Ippolito Caffi
(Belluno, 1809- Lissa, 1866)
Oil on canvas, 68 x 93 cm
Carnival in Rome, the Moccoletti
signed "CAFFI" on the step in the lower right corner
EXPERTISE
Annalisa Scarpa (2020)
Views
Ippolito Caffi
(Belluno, 1809– Lissa, 1866)
Oil on canvas, 35 x 53.5 cm
Pope Pius IX’s Nocturnal Blessing in Piazza del Quirinale
Signed in the lower right corner: Caffi 1850
Gaspar van Wittel, called Vanvitelli
(Amersfoort, 1652/1653 - Rome, 1736)
Goucache on vellum laid on wood, 27 x 56 cm
Naples, the Darsena
Expertise: N. Spinosa (2008)
Giovanni Paolo Panini
(Piacenza, 1691 – Rome, 1765)
Oil on canvas, 105.2 x 98.2 cm
A Capriccio of the Forum, Rome, with the Arch of Constantine, the Arch of Titus, Palazzo Senatorio, the Meta Sudans, the Temple of Venus and Roma, the Colosseum and an Obelisk
Bibliography: Brunetti, Il Panini e la monografia di F. Arisi’ Arte antica e moderna, 1964, pp. 179, 195; Arisi, Gian Paolo Panini e i fasti della Roma del ‘700, Rome, 1986, p. 403, nº. 345; Capitelli in Da Artemisia a Hackert. La collezione di un antiquario, cat. della mostra, Reggia di Caserta, Foligno 2019, cat. 78 pp. 168-169
Giovanni Paolo Panini
(Piacenza, 1691 – Rome, 1765)
Oil on canvas, 98 x 135 cm
Architectural Capriccio with Saint Peter Preaching
Bibliography: F. Arisi, Gian Paolo Panini e i fasti della Roma del 700, Rome 1986, p. 411, cat. 360, 184-185
Giovanni Paolo Panini
(Piacenza, 1691 – Rome, 1765)
Oil on canvas, 218.5 x 263.5 cm
The Consecration of Cardinal Rezzonico in the church of SS. Apostoli, Rome, 19 March 1743
Bibliography: Stato attivo e passivo dell’eredità del fu K.R. e Proc.r Ludovico Rezzonico. Inventario delli quadri, 2 January 1786, Archivio di Stato di Venezia. Giudici di Petizion. Inventarj B.481/7, E. Noè, 'Rezzonicorum cineres. Ricerche sulla collezione Rezzonico', in Rivista dell'Istituto nazionale di archeologia e storia dell'arte, 3, 1980, p. 257 (as hanging in 'secondo Portico ove abita il Fabis’); Moschini, 'Un'Opera Inedita di Gian Paolo Panini', in Bollettino d'Arte, VIII, April 1929, pp. 460-64, reproduced fig. 1; Fermi, 'Fortune e infortuni recenti di G. P. Pannini', in Bollettino Storico Piacentino,1931, f. 2, p. 64; Arisi, Gian Paolo Panini, Piacenza 1961, pp. 174-75; Arisi, Giovanni Paolo Panini, 1691-1765,exh. cat., Milan 1993, p. 160; Mattiti, 'La cerimonia di consacrazione del Cardinal Rezzonico nella chiesa dei Santi Apostoli', in Strenna dei Romanisti, April 1997, pp. 327-42; Mattiti, La Festa a Roma, exh. cat., Rome 1997, cat. no. A27, reproduced p. 222; R. Marshall, ‘G. P. Panini, “The Consecration of Monsignor Giuseppe Pozzobonelli as Archibishop of Milan in the Church of SS. Ambrogio e Carlo al Corso”, Como, Museo Civico’, in The Triumph of the Baroque: Architecture in Europe 1600-1750, H. Millon (ed.), exh. cat., Milan 1999, p. 595
Rome, Palazzo Venezia, La Festa a Roma, 23 May - 15 September 1997, no. A27
Johannes Lingelbach
(Fankfurt am Main, 1622 – Amsterdam, 1674)
Oil on copper, 60 x 82 cm
View of Piazza del Popolo
Bibliography: Busiri Vici, Fantasie romane di Johannes Lingelbach, in Studi Romani, 1959, pp. 48-49, tav. VIII, 1-2; C. Burger-Wegener, Johannes Lingelbach : 1622 - 1674, Berlin 1976, p. 240, cat. 36; R. Trnek, Die holländischen Gemälde, Böhlau 1992, p. 254, nota 10; Capitelli in Da Artemisia a Hackert. La collezione di un antiquario, exh. catalogue, Reggia di Caserta, Foligno 2019, cat. 74, pp. 160-161
Antonio Joli
(Modena, 1700 - Naples, 1770)
Oil on canvas, 63.8 x 90.8
Rome, A Game of ‘Palla a Bracciale’ in the Gardens of Palazzo Barberini
Inscribed on the verso: A hand-written old label, dating to the first half of the 19th century reads: «Green drawing room Pictures […] / Picture of the Drago Palace & Barberini / Palace gardens in foreground – game of Pal[la] / going on – by Vanvitelli delle […]hi[…] / 1736 Bought in Rome by Mr & Mrs H. Ol[mius?] / […]05 as a souvenir of their stay in the Del Dra[go]/ [w]hich was the American Embassy»
Expertise: Ralph Toledano (2011)
Antonio Joli
(Modena, 1700 - Naples, 1770)
Oil on canvas, 75 x 129.5
A View of the Gulf of Pozzuoli with the Island of Nisida
Expertise: Spinosa (2012), Toledano (2012)
Bibliography: Manzelli, Antonio Joli, opera pittorica, Venice 2000, p. 82, no. 45 and pp. 86-87, no. 69, illustrated tav. XXI and XXIII
Antonio Joli
(Modena, 1700 - Naples, 1770)
Oil on canvas, 75 x 129.5
Naples, A View of the City from Santa Lucia
Expertise: Spinosa (2012), Toledano (2012)
Bibliography: Manzelli, Antonio Joli, opera pittorica, Venice 2000, p. 82, no. 45 and pp. 86-87, no. 69, illustrated tav. XXI and XXIII
Antonio Joli
(Modena, 1700 - Naples, 1770)
Oil on canvas, 43.2 x 61
A Capriccio with View of a Portico with Alexander the Great at the Tomb of Achilles
Antonio Joli
(Modena, 1700 - Naples, 1770)
Oil on canvas, 38.8 x 72.2
Rome, A view of the Colosseum and the Arch of Constantine
Jakob Philipp Hackert
(Prenzlau, 1737 – San Pietro di Careggi, 1807)
Oil on canvas, 134.7 x 221.6 cm
The Port of Salerno from Vietri
Inscribed, signed and dated Porto di Salerno / Filippo Hackert dipinse 1797 (lower centre)
Bibliography: Nordhoff and H. Reimer, Jakob Philipp Hackert 1737-1807: Verzeichnis seiner Werker, Berlin, 1994, p. 131, no. 272.
