The Wavy Sea Oil on Canvas Italy XVII-XVIII Century
Artist: Marco Ricci (1676-1730) Attributed to
Artwork title: Mare in burrasca
Age: XVIII Century - from 1701 to 1800 , 17th century - from 1601 to 1700
Subject: Marine landscape
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Mare in burrasca
Oil on canvas. As signed by the label on the back, the painting was presented athe "Venetian Baroque Painting Exhibition" of 1943, with the title "in porto al tramonto" and the attribution to Marco Ricci. This attribution can be motivated by the executive ability, which through rapid and loose brushstrokes. It manages to fully render the natural reality of the stormy sea with sensivity. In this regard, see the similar images published by Rodolfo Pallucchini in the studies "Studi ricceschi: contributo a Marco published in the magazine Arte veneta (vol. IX, 1955). Ricci's landscape and marine productions (which, however, were not his most extensive production) are characterized by powerful and emotional lights, by dry and twisted trees, rocks and towers, cumulus clouds that suddenly break open in vague flashes of blue, foaming waves, a complex repertoire that transfigures nature into a dramatic and restless representation, in which man is also inserted as an integral element. Also in this painting we find these highly dramatic but at the same time scenographic elements, with some human figures, three men on a small boat in the foreground, who are barely distinguishable from the sea and the rocks that surround them, as well as the ship on the left sinking engulfed by the sea. Restored and relined, the painting is presented in a period frame.
Product in good condition, shows small signs of wear. We try to present the real state as fully as possible with photos. If some details are not clear from the photos, what is reported in the description will prevail.
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Artist: Marco Ricci (1676-1730)Marco Ricci, born on 5 June 1676 in Belluno, was a painter, landscape painter and engraver, son of Girolamo and nephew of Sebastiano. He was brought up by his uncle in Venice; his violent nature forced him to move to Split due to a fight, to then accompany his uncle to London and work with him. Various landscapes depicting the Dalmatian coast and the Piave date back to this period, in the style of Titian and mixed with fantastic schemes taken from romantic views of his immediate predecessors. Later, the knowledge of Alessandro Magnasco gave birth to a collection of marine storm scenes, with very dark tones. The similarity between the paintings of the Venetian and those of the Genoese is so great that it sometimes proves very difficult to attribute them to one of the two authors. Upon returning to Venice from London, Marco Ricci resumed his collaboration with his uncle, with whom he created the landscape masterpiece of the Miracle of Moses, a work in which the artist silhouettes figures of heroes against the light background given by the ruins. In his last period, the artist was the author of several temperas on parchment, which are now in Windsor Castle. Although he was predominantly a landscape painter, many caricatured portraits of dramatic actors remain of him. Ricci died by suicide on January 21, 1729.
XVIII Century - from 1701 to 1800In the century of the Enlightenment, or the exaltation of reason and science as the only tools that can free man from ignorance and the yoke of the Church and the nobility, art passes from the intent of the Baroque to tell religious truths or to imitate nature, with strong chiaroscuro contrasts and artificial excesses, to the lighter and more vaporous forms (sometimes even frivolous and affected) of the so-called Barocchetto or Rococò, to lead to Neoclassicism which, looking at the ancient art of the Greeks and Romans, wants to re-propose the discovery of beauty, in the search for harmony, proportions, balances.
Find out more about the 18th century with our insights:
Discovering the Barocchetto
FineArt: Giovanni Domenico Lombardi, Conversion of a centurion, 18th century
17th century - from 1601 to 1700In the seventeenth century, art was strongly conditioned by the religious problem: the Church was still one of the greatest patrons of works of art and used them to fascinate and impress the faithful, exalting salvation, reachable only with fidelity to the Church. 17th century art is therefore an educational tool, produced to be enjoyed and understood by many. Thus, the scenes that face the representation of an imaginary reality are accompanied by the analysis of the details and the great clarity of the environment, in order to propose every fiction as real and with the intention of emotionally involving the observer, making him live. in a subjective way an infinite and grandiose reality, also reflects the artist's desire to express himself freely: in fact he does not bend to pre-established schemes, he does not use rigid, contained forms, organized in rigorous compositional symmetries, but free, open and articulated forms . The art of the 1600s is therefore a representation, the purpose of which is to impress, move, persuade; it is the product of the imagination and its purpose is to persuade that something not real can become real. This complex artistic phenomenon is traditionally defined as Baroque, and its birth takes place in Rome between the third and fourth decade of the seventeenth century, where it is eminently represented by the work of Gian Lorenzo Bernini, Francesco Borromini and Pietro da Cortona. , even if the fundamental junction is constituted by the work of Caravaggio. The movement then spread throughout Italy and Europe (we remember in particular Rembrandt, Rubens, Velazquez), in the world of arts, literature, music, and in numerous other areas, until the mid-18th century.
