the Piedmontese Giovanni Migliara or the Venetian Giuseppe Canella.
From these artists Inganni draws, precisely, that taste for the urban narrative that characterizes so many memorable moments of European painting in the first half of the 19th century.
But compared to his predecessors, Inganni has more right than ever to be considered (as our painting sufficiently demonstrates) the painter par excellence of the popolo minuto and petty bourgeoisie.
In our painting one stands beside the other with naturalness and simple spontaneity, but at the same time the artist's eye is amiably involved with the joys and sufferings of everyday life. All of this is dropped into a very precise perspective structure where the gaze sweeps to distant horizons looming over the closed tangle of alleys and small squares.
The area of Milan represented in the painting under consideration here is the one where the painter practiced for decades, the area around the Church of San Marco, which still exists even though it has been profoundly transformed by modern urban planning.
A beautiful testimony of a truly distinguished painter with a work, moreover, perfectly preserved."
Odoardo Borrani
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Odoardo Borrani (Pisa 1833-Florence 1905) - Church Interior, 1881 Cm 36.5 x 96, framed 105 x 55 Watercolor on paper
Signed and dated 1881 at lower left.
Present graphological expertise on the signature attesting to the authorship.
Matteo Olivero
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Matteo Olivero - Mosque with minaret in an oriental landscape, End of the 19th century cm. 54.5 x 87.5, in frame 68 x 101 Oil on canvas
Signed at lower right Olivero. With certification by Prof. Claudio Strinati dated August 9, 2022.
Olivero was a painter and sculptor among the leading exponents of pointillism at the turn of the 19th and early 20th centuries. Originally from Pratorotondo, he moved to Turin to study at the Albertina Academy of Fine Arts. He was devoted to social themes, particularly the marginalized, and to the emotional dimension of landscape.
Antonio Ambrogio Alciati
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Antonio Ambrogio Alciati (Vercelli 05/09/1878-Milan 08/03/1929) - Seated girl H cm 65x50 - in frame H cm 87x72 Oil on canvas Signed on left side. In gilt frame.
Ernest Antoine Hebert
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Ernest Antoine Hebert (Grenoble 03/11/1817-La Tronche 04/11/1908) - La Malaria, 1848/1849 H cm 81x116 Oil on canvas Probably autograph sketch of the work La Malaria by Ernest Hebert, now in the Musèe D'Orsay (H cm 135x193). Probable autograph work, signed at lower right. It appears as a mid-nineteenth-century (Mid-19th century) work, rintelted and unframed.
Michele Catti
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Michele Catti (Palermo 1855-Palermo 1914) - Landscape depicting Monte Pellegrino with boats, Nineteenth century H cm 14.8 x 27 oil on cardboard Signed lower right.
Alessandro Milesi
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Alessandro Milesi (Venice 1856-Venice 1945) - Horse with Characters 39x48 cm, in frame 57x67 cm Oil painting on cardboard Alessandro Milesi was an Italian painter originally from Venice in the mid-19th century. He trained at the Venice Academy of Fine Arts from 1869 to 1874 with Napoleone Nani, a portrait painter. In 1879 he made his debut at the Turin Exposition. And in 1997 he exhibited at the first edition of the Venice Biennale. In 1899 he joined the Corporazione di Pittori e Scultori Italiani (Guild of Italian Painters and Sculptors) with the aim of giving greater impetus to art. His canvases are characterized by free, fast and concise, luminous brushstrokes, and the artist is mainly interested in the representation of humble, everyday reality.
Francesco Camarda
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Francesco Camarda (Palermo 1886-1962) - The family at sea, early 19th century H cm 40x62 - in frame H cm 55x76 Oil on canvas Signed lower left
Rafael Senet y Perez
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Rafael Senet y Perez (Sevilla 1856-Madrid 1927) - El Baile Diameter 25.6, in frame diameter 32. Round oil painting on panel Signed at lower right with "Sevilla" inscription. On the back stamp of the Galleria de Arte Mena de Peralta (Málaga). Already at auction Sala Retiro estimate € 7500.
Joseph Farquharson
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Joseph Farquharson (Edinburgh 1846-Finzean 1935) - Landscape cm 33x25 in frame cm 46x39 Among the most important Scottish painters, a pupil of Peter Graham and Duran, he was inspired by Barbizon. Quoted within the world's most important Dictionary of Painting, the Oxford Benezit, many of his works are now on display at the Royal Academy of Arts and the National Galleries of Scotland. Famous, above all, for his paintings of highly colorful and realistic woodland landscapes. This is an oil on canvas, in important frame.Among the most important Scottish painters, a pupil of Peter Graham and Duran, he was inspired by Barbizon. Quoted within the world's most important Dictionary of Painting, the Oxford Benezit, many of his works are now on display at the Royal Academy of Arts and the National Galleries of Scotland. Famous, above all, for his paintings of highly colorful and realistic woodland landscapes. This is an oil on canvas, in important frame.
