Genoa and Its Treasures
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New, Old, & Unexpected Ii Robert Simon Fine
NEW, OLD, & UNEXPECTED II ROBERT SIMON FINE ART NEW, OLD, & UNEXPECTED II CATALOGUE BY Dominic Ferrante and Robert B. Simon ROBERT SIMON FINE ART Front cover: CONTENTS Gaspar Antoine de Bois-Clair, Double Portrait of King Frederik IV and Queen Louise of Mecklenburg-Güstrow of Denmark, oil on wood strips, laid on panel, 15 ½ x 12 ¾ inches (39.4 x 32.4 cm) Back cover: William Cave Thomas,The Argument, pencil and watercolor on paper, 23 ½ x 18 ½ inches (59.6 x 47 cm) INTRODUCTION 6 High-resolution digital photographs and WORKS 8 condition reports of the works included in this catalogue are available upon request. INSTALLATION 52 All prices are accurate as of October 2020 and are inclusive of the costs of packing, shipping, and ENTRIES 62 insurance to domestic destinations. ENDNOTES 120 © 2020 Robert Simon Fine Art, Inc. Photography by Glenn Castellano ROBERT SIMON FINE ART 22 EAST 80TH STREET · NEW YORK · NY · 10075 TEL: 212·288·9712 FAX: 212·202·4786 BY APPOINTMENT AT: SATIS HOUSE 53 TOWER HILL ROAD EAST · TUXEDO PARK · NY · 10987 TEL: 845·351·2339 FAX: 845·351·4332 ROBERT B. SIMON DOMINIC FERRANTE JR. [email protected] [email protected] INTRODUCTION The second edition ofNew, Old, & Unexpected expands each category. The newest of the “New” is a 2020 work by the New York artist Brendan H. Johnston—a trompe l’oeil triptych that wittily explores issues of material, craft, and illusion. The oldest of the “Old” is a predella by Miguel Alcañiz, the Valencian painter who was a key figure in the transmission of trecento Tuscan style into Spain. -
The Gattilusj of Lesbos (1355—1462). «Me Clara Caesar Donat Leebo Ac Mytilene, Caesar, Qui Graio Praesidet Iraperio'
The Gattilusj of Lesbos (1355—1462). «Me clara Caesar donat Leebo ac Mytilene, Caesar, qui Graio praesidet iraperio'. Corsi apud Folieta The Genoese occupation of Chios, Lesbos, and Phokaia by the families of Zaccaria and Cattaneo was not forgotten in the counting- houses of the Ligurian Republic. In 1346, two years after the capture of Smyrna, Chios once more passed under Genoese control, the two Foglie followed suite, and in 1355 the strife between John Cantacuzene and John V Palaiologos for the throne of Byzantium enabled a daring Genoese, Francesco Gattilusio, to found a dynasty in Lesbos, which gradually extended its branches to the islands of the Thracian sea and to the city of Ainos on the opposite mainland, and which lasted in the original seat for more than a Century. Disappointed in a previous attempt to recover his rights, the young Emperor John V was at this time living in retirement on the island of Tenedos, then a portion of the Greek Empire and from its position at the mouth of the Dardanelles both an excellent post of obserration and a good base for a descent upon Constantinople. During his so- journ there, a couple of Genoese galleys arrived, commanded by Fran- cesco Gattilusio, a wealthy freebooter, who had sailed from his native oity to onrvp rmt for himself, annidst the confusion of the Orient, a petty principality in the Thracian Chersonese, äs others of his compa- triots had twice done in Chios, äs the Venetian nobles had done in the Archipelago 150 years earlier. The Emperor found in this chance visi- tor an Instrument to effect his own restoration; the two men came to terms, and John V promised, that if Gattilusio would help him to recover his throne, he would bestow upon him the hand of his sister Maria — an honour similar to that conferred by Michael VIII upon Benedetto Zaccaria. -
Ministero Per I Beni E Le Attività Culturali E Per Il Turismo Archivio Di Stato Di Genova
