371 - DIPINTI ANTICHI DAL XIV AL XIX SECOLO

Artista attivo a Napoli, XVII secolo
()
Portrait of a painter (Selfportrait?) Oil on canvas cm. 60x49 Private collection, Rome.

Artista caravaggesco attivo a Napoli, prima metà XVII secolo
()
Christ among the Doctors Oil on canvas cm. 48,5x63. Framed

Artemisia Gentileschi (ambito di)
(Roma 1593 - Napoli 1653)
Cleopatra Oil on canvas cm. 82,5x67 Private collection, Rome.

Pietro Bellotti (attribuito a)
(Volciano di Salò 1625 - Gargano 1700)
Portrait of an old Lady Oil on canvas cm. 75x60 The painting bears an old inventory mark painted on the back: “GO / N 12”. Private collection, Rome.

Artista veneto, XVII secolo
()
Portrait of a woman with a headdress and pearl earrings Oil on canvas cm. 39,5x30. Framed Private collection, Rome.

Artista attivo a Napoli, prima metà XVII secolo
()
Allegorical scene with a girl and a group of wayfarers Oil on canvas cm. 40x50. Framed Private collection, Campania.

Pier Francesco Cittadini (ambito di)
(Milano 1616 - Bologna 1681)
Portrait of a young girl with a dog Oil on canvas cm. 65x49. Framed The painting is a replica of the work by Pier Francesco Cittadini, now preserved in the Galleria Nazionale, Parma.

Artista lombardo, XVII secolo
()
Still life of fruit in a basket Oil on canvas cm. 45x60. Framed Private collection, Campania.

Artista attivo a Napoli, XVII secolo
()
Saint Francis supported by an Angel Oil on canvas cm. 122x86. Framed Private collection, Campania.

Peter Paul Rubens (seguace di)
(Siegen 1577 - Anversa 1640)
Study for a bearded head Oil on copper cm. 25x20. Framed The painting constitutes a high-quality partial replica of the celebrated Study of Two Male Heads by Peter Paul Rubens, executed around 1609 and now preserved in the Metropolitan Museum of Art, New York. Private collection.

Artista caravaggesco attivo a Napoli, prima metà XVII secolo
()
Saint Jerome writing Oil on canvas cm. 121x98. Framed Private collection, Rome.

Giovanni Stefano Danedi detto il Montalto (attribuito a)
(Treviglio 1612 - Milano 1690)
Penitent Magdalene Oil on panel cm. 34x47. Framed

Pieter van Bloemen Lo Stendardo (ambito di)
(Anversa 1657 - Anversa 1720)
Cavalry Stop Oil on canvas cm. 55,5x102,5. Framed

Orazio Riminaldi
(Pisa 1593 - 1630)
Daedalus and Icarus Oil on canvas cm. 52x38. Framed The painting is accompanied by an expertise by Prof. Pierluigi Carofano.

The painting represents Daedalus and Icarus from Ovid’s Metamorphoses (VIII, 185–235), captured at the moment in which Daedalus fastens the artificial wings to his son, in a typically seventeenth-century allegorical reading of the myth as a warning against human hubris.
The work is attributed to Orazio Riminaldi by Pierluigi Carofano and can be placed in the artist’s early phase, around 1615, shortly after his Roman experience. The composition reveals Riminaldi’s assimilation of Caravaggesque language—particularly in the strong chiaroscuro of Manfredian derivation—combined with a solid classical construction of the figures. The pose of Icarus finds close comparisons with early works by the artist, such as the Saint John the Evangelist in Calci and the Salome with the Head of the Baptist in a private collection, confirming the painting as a significant testimony to Riminaldi’s youthful production.

Filippo Lauri (ambito di)
(Roma 1623 - Roma 1694)
Bacchanal Oil on canvas cm. 36,5x46. Framed

Artista francese, XVII secolo
()
Gutair Player Oil on canvas cm. 65x81. Framed

Benjamin Gerritsz Cuyp
(Dordrecht 1612 - Dordrecht 1652)
The liberation of Saint Peter Oil on panel cm. 51x68. Framed Private Collection, North-Europe; private collection, Rome.

Andrea Vaccaro (cerchia di)
(Napoli 1604 - Napoli 1670)
Penitent Magdalene Oil on canvas cm. 103x76 The painting is on the original canvas. Private collection, Rome.

Artista francese, XVII secolo
()
Lamentation (The Mourning of Christ) Oil on canvas cm. 44,5x75. Framed The painting is signed lower left: "LE SUEUR". Private collection, Rome.

Artista attivo a Roma, XVII secolo
()
Still life with a basket of apples, pomegranates, and lemons Oil on canvas cm. Ancient frame Private collection, Campania.

Raffaello Sanzio (seguace di)
(Urbino 1483 - Roma 1520)
The Judgment of Paris Oil on panel cm. 51x80. Framed The painting is based, with significant variations, on the engraving of the same subject by Marcantonio Raimondi, after an invention by Raphael, dated ca. 1513–1515. Private collection, Rome.

Leonardo da Vinci (cerchia di)
(Anchiano 1452 - Amboise 1519)
Madonna dei Fiori Oil on panel cm. 45x36. Framed This panel represents a refined Madonna dei fiori, executed within Leonardo da Vinci’s immediate circle during his Milanese period. The composition derives from a Leonardesque invention already formulated in the Madonna del Garofano and presents the Christ Child as consciously aware of his salvific destiny, conveyed through the act of gathering the flowers and his direct, engaging gaze toward the viewer. The painting belongs to a group of Leonardesque variants of the subject, while remaining distinct from the better-known versions associated with Marco d’Oggiono and Bernardino de’ Conti. On the basis of stylistic and physiognomic affinities—particularly in the Child’s features, which recall a drawing attributed to Ambrogio de’ Predis in the Pinacoteca Ambrosiana—the work may be attributed to Ambrogio de’ Predis or to an artist active within his immediate circle, in the context of Leonardo’s Milanese workshop between the late fifteenth and early sixteenth centuries. Private collection, Italy.

Francesco di Antonio da Ancona (attribuito a)
(Attivo nell'Italia centrale, seconda metà XIV secolo)
Imago Pietatis with Saint Peter, Saint Dominic, the Virgin of Sorrows, Saint John the Evangelist, Saint Francis, and Saint Paul. Altarpiece predella Tempera and gold ground on panel cm. 215x40 The painting has been attributed to Francesco di Antonio by Prof. Andrea De Marchi.

This high-quality panel, conceived as a predella with half-length saints, the Virgin and the Man of Sorrows beneath polylobed arches, has been attributed by Andrea De Marchi to the Anconitan painter Francesco di Antonio. Active in the late fourteenth century, the artist here reveals a synthesis of Orvietan models and Fabriano painting, with close stylistic ties to works such as his signed polyptych of 1393 in the Pushkin Museum.

Tommaso di Credi
(Attivo a Firenze tra il XV e il XVI secolo)
Oil on panel Ø cm. 86. Framed The painting has been attributed to Tommaso di Credi by Dr Davide Civettini and Dr Christopher Daly.