Raffaello Sorbi
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Raffaello Sorbi (Florence 1844-Florence 1931) - 3 miniatures depicting men on horseback cm 2.5x1.5 each, in frame cm 23x33 Ex Galleria Parronchi, Milan. On the back authenticationEx Galleria Parronchi, Milan. On the back authentication
Franz Dvorak (attribuito a)
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Franz Dvorak (attributed to) (Přelouč 14/11/1862-Prague 07/06/1927) - Disarray in church, Prague, 1923 H cm 59x82.5 Oil on cardboard glued on board Unframed
Marceline Laporte
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Marceline Laporte (1839-1906) - Young woman with tambourine at the navy H cm 63x42 - in frame H cm 88x67 Oil on canvas Signed lower right. In beautiful gilt frame with embossed floral garlands
Niccolo' Cannicci
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Niccolo' Cannicci (29/10/1846-Florence 19/01/1906) - Shepherdess 47x28 cm in frame 57x38 cm Oil on panel Signed upper right. On the back label Società Amatori e Cultori di Belle Art di Roma, Mostra dell'800- February-March 1930. Formerly belonging to the prestigious collection of Ermanno Luti (Florence).
Motherhood, 1892 H cm 71 x 56; (framed) H cm 74 x 58 Oil on canvas Neoclassical painting by 19th-century painter. Signed with monogram in center on left side, with initials F.R.P.
Joseph Marius Avy
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Joseph Marius Avy (Marseille 21/09/1871-Paris 29/12/1939) - Serenade to the moon H cm 40x31 Oil on canvas Signature at lower right. On the back to the frame dedicated to Italica Bras.
Alberto Pasini
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Alberto Pasini (Busseto (Parma) 1826-Turin 1899) - Man with rifle 35x31 cm; 52x49 cm pencil drawing on paper Signed lower right A.Pasini and left Florence April 19, 1871. Accompanied by graphological expertise certifying the autograph.
Carl Reichert
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Carl Reichert (Vienna 27/08/1836-Graz 05/04/1918) - St. Bernard on the seashore H cm 21x26 Oil on panel Signature at lower right. On back partially visible label "Hugo Arnot Gemalde Sa [...]". In beautiful gilt frame.
Raffaello Sorbi
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Raffaello Sorbi (Florence 1844-Florence 1931) - Sparafucile , from the opera Rigoletto Cm 74x45, framed 90x60 Oil painting on canvas Signed lower right R.Sorbi. In coeval frame
Giuseppe Patania
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Giuseppe Patania (Palermo 1780-Palermo 1852) - Portrait of a Young Man, 1850 Cm 60x50, in frame 70x60 Oil painting on canvas Signed and dated G.Patania 1850
Michelangelo Meucci
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Michelangelo Meucci (1840-1909) - Still life of fruit with red watermelon, Florence 1875 H cm 98x70 - in frame H cm 125x98 Oil on canvas Signed at lower left. In beautiful gilt and openwork wooden frame
Sevres- Vincennes
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Sevres- Vincennes, imperial manufacture- Pair of blue porcelain vases with gilt decoration and neck decorated with cartouches depicting Napoleon and his troops, nineteenth century H cm 59.5x30.5 Swan-neck-shaped gilt brocade handles finished with stylized palmettes and square-section gilt bronze base supported by claw feet. The cartouches bear the artist's signature.Gilt brozo handles in the guise of a swan's neck finished with stylized palmettes and square-section gilt bronze base supported by claw feet. The cartouches bear the artist's signature.
Sevres- Vincennes
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Sevres- Vincennes - Pair of Old French porcelain vases with lids, gilt decoration and images of court scenes on a blue background, nineteenth century H cm 104x24 - H cm 103x24 Restoration.Restoration.
Dresden Porcelain
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Dresden Porcelain - Pair of porcelain vases, 19th/20th century h cm 34.5 of which base cm 2; h cm 33.5 of which base cm 2 With representations on the front of dogs and coats of arms, present gilded decorations and flowersWith representations on the front of dogs and coats of arms, present gilded decorations and flowers
Herend Hungary
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Herend Hungary (Herend 1826) - No. 2 porcelain shells h 7 x 23 x 22 cm Polychrome floral decorations and gildingPolychrome floral decorations and gilding
Embossed metal cartagloria, with mercury mirror, early 18th century H 47x56 cm Embossed metal with putti and rocaille styliMetal embossed with putti and rocaille styli
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