Lot 0271

CESARE FRACANZANO (attr. a)

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CORNELIS VAN HAARLEM (attr. a): (Haarlem, 1562 - 1638?) Venere, Marte e amorini Olio su tela, cm 73X105 Provenienza: Oslo, collezione Mrs. Lily Larsson Il dipinto registrato presso l'RKD (Iconclass-code 92B423) come attribuito a Cor

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LUCIANO BORZONE (attr. a): (Genova, 1590 - 1645) San Girolamo Olio su tela, cm 65,5X50 Provenienza: Milano, collezione Giuseppe Bertini Protagonista della pittura genovese di primo Seicento, Luciano Borzone esprime una personal

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LORENZO DE CARO (attr. a): (Napoli, 1689 - 1750) Modelletto raffigurante il Martirio Sant'Andrea Olio su tela, cm 88X50 Provenienza: Napoli, Blindarte, 19 maggio 2010, lotto 80 (attr. a Lorenzo de Caro) Lorenzo de Caro è un ar

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CARLO FRANCESCO NUVOLONE (attr. a): (Milano, 1608/1609 - 1661/1662) Allegoria della Carità Olio su tela, cm 26,5X33,5 Il dipinto trova precisi riscontri con la tela di medesimo soggetto pubblicata da Filippo Maria Ferro nel 2013 (cfr.

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JACOB VAN DER GRACHT (attr. a): (Mechelen, 1593 - Den Haag, 1651/1652) Ritratto femminile Olio su tela, cm 74X55 Jacob van Der Gracht fu un noto ritrattista e pittore di paesaggi, lo sappiamo in Italia con certezza tra il 1629 e il

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ANTONIO GIOLFI (attr. a): (Genova, 1721 - 1796) Battesimo di Cristo Olio su tela, cm 50X34,5 Allievo di Lorenzo De Ferrari, l'artista esprime suggestioni di sapore tardobarocco, tendendo verso un fare artistico più composto e

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LAVINIA FONTANA (attr. a): (Bologna, 1552 - Roma, 1614) Ritratto di giovane donna Olio su rame, diam. cm 8 Lavinia Fontana, singolare pittrice che andava al pari delli primi uomini di quella professione (Avvisi Urbinati, Lat. 1

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Valentino (attr.): a red lace stole with fringes enriched by embroidered flower branches in bright shades of green, blue, orange and beige, 250by80cm. circa total measure

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EARLY 19TH C. ATTR. ZUBER WALLPAPER PANEL: Hand-printed in colors. View of port. Unmarked. Dimensions: (Frame) H 31" x W 41.25" Condition: Not examined out of frame. Painting with creasing, soiling, and losses throughout. A few paint drips and

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Sewing Machine Bottles Beautiful Decanter: Unopened bottle, Crème de Menthe, Bottom says Bottles Beautiful Sewing Machine by Cesare 1970 Made in Italy. Hand Painted. 10"H.

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CESARE FRACANZANO (attr. a): (Bisceglie, 1605 - 1651) San Girolamo Olio su tela, cm 62X96 Il dipinto raffigura San Girolamo penitente e l'impostazione iconografica evoca modelli ribereschi. La morbidezza della stesura e la lumino

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MARCO PALMEZZANO (attr. a): (Forl, 1459 - 1539) San Sebastiano Firmato al centro: MARCHUS 'PALMEZANUS' PINSIT Tempera su tavola, cm 85X71 Il dipinto raffigura il martirio di San Sebastiano e l'episodio descritto all'interno di u

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DAVID TENIERS IL GIOVANE (attr. a): (Anversa, 1610 - Bruxelles, 1690) Festa paesana Olio su tela, cm 95X129 David Teniers fu uno dei più celebri pittori di genere in area fiamminga e il suo catalogo conta innumerevoli scene di tave

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GIROLAMO GIOVENONE (attr. a): (Vercelli, 1490 circa - 1555) I Santi Quirico e Giulitta Olio su tavola, cm 137X53 Provenienza: Londra, Sotheby's, 6 luglio 2000, lotto 161 (come Girolamo Giovenone) La tavola reca un'attribuzione col

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PHILIPPE DE LA HIRE (attr. a): (Parigi, 1640 - 1718) Madonna con Bambino Olio su tela, cm 60X74 Figlio di Laurent de La Hyre, Philippe si formì nella bottega familiare, nel 1660 si recì a Roma e successivamente a Venezia

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MAESTRO DELLA MADONNA CELLINI (attr. a): (attivo a Napoli entro la met del XVII secolo) Madonna col Bambino Olio su tela, cm 101,5X73 Il dipinto un aggiunta interessante per lo studio della pittura partenopea della prima met del XVII sec

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Item Details

Description

(Bisceglie, 1605 - 1651)
San Paolo e San Pietro
Olio su tela, cm 98,5X135

Il dipinto evoca modelli ribereschi ma la morbidezza delle stesure e le sensibilità tenebrose indicano un'inclinazione pittoricistica rispetto ai prototipi dell'artista spagnolo, indicando l'influenza di Novelli, del Van Dyck e della pittura bolognese. Questi indizi fanno a pensare ad un autore meridionale, di formazione napoletana e con esiti di stile che conducono a Cesare Fracanzano. L'opera si dovrebbe datare alla maturità del pittore, quando gli eccessi naturalistici si stemperano e la sua arte manifesta sempre di più riflessioni sugli esempi emiliani.