DOCSLIB.ORG

Download Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Catalogue ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT PEPPIATT GUY ONGPIN STEPHEN WATERCOLOURS & DRAWINGS HUNDRED ONE 2016-2017 ONE HUNDRED DRAWINGS AND WATERCOLOURS Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. Riverwide House 6 Mason’s Yard Duke Street, St James’s London SW1Y 6BU GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 20th Century WINTER CATALOGUE 2016–2017 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk 1 We are delighted to present our ninth annual Winter catalogue of One Hundred Drawings and Watercolours, which will, as usual, be accompanied by an exhibition in our London gallery. This catalogue includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the 16th century to the first half of the 20th century. Although the areas of Old Master drawings, early British drawings and watercolours, and 19th and 20th Century drawings have long been regarded as disparate fields, each with their own enthusiasts, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas. The works we have selected for this catalogue will show that a fine drawing or watercolour – whoever the artist and whatever the date - is always worthy of note. As the enclosed price list shows, the prices of the drawings are equally broad in scope – from well under £1,000 to around £15,000 – with most of the works at the lower end of this range. The catalogue aims to show that drawings and watercolours by well-established artists can be affordable, and interesting works by lesser-known artists especially so. We believe that there is much here for the novice collector, as well as for the more experienced connoisseur or curator. Indeed, we are very pleased that a significant number of British, European and American museums have acquired works from these annual Winter catalogues over the past eight years. Our respective individual catalogues of more significant drawings will be issued in January and May 2017, accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this Winter catalogue of more moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at our gallery over the coming months. Guy Peppiatt Stephen Ongpin The following catalogue contains drawings and watercolours from the stock of Stephen Ongpin Fine Art (SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA and the latter GPFA in red at the top of each page; please direct any enquiries as appropriate. For reasons of space, only a brief account of each drawing is given in the catalogue. Further information, artist’s biographies and references, as well as high-resolution digital images of each of the works, are available on request. The drawings are available for viewing from receipt of the catalogue. A price list is included. Most, but not all, of the works are sold framed. 2 SOFA 1 flowers of the Marchigian region, and became one of the GHERARDO CIBO foremost botanists of his day. A gifted artist, despite his lack Genoa or Rome 1512-1600 Rocca Contrada of any formal training, he produced a large number of colourful and scientifically accurate botanical illustrations. As Landscape with a Farmhouse on a Hillside an amateur landscape draughtsman, Cibo worked mainly in the provinces of Ancona, Pesaro, Macerata and Perugia. His Pen and brown ink and brown wash landscape drawings can be divided into two distinct types; 1 1 129 x 210 mm., 5 /8 x 8 /4 in. views of actual sites in the Marches and purely imaginary landscapes. The drawings made on the spot are often Provenance: inscribed with the location depicted and with astrological Cardinal Gaspari(?) symbols to denote the specific day of the week. While Cibo Rafael Valls, London sent some of his drawings to family members and fellow P. & D. Colnaghi, London, in 1969 botanists, most seem to have been done for his own Private collection, New York pleasure. Born into the Genoese nobility, Gherardo Cibo studied in The present sheet was part of a group of twelve landscape Rome and Bologna, receiving a fine humanist education, drawings from a now-dismembered sketchbook that and showed a talent for drawing from an early age. He appeared on the London art market in 1971. The flyleaf of became a soldier and diplomat attached to the papal court the sketchbook was dated 24 October 1567, while some in Rome. In 1540, aged just twenty-eight, Cibo retired from of the drawings are dated 1567 or 1568. A long inscription his papal