Lot 1047

GIUSEPPE VERMIGLIO

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Circle of Giuseppe Ruoppolo (Naples 1639-1710) Still lifes of fruit, flowers and urns on rocky b...: Circle of Giuseppe Ruoppolo (Naples 1639-1710) Still lifes of fruit, flowers and urns on rocky banks a pair, oil on canvas 115.4 x 158.7cm (45 7/16 x 62 1/2in). (2) Footnotes: Provenance<

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GIUSEPPE MILANI: (Fontanellato, 1711 - Cesena, 1798) Ritratto dell'architetto Pietro Carlo Borboni Olio su tela, cm 96,7X74 Provenienza: Londra, Christie's, 8 luglio 2009, lotto 257 (come pittore napoletano del XVIII

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Giuseppe Barovier A Murrine vases, pair: Giuseppe Barovier A Murrine vases, pair Artisti Barovier Italy, 1920 glass with star murrines and aventurine lip wrap 5.5 dia x 7.5 h inches Murrine signature to underside of each example: [AB]. Liter

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GIUSEPPE BAROVIER (1853-1942) Murrine Vase1918-19for Artisti Barovier, blown glass applied with ...: GIUSEPPE BAROVIER (1853-1942) Murrine Vase 1918-19 for Artisti Barovier, blown glass applied with star murrines, aventurine lip wrap, applied with murrine monogram 'AB' height 9 1/2in (24cm); diameter

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Rome vs. Egypt Chess Set Designed by Giuseppe Vasari,: Rome (gold) vs. Egypt (silver) Chess Set Designed by Giuseppe Vasari, Milan, Italy (1978). High quality metal workmanship with gold-colored gilding and white metal bases. King is 10.5, Silver Pawn 8.9

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GIUSEPPE ZAIS: (Forno di Canale, 1709 - Treviso, 1781) Paesaggio con figure Olio su tela, cm 53X68 Riconducibile alla maturità del pittore l'opera esibisce una elegante stesura pittorica, in modo particolare per l'

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Giuseppe Capogrossi, Fucina degli Angeli, Glass relief Composition 2: Giuseppe Capogrossi Fucina degli Angeli Glass relief Composition 2. 1966. Blue, yellow and red glass. Abstract amorphous form elements, mounted on an illuminated, rectangular acrylic glass box. 67 x 4

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Giuseppe Ostuni, prod. Oluce: Italy, 1953, h. 150, 365 mod Floor lamp, brass rod and painted aluminumLiterature: Catalogo di produzione AA. VV, Apparecchi per illuminazione Giuseppe Ostuni, Oluce, Luminaires Moderniste, Berlino, 2

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GIUSEPPE OSTUNI: Lampada da terra mod. 347, Oluce anni '50. Marmo, ottone, alluminio verniciato, metacrilato opalino - A FLOOR LAMP BY G. OSTUNI altezza cm 180 Foto storica Oluce

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Giuseppe Ostuni (1907-1994) Telescoping Table / Floor Lamp, model 201 Oluce, Italy: Giuseppe Ostuni (1907-1994) Telescoping Table / Floor Lamp, model 201 Oluce, Italy enameled and chrome-plated steel with manufacturer's impressed marks Closed | H 22 1/2 x W 7 x D 11 inches Property f

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Giuseppe Raimondi, Target floor lamp: Giuseppe Raimondi Target floor lamp Italy, c. 1970acrylic, enameled steel, enameled aluminum 72.5 h × 31.5 w × 13 d in (184 × 80 × 33 cm) This work is unique.

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Giuseppe Ostuni Floor lamp with two lights model: Giuseppe Ostuni Floor lamp with two lights model "339-2". Produced by O-Luce, Milan, 1950s. Base in white marble, two extensible brass stems, one of which is articulated at the base, lampshades in sta

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Lenci Giuseppe Porcheddu Large Porcelain Figurine: Joan Of Arc 15"x15"x7 1/4" Minor nick to bottom of base as seen in photos.

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GIUSEPPE ANGELI: (Venezia, 1712 - 1798) Allegoria dell'Avarizia Olio su tela, cm 60X45 L'autore di questo dipinto si può identificare in Giuseppe Angeli, il più dotato fra gli allievi di Giovanni Battista Piazzetta,

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Lenci Giuseppe Porcheddu Large Porcelain Figurine: Joan Of Arc 15"x15"x7 1/4" Flea bite nick to the right ear of the horse and nose. It also has a nick to the right/bottom of the base and wear to the back right corner.

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Item Details

Description

(Alessandria, 1587 - 1635)
San Pietro
Olio su tela, cm 51X40

Il taglio dell'immagine, il volto e il carattere tenebroso suggeriscono una attribuzione del dipinto a Giuseppe Vermiglio. Non poche sono le tele simili note e rintracciabili nelle sacrestie lombarde, rappresentazioni di Santi, solitamente di contenute dimensioni, caratterizzate da un sincero naturalismo che coniuga i sentimenti lombardi con il verbo caravaggesco. Opere databili alla maturità, quando l'artista, rientrato a Milano intorno al 1620 dopo il turbolento soggiorno romano, rivisita la lezione del Morazzone e del Procaccini, adeguandosi ai dettami borromaici senza tralasciare le influenze dei bolognesi. Il volto di San Pietro rammenta quello del San Innocenzo che resuscita la Senatrice della cattedrale di Tortona, la serie di Santi della Certosa di Pavia o il Sant'Ambrogio custodito nella chiesa milanese di Santa Maria della Passione, secondo una tipologia espressiva adeguata al realismo devozionale promosso dal cardinale Borromeo e che in quegli anni ha ulteriore divulgazione grazie all'Accademia da lui fondata.

Ringraziamo Filippo Maria Ferro per l'attribuzione.

Bibliografia di riferimento:
Giuseppe Vermiglio. Un pittore caravaggesco tra Roma e la Lombardia, catalogo della mostra a cura di D. Pescarmona, Milano 2000