The Galleria Benucci was created in Via Giulia in Rome around 1980. It specialises in 17th and 19th century painted furniture, also including works by the Primitives – 14th and 15th century paintings on gold ground. The Gallery takes part in the most relevant Biennial antiques fairs: Palazzo Strozzi and Palazzo Corsini in Florence, the Biennial in Turin and Milan, the first international edition at Palazzo delle Esposizioni in Rome, and it also takes part in the Biennial Fair at Palazzo Venezia. It is currently located at 150/c Via del Babuino150/c, the prestigious address which once hosted the historic Eurolo and Uroli Italian tapestry makers. After carefully assessing the tastes and interests of new collectors, the gallery now showcases works by relevant modern and contemporary artists (formerly a private collection of the Benucci family), going by the saying that “art is timeless”. Visiting the Benucci Gallery makes for an intriguing and interesting journey, whereby one can appreciate how a Bernini-style piece of furniture, a 17th century Roman commode or works by contemporary artists, shown in the same rooms, can enhance one another.
The execution of the sculpture recalls the manner of Bernardo Fioriti, a classicist sculptor who was a pupil of the Ferrata, not free from Bernini's influences. Note the style of Fioriti in the schematic management of the volumes, in the stiffness of the shapes and in the graphic tendency of the representation of the folds of the collar, beard and eyes. (in Petrucci F., "Patrons and Historic Houses in the Province of Rome", De Luca editori d'Arte, 2005, p. 44)
When Ceracchi sculpted the artwork, Albani was sixty-seven years old and had already had Alexander Trippel portrayed himself in a marble about fifty centimeters high. Ceracchi worked on the portrait between 1786 and 1787 and art connoisseurs observed the sculptor's extraordinary skills as a portraitist. The sculpture of Giovan Francesco Albani adheres to the type of pictorial portrait, characterized by pronounced naturalistic intentions and the vivacity of expression. (in Petrucci F., The faces of power. Portraits of illustrious men in Rome from the Roman Empire to Neoclassicism, De Luca Editori d'Arte, 2004, pp. 136 - 137)
Rare and important clock in gilded and carved wood with the classic references to decorative artifacts commissioned by the Borghese family. Viennese mechanics at the hour and quarter. Ringtone on spans. Anchor escapement. Weekly conoid charge. High quality mechanics. Enamel dial with Roman and Arabic numerals. Patterned perforated clock hands.