duties and settled in the small town of Rocca in the sketchbook noted that the drawings contained in it Contrada in the Apennines. He dedicated the rest of his life were made by Cibo during walks in the countryside. to the study, collection and illustration of the plants and 3 SOFA actual size 2 HENDRICK GOUDT Goudt is thought to have travelled to Italy in 1604, and by The Hague c.1583-1648 Utrecht 1607 is recorded as living in the house of the German painter Adam Elsheimer in Rome, although it remains Three Orientals in Conversation unclear whether he was formally a pupil of the elder artist. Goudt made a handful of superb prints after Elsheimer’s paintings which served to spread the posthumous Pen and brown ink on buff paper, laid down reputation of the German painter and, by extension, his Irregularly trimmed and made up at the left edge and own. Following Elsheimer’s death in 1610, Goudt returned upper left corner to the Netherlands and by 1611 had settled in Utrecht. A small made up section at the lower right However, he seems to have stopped working after the last 5 3 91 x 60 mm., 3 /8 x 2 /8 in. of his prints after Elsheimer was published, in 1613. Around 1620 Goudt became severely mentally ill, and by 1625 had Provenance: been declared legally incompetent. He died in 1648, Iohan Quirijn van Regteren Altena, Amsterdam (Lugt 4617) suffering from mental derangement. Thence by descent As a draughtsman, Goudt worked primarily in pen and ink, Literature producing figural groups, landscapes and Biblical subjects. Hans Möhle, Die Zeichnungen Adam Elsheimers. Das Werk He also made a number of highly detailed pen and ink des Meisters und der Problemkreis Elsheimer – Goudt, Berlin, drawings on vellum for collectors. His drawings are difficult 1966, p.56, illustrated pl.9, no.G16 to accurately date, however, since only one sheet is dated. While Goudt’s early drawings show the influence of Jacques Little is known of Hendrick Goudt’s artistic training, but it is de Gheyn II, his mature draughtsmanship is indebted to the thought that he studied calligraphy and engraving with Jan manner of Elsheimer; indeed, the figure drawings of the two van de Velde the Elder, and printmaking with Simon Frisius. artists have long been confused. 4 SOFA actual size 3 STEFANO DELLA BELLA This drawing was once part of a sketchbook used by Stefano Florence 1610-1664 Florence della Bella on a trip to the Low Countries between 1647 and 1650. The drawing shares much of its provenance with The Heads of Two Women from Aalkmar a similar and slightly larger sheet from the same sketchbook, depicting what seems to be the same woman and showing Pen and brown ink and grey wash, over a pencil more of her costume, on which the artist further noted that the drawing was made in Aalkmar on the 6th of May 1647. underdrawing This would suggest that the present sheet was drawn at the Inscribed Anabatiste d’ hollanda at the top same time and place. The Italian inscription at the top of the 3 1 94 x 130 mm., 3 /4 x 5 /8 in. present sheet describes the subjects as Anabaptists from Holland. Another drawing from the same period and quite Provenance: possibly part of the same sketchbook, showing two Dutch Possibly Giuseppe Vallardi, Milan or Flemish women wearing distinctive headpieces, was part Possibly William Mayor, London of an important album of drawings by Stefano della Bella P. & D. Colnaghi, London assembled by the 18th century English calligrapher Thomas Sir Bruce Ingram, Chesham (Lugt 1405a) Tomkins, and dispersed at auction in 1975. Other drawings Carl Winter, Cambridge by the artist from this Dutch period are in the British Private collection, London Museum, the Louvre and the Istituto Nazionale per la Trinity Fine Art, London, in 1990 Grafica in Rome. Monica Streiff, Switzerland 5 SOFA 4 LUDOLF BAKHUIZEN had also taken up painting, and was soon established as one Emden 1631-1708 Amsterdam of the leading marine painters in the city, receiving numerous commissons and enjoying the patronage of several important patrons. After 1672, when Bakhuizen’s Coastal Scene with Shipping main competitors as marine artists, Willem van de Velde the Elder and Willem van de Velde the Younger, moved to Pen and brown ink and grey wash England, his output increased significantly. Laid down on a 17th century mount Signed L: B: Fecit at the lower left of the mount Prolific as a draughtsman, Bakhuizen produced, in the 5 5 118 x 169 mm., 4 /8 x 6 /8 in.
