XXX FLORENCE INTERNATIONAL BIENNIAL ANTIQUES FAIR SEPTEMBER 23 – OCTOBER 1, 2017

Palazzo Corsini

The 2017 edition of the Florence International Biennial Antique Fair, at Palazzo Corsini from September 22, 2017, one of the most prestigious events in the world of antique fairs, will see us participating once again.

Respecting the line of our proposals, from the ancient Masters to the Historical Nineteen Hundred, with particular attention to the art of the second Eighteenth century and of the Neoclassicism, we exhibit in Florence paintings and sculptures realized between the Sixteenth and the Twentieth centuries.

For painting, we mention a small, precious Madonna with Child, by Jacopo Chimenti, known as da Empoli, 1580 ca. A Narcissus by the Roman Placido Costanzi, a student of Maratta, of the early Seventeeth century. Two marvellous Flowers still life, painted by Giuseppe Bottani in the second half of the Eighteenth century. A few years later the superb Portrait of Thomas Jenkins, a British banker and art dealer in Rome, by Anton von Maron, while by Pietro Benvenuti is the intriguing Widowly Portrait of a Gentlewoman. Equally significant, and we are already in the Napoleonic era, 1810, the Portrait of Ferdinand dal Pozzo by the Spanish Josè Aparicio, while the Sleeping Odalisque by Natale Schiavoni, a great canvas of sentimental eroticism, is dated 1842

For the Twentieth century painting, we present the famous canvas Doll in showcase by Ferruccio Ferrazzi, 1918/19. Two works by Giulio Bargellini, a Salomè of 1910 ca. and the study Still Life with Fruit of 1908. Two landscape pastels by Giulio Aristide Sartorio, the rare Sunrise on Lake Nemi of 1914 and Pine Grove along the Tiber of 1927. And, finally, two portraits, one oil and one paper, by Renato Tomassi, an extraordinary artist in the sphere of the German figurative culture in Rome.

For the sculpture, instead, the most demanding work is undoubtedly the Sleeping Endimion, a life size Carrara marble, carved after many vicissitudes between 1825 and 1830, by the Florentine Aristodemo Costoli. Of the Novecentist Ermenegildo Luppi we present two scale models for the Pietà, realized at the beginning of the 1920s, one in bronze, the other in terracotta. Lastly, we indicate two wax horses, of the 1960s, by the American Harry Jackson, active for long years in Pietrasanta.