The Galleria Pietro Cantore was founded in the 1970s by Pietro Cantore’s mother, Luisa, and has its seat in the heart of Modena, halfway between the Ghirlandina and the Accademia. The gallery is equally an antiquarian bookshop and a local institution.Pietro Cantore has been at the helm of the gallery for nearly two decades: in addition to having gained considerable experience in decorative arts, without foregoing excellent woodwork, he devoted his attention and research to Old Master paintings from the 14th to the 18th century, chiefly considering Emilian artists. The gallery represents a cultural point of reference, with book presentations and the organisation of exhibitions on ancient and contemporary art alike. The gallery has always supported museums and has been the seat of the Friends of the Gallerie Estensi since 2014: Pietro Cantore is its founder and vice-president. After a ten year-long experience in New York with Piero Corsini, Pietro Cantore keeps on following the international art market. His contribution towards the revitalisation of Modenantiquaria, the landmark fair in the realm of Italian antiques, has been pivotal. He eagerly takes part in the Florence international Biennial Antiques Fair, the most important Italian art and antiques fair in the world.
Provenance: New York, Piero Corsini Gallery. Literature: R. Simon, Important Old Master Paintings, Discoveries. In una nuova luce, New York, Piero Corsini Inc., 20 April-20 May 1988, n. 5.; J. Bentini, 'Il fascino della pittura Veneta: Il caso dello Scarsellino', La pittura in Emilia e Romagna. Il '600, Bologna, 1993, II, pp. 263, 273, n. 9; W.R. Rearick, 'The life and works of Jacopo dal Ponte, called Bassano, c. 1510-1592', Jacopo Bassano c. 1510-1592, exhibition catalogue, Bologna, 1993, pp. 114-115, fig. 32; M. A. Novelli, Scarsellino, Milano, 2009, pp. 235, 323, n. 222;
Literature: M. Pirondini in “Arte Emiliana dalle raccolte storiche al nuovo collezionismo”, a cura di G. Manni, E. Negro, M. Pirondini, Modena, 1989, p. 105-6, n. 73; B. Ramponi, L’attività veneta di Luca da Reggio, Tesi di Laurea, Università di Venezia, A.A. 1992-1993, pp. 220-223; P. Ceschi Lavagetto, Luca da Reggio tra Emilia e Veneto, in La pittura veneta negli stati estensi, Modena, 1996, p. 232, n. 33; L. Peruzzi in Tesori ritrovati: la pittura del Ducato estense nel collezionismo privato, a cura di M. Pedrazzoli, M. Borsari, catalogo della mostra (Modena), Milano, 1998, p. 111; B. Ramponi, in Luca Ferrari, Reggio Emilia, 1999, pp. 140-141.
Provenance: London, Marquis of Stafford’s collection. Literature: W. Y. Ottley, Engravings of the most noble the Marquis of Stafford’s collection of pictures, in London, arranged according to schools, and in chronological order, with remarks on each picture, London 1818, II, p. 57, n. 48.
Literature: P. Di Natale, in La Croce, la Testa e il Piatto. Storie di San Giovanni Battista. Dipinti del Seicento della Collezione Koelliker, catalogo della mostra a cura di M. Pulini (Cesena, Galleria Comunale d’Arte; Biblioteca Malatestiana, 12 giugno – 24 ottobre 2010), Cesena 2010, pp. 112-113, n. 2; M. Riccòmini, Giuseppe Maria Crespi. I disegni e le stampe. Catalogo ragionato, Torino 2014, pp. 122, 124, fig. 73; M. Riccòmini, Dieci pezzi brevi. Dipinti barocchi in Emilia, in ‘Quaderni del conoscitore’, I, 2017, n. 7.