Load more

Recommended publications
  • ONE HUNDRED DRAWINGS and WATERCOLOURS Dating from the 16Th Century to the 21St Century
    O N E H U N D R E D ONE HUNDRED D R A W I N DRAWINGS G S & W A AND T E R C O L O WATERCOLOURS U R S S T E P H E N O N G P I N G U Y P E P P I A T T Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2 0 1 7 Riverwide House - 2 0 6 Mason’s Yard 1 Duke Street, St James’s 8 London SW1Y 6BU 100 drawings PART 1.qxp 13/11/2017 09:10 Page 1 GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century WINTER CATALOGUE 2017–2018 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk 1 100 drawings PART 1.qxp 14/11/2017 11:23 Page 2 We are delighted to present our tenth annual Winter catalogue of One Hundred Drawings and Watercolours, which includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the 16th century to nearly the present day. Although the areas of Old Master drawings, early British drawings and watercolours, 19th Century and Modern drawings have long been regarded as disparate fields, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas.
    [Show full text]
  • The Head of a Sheep Pastel, Black Chalk and Touches of Gouache on Light Brown Paper
    Francesco Paolo Michetti (Tocco di Casauria 1851 - Francavilla al Mare 1929) The Head of a Sheep Pastel, black chalk and touches of gouache on light brown paper. Signed Michetti at the lower right. 527 x 438 mm. (20 3/4 x 17 1/4 in.) Sheep, goats and other animals appear in several of Michetti’s paintings of pastoral subjects in the 1880’s and 1890’s. The present sheet, executed with the artist’s characteristic bravura handling of a combination of pastel and gouache, may be compared stylistically with a large sheet of studies of goats in pastel, datable to 1886, in a private collection. Between 1895 and 1900 Michetti also made several photographs of sheep and goats, which he may also have used as preparatory studies for paintings. Provenance: Private collection, Chile, until 2010. Artist description: A pupil of Domenico Morelli at the Accademia di Belle Arti in Naples, Francesco Paolo Michetti enjoyed his earliest success in Paris, where he participated in the Salons of 1872 and 1875. However, it was not until 1877, when his large canvas of The Procession of the Corpus Domini at Chieti was exhibited in Naples to popular acclaim, that he secured his reputation in Italy. Michetti developed a distinctive style of painting, with the use of bold colours and vibrant effects achieved with a virtuoso technique. A common thread in his work is his interest in rural themes, and particularly the beliefs and traditions of his native Abruzzi region, seen in such paintings of the 1880’s as The Vow, now in the Galleria Nazionale d’Arte Moderna in Rome.
    [Show full text]
  • Gazette Du Bon Ton: Reconsidering the Materiality of the Fashion Publication
    Gazette du Bon Ton: Reconsidering the Materiality of the Fashion Publication by Michele L. Hopkins BA in Government and Politics, May 1989, University of Maryland A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Arts in Decorative Arts and Design History August 31, 2018 Thesis directed by Erin Kuykendall Assistant Professor of Decorative Arts & Design History ©2018 by Michele L. Hopkins All rights reserved ii Dedication To Mary D. Doering for graciously sharing her passion and extensive knowledge of costume history in developing the next generation of Smithsonian scholars. Thank you for your unwavering encouragement. This thesis is dedicated to you. iii Acknowledgments What strange phenomena we find in a great city, all we need do is stroll about with our eyes open. ~Charles Baudelaire The author wishes to gratefully acknowledge the guidance of Tanya Williams Wetenhall, Erin Kuykendall, and Kym Rice. To Elizabeth Deans Romariz, thank you for shaping my thesis topic and for inspiring me to strive for academic excellence beyond my comfort zone. The academic journey into the world of rare books changed my life. To April Calahan, thank you for your generosity in opening the vast resources of the Library Special Collections and College Archives (SPARC) at the Fashion Institute of Technology (FIT) to me. To Simon Kelly, my summer with you at the Saint Louis Art Museum introduced me to late nineteenth-century Paris, the center of art, fashion, commerce, and spectacle. Your rigorous research methods inform my work to this day, you are the voice in my head.
