371 - DIPINTI ANTICHI DAL XIV AL XIX SECOLO

Ippolito Scarsella lo Scarsellino
(Ferrara 1550 - 1620)
Saint Jerome and Saint Francis in adoration of Christ and the Virgin Oil on canvas cm. 75x60. Framed This painting is a remarkable example of Scarsellino’s mature style, a leading figure of late 16th-century Ferrarese painting. Stylistically and compositionally, it belongs to a group of roughly contemporary works depicting the Virgin and Christ, or the Infant Jesus, on the clouds, with two or three saints kneeling in adoration below. Among this group, the present work is perhaps the most successful and balanced, clearly reflecting the influence of Venetian painting, particularly Jacopo Bassano.

Artista attivo a Napoli, prima metà XVII secolo
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The Incredulity of Saint Thomas Oil on panel cm. 107,5x78,5 Private collection, Campania.

Artista fiammingo, XVII secolo
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Still life with game, cat, and metalware Oil on canvas cm. 96,5x82. Framed This high-quality still life presents a particularly elaborate composition, combining game laid out on a ledge - including various birds and a hare - refined metal vessels, and a curious cat peeking from an open window in the background, which illuminates the foreground objects. The painting belongs to the hunting still life genre, which originated and flourished primarily in the Netherlands through artists such as Frans Snyders, Jan Fyt, and Pieter Boel. Private collection, Marche.

Artista attivo a Roma, prima metà XVII secolo
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Penitent Saint Fancis Oil on canvas cm. 68,5x51. Framed

Michelangelo Cerquozzi detto Michelangelo delle Battaglie
(Roma 1602 - Roma 1660)
Still life of grapes, pears, melons, and pomegranates Oil on canvas cm. 70x85. Framed The painting is accompanied by an expertise by Prof. Giancarlo Sestieri.

This Still life of grapes, pears, melons, and pomegranates, focused on a vivid cluster of white grapes accompanied by a split pomegranate, a squash and a few other fruits loosely arranged on the ground, is attributed to Michelangelo Cerquozzi by Prof. Giancarlo Sestieri. 
The painting belongs to the Roman milieu, in a phase still close to post-Caravaggesque objectivism, evident in the strong plastic modeling achieved through an oblique light emerging from a dark background, while the freer compositional structure anticipates later Baroque developments. Datable to the late 1620s, the work represents an important example of Cerquozzi’s activity as a key mediator between early Roman still-life painting and its subsequent evolution. Private collection, Campania.

Livio Mehus (attribuito a)
(Oudenaarde 1627 - Firenze 1691)
Mythological scene in an evening landscape Oil on canvas cm. 90,5x118. Framed Private collection, Campania.

Artista veneziano, XVIII secolo
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Soldier with a musical instrument Oil on canvas cm. 95x76. Framed

Artista veneziano, XVIII secolo
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Soldier with dog and hunting rifle Oil on canvas cm. 95x76. Framed

Francesco Solimena (attribuito a)
(Serino 1657 - Napoli 1747)
Portrait of Maria Cecilia von Tannhausen, Countess of Harrach (?) Oil on canvas cm. 75x62. Framed The portrait may depict Maria Cecilia von Thannhausen (14 March 1674 – 15 February 1721), who acquired the title of Countess of Harrach by marrying Aloys Thomas Raimund von Harrach (Bratislava 1669 – Vienna 1742) in 1708. The latter, Viceroy of Naples from 1728 to 1733, was an important patron of Solimena, who also painted him in the magnificent portrait still preserved in the Harrach Collection at the family castle in Rohrau. Private collection, Campania.

Giovanni Antonio Canal detto il Canaletto (cerchia di)
(Venezia 1697 - 1768)
Entrance to the Grand Canal with Punta della Dogana and Santa Maria della Salute Oil on canvas cm.

Francesco Foschi
(Ancona 1710 - Roma 1780)
Winter landscape with a bridge, house, cave, and travelers Oil on canvas cm. 98x136,5. Framed Private collection, Marche.

