Lot 1183

GIACOMO FRANCESCO CIPPER detto IL TODESCHINI

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GUGLIELMO CACCIA detto il MONCALVO: (Montabone, 1568 - Moncalvo, 1625) La Vergine con il Bambino e angeli musicanti che appaiono a un santo Penna, gessetto nero e bistro su carta, cm 20,8X13,2 Allievo di Giovanni Francesco Biancaro, Gug

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PITTORE LOMBARDO DEL XVII-XVIII SECOLO: Gesu' tra i dottori Olio su tela, cm 142X185 Il dipinto reca un'attribuzione collezionistica a Giovanni Battista della Rovere detto il Fiamminghino (Milano, 1561 - Milano, 1627), riferimento con evide

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IL RITROVAMENTO DEI CORPI DEI SS. PIETRO E PAOLO: Giovanni Benedetto Castiglione detto Il Grechetto IL RITROVAMENTO DEI CORPI DEI SS. PIETRO E PAOLO. 1647/51 Acquaforte. mm 294x202. Percy, E21. Bellini (Castiglione), 57. Firmata sulla lastra in basso

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Francesco Nonni: Francesco Nonni. Fanciulle con ghirlanda (Per Il romanzo dei piccoli). 1914 Xilografia a colori. mm 200x185. Margini di pochi millimetri. Applicata su cartoncino. In cornice. Esposta alla mostra Nonni

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CARLO FRANCESCO NUVOLONE (attr. a): (Milano, 1608/1609 - 1661/1662) Allegoria della Carità Olio su tela, cm 26,5X33,5 Il dipinto trova precisi riscontri con la tela di medesimo soggetto pubblicata da Filippo Maria Ferro nel 2013 (cfr.

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PITTORE DEL XVII SECOLO: Allegoria della Verità Olio su tela, cm 106X142 Il dipinto fu attribuito a Pietro Muttoni detto Pietro della Vecchia da Didier Bodart. Allievo del Padovanino, Pietro Muttoni fu una personalità compl

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PITTORE UMBRO DEL XVII SECOLO: Visione di San Francesco Olio su tela, cm 102X80 La tela rappresenta Sant'Antonio da Padova in atto di ricevere tra le braccia GesÃ¹ Bambino contornato da cherubini. Il santo porta l'abito dei frati

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SWAROVSKI, "The Wild Horses", scultura in cristallo: SWAROVSKI, "The Wild Horses", scultura in cristallo sfaccettato (cm 33x17), edizione limitata 2001, esemplare n. 08809/10000 inciso sulla base, designer Martin Zendron, allegato certificato di autenti

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Louis Vuitton: travelling bag shoe rack (width 54cm): Louis Vuitton: travelling bag shoe rack (width 54cm) (minor defects)

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HAEFTEN, Benedetto. Escuela del Corazon. Instruccion: HAEFTEN, Benedetto. Escuela del Corazon. Instruccion para que el Corazon averso se convierta Ã Dios. Madrid: Imprenta Real, 1720. 2 volumi 16mo, con incisioni nel testo. Legatura coeva in pergamena

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YARDLEY, ATKINSONS, PENHALIGONÃˆS, HARTNELL E ANONIMI: YARDLEY, ATKINSONS, PENHALIGONÃˆS, HARTNELL E ANONIMI Ãš Lotto di 14 bottiglie di profumo e eau de toilette dÃˆepoca unite a due confezioni da tre bottiglie cadauna, dimensioni e fatture diverse

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SONNINI, Carlo Nicola. Voyage en Grece et en Turquie.: SONNINI, Carlo Nicola. Voyage en Grece et en Turquie. Parigi:Buisson, 1801. 2 volumi in 8vo (fioriture). Bella legatura del tempo in pieno vitello con decorazioni in oro al dorso.

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BACCARAT Ãš "Les Armes sacrÎ˜es de ThÎ¦bes" bottiglia: BACCARAT Ãš "Les Armes sacrÎ˜es de ThÎ¦bes" bottiglia di profumo piramidata in vetro ialino e viola con il cuore color oro 768/1500 cm 10

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FRANCESCO ZANIN: (Nove, 1824 - Venezia, 1884) Veduta Olio su tela, cm 65X131 Provenienza: Venezia, Semenzato, 25 aprile 1993, lotto 69 (come attribuito a Bernardo Bellotto) Londra, Christie's, 6 dicembre 2006, lotto 1

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PHILIPP PETER ROOS detto ROSA DA TIVOLI: (Francoforte, 1655 o 1657 - Roma, 1706) Scena pastorale Olio su tela, cm 105X129 Figlio del pittore Johann Heinrich Roos, Philipp Peter Roos, conosciuto anche come Rosa da Tivoli, giunse in Italia nel

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PHILIP PETER ROOS, detto ROSA DA TIVOLI: (Sankt Goar, 1657 - Roma, 1706) Studio di capre Olio su tela, cm 44X30 Figlio del pittore Johann Heinrich Roos, Philipp Peter Roos, conosciuto anche come Rosa da Tivoli, giunse in Italia nel 1677 e vi

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GIACOMO FRANCESCO CIPPER detto IL TODESCHINI

Item Details

Description

(Feldkirk, 1664 - Milano, 1736)
Scena di genere
Olio su tela, cm 92X127

La rivalutazione e la conoscenza del Todeschini, dopo gli studi del Geiger, del Tarchiani e di De Logu, vede una prima rivalutazione critica con la mostra dedicata a Fra Galgario e al Settecento bergamasco del 1955, dove pur tenuto in minore considerazione rispetto al Ceruti, l'artista viene accolto tra i protagonisti dell'arte lombarda. Tuttavia, un'indagine ampia sulla sua produzione si avrà solo nel 1976 con il Tognoli (cfr. L. Tognoli, Giacomo Francesco Cipper, il Todeschini e la pittura di genere, Bergamo 1976) seguita dagli studi del Morandotti inerenti alla natura morta (A. Morandotti, in La natura morta in Italia, a cura di F. Porzio e F. Zeri, Milano 1989, I, pp. 288-290) e alla monografia di Silvia Proni (cfr. AA.VV., Giacomo Francesco Cipper detto il Todeschini, Soncino 1994). Tornando al dipinto in esame, lo si può considerare tipico della sua produzione e, anche se sporco e meritevole di restauro, presenta brani di alta qualità. Basti osservare i dettagli delle vesti e del volto per cogliere il sincero intento realistico del pittore, certamente discontinuo nella sua produzione ma mai manchevole nel suo spirito di osservazione.