Find out more about the 17th century with our insights:
Between Baroque and Baroque
Erminia meets the shepherds, Camillo Gavassetti / XVII Century
Subject: Marine landscape
Artistic technique: PitturaLa pittura è l'arte che consiste nell'applicare dei pigmenti a un supporto come la carta, la tela, la seta, la ceramica, il legno, il vetro o un muro. Essendo i pigmenti essenzialmente solidi, è necessario utilizzare un legante, che li porti a uno stadio liquido, più fluido o più denso, e un collante, che permetta l'adesione duratura al supporto. Chi dipinge è detto pittore o pittrice. Il risultato è un'immagine che, a seconda delle intenzioni dell'autore, esprime la sua percezione del mondo o una libera associazione di forme o un qualsiasi altro significato, a seconda della sua creatività, del suo gusto estetico e di quello della società di cui fa parte.
Technical specification: Oil on canvasThe oil painting is a painting technique using powder pigments mixed with bases in inert and oils.
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The painting represents Clelia crossing the Tiber. Clelia was a Roman heroine, who was given as a hostage, together with other girls, to the Etruscan king Porsenna during the peace negotiations with the city; he managed to escape, however, by swimming across the Tiber. Porsenna asked the Romans to return it, who agreed, but admired by her heroism, he decided to free her by allowing her to take other prisoners with her, whom Clelia chose from among the youngest. The moment of the representation is precisely that of the crossing of the river, of which there is the personification in the foreground on the right, with an elderly gray-haired man, accompanied by a young woman with a cornucopia. The scene is very dynamic, with Clelia and the other girls who create a large and lively group, together with the horse ridden by the protagonist, as some versions of the story recall; behind them the tents of the Etruscan king's camp with some soldiers. On the other side of the river there is another group of women, the crossing already completed, while in the background you can see the expanse with the Capitoline city with a classic face. The work, as evidenced by a small scroll, is attributed to Domenico Lupini, an artist about whom not much is known but whose scope of activity between Bergamo and Venice can be hypothesized. The only two signed works are a "converted Magdalene" and an "Annunciation", but other works have been attributed to him by the scholar Federica Nurchis and placed in the monastery of Santa Chiara in Bergamo. These paintings present a warm and refined chromatism which, together with the elegance of the characters and the compositional modality, suggest a Venetian stay by Lucini, which seems to recall the atmospheres of Tintoretto, Veronese and Palma il Giovane. Presented in a 17th century gilded frame, restored and relined.
The model derives from an engraving by Marcantonio Raimondi based on a drawing by Raphael, specially made for the graphic work, deriving from a painting placed in the Stanza della Segnatura (1513-1515). This model was taken up and changed by Hans von Aachen in a canvas dated 1588 and today preserved at the Museum of the Charterhouse of Douai, in turn taken up in an engraving of the following year by Raphael Sadeler, in the Cabinet of Drawings and Prints of the 'Carrara Academy of Bergamo. The canvas in question is derived from this last version, which shows the same changes made with respect to the Raphaelesque original. At the center of the scene, which takes place immersed in a natural landscape, are the three goddesses who competed for the title of the most beautiful: Juno with the peacock, her symbolic animal, Venus accompanied by Cupid and Minerva next to which are the helmet, spear and shield. Paris, from behind, is giving the golden apple that decrees the winner to the goddess of love, under the gaze of Judge Mercury. Two cherubs flit around the protagonists, while in the foreground, always from behind, there is a male figure. A country boarding school is taking place on the back lawn. The work, as evidenced by a small scroll, is attributed to Domenico Lupini, an artist about whom not much is known but for whom it is possible to hypothesize the scope of his activity between Bergamo and Venice. The only two signed works are a "converted Magdalene" and an "Annunciation", but other works have been attributed to him by the scholar Federica Nurchis and placed in the monastery of Santa Chiara in Bergamo. These paintings present a warm and refined chromatism which, together with the elegance of the characters and the compositional modality, suggest a Venetian stay by Lucini, which seems to recall the atmospheres of Tintoretto, Veronese and Palma il Giovane. Presented in a 17th century gilded frame, restored and relined.