http://www.archiviodistatogenova.beniculturali.it Ministero per i beni e le attività culturali e per il turismo Archivio di Stato di Genova Instructiones et relationes Inventario n. 11 Regesti a cura di Elena Capra, Giulia Mercuri, Roberta Scordamaglia Genova, settembre 2020, versione 1.1 - 1 - http://www.archiviodistatogenova.beniculturali.it ISTRUZIONI PER LA RICHIESTA DELLE UNITÀ ARCHIVISTICHE Nella richiesta occorre indicare il nome del fondo archivistico e il numero della busta: quello che nell’inventario è riportato in neretto. Ad esempio per consultare 2707 C, 87 1510 marzo 20 Lettere credenziali a Giovanni Battista Lasagna, inviato in Francia. Tipologia documentaria: Lettere credenziali. Autorità da cui l’atto è emanato: Consiglio degli Anziani. Località o ambito di pertinenza: Francia. Persone menzionate: Giovanni Battista Lasagna. occorre richiedere ARCHIVIO SEGRETO 2707 C SUGGERIMENTI PER LA CITAZIONE DELLE UNITÀ ARCHIVISTICHE Nel citare la documentazione di questo fondo, ferme restando le norme adottate nella sede editoriale di destinazione dello scritto, sarà preferibile indicare la denominazione completa dell’istituto di conservazione e del fondo archivistico seguite dal numero della busta, da quello del documento e, se possibile, dall’intitolazione e dalla data. Ad esempio per citare 2707 C, 87 1510 marzo 20 Lettere credenziali a Giovanni Battista Lasagna, inviato in Francia. Tipologia documentaria: Lettere credenziali. Autorità da cui l’atto è emanato: Consiglio degli Anziani. Località o ambito di pertinenza: Francia. Persone menzionate: Giovanni Battista Lasagna. è bene indicare: Archivio di Stato di Genova, Archivio Segreto, b. 2707 C, doc. 87 «Lettere credenziali a Giovanni Battista Lasagna, inviato in Francia» del 20 marzo 1510. - 2 - http://www.archiviodistatogenova.beniculturali.it SOMMARIO Nota archivistica p. -
Lettres Autographes Et Documents Manuscrits
VENTE AUX ENCHÈRES PUBLIQUES PARIS Pierre Bergé & associés Vente LETTRES AUTOGRAPHES ET DOCUMENTS MANUSCRITS MARDI 22 DÉCEMBRE 2009 15 HEURES DROUOT MONTAIGNE SALLE BOURDELLE PIERRE BERGÉ & ASSOCIÉS - FRANCE Pierre Bergé président Antoine Godeau - Frédéric Chambre vice-présidents 12 rue Drouot 75009 Paris - T. +33 (0)1 49 49 90 00 - F. +33 (0)1 49 49 90 01 numéro d’agrément_2002-128 du 04.04.02 SECRÉTAIRE GÉNÉRAL DÉPARTEMENT DÉPARTEMENT Fabrice de Sournac JUDAÏCA DESIGN T. + 33 (0)1 49 49 90 29 Amélie Sieffert ART NOUVEAU [email protected] T. + 33 (0)1 49 49 90 09 ART DÉCORATIF [email protected] François Epin RELATIONS PUBLIQUES T. + 33 (0)1 49 49 90 13 PRESSE SPÉCIALISÉE DÉPARTEMENT [email protected] Nathalie du Breuil BIJOUX - HORLOGERIE Sandor Gutermann T. + 33 (0)1 49 49 90 08 Dora Blary T. + 33 (0)1 49 49 90 33 [email protected] T. + 33 (0)1 49 49 90 11 [email protected] [email protected] CHARGÉE DE PROJETS : RÈGLEMENT PRESSE / ÉVÈNEMENTS DÉPARTEMENT Mariana Si Saïd Marie Le Tallec MEUBLES ET OBJETS D’ART T. + 33 (0)1 49 49 90 02 T. + 33 (0)1 49 49 90 26 TABLEAUX - DESSINS ANCIENS F. + 33 (0)1 49 49 90 04 [email protected] ORIENT ET EXTRÊME-ORIENT [email protected] EXPERTISE - INVENTAIRE DIRECTION ARTISTIQUE Daphné Vicaire ORDRES D’ACHAT Aurore Blot Lefevre T. + 33 (0)1 49 49 90 15 Sylvie Gonnin T. + 33 (0)1 49 49 90 03 [email protected] T. -
The Representation of Roma in Major European Museum Collections
The Council of Europe is a key player in the fight to respect THE REPRESENTATION OF ROMA the rights and equal treatment of Roma and Travellers. As such, it implements various actions aimed at combating IN MAJOR EUROPEAN discrimination: facilitating the access of Roma and Travellers to public services and justice; giving visibility to their history, MUSEUM COLLECTIONS culture and languages; and ensuring their participation in the different levels of decision making. Another aspect of the Council of Europe’s work is to improve the wider public’s understanding of the Roma and their place in Europe. Knowing and understanding Roma and Travellers, their customs, their professions, their history, their migration and the laws affecting them are indispensable elements for interpreting the situation of Roma and Travellers today and understanding the discrimination they face. This publication focuses on what the works exhibited at the Louvre Museum tell us about the place and perception of Roma in Europe from the15th to the 19th centuries. Students aged 12 to 18, teachers, and any other visitor to the Louvre interested in this theme, will find detailed worksheets on 15 paintings representing Roma and Travellers and a booklet to foster reflection on the works and their context, while creating links with our contemporary perception of Roma and Travellers in today’s society. 05320 0 PREMS ENG The Council of Europe is the continent’s leading human rights organisation. It comprises 47 member Volume I – The Louvre states, including all members of the European Union. Sarah Carmona All Council of Europe member states have signed up to the European Convention on Human Rights, a treaty designed to protect human rights, democracy and the rule of law. -
