Consulter la cote et le prix de Giovanni Paolo Panini (Piacenza 1691-1765 Rome)

Description : A capriccio view of the Colosseum with rustic figures in the foreground, the Temple of the Sibyl at Tivoli beyond signed 'Gio. Paolo/. Pannini di Piacenza' (lower right) oil on canvas 261/4 x 37 7/8 in. (66.7 x 96.2 cm.) PROVENANCE Cardinal Stefano Borgia (1731-1804), Museo Borgiano, Velletri, whence purchased, with a 'Romantic scene from nature' also attributed to Dughet, by Thimoth‚e Francillon (as recorded in the 1817 sale catalogue, below) on behalf of Emmerich Joseph, d'Alberg (1773-1833), Ambassador of France to the Court of Turin; his sale, Christie's, London, 13 June 1817, lot 21, as 'Gaspar - A View of the Colosseum at Rome' (132 gns. to Scholey; the second Borgia painting sold, lot 22, to the same buyer). Godfrey Scholey. Colonel F.G. Armstrong. Anon. Sale [The Property of a Gentleman], Sotheby's, London, 16 April 1980, lot 110 (sold œ14,000). LITERATURE F. Arisi, Gian Paolo Panini e i fasti della Roma del' 700, Rome, 1986, p. 258, no. 78, illustrated. F. Arisi, in the catalogue of the exhibition, Giovanni Paolo Panini, Piacenza, Palazzo Gotico, 15 March-16 May 1993, p. 27, illustrated p. 29. EXHIBITION The Walker Art Gallery, Liverpool, 1963-1968. Marble Hill House, Richmond, 1968-1979. NOTES Panini studied architectural painting in his native Piacenza under Giuseppe Natali and Andrea Galluzzi. He also worked there as a stage designer (the Farnese court at Piacenza was a major centre for scene painting) probably under the supervision of Ferdinando Galli Bibiena, the leading scene painter of the day. By the time he arrived in Rome, in November 1711, he was already recognized as an independent painter of landscapes and architecture and in his early years he established himself principally as a decorative fresco painter for the villas and palaces of the Roman aristocracy. Dated by Arisi to circa 1716-18, the present picture is amongst Panini's earliest known easel paintings and thought to pre-date his first documented one, the Alexander visiting the Tomb of Achilles, that he submitted upon his election to the Accademia di San Luca in 1719. This early dating is corroborated by the unique way in which Panini has signed the picture, appending the city of his birth to his name, pronouncing himself 'Panini di Piacenza'. Like the signature, this view is also singular in his oeuvre. Described by Arisi ( op.cit., 1993) as 'un episodio isolato Š lo straordinario', the low viewpoint employed by Panini, the fanciful juxtaposition of the Colosseum and the Temple of the Sibyl within a fantastic setting and the picturesque treatment of the whole, combine to effect a dramatic departure from the prevailing rigorous treatment of topography as expounded at the time by Vanvitelli and Hendrick Frans van Lint. Elevated to the rank of cardinal by Pope Pius VI in 1789, Stefano Borgia is primarily known as a collector of manuscripts, medals and antiques, which he displayed in the rooms of his palace at Velletri; his collection of antiquities and medieval paintings became one of the richest and most famous private museums of the period. In the troubled period of the French invasion of 1797-8, Borgia was given charge of Rome by Pius VI; after the proclamation of the Republic in 1798, he was arrested but quickly released, whereupon he immediately resumed his studies and work of collecting, soon afterwards joining the Pope at Valencia. In 1801 he was made Rector of the Collegium Romanum, and he was in the retinue of Pius VII when that pontiff went to France to crown the new Emperor Napoleon. Having arrived at Lyons, Cardinal Borgia was taken ill and died. A few years after Stefano's death a sizeable part of the museum, containing the Egyptian antiquities, was transferred through the intervention of Joachim Murat, King of Naples, to the then Palazzo dell' Accademia degli Studi di Napoli (now in Naples, Museo Nazionale di San Martino). A large proportion of the manuscripts were transferred to the library of the Collegio di Propaganda Fide in Rome; the remainder at the Museo Borgiano were transferred to the Vatican Library. The Christie's sale catalogue of 1817 was foreworded and partly written by the Swiss-born dealer Thimoth‚e Francillon, who assisted the duc d'Alberg in the formation of his collection. In that sale, the present lot was sold, as consecutive lots, with another landscape then given to Dughet, described as 'A romantic scene from nature', in the catalogue description to which Francillon noted that he had bought both pictures from the collection of Cardinal Stefano Borgia. Emmerich Josef, duc d'Alberg (1773-1833) was from a prominent German noble family and a nephew of the archbishop-elector of Mainz. Like his uncle, he was a supporter of the French cause, and after holding diplomatic posts in Germany and Austria, he entered the service of Napoleon, who appointed him councillor of state and granted him the title of duke. After the end of the war, he played a role in the post-Napoleonic government and in 1816 was made ambassador to Turin, a post he held at the time of the 1817 sale.
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Estimations(basse-haute) : 211500 USD-352500 USD 🔓Accès libre sans carte bancaire.

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