DROUOT
Friday 05 Jul at : 10:00 (CEST)

Antique Paintings

Cambi Casa d'Aste - +390236590462 - Email

Mura di S. Bartolomeo, 16 16122 Gênes, Italy
Information Conditions of sale
Live
Register
178 results

Lot 110 - Bartolomeo Biscaino 1632 Genova-1657 Genova - St. Siro driving the rooster from the well The painting presented here turns out to be an important addition to the catalog of the painter Bartolomeo Biscaino. In addition to the obvious references to the works of Grechetto, Fiasella, and Valerio Castello found in the rendering of the figures crowding the composition, the painting's Genoeseness is also attested by its original and indigenous iconographic choice. St. Syrus, bishop of Genoa, was in fact a subject depicted several times within the works of the Genoese masters, drawing inspiration directly from Jacopo da Varagine's Legenda Aurea: "His government is symbolized in the tale of the liberation of the city from a monstrous basilisk, which nestled at the bottom of a well, plaguing the city with its breath." The original text spoke of "serpens uenenose" but also reported, "erat autem aspectu terribilis, crista instar galli incapite insignitus." In the painting in question, in fact, next to the figure of St. Siro Biscaino depicts a rooster, confirming that the artist and his patrons were inspired by this famous source for the creation of this canvas. Cm 128X110 oil on canvas Good conservative/aesthetic condition. Lined (rintelo of not recent execution). Some pronounced repainting and color reinforcement on the figures ( St. Syrus, marginal figure upper right, some reinforcement on the faces, and various scattered others) are evident. This is an early aesthetic intervention, so the aesthetic interventions result in "repainting" . Small and diffuse detachments of pictorial matter are evident. along the upper side of the painting is observed a horizontal line that corresponds to the seam of the canvas. The painting presented here turns out to be an important addition to the catalog of the painter Bartolomeo Biscaino. In addition to the obvious references to the works of Grechetto, Fiasella, and Valerio Castello found in the rendering of the figures crowding the composition, the painting's Genoeseness is also attested by the original and indigenous iconographic choice. St. Syrus, bishop of Genoa, was in fact a subject depicted several times within the works of the Genoese masters, drawing inspiration directly from Jacopo da Varagine's Legenda Aurea: "His government is symbolized in the tale of the liberation of the city from a monstrous basilisk, which nestled at the bottom of a well, plaguing the city with its breath." The original text spoke of "serpens uenenose" but also reported, "erat autem aspectu terribilis, crista instar galli incapite insignitus." In the painting in question, in fact, next to the figure of St. Siro Biscaino depicts a rooster, confirming that the artist and his patrons were inspired by this famous source for the creation of this canvas.

Estim. 6 000 - 8 000 EUR

Lot 138 - Giovan Battista Pittoni 1687 Venezia-1767 Venezia - Isaac blesses Jacob Along with Giambattista Tiepolo and Piazzetta, Pittoni was one of the most prominent artists within the Venetian art scene of the Rococo period, enjoying great success and favor among his contemporaries. The work presented here can be seen as an example of the artist's production during his early period, as evidenced by the characters, portrayed as half figures, which stand out thanks to their accentuated contours against a monochrome background. Several versions made by Pittoni of this composition are known, differing only in slight variations, such as the specimen once held in the collection of Richard Buckle (London) or the one preserved at the Eremitage in St. Petersburg, in which, however, the protagonists are portrayed full-length. Also known is a drawing, now in the Museo Correr in Venice, which well documents the artistic process that gave rise to this successful composition. Cm 98X75 oil on canvas Private Collection, Genoa Reference bibliography: Pittoni, edited by F. Zava Boccazzi, Venice, 1979, cat. no. D.45, p. 213, cat. no. 75@@@ fig. 30@@@ cat. no. 253 The work is in good conservative/aesthetic condition. Rintelato. Presence of some slightly deformed support tears, closed again during lining. Wood's lamp observation reveals the presence of some scattered color retouching at the tears and along the margins. In order. Along with Giambattista Tiepolo and Piazzetta, Pittoni was one of the most prominent artists within the Venetian art scene of the Rococo period, enjoying great success and favor among his contemporaries. The work presented here can be seen as an example of the artist's production during his early period, as evidenced by the characters, portrayed as half figures, which stand out thanks to their accentuated contours against a monochrome background. Several versions made by Pittoni of this composition are known, differing only in slight variations, such as the specimen once held in the collection of Richard Buckle (London) or the one preserved at the Eremitage in St. Petersburg, in which, however, the protagonists are portrayed full-length. Also known is a drawing, now in the Museo Correr in Venice, which well documents the artistic process that gave rise to this successful composition.

Estim. 10 000 - 15 000 EUR