Journa{ of Tfze Frencft-Caruufian 1-Ftritage Society of Micftigan
E R I T A G ··E.· Journa{ of tfze frencft-Caruufian 1-ftritage Society of Micftigan . ' Vol. 28 #2 Apr. 2007 Correction of Catherine Baillon's Grimaldi Ancestry John P. DuLong, FCHSM member ([email protected]) Many French Canadians descend from the noble lady Catherine Baillon and through her they have ancestors far removed from the cold shores of the St. Lawrence. Among her medieval Franco-Italian ancestors who once basked in the warmth of the Mediterranean are the Grimaldis. In the Table d'ascendance de Catherine Bail/on (12 generations) two Grimaldi descents for Catherine Baillon are presented. 1 The first goes through the Grimaldi of Beuil family and the second is through the Grimaldi of Antibes family. 2 While the former stands intact, the latter is in need of correction. In the ninth generation of Catherine Baillon's ancestry she descends from Rainier Lascaris, count of Vintimille and co-seigneur of La Briga and Limone. He was the son of Ludovic (or Louis) Lascaris, count ofVintimille, and Tiburge Grimaldi de Beuil. Rainier was married around 1400-1403 to Madeleine Grimaldi, the daughter of Luc Grimaldi and Yolande Grimaldi, whose parents, and thus her relationship to Luc, are unknown. Luc was the brother of Marc Grimaldi, with whom he shared the seigneuries of Antibes, Cagnes, and Menton. 3 It is well established that Luc and Marc were the sons of Antoine Grimaldi who was married to Catherine Doria. 4 The issue is who are the parents of Antoine Grimaldi? In the Table d'ascendance de Catherine Bail/on (12 generations) the answer to this question is that Antoine Grimaldi was the son of Rainier I Grimaldi, the founder of the family that eventually became the princes of Monaco. -
Conplimenti, Sciô Scindico! P
BOLLETTINO TRIMESTRALE, OMAGGIO AI SOCI - SPED. IN A.P. - 45% - ART. 2 COMMA 20/B LEGGE 662/96 - GENOVA Anno LI, N.S. - N. 4 - Ottobre - Dicembre 2019 Iscr. R.O.C. n. 25807 - Tariffa R.O.C.: “Poste Italiane S.p.A. - Sped. in Abb.to Postale - D.L. 353/2003 (conv. in L. 27/02/2004 n. 46) art. 1 comma 1, DCB Genova” sito internet: www.acompagna.org - [email protected] - tel. 010 2469925 in questo numero: Franco Bampi Piero Bordo Conplimenti, sciô Scindico! p. 1 Escursione a Murta per la festa della zucca » 20 Alfredo Giuseppe Remedi Isabella Descalzo Il “Compagno” Benito Mussolini »3 A Croxe de San Zòrzo » 24 Libbri riçevui » 26 Maria Cristina Ferraro Genova nel 1792 »6 Premi A Compagna 2019 » 31 Francesca Di Caprio Francia Galleria di donne genovesi del passato » 12 Maurizio Daccà Vitta do Sodalissio » 32 Ha 90 anni il trenino di Casella! » 15 “I Venerdì” a Paxo » 39 Alessandro Pellerano Studiosi di zoologia nell’Ottocento genovese » 16 “I Martedì” de A Compagna » 40 CONPLIMENTI, SCIÔ SCINDICO! di Franco Bampi Mai ciù me l’aviæ inmaginòu, devo ese sincero, ma a cösa a l’é pròpio sucessa. L’ea o 14 d’agosto do 2019 e in sce RAI3 gh’ea ’n’intervista a-o scindico de Zena, Marco Bucci, ch’o comemorâva o cròllo do Ponte Mo - randi e e quarantetræ vitime do cròllo. Pe rimarcâ o ca - ratere tenace e fòrte da gente de Liguria, senpre pronta a dase da fâ specce inte disgraçie, o Scindico o s’é rifæto a-a stöia de Zena e o l’à dito testoalmente: «La storia di Genova, la Repubblica di Genova – pochi lo sanno, i Genovesi tutti – ha 800 anni di vita; è una delle Repubbliche più longeve al mondo. -
Stephen Ongpin Fine Art
