Giacometti Old Master Paintings
For its fifth participation to the TEFAF Maastricht fair, Giacometti Old Master Paintings brings a rigorous selection of unpublished old master paintings among which the following rediscoveries stand out:
An enormous neo-venetian canvas of the young Luca Giordano, Moses and the brazen serpent (fig. 1), which was owned by the flemish dealer Ian Van Den Eynden and which was cited in the neapolitan diary of T. Puccini.
The first signed prototype of a masterpiece by Luca Ferrari, Arria and Caecina Paetus (fig. 2), of which the composition was already known from a conspicuous series of versions realised together with the school and copies.
A pair of Flute Players (transverse and recorder, figg. 3-4) accompanies the surprising discovery by Francesca Curti of the name of the so-called Master of the Incredulity of Saint Thomas: Bartolomeo Mendozzi della Leonessa, caravaggesque Italian artist who was pupil of Bartolomeo Manfredi and painted for the Giustiniani and Savoia families, becoming first rector of San Luca Academy and Virtuous of the Pantheon.
The portraits of the Contess of Albany (fig. 5) and of her lover, the famous poet Vittorio Alfieri (fig. 6), signed in the 1800 by François Xavier Fabre.
A mysterious stoic Philosopher meditating on the skull of the Master of the Annunciation to the Shepherds (fig. 7), exemplary product of the trends diffused in neapolitan philosophical circles in 1600s.
A small and unspoilt Adoration of the Magi by Domenico Piola (fig. 8), of unique liveliness of colours and richness of details.
Two delicious small scene of popular life by Pietro Fabris, a Mother and child in Vomerese costumes and a Family of fishermen in Chiaia (fig. 10), painted with sharp spirit of observation and a vivid depiction of reality.
Luca Giordano, Moses and the Brazen Serpent
1) Luca Giordano (Naples 1634-1705)
Moses and the Brazen Serpent
Oil on canvas,cm 181×301
1656-1657
Provenance: Naples, Van den Eynden collection, according to the inventory of the collection compiled by Luca Giordano on 2 December 1688; Naples, noble private collection; Milan, private collection, since 2013
Literature: T. Puccini, Diario napoletano [1783], ed. by E. Spalletti, R. Viale, Tommaso Puccini (1749-1811), Conoscitore delle arti e direttore degli Uffizi, Florence 2014, col. 283 r.; R. Lattuada, Unknown Paintings by Artemisia in Naples, and New Points Regarding her Daily Life and Bottega, in S. Barker, (ed. by), Artemisia Gentileschi in a Changing Light, Turnhout 2017, pp. 187-216, in part. p. 211, fig. 52 e p. 212; G. Porzio, in A.E. Denunzio, G. Porzio, R. Ruotolo, (ed. by), Rubens, van Dyck, Ribera. La collezione di un Principe, exh. cat. (Naples, Palazzo Zevallos Stigliano, 6 Dec. 2018-7 April 2019), Cinisello Balsamo 2018, p. 71
Notes: we are grateful to Prof. Riccardo Lattuada for his essay and Giuseppe Scavizzi for confirming attribution and date of the painting.
2) Luca Ferrari, called Luca da Reggio (Reggio Emilia 1605-1654 Padova)
Arria and Caecina Paetus
Oil on canvas, cm 143×120
Circa 1645
Provenance: Cittadella (Padua), Giusti del Giardino collection
Literature: unpublished
Notes: we are grateful to Prof. Massimo Pirondini for confirming the attribution and recognizing the painting as the autograph model of the other known versions.
3 – 4) Master of the Incredulity of Saint Thomas, Bartolomeo Mendozzicalled Bartolomeo della Leonessa (Leonessa, Rieti c. 1600-Rome, information available until 1644)
A Flute Player;
A Recorder Player
Both oil on canvas, cm 48×65
Circa 1640
Provenance: Rome, private collection
Literature: unpublished
Notes: we are grateful to Dr. Gianni Papi and Dr. Francesca Curti for their essay on the paintings.
5-6) François-Xavier Fabre (Montpellier 1766-1837)
Portrait of Louise of Stolberg-Gedern, Countess of Albany;
Portrait of Vittorio Alfieri
Both oil on canvas, cm 32.5×26
The second signed and dated: “F.X. F./1800.” (lower left)
Provenance: London, private collection
Literature: unpublished.
7) The Master of the Annunciation to the Shepherds (active in Naples circa 1630-1650)
A Stoic Philosopher
Oil on canvas, cm 71×58
Circa1635
Provenance: Naples private collection; Naples, La Pinacoteca gallery; London, private collection
Literature: G. De Vito, Juan Do riconfermato, in Ricerche sul ‘600 napoletano, 2003-2004, p. 89, plate III and p. 91; N. Spinosa in Ritorno al barocco da Caravaggio a Vanvitelli, exh. cat. (Naples, 12 Dec. 2009-11 April 2010), I, Naples 2009, p. 101, no. 1.30; C. Volpi, Salvator Rosa (1615-1673) “pittore famoso”, Rome 2014, p. 172, fig. 138
Notes: we are grateful to Prof. Riccardo Lattuada for his essay and Prof. Nicola Spinosa for confirming the attribution of the painting.
8) Domenico Piola (Genoa 1628-1703)
The Adoration of the Magi
Oil on canvas, cm 26×33
Circa 1650
Provenance: Rome, private collection
Literature: unpublished
Notes: the painting is unlined, with its original canvas and stretcher. We are grateful to Prof. Daniele Sanguineti for his essay and Dr. Anna Orlando for independently confirming the attribution of the painting.
9-10) Pietro Fabris (active in Naples 1756-1779)
A Mother and Child in the Typical Costume of Vomero with a Farmer selling Vegetables on a donkey;
A Family in the Typical Costume of Chjaia fishing near Castel dell’Ovo
Both oil on canvas, cm 39.4×29.2
The first signed: “Fabris. P.” (lower left)
Circa 1775
Provenance: London, private collection
Literature: unpublished.