    [Show full text]
  • Rediscovering George Barbier, Art Deco Illustrator And
    REDISCOVERING GEORGE BARBIER, ART DECO ILLUSTRATOR AND COSTUME DESIGNER EXTRAORDINAIRE We begin at the ending. 15 March 1932 witnessed the passing of George Barbier in Paris at the relatively young age of 50 after two years with an unknown illness. His funeral was held four days later at 7:45 A.M. in his native city of Nantes, on the Loire River in the west of France. It was an obscure ending to a truly remarkable life lived to its fullest among the high society and rich artistic scene that was Paris in the first quarter of the 20th century. His social circle included such notables as the poet Robert de Montesquiou, author Marcel Proust and jeweller Louis Cartier. Born into the wealthy home of Nantes export/import merchant Charles Barbier and his wife Marie Mathilde Ertaud in 1882, Georges demonstrated his artistic talent at an early age. He was a student at the École régionale du Dessin et des Beaux‐Arts in Nantes, where he could be found reproducing paintings housed in the local museum by such notable artists as Antoine Watteau and Ingres. He is believed to have spent several years in London before enrolling in the Paris studio of Jean‐Paul Laurens at the Académie Julien in 1908. His time in England is shrouded in mystery, but his personal library that was dispersed upon his death housed numerous titles illustrated by leading English illustrators such as William Blake, Charles Ricketts, Gustave Doré, Arthur Rackham, and the famous Aubrey Beardsley. Barbier also owned personal correspondence by Beardsley, as well as some of his original illustrations for works by Edgar Allan Poe.
    [Show full text]
  • History of the Royal Marines 1837-1914 HE Blumberg
    History of the Royal Marines 1837-1914 HE Blumberg (Minor editing by Alastair Donald) In preparing this Record I have consulted, wherever possible, the original reports, Battalion War and other Diaries, accounts in Globe and Laurel, etc. The War Office Official Accounts, where extant, the London Gazettes, and Orders in Council have been taken as the basis of events recounted, and I have made free use of the standard histories, eg History of the British Army (Fortescue), History of the Navy (Laird Clowes), Britain's Sea Soldiers (Field), etc. Also the Lives of Admirals and Generals bearing on the campaigns. The authorities consulted have been quoted for each campaign, in order that those desirous of making a fuller study can do so. I have made no pretence of writing a history or making comments, but I have tried to place on record all facts which can show the development of the Corps through the Nineteenth and early part of the Twentieth Centuries. H E BLUMBERG Devonport January, 1934 1 P A R T I 1837 – 1839 The Long Peace On 20 June, 1837, Her Majesty Queen Victoria ascended the Throne and commenced the long reign which was to bring such glory and honour to England, but the year found the fortunes of the Corps at a very low ebb. The numbers voted were 9007, but the RM Artillery had officially ceased to exist - a School of Laboratory and nominally two companies quartered at Fort Cumberland as part of the Portsmouth Division only being maintained. The Portsmouth Division were still in the old inadequate Clarence Barracks in the High Street; Plymouth and Chatham were in their present barracks, which had not then been enlarged to their present size, and Woolwich were in the western part of the Royal Artillery Barracks.
    [Show full text]
  • Revista Istorică
    REVISTA ISTORICĂ SERIE NOUĂ TOMUL XIX, NR. 5–6 septembrie–decembrie 2008 S U M A R FLUVII ŞI PORTURI CONSTANTIN ARDELEANU, Diplomaţia britanică şi „chestiunea Dunării” (1878–1883) (II) .. 413 ŞTEFAN AFTODOR, Aspecte din istoria locală: Problema evreiască la Brăila (1940–1944) .. 435 REZISTENŢĂ INDIGENĂ – PROPAGANDĂ STRĂINĂ DORIN DOBRINCU, „Un balon minuscul”: „Mişcarea Naţională de Rezistenţă” (1945– 1946) (II) ........................................................................................................................ 451 CEZAR MÂŢĂ, NAGY PIENARU, Propaganda Ungariei versus România. Documente ale Serviciului Special de Informaţii (1941–1943) (I) .......................................................... 