Winter Landscape with Figures on Ice
Winter Landscape with Figures on Ice
Oil painting on canvas. Flemish school of the XVII-XVIII century. On the frame there is a label attributing to Thomas Heeremans (but with incorrect date). The large scene offers a winter landscape appropriate to the Dutch territory, as it is characterized by a frozen canal, near a village, populated by numerous figures of skaters, intent on daily activities: the horse-drawn sleigh for transporting people, the the man who pushes the "wheelbarrow" full of wood, the child who pushes himself into his little box; other figures pass by on the embankment along the canal. The gray and cold sky of a winter day hangs over everything. The subject was the recurring one in the production of the Dutch painter Thomas Heeremans, who mainly painted winter landscapes of his land, replicating them several times due to the success obtained, and inducing numerous other artists to imitate him; it is therefore thought that this work can be traced back to an imitator of the Heeremans, rather than to him directly. Restored and relined, the painting is presented in a period frame.
Oil painting on canvas. Lombard area of the late 18th century. The four canvases show scenes from Orlando Furioso, the famous epic poem written by Ludovico Ariosto and published for the first time in 1516. On the frame, on the back, there are handwritten writings in ancient Italian, which say the title of the scene and they give the reference of the song and the verse. All four scenes represent episodes taken from the first two songs of the poem and appear to be sequential. The attributive titles are as follows: 1- “This painting represents that Paladin galiardo (Rinaldo) son of Amone sig. di Monte Albano, which describes Ariosto in canto 1 to verse 12 ”: depicts the moment in which Rinaldo, on foot of his horse Baiardo, sees Angelica escaped from the camp of Namo di Baviera in the wood. 2- "This painting represents Angelica and Ferraù when she comes to their aid, which Ariosto describes in canto 1 verse 14": Angelica fleeing from Rinaldo, meets in the woods Ferraù, a noble Saracen knight who is also in love with the girl, who helps to escape by opposing the Christian knight. 3- “This painting represents Rinaldo and Sacripante who fall down, Angelica runs away from their fury. Ariosto describes it in Canto 2 verse 10 ": Rinaldo and Sacripante fight to compete for the love of Angelica, who in the meantime runs away. 4- “This painting represents Rinaldo and Sacripante in the act they fell for Angelica and were stopped by a spirit in the form of a Valletto. Ariosto describes it in canto 2 verse 15 ": while the two knights fight, Angelica meets a hermit, who, with a spell, evokes a spirit with the appearance of a footman, who interrupts the duel between the two contenders. The paintings therefore belong to a single pictorial cycle, attributable to the end of the eighteenth century and which, in accordance with the neoclassical taste, represents the characters in classical clothes - warriors dressed as ancient soldiers, Angelica dressed in a Roman tunic, shoes and bracelet - , but inserted in a landscape of Northern Italy, a shady and dense forest. The Orlando Furioso had the peculiarity of proposing the warlike theme associated with the love one (in particular the love story between Angelica and Medoro was preferred, which became the subject of numerous works by artists of all centuries) and obtained great popularity and success: His representations were numerous in all ranges of visual pictorial art, in stately frescoes, paintings, ceramics, even apothecary jars, cups, medals, pendulums, candelabra. It began in the Emilian land, the homeland of the poem created by Ariosto for Cardinal Ludovico D'Este, to arrive at the Medici courts, in Lombardy, where subsequently Ariosto's pictorial cycles were carried out in numerous palaces and stately homes. The canvases are presented in gilded style frames.