STEPHEN ONGPIN FINE ART GIOVANNI BATTISTA CASTELLO, CALLED IL GENOVESE Genoa 1547-1639 Genoa Saint Jerome in Prayer Bodycolour, heightened with gold, on vellum. 149 x 117 mm. (5 7/8 x 4 5/8 in.) Provenance Private collection. Literature Elena de Laurentis, ‘Il pio Genovese: Giovanni Battista Castello’, Alumina, April-June 2012, illustrated p.29. Giovanni Battista Castello apprenticed in the studio of Luca Cambiaso in Genoa, probably in the 1560s, following an initial period of training with his father Antonio, a goldsmith. (His younger brother, the painter Bernardo Castello, also studied with Cambiaso.) Castello began his career as a goldsmith and indeed it was not until 1579, when he was already in his thirties, that he began working primarily as an illuminator and miniature painter. Certainly, his grounding in the goldsmith’s art is evident in the jewel- like qualities of much of his oeuvre. His earliest works are indebted to the example of the miniaturist Giulio Clovio and, through him, Michelangelo. Castello became one of the foremost miniaturists of the day, and his colourful religious scenes, usually on vellum, were widely admired and much praised. Indeed, his fame spread as far as Spain, where around 1583 he was summoned by Philip II to work on the illumination of several choir books for the Royal monastery of El Escorial. Although Castello apparently produced over two hundred choir book illuminations (‘corali miniati’) while at the Escorial, none of these appear to have survived. Castello was back in Genoa by 1586, and for much of the remainder of his long career – he died when he was in his nineties - was at the peak of his artistic activity. -
Exhibition Checklist: a Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022
UPDATED: 8/11/2020 10:45:10 AM Exhibition Checklist: A Superb Baroque: Art in Genoa, 1600-1750 Sep 26, 2021–Jan 9, 2022 The exhibition is curated by Jonathan Bober, Andrew W. Mellon Senior Curator of Prints and Drawings National Gallery of Art; Piero Boccardo, superintendent of collections for the City of Genoa; and Franco Boggero, director of historic and artistic heritage at the Soprintendenza Archeologia, Belle Arti e Paesaggio, Genoa. The exhibition is organized by the National Gallery of Art, Washington, and the Scuderie del Quirinale, Rome, with special cooperation from the City and Museums of Genoa. The exhibition is made possible by the Robert Lehman Foundation. Additional funding is provided by The Exhibition Circle of the National Gallery of Art. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Press Release: https://www.nga.gov/press/exh/5051.html Order Press Images: https://www.nga.gov/press/exh/5051/images.html Press Contact: Laurie Tylec, (202) 842-6355 or [email protected] Object ID: 5051-345 Valerio Castello David Offering the Head of Goliath to King Saul, 1640/1645 red chalk on laid paper overall: 28.6 x 25.8 cm (11 1/4 x 10 3/16 in.) National Gallery of Art, Washington, Rosenwald Collection Object ID: 5051-315 Giovanni Benedetto Castiglione The Genius of Castiglione, before 1648 etching plate: 37 x 24.6 cm (14 9/16 x 9 11/16 in.) sheet: 37.3 x 25 cm (14 11/16 x 9 13/16 in.) National Gallery of Art, Washington, Gift of Ruth B. -
The History of Painting in Italy, Vol. V
The History Of Painting In Italy, Vol. V By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK III. BOLOGNESE SCHOOL. During the progress of the present work, it has been observed that the fame of the art, in common with that of letters and of arms, has been transferred from place to place; and that wherever it fixed its seat, its influence tended to the perfection of some branch of painting, which by preceding artists had been less studied, or less understood. Towards the close of the sixteenth century, indeed, there seemed not to be left in nature, any kind of beauty, in its outward forms or aspect, that had not been admired and represented by some great master; insomuch that the artist, however ambitious, was compelled, as an imitator of nature, to become, likewise, an imitator of the best masters; while the discovery of new styles depended upon a more or less skilful combination of the old. Thus the sole career that remained open for the display of human genius was that of imitation; as it appeared impossible to design figures more masterly than those of Bonarruoti or Da Vinci, to express them with more grace than Raffaello, with more animated colours than those of Titian, with more lively motions than those of Tintoretto, or to give them a richer drapery and ornaments than Paul Veronese; to present them to the eye at every degree of distance, and in perspective, with more art, more fulness, and more enchanting power than fell to the genius of Coreggio. Accordingly the path of imitation was at that time pursued by every school, though with very little method. -
