Lot 1266

PITTORE ATTIVO A ROMA NEL XVII SECOLO

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COPPIA DI PICCOLI SGABELLI IN LEGNO INTAGLIATO,: LACCATO E DORATO, PIEMONTE, XVIII SECOLO montati a tavolino con piano rivestito con stampe a soggetto orientale sottovetro, fasce e gambe mistilinee su piedi a ricciolo; usure, difetti e mancanze nell

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MANIFATTURA ITALIANA: Coppia di scanni Art Deco. Legno laccato, tessuto imbottito. Italia, XX secolo. cm 35x38x38 A PAIR OF ITALIAN ART DECO STOOLS Buone condizioni generali. Piccole righe, leggeri graffi, normali segni di

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FERDINANDO SANFELICE (attr. a): (Napoli, 1675 ; 1748) Cena in Emmaus Olio su tela, cm 127X181,5 Bibliografia: Archivio Zeri, n. 52331 (come anonimo napoletano del XVII Secolo) Di carattere solimenesco, la tela in esame presenta una

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SCRITTOIO IN LEGNO DI NOCE, PROBABILMENTE TOSCANA,: XVII-XVIII SECOLO di modello detto San Filippo, il coperchio parzialmente apribile così come il fronte del finto cassetto, all'interno quattro piccoli cassetti e vano a giorno porta lettere, supp

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COPPIA DI CASSETTONI IMPIALLACCIATI IN RADICA DI NOCE: E LEGNI VARI, LOMBARDIA, XX SECOLO di modello elaborato nei modi della cosiddetta bottega del 'maestro della pelle di rapa', di forma a doppia bombatura con tre grandi cassetti nel fronte e uno pi

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Ottone Rosai (Firenze, 1895 - Ivrea, 1957) - Uomo nel loggione: Olio su tela, cm. 100x70. Firma in basso a destra. Sul verso: sulla tela, etichetta e quattro timbri notarili Eredità Rosai; a pastello nero «.77.» [n. di carico dell’Eredità]; etichetta mostra

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Pio Piacentini (Roma 1846 - Roma 1928) Solid carved wood stool, legs joined by curvilinear: Pio Piacentini (Roma 1846 - Roma 1928) Solid carved wood stool, legs joined by curvilinear crosspieces joined by caster. Italy, 1908ca. Banco di Roma metallic label under the seat. (65x50x47 cm.) (sli

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COPPIA DI PANCHETTI IN LEGNO DI NOCE, XVIII SECOLO: braccioli a giorno con terminale a ricciolo e fasce mosse, la seduta rivestita in tessuto a decoro floreale policromo; difetti, restauri, poche tracce di tarlo, il tessuto sostituito, graffi e ingiall

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PIZZETTI ROMA Bench.: Bench. Wood and leather.. Cm 140,00 x 48,00 x 50,00. 1960s.

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A.M.E. FOURNIER (XIX-XX SECOLO) In the manner of. Caverd tabouret, seated in velvet unpholstered: In the manner of. Caverd tabouret, seated in velvet unpholstered with a rope-like base. . Cm 60,00 x 43,00 x 60,00. This type of tabouret was created under Napoleon III by A.M.E. Fournier, its rope-sh

2023A.M.E. FOURNIER (XIX-XX SECOLO) In the manner of. Caverd tabouret, seated in velvet unpholsteredSee Sold Price

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PIZZETTI ROMA Pair of stools.: Pair of stools. Wood and leather.. Cm 40,00 x 75,00 x 40,00. 1960s.

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PIZZETTI ROMA Pair of small benches.: Pair of small benches. Beech wood and skai.. Cm 44,00 x 35,00 x 91,00. Rome, 1960s.

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Oscar Ghiglia 1876 Livorno-1945 Firenze: firmato in alto a sinistra Il dipinto ritrae il figlio Benedetto intento a esercitarsi per la licenza di quinto anno al pianoforte, sostenuta nel 1935 al Conservatorio Luigi Cherubini di Firenze. Real

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Fortunato Depero: firmato in basso a destraTimbro al retro della Galleria Annunciata, Milano Nel 1922 Pannaggi e Paladini, cui si aggiunse quasi subito Prampolini, lanciarono il "Manifesto dell'Arte Meccanica futurista

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WILLIAM THEED: (Trentham, 1804 - Londra, 1891) Giunone e Cerere Marmo, alt. cm 139,5, larg. cm 65 e 60, prof. cm 35 Firmate e datate W. Theed, Roma 1830 e 1831 Usure, alcune sbeccature e mancanza, graffi e difetti,

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JOHANN ROTTENHAMMER (attr. a): (Monaco di Baviera, 1564 - Augusta, 1625) Natività Olio su rame, cm 39X30 Provenienza: Milano, collezione privata Monaco di Baviera, Roma e Venezia, sono le città in cui l'artista Hans Rotte

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Item Details

Description

Natura morta con uva e melograni
Olio su tela, cm 67X79

Il dipinto reca un'attribuzione collezionistica al Maestro della Natura morta Acquavella, artista il cui corpus fu raccolto per la prima volta da Mina Gregori nel 1973, intravedendo un autore di cultura caravaggesca attivo durante gli anni Venti del Seicento. Ferdinando Bologna, invece, ipotizzò una origine napoletana del pittore, mentre Carlo Volpe, sulla scia di Roberto Longhi, suggeriva il nome di Giovanni Battista Crescenzi (Roma, 1577 - Madrid, 1635), con l'apporto, nei casi di opere con figure, di Bartolomeo Cavarozzi. Recentemente, si deve a Gianni Papi l'intuizione di ricondurre la produzione al solo Cavarozzi, riconoscendo all'artista viterbese un ruolo fondamentale per le vicende della natura morta di primo Seicento. Consci di quanto sia filologicamente complesso l'argomento, la tela in esame si colloca perfettamente in questa temperie culturale che vide in quegli anni il punto di svolta per il corso della natura morta e il ruolo importantissimo che ebbe l'Accademia dei Crescenzi per tutta la generazione di artisti successivi, come il Cerquozzi (Roma 1602 - 1660) e Michelangelo di Pace (Roma, 1610 - 1670).

Bibliografia di riferimento:
A. Cottino, in La Natura Morta in Italia, a cura di F. Porzio e F. Zeri, Milano 1989, II, pp. 712-715
G. Papi, Il primo Lamento di Aminta e altri approfondimenti su Bartolomeo Cavarozzi, in Paragone, 77 (695), 2008, pp. 39-51
G. Papi, Bartolomeo Cavarozzi, Soncino, 2015
L. Trezzani, in Pittori di Natura morta a Roma. Artisti Italiani 1630-1750, a cura di G. e U. Bocchi, Artisti Italiani 1630-1750, Viadana 2005, ad vocem
L. Laureati, Michelangelo Cerquozzi (Roma 1602-1660), in G. Bocchi ; U. Bocchi, Pittori di natura morta a Roma: Artisti italiani 1630-1750, Viadana 2005, pp. 43-65