497 RĂZBOI ŞI PACE RADU TUDORANCEA, Odiseea Grupului Sanitar Român pe frontul războiului din Coreea (1950–1953) ................................................................................................................... 519 VASILE PALI, România şi Conferinţa de Pace de la Paris ....................................................... 527 SURSE ŞI METODE IRINA GAVRILĂ, Direcţii de cercetare în informatizarea surselor de date istorice ................. 547 MARIA VENERA RĂDULESCU, Sigiliile de dregător şi stemele voievodului Matei Basarab (1632–1654) ................................................................................................................... 565 MISCELLANEA – PUNCTE DE VEDERE DANIELA BUŞĂ, Câteva precizări pe marginea unei recenzii ................................................ 575 „Revista istorică”,
    [Show full text]
  • Bernard Boutet De Monvel
    Dans l’intimité de la famille BOUTET DE MONVEL Vendredi 14 octobre 2016 à 13h30 Drouot - Richelieu, salles 1 et 7 9, rue Drouot - 75009 Paris Expositions publiques : Le jeudi 13 octobre, de 11 heures à 21 heures, Téléphone pendant l’exposition et la vente : 01 48 00 20 01 / 01 48 00 20 07 Retransmission en direct - Enchérir en direct Ventes aux Enchères et Expertises Alexandre FERRI Bruno MAUVAIS FERRI & Associés Commissaires-Priseurs 53, rue Vivienne - 75002 Paris Tél. 01 42 33 11 24 - Fax. 01 42 33 40 00 David GELLY E-mail : [email protected] Responsable de la vente www.ferri-drouot.com 1 Préparez-vous à l’inattendu ENCHÉRIR SUR INTERNET Drouot Live www.drouotlive.com ACHETER SUR INTERNET Drouot Online www.drouotonline.com FACILITER VOS ACHATS Drouot Card www.drouot.com/card S’INFORMER La Gazette Drouot www.gazette-drouot.com EXPÉDIER VOS ACHATS Drouot Transport www.drouot-transport.com Hôtel Drouot 9, rue drouot 75009 Paris +33 (0)1 48 00 20 20 [email protected] www.drouot.com 2 EXPERTS Préparez-vous à l’inattendu BBM & MBM Stéphane-Jacques ADDADE Expert indépendant, membre de la Chambre européenne des Experts d’Art. Expert des œuvres de Maurice et Bernard Boutet de Monvel. [email protected] ENCHÉRIR SUR INTERNET Drouot Live www.drouotlive.com ORFÈVRERIE CABINET DÉCHAUT - STETTEN & ASSOCIÉS 10, rue du Chevalier de St George, 75001 Paris - Tél. 01 42 60 27 14 ACHETER SUR INTERNET Courriel : [email protected] Drouot Online www.drouotonline.com A décrit les lots 157 et 158 FACILITER VOS ACHATS ANNEXE - Visuel et dimensions des cachets Drouot Card DESSINS ANCIENS CABINET DE BAYSER www.drouot.com/card 69, rue Sainte-Anne , 75002 Paris - Tél.
    [Show full text]
  • The Law Relating to Officers in the Army
    F .. ----·······-_-·--·------·--~ F· r· J-, Jf J3f f. i i ] udge ftdvooaie 9u,..L-l._ U.S. flnny. I · 1 ~-~P. ......~ THE LAW RELATING TO OFFICERS IN THE ARMY, q. 9l~.. THE LA "\V RELATING TO OFFICERS IN THE AR~IY. BY HARRIS PRENDERGAST, OF LINCOLN'S INN, ESQ., BARRISTER-AT-LAW. REVISE!) EPITION. LONDON: PARKER, FURNIV ALL, AND PARKER, MILITARY LIBRARY, WHITEHALL. MDCCCLV. LONDON': PRINTED BY GEORGE PHIPPS, RA..~ELJ.GH STREET, EATON SQUARE, PREFACE TO FIRST EDITION. THE preparation of the following Work was sug­ gested by my brother, Lieutenant William Grant Prendergast, of the 8th Bengal Cavalry*, Persian Interpreter on the Staff of Lord Gough, Commander­ in-chief in India ; and from the same quarter much valuable assistance was originally derived, both as to the selection of topics, and the mode of treating them. Without the help of such military guidance, a mere civilian would have laboured under great disadvantages; and the merit, if any, of the Work, is therefore attributable to my coadjutor alone. For the composition, however, I am alone responsible. Officers in the Army are subject to a variety of special laws and legal· principles, which deeply affect their professional and private rights; and it is hoped that a Work, which endeavours to develope these subjects in a connected and untechnical form, will not be deemed a superfluous contribution to military literature. With this view, the following pages are by no means so much addressed to lawyers, as to a class of readers whose opportunities of access to legal publications are necessarily very limited; and care has been taken, in all · cases of importance, to set • Now Brevet-1\lfaj~r, and Acting Brigadier on the frontier of the Punjab.
