Born out of a merger of two historic galleries, both present on the market for generations, Francesca Antonacci Damiano Lapiccirella Fine Art has become a reference point for fans of Grand Tour paintings, drawings, and sculptures by European artists from between the second half of the 18th century and the first half of the 20th century, and also an exhibition space for shows which are frequently museum-worthy. Over the years, the gallery has taken part in the most prestigious of antiques exhibitions such as the Salon du Dessin and the Biennale des Antiquaires in Paris, Masterpiece London, and TEFAF New York; it also exhibits regularly at TEFAF Maastricht and at the International Biennial of Antiques in Palazzo Corsini, Florence. In the course of its activity, many of its works have joined major public collections such as the National Gallery in Washington, the Getty Museum in Los Angeles, the Modern Art Gallery of Palazzo Pitti in Florence, the Polo Museale Fiorentino, the Capodimonte Museum in Naples, the Prague Museum, the Villa Mansi Museum in Lucca, the Fontainebleau Museum, the Hamburger Kunsthalle in Hamburg, the Musée D'Orsay, the Uffizi Gallery in Florence, the Toledo Museum of Art, USA, as well as numerous private collections.
These two panels mark the our sensational rediscovery of parts of a large decorative frieze produced by Giulio Aristide Sartorio for the Esposizione Internazionale del Sempione of 1906. To celebrate the great modern feat of the Sempione Tunnel, the frieze, painted in oil on canvas en grisaille, illustrated "Italy's driving energy in history, ferrying the classical ideal into the modern”.
La sensazionale riscoperta del cosiddetto Autoritratto di Giorgione di ANTONIO CANOVA presentato da Antonacci Lapiccirella Fine Art allo stand 8 racconta la storia di una beffa. Si tratta di un dipinto ad olio su tavola, commissionato a Canova dal senatore di Roma il principe Abbondio Rezzonico. Proprio quest'ultimo fu complice nella singolare vicenda dello scherzo ordito dallo scultore nei confronti dei maggiori artisti e intellettuali allora presenti a Roma, a cui in occasione di un banchetto a casa del principe venne presentato questo dipinto realizzato dal Canova su una tavola cinquecentesca spacciandolo appunto per l’Autoritratto eseguito da Giorgione (di cui tanto si favoleggiava ma che si conosceva solo tramite un’incisione del 1648). Tutti i presenti furono concordi nel riconoscere il dipinto come eseguito da Giorgione. Lo scherzo aveva avuto successo e il celebre scultore aveva così dimostrato di essere anche un abile pittore.
PROVENANCE Milan, Regazzoni collection; Rome, private collection
PROVENANCE: Camuccini family estate, Rome; private collection, Rome.
AFTER 200 YEARS, THE MASTERPIECE OF VINCENZO CAMUCCINI, THE HORATIUS COCLES, COMMISSIONED BY MANUEL GODOY IN 1813, RE-EMERGES PROVENANCE: Manuel Godoy collection; London, private collection; Dragør, Sadolin collection
This small canvas is a preparatory sketch for one of the most successful commissions that Vincenzo Camuccini was to produce in the fullness of his maturity. It depicts the departure of Marcus Attilius Regulus for Carthage, an episode in Roman history that underscores the heroism of the city's ancient generals.
CATALOGHI E SCHEDE