14 GIOVANNI MARIA BOTTALLA Detto RAFFAELLINO Savona, 1613 - Milano, 1640
Maison d ’Art Tableaux anciens - Objets d ’art S.C.S. Corsini & Cie Park Palace - 27, avenue de la Costa - MC 98000 Monaco Tel (377) 97 97 11 60 Fax (377) 97 97 11 61 Internet site: http://www.oldmasters.com E-mail Monaco: [email protected] Maison d ’Art Presenta / Presents LE MERAVIGLIE DELL’ARTE IMPORTANT OLD MASTER PAINTINGS 25 marzo - 25 aprile 2005 25 March - 25 April 2005 Maison d’Art - Monaco (Monte Carlo) In copertina Cover illustration GIOVANNI MARIA BOTTALLA detto RAFFAELLINO Bacco e Arianna nell’isola di Nasso Bacchus and Ariadne on the Island of Naxus Catalogo n. 14 Catalogue no. 14 © Copyright 2005 by Edizioni Maison d’Art Monaco Tutti i diritti riservati All rights reserved LE MERAVIGLIE DELL’ARTE IMPORTANT OLD MASTER PAINTINGS Maison d’Art - Monaco (Monte Carlo) 25 marzo - 25 aprile 2005 25 March - 25 April 2005 Consulenza scientifica Consultative Committee Hugh Brigstoke Maria Cristina Chiusa Arabella Cifani Frank Dabell Gigetta Dalli Regoli Daniele de Sarno Prignano Mina Gregori Sir Denis Mahon Camillo Manzitti Franco Monetti Filippo Pedrocco Annalisa Scarpa Sonino Robert B. Simon Nicola Spinosa David Stone Marco Tanzi Marietta Vinci-Corsini Tiziana Zennaro Autori delle schede del catalogo Authors of Catalogue Entries Hugh Brigstoke [H.B.] Maria Cristina Chiusa [M.C.C.] Arabella Cifani [A.C.] Frank Dabell [F.D.] Gigetta Dalli Regoli [G.R.] Daniele de Sarno Prignano [D.S.P.] Mina Gregori [M.G.] Camillo Manzitti [C.M.] Franco Monetti [F.M.] Filippo Pedrocco [F.P.] Annalisa Scarpa Sonino [A.S.S.] Robert B. Simon [R.B.S.] Nicola Spinosa [N.S.] Marco Tanzi [M.T.] Marietta Vinci-Corsini [M.V.C.] Coordinamento della mostra Exhibition Coordinator Silvia Bonfante - 5 - Cura e redazione del catalogo Catalogue edited by Frank Dabell Tiziana Zennaro Traduzioni Translation Frank Dabell (Italiano-Inglese): cat. -
Our Lady of Mercy
doors Our Lady with the Child ceramic bas-relief of Saint Jesus (in the centre) and musi- Maria Giuseppa Rossello 3 , cal angels. foundress of the Daughters of Our Lady of Mercy. The third chapel e Shrine hosts a masterpiece by Built in the same year as the Domenichino (Domenico Apparition (1536) following a Zampieri; 1581 - 1641), the design by the architect Antonio Presentation of Mary in the Sormano Pace, the works lasted Temple 4 , a classical work until 1540. The interior of the of the Bolognese school. building with three naves, a On the left wall is a bust crypt and a very raised pres- of Saint Giuseppe Marello bytery is in Lombard medieval 3 canonized in 2005. style, perhaps as a sign of ven- The fourth chapel con- eration for the old cathedral of school. Behind the altar is tains a Crucifi xion 5 by G.B. Savona, which in those years was a magnifi cent wooden choir Paggi (1554 - 1627) from destined to be demolished by 1 with two orders of stalls the Genoese school. the Genoese Republic. In fact to carved by P. Grassi in the year The first chapel on a large extent the Shrine mirrors 2 1644 (his are also the cup- 5 the left as you enter the 7 the shape, size and elevation of boards in the sacristy which Shrine is dedicated to the this Cathedral. Apparition of 18th March 1536. date to 1643) and inlaid in The apse above the organ has Annunciation 6 . The can- artist from Genoa, and it is The crypt is reached through a This is where Pope Pius VII, the nineteenth century by the frescoes of musical angels by Eso vas is attributed to Andrea the oldest work present in the beautiful marble porch sculpted at the end of his imprisonment Savona family of Garassino.