    [Show full text]
  • The British & International Pictures Auction Lot
    The British & International Pictures Auction Wed, 21st Nov 2018 Viewing: Monday 19th - 9am-5pm Tuesday 20th - 9am-5pm Wedensday 21st - 9am-2pm Lot 506 Estimate: £2000 - £4000 + Fees A RARE PASTEL BY FRANCESCO PAOLO MICHETTI FRANCESCO PAOLO MICHETTI (ITALIAN 1851 - 1929), THE PIPE PLAYER pastel on paper, signed 35.50cm x 26.00cm Mounted, framed and under glass Provenance: Acquired Shapes Auctions (Edinburgh) 31st March 2007 lot 596 for £6300 (hammer) Note: Michetti was born in Tocco da Casauria in the Province of Chieti. His father having died when he was a boy, Michetti was forced to work with a local artisan. In 1868, Michetti was awarded a stipend by the province to study at the Accademia (now Istituto) in Naples under Domenico Morelli. Among his colleagues was Eduardo Dalbono. There he also interacted with Filippo Palizzi, Giuseppe De Nittis, and Marco De Gregorio, artists of the School of Resina. Disciplinary problems soon caused Michetti to return to Chieti. He began to spend time in Francavilla a Mare, which by 1878 would be his home. He traveled to Paris, encouraged and supported by De Nittis, by the patron Beniamino Rotondo, and by the art merchant Reutlinger. In Paris, he exhibited in the Salon of 1872: Ritorno dall'erbaggio, Dream of Innocence, and The Pumpkin Harvest. He also exhibited at Salons in 1875 and 1876. In 1874, he befriended the Spanish painter Mariano Fortuny in Naples. In 1877, with his Corpus Christi Procession, a highly colourful, efervescent depiction of a festival, he became recognized as one of the best in the schools exhibition.
    [Show full text]
  • G Alerie Terrades
    GALERIE TERRADES - PARIS 1600 - 1900 PAINTINGS | DRAWINGS 2020 GALERIE TERRADES - PARIS 1600 - 1900 PAINTINGS | DRAWINGS 2020 1600 PAINTINGS 1900 DRAWINGS Acknowledgments We are grateful to all those who have helped us, provided opinions and expertise in the preparation of this catalogue: Stéphane-Jacques Addade, Pr. Stephen Bann, Piero Boccardo, Guillaume Bouchayer, Vincent Delieuvin, Marie-Anne Destrebecq-Martin, Corentin Dury, Francesco Frangi, Véronique Gérard Powell, Ariane Yann Farinaux-Le Sidaner, James Sarazin, Frédérique Lanoë, Cyrille Martin (†), Christian Maury, Gianni Papi, Francesco Petrucci, Giuseppe Porzio, Jane Roberts, Guy Saigne, Schlomit Steinberg and Gabriel Weisberg Translation into English: Jane Mac Avock Cover: Léon Pallière, Rome, St. Peter’s Square from Bernini’s colonnade, n°8 (detail) Frontispice: Augustin-Louis Belle, Herse, Daughter of Cecrops, sees Mercury Going Towards her Palace, n°9 (detail) Objects are listed in chronological order of creation Dimensions are given in centimetres, height precedes width for the paintings and drawings CATALOGUE Simone Barabino Val Pocevera, c. 1584/1585– Milan, 1629 1. Lamentation of Christ, c. 1610 Oil on canvas Barabino, who was born in Val Polcevera near the early works of Bernardo Strozzi. The wide range 43.5 x 29 cm Genoa, was apprenticed to Bernardo Castello, one of colours, complemented by iridescent shades owes of the city’s principal Mannerist painters. But much to the study of the Crucifixion, the masterpiece the master’s excessive jealously caused a violent by Barocci in the cathedral of Genoa, while Christ’s break in their relations in 1605. Barabino then set pale body is probably connected to the observation up as an independent painter, quickly becoming of Lombard paintings by Cerano, Procaccini and successful with religious congregations (The Last Morazzone that could be seen in Genoa.
