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, Cincinnarti Art Museum, Minneapolis Institute of Art as well as numerous private collections.
A curious and refined painting from 1832 by Victor Delacroix – an artist with an inevitably evocative surname – inspired by the novel "The Antiquary" by the famous Scottish writer Walter Scott. In a scene brimming with narrative tension, the storm, the churning sea and literary heroism are rendered in a painting of great quality, capable of transforming a romantic episode into a vivid and compelling visual narrative.
Signed and dated lower left: Timmel / 1915 Provenance:Private collection, Guayaquil, Ecuador; Private collection. Vito Timmel’s work, "Amazzone" (1915), a masterpiece of extraordinary evocative power, was exhibited at the 1923 Turin Quadriennale. The work fully demonstrates Timmel’s ability to reinterpret the language of the Vienna Secession through an independent stylistic voice, in which refined compositional balance and aesthetic exploration merge to create an image of intense evocative power.
The only known example, Ritmi, a masterpiece by Attilio Selva dating from 1914, exhibited at the Third Exhibition of the Roman Secession in 1915, represents one of the high points of the artist’s sculptural research. At a moment of profound reflection on the relationship between tradition and modernity, Selva developed a personal language that looked to the purity of classical art while interpreting it through a distinctly contemporary sensibility, akin to the currents of the European Secessionist movement. A seductive example of a composed and measured modernity, the sculpture combines classical rigour with a new formal sensibility and rhythmic freedom: every balance arises from a masterful interplay of weights, pauses and juxtapositions, while the sinuous profile of the figure unfolds in a silent tension of solids and voids.
Firmato e datato in basso a destra: Benouville Rome 1864 Provenienza: probabilmente Vendita della Principessa Matilde Bonaparte, Parigi, 18-19 maggio 1904, n. 90, 210 F
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