The Tale of Apollo and Marsyas
The Tale of Apollo and Marsyas
Oil painting on canvas. Northern Italian school of the seventeenth century. The large canvas derives from an engraving of 1562 by the Venetian Giulio Sanuto, who faithfully reproduced the homonymous work by Bronzino (1503-1572), currently preserved in the Hermitage; compared to the original, the engraving added the group of Muses and modified the landscape background by introducing views of the villages. The work is divided into four scenes, which must be read from right to left. The first scene depicts the musical contest between Apollo and the Silenus Marsyas, who played the flute so well that he was considered superior to the same god; the two contenders are performing, the god with the lyre and the silenus with the flute even upside down (to increase the difficulty of the undertaking), in front of King Midas and the goddess Minerva, recognizable by her attributes, the helmet, the spear and the shield. In the second scene Apollo is intent on skinning Marsyas, to punish him for having won the musical contest; lean on the ground next to him, his cloak and lyre. In the third scene, it is King Midas who is punished by the god for having preferred Marsyas to him: Apollo is putting the donkey's ears on Midas, while Minerva is watching. Finally, the fourth scene, in the foreground on the left, is characterized by a particular figure, identified in the faithful servant and barber of the king: since Midas had ordered him to keep the secret on his donkey ears, not being able to let off steam otherwise, he dug a hole in the ground and yelled into there his secret; in that place, however, legend has it that a bush of reeds grew that with the wind whispered "King midas has donkey ears", thus revealing the dreaded secret. The painting has been previously restored and relined, but currently needs any further color recovery. On the back in pencil there is an old attribution to the Ferrara school ("Ercole da Ferrara"). It is presented in a late 19th century style frame.
Oil on canvas. A large architectural structure, imposing in its classicism, with tall twisted columns and elaborate Corinthian-style capitals, dominates a gentle and nuanced lake landscape, which teems with the daily activity of small figures of wayfarers, fishermen, and commoners, well described in their peculiarity. The painting is close to the manners of Viviano Codazzi (1604 -1670) to which it was traditionally attributed. Originally from Bergamo but then active in Rome and Naples, Codazzi was a famous painter of perspectives, considered by many to be the inventor of the view and of the architectural whim. Also close to the Bamboccianti genre, he distinguished himself for the descriptive care of the various protagonists, their gestures, their clothing, care indicating a vision and a study from life of everyday life, read and interpreted without literary filters but with marked naturalism. Restored and relined, the painting is presented in a coeval frame.
Love and Psyche
Love and Psyche
Oil painting on canvas. Northern Italian school of the 17th century. The scene refers, with some variations but very close in size, to a part of the large fresco entitled "Banchetto degli dei" in the Chamber of Cupid (or Chamber of Cupid and Psyche) of Palazzo Té in Mantua, a large representation of over nine meters made by Giulio Romano with his workshop in the 16th century. The proposed scene (which in Mantua is located to the right of the great banquet) sees Cupid and Psyche lying on a triclinium, while a small winged figure crowns them with laurel and two nymphs wash Cupid's hand; in the background on the right a group of satyrs is sacrificing a goat to the altar of a deity, while in the centre, in the distance, a city is burning. The banquet of the gods is the final moment of the myth of the two lovers who, after many trials and vicissitudes, obtain Venus' permission to get married. The work, restored and relined, is presented in an antique frame.
Oil on canvas. The painting is set in the woods near some architectural ruins and the focus is on the lively group of hunters dressed like knights and armed with swords and lances. They are delivering the final blow to the already wounded and dying deer with the help of dogs. The large format highlights the important commissioner. Restored and relined, it is presented in revival frame. 18th century.