    [Show full text]
  • Capitani Di Un Esercito Milano E I Suoi Collezionisti Capitani Di Un Esercito Milano E I Suoi Collezionisti
    CAPITANI DI UN ESERCITO MILANO E I SUOI COLLEZIONISTI CAPITANI DI UN ESERCITO MILANO E I SUOI COLLEZIONISTI a cura di Elisabetta Staudacher © 2017 Gallerie Maspes srl tutti i diritti riservati CAPITANI DI UN ESERCITO MILANO E I SUOI COLLEZIONISTI 20 ottobre - 20 dicembre 2017 Gallerie Maspes via Manzoni, 45 20121 Milano con il patrocinio di Gallerie Maspes Progetto espositivo a cura di Catalogo a cura di L’Editore e il Curatore ringraziano sentitamente: Francesco Luigi Maspes Elisabetta Staudacher Amministratore Unico Giulia Amato, Manuela Andreano, Martina Bastianelli, Pierangela Maggiora Mostra a cura di Comitato scientifico Diego Brambilla, Cristina Cappellini, Silvia Capponi, Elisabetta Staudacher Nicoletta Colombo Cesare Cerea, Massimo e Gabriele Ciaccio, Ferdinando Direttore Sergio Rebora Colombo, Clementina Conte, Stefania Cresta, Andrea Francesco Luigi Maspes Segreteria organizzativa Elisabetta Staudacher Crozza, Filippo Del Corno, Manuela Diano, Angelo e Elena Orsenigo Serafino Enrico, Emanuele Fiano, Valentina Galimberti, Responsabile spazio espositivo Schede a cura di Alessia Gillardi, Lorella Giudici, Roberto Gollo, Piero e Relazioni esterne Restauri Benedetta Brison Guy, Roberto Maroni, Luca Melloni, Claudia Palma, Elena Orsenigo Enrica Boschetti, Milano Elisabetta Chiodini Simone Percacciolo, Domenico Piraina, Sonia Rendo, Elena Di Raddo Giuseppe Sala, Alessandra Sartori, Fabrizio Spada, Responsabile Archivio e Biblioteca Assicurazioni Luisa Martorelli Angelo Tadini, Anna Vecchi, Luisa Vitiello. Melissa Raspa Ciaccio Broker,
    [Show full text]
  • The Head of a Youth Charcoal, Black Chalk and Pastel, on Light Brown Paper
    Francesco Paolo MICHETTI (Tocco di Casauria 1851 - Francavilla al Mare 1929) The Head of a Youth Charcoal, black chalk and pastel, on light brown paper. Signed FP Michetti at the lower right. 463 x 354 mm. (18 1/4 x 13 7/8 in.) As one Italian writer has aptly noted, ‘The Abruzzi landscape truly spoke to Michetti’s heart with its many voices; he heard them all and absorbed them all. The sea and the mountains, the local festivals so full of colour, of movement, of joy, the mystic processions, the pageantry of superstition and faith in the naves of the solemn age-old cathedrals and of the silent basilicas, the peaceful labour in the fields, the olive- clad hills, the people with their keen sensitiveness and their primitive tenacious passions, deeply impressed his feelings; in black-and-white or in colour, in innumerable marvellous drawings and in paintings of unforgettable beauty and imperishable interest he expressed the fascination, the poetry, the sweetness and the ruggedness, the character and the variety of those scenes. He was indeed a sublime interpreter of the Abruzzi and of their people, whose faces and souls he portrayed in fundamental and everlasting lines.’ This striking pastel study may be related to one of the seated onlookers in Francesco Paolo Michetti’s very large painting of The Daughter of Jorio of 1895, in the Palazzo della Provincia in Pescara, of which a somewhat smaller variant is in a private collection. The subject of Michetti’s painting was inspired by a scene he and his friend Gabriele d’Annunzio witnessed in the artist’s home town of Tocco di Casauria one summer day, when a young woman, dressed in red, was chased through the town square by a number of drunken farm labourers.
    [Show full text]