Artista lombardo, XVIII secolo
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a) Still life with fish, vegetables, metalware, a boy, and a cat; b) Still life with vegetables, fruit, rabbits, and a rooster. Pair of paintings Oil on canvas cm. 99x124 each. Framed The two paintings were previously attributed to Giovanni Agostino Ratti (Savona, 1699 – Genoa, 1775). Painting a) is recorded in the Fototeca Zeri (inv. no. 86775) with an attribution to Giorgio Duranti (Brescia, 1683 – 1753); painting b) is recorded in the Fototeca Zeri (inv. no. 96595) as by a Genoese artist.

Giuseppe Zais
(Forno di Canale 1709 - Treviso 1781)
Cavalry battle at the foot of a ruined tower Oil on canvas cm. 96x131. Framed The painting is accompanied by an expertise by Prof. Giancarlo Sestieri. Private collection, Campania.

Francesco Foschi
(Ancona 1710 - Roma 1780)
Winter landscape with a barn Oil on canvas cm. 74x98. Framed Private collection, Marche.

Francesco Noletti Il Maltese (attribuito a)
(Malta 1611 - Roma 1654)
Still life with armor, carpets, and brocades Oil on canvas cm. 94x100

Artista francese, XVIII secolo

Bouquet di fiori in un vaso di rame con frutti

Olio su tela

cm. 72,5x58. Con cornice

Marco Ricci
(1676 Belluno - Venezia 1729)
Landscape with stream, figures, and village Oil on canvas cm. 69x98. Framed The painting is accompanied by an expertise by Prof. Rodolfo Pallucchini. Private collection, Rome.

Artista fiammingo, XVII secolo

Natura morta con leprotto appeso

Olio su tela

cm. 89,5x70

Giuseppe Nuvolone (attribuito a)
(San Gimignano 1619 - Milano 1703)
Holy martyr Oil in canvas cm. 97x73. Framed

Charles de La Fosse (attribuito a)
(Parigi 1636 - 1716)
Susanna and the Elders Oil on canvas cm, 73,5x59. Framed The painting is a high-quality replica of the canvas attributed to Charles de La Fosse, now preserved in the Musée Ingres-Bourdelle in Montauban and of larger dimensions (139 × 107 cm). Private collection, Marche.

Gennaro Greco detto il Mascacotta (attribuito a)
(Napoli 1665 - 1714)
Architectural capriccio with figures Oil on canvas cm. 62,5x76,5. Framed Private collection, Campania.

Girolamo Brusaferro
(Venezia 1684 - 1760)
The banishment of Hagar and Ishmael Oil on canvas cm. 132x97. Framed The attribution was confirmed by Anna Pietropolli on the basis of professional photographs.

The work is recorded in the Fototeca Zeri archive (no. 67483) as by an anonymous Venetian artist, or alternatively attributed to Gaspare Diziani or Sebastiano Ricci. On the reverse of photograph no. 128097, an autograph pencil note by Federico Zeri reads: “20 Feb. 1970, from Roy Fisher as Sebastiano Ricci”.

The painting depicts the biblical episode of the Expulsion of Hagar and Ishmael, focusing on the moment of farewell. The figures are clearly articulated through expressive gestures and glances. As noted by Federico Zeri, the work shows a close affinity with Sebastiano Ricci— to whom it was long attributed — and, to a lesser extent, with Gaspare Diziani. Comparisons within Brusaferro’s oeuvre may be drawn with the canvases in the church of Santo Spirito in Split and with the Madonna col Bambino in trono e santi in the parish church of Stabello (Bergamo). Sotheby's sale, London, 3 July 1963, lot 106 (as Sebastiano Ricci); Roy Fisher Collection, New York, 1970 (as Sebastiano Ricci); private Collection, Pennsylvania, USA (as Sebastianon Ricci); private collection, Rome.

Artista francese, XVIII secolo
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Allegory of the Seasons. a) Autumn; b) Spring; c) Winter; d) Summer. Series of paintings Oil on panel cm. 71x50 each. Framed

Artista attivo a Napoli, XVIII secolo
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Portrait in armor of Antonio Carmine Caracciolo, Prince of Torella (?) Oil on canvas cm. 144x117. Framed The painting bears a brush inscription on the reverse: "ANTONIO CARACCIOLO / PRINCIPE DI TORELLA". Private collection, Rome.