Classical Landscape with 17th century figures
Classical Landscape with 17th century figures
Oil painting on canvas. In a large green landscape where a river flows, a village emerges in the center; in the foreground on the right, on the path there is a group of women, dressed in colored tunics. the painting takes up the pictorial modalities of Gaspard Dughet, the Roman painter trained at the school of Poussin, who devoted himself mainly to landscape production, with a new freedom and a fresh naturalness aimed at discovering a real and magical at the same time, pagan Nature. free and wild. In Dughet's production the human figures were never dominant, absent in the early production and then introduced only at the request of the clientele, coming to adopt a particular type of figures without major changes throughout his career: elegant figures, with a loose bearing, dressed of a short, vaguely ancient tunic, usually anonymous and belonging to the people. Such traits are found in this work, even if the attribution to Dughet is uncertain, and it is thought rather to place it in his circle. Restored and relined, the painting is presented in a period frame.
Oil on canvas. Lombard school. The rich lady portrayed is accompanied by the identifying inscription at the top right which reads "Eleonora Lampuniana Nupta N.V. Bartolomei De Cornu 1478": it is therefore Eleonora Lampugnani wife of Bartolomeo Del Corno. The Lampugnani family is an ancient patrician family of Milan (the name derives from the Lampugnano neighbourhood), with residences in Legnano and Busto Arsizio, and to which Filippo Maria Visconti (Duke of Milan) assigned the fief of Trecate in the fifteenth century; the noblewoman's husband belonged to the noble Piedmontese Corno family (originally called Del Corno). The noblewoman is portrayed standing, in a splendid richly embroidered dress, embellished with lace; she lays her hand on a precious box inlaid with ivory, probably a coin cabinet, a symbol of wealth and power, surmounted by a vase with flowers, a symbol of vanity. The painting has an ancient restoration on the hands, which are of lower quality than the face, the clothes, the glass jar. The painting comes from an antique Lombard collection. The date 1478, reported in the inscription, is not very consistent with the sixteenth-century clothing: according to the story of the family of origin of the painting, the date that appeared before the last restoration was 1578, and therefore it would be a modification mistakenly made by the restorer.
Oil on canvas. Lombard School. It is the portrait of a man in armour standing proud, almost in motion, his hand sitting on the hilt of his sword; there is a coat of arms top left, a painted title block bottom right with a long Latin inscription, that identifies the man. He is Bartolomeo III Olevano, who belongs to the powerful noble family of the Olevano, feudal lords of many towns in the Pavia and Lomellina areas (where their castle still exists), who was very involved in the history of Pavia and its countryside until the 18th century. Bartolomeo III, born in 1512, had dedicated himself to the art of war for 40 years, carrying out numerous and highly honoured deeds, and was prefect of Mortara and Novara during the domination of Charles V, leader of soldiers and ambassador of Philip II. His most important achievements are summarised in the title block: a translation of the text is available. The coat of arms of the family has an olive tree on the left, from which the family took its name. The painting comes from an important historical Lombard family collection.
Oil painting on canvas. Lombard school of the seventeenth century. The large scene presents in the center the seated Madonna proposing her breast to the Baby Jesus, who instead stretches out to try to pick a fruit from the basket that St. John gives him, standing under them; around, five figures of saints, recognizable by their iconographic attributes. From the left you have: St. Paul, holding the sword, St. Anna, lovingly watching over his daughter and grandson, St. Peter holding the keys to the Kingdom, St. Joseph with his stick and a carpenter's tool at his waist , and finally, last on the right, San Carlo Borromeo, whose presence in the work supports the Lombard client. The painting also comes from the private collection of a Lombard family, of which it has been part since the 19th century. The work is still on the first canvas and with the original frame; on the back it has some small patches and signs of previous patches. It is presented in a late 19th century frame.
An elegant porcelein centerpiece manufactured by Nanni Valentini in the late 1960s, with dark green decorations. Under the basement the manufacturer's trademark and a paper label are present. 'Arcore Ceramica' was founded in 1967 by Marco and Tina Terenzi, wife of the sculptor and ceramist Nanni Valentini. The object is coming from an important private collection in Milan.
Suitcase turntable, vinyl upholstery.
Metal "Amstel Beer" card holder.
Centerpiece in chromed metal.
Pocket emptier in plastic material.
Uncle Scrooge in plasticized rubber. 70's.
Production in ITALY, GLASS With FABRIC CHALK