Francesco Guardi
(Venice, 1712-1793)
Oil on canvas, 42 x 84 cm
Padua, View of Prato della Valle
Expertise: Succi (2018); Bozena Kowalczyk (2018)
Giovanni Battista Cimaroli
(Salò, 1687 – Venezia, 1771)
Oil on canvas, 83 x 114.5 cm
View of the Brenta with Palazzo Barbarigo
Giovanni Antonio Canal, called Canaletto
(Venice, 1697 - 1768)
Oil on canvas, 130 x 105 cm
View of St. Mark Square from St. Mark Basin
Expertise: Antonio Morassi (written communication); Rodolfo Pallucchini (written communication); B. A. Kowalczyk (2021)
Bibliography: W. G. Constable, Canaletto, seconda edizione a cura di J. G. Links, Volume II, n.459*, pg. 438, pl. 208
Giovanni Antonio Canal, called Canaletto
(Venice, 1697 - 1768)
Oil on canvas, 102.7 x 129.5 cm
The Arch of Settimio Severo
Bibliography: Morassi, “La giovinezza del Canaletto”, Arte Veneta, XX, 1966, pp. 212-4, figs. 254 and 255; Puppi, L'opera completa del Canaletto, Milan, 1968, p. 89, no. 1; R. Pallucchini, “Per gli esordi del Canaletto”, Arte Veneta, XXVII, 1973, pp. 159-60, 164, figs. 205 and 235; W.G. Constable, Canaletto. Giovanni Antonio Canal 1697 - 1768, Second Edition revised by J. G. Links, Oxford, 1976, II, no. 385*, as ‘attributed to Canaletto’; W. L. Barcham, The Imaginary View Scenes of Antonio Canal, New York and London, 1977, pp. 84-87, figs. 83 and 87; E. Martini, La pittura del Settecento veneto, Udine, 1982, p. 534, note 281; A. Corboz, Canaletto. Una Venezia immaginaria, Milan, 1985, I, pp. 71, 291-8, fig. 345, II, p. 560; F. Pedrocco, Gli anni giovanili del Canaletto. Le vedute già Liechtenstein, in Canaletto & Visentini. Venezia & Londra, exhibition catalogue, Venice, Ca’ Pesaro, Citadella (Padua), 1986, p. 28; M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, Second Edition, Cambridge, 1991, p. 15; D. Succi, Marco Ricci e il paesaggio veneto del Settecento, exhibition catalogue, Belluno, Palazzo Crepadona, 1993, p. 65, fig. 22; R. Pallucchini, Gli inizi del Canaletto, in La pittura nel Veneto. Il Settecento, Milan, 1995, I, pp. 369-70, fig. 591; C. Beddington, H. Chapman, A. Delneri, Canaletto prima maniera, exhibition catalogue, Milan, 2001, pp. 13, 52, 88, no. 32; A. Delneri, in Canaletto. Una Venècia imaginaria, exhibition catalogue, Barcelona and Madrid, 2001, p. 56; F. Pedrocco, Il Settecento a Venezia. I vedutisti, Milan, 2001, p. 76; B.A. Kowalczyk, “Canaletto (Venezia 1697-1768)”, in La pittura del paesaggio in Italia. Il Settecento, ed. A. Ottani Cavina and E. Calbi, Milan, 2005, p. 138.
Bernardo Canal
(Venice, 1664 - 1744)
Oil on canvas, 89.6 x 146.8 cm
View of the Campidoglio
Expertise: Beddington (oral communication)
Bibliography: Fiocco, in L. Coletti e T. Spini (eds), Collezione Ottaviano Venier, Bergamo 1954, illustrated (as Bellotto)
Ippolito Caffi
(Belluno, 1809– Lissa, 1866)
Oil on paper applied on canvas, 36.7 x 41.3 cm
Rome, View of the Tiber with Castel Sant'Angelo
Bibliography: Peretti, Ippolito Caffi, Rome, 2016, pp.106 and 136, nos. 89 and 150