View full screen - View 1 of Lot 39. GREGORIO FIDANZA  |  A VIEW OF VIRGIL'S TOMB NEAR POSILLIPO; AND AN IDEALISED VIEW OF TIVOLI INCLUDING THE BELL TOWER OF THE CHURCH OF SAN CRISOGONO IN ROME.
39

GREGORIO FIDANZA | A VIEW OF VIRGIL'S TOMB NEAR POSILLIPO; AND AN IDEALISED VIEW OF TIVOLI INCLUDING THE BELL TOWER OF THE CHURCH OF SAN CRISOGONO IN ROME

Estimate:

20,000

to
- 30,000 GBP

Property from Lullo • Pampoulides, London

GREGORIO FIDANZA | A VIEW OF VIRGIL'S TOMB NEAR POSILLIPO; AND AN IDEALISED VIEW OF TIVOLI INCLUDING THE BELL TOWER OF THE CHURCH OF SAN CRISOGONO IN ROME

GREGORIO FIDANZA | A VIEW OF VIRGIL'S TOMB NEAR POSILLIPO; AND AN IDEALISED VIEW OF TIVOLI INCLUDING THE BELL TOWER OF THE CHURCH OF SAN CRISOGONO IN ROME

Estimate:

20,000

to
- 30,000 GBP

Property from Lullo • Pampoulides, London

GREGORIO FIDANZA

Collevecchio 1759 - 1823 Rome

A VIEW OF VIRGIL'S TOMB NEAR POSILLIPO; AND AN IDEALISED VIEW OF TIVOLI INCLUDING THE BELL TOWER OF THE CHURCH OF SAN CRISOGONO IN ROME


a pair, both oil on canvas

unframed: each 95 x 50 cm.; 37 3/8 x 19 3/4 in.

framed: each 115 X 62 cm.; 45 1/4 x 24 3/8 in.

(2)


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Both canvases are lined, and both paint surfaces are clean with slightly discoloured varnishes. There are no major damages visible to the naked eye. Inspection under ultraviolet light reveals minor retouchings scattered throughout both paintings.

 

The former: retouchings are more concentrated around the top arch of the grotto, and the foliage and boulders above this; in the upper left and upper right corners; to two repaired damages in the sky centre left, the largest 3 x 2 cm.; and to a small repaired damage lower centre in the rocks approx. 1 x 1 cm.

 

The latter: retouchings are more concentrated along the lower margin; along a repaired vertical tear or seam 1/4 of the way in from the left margin and running the height of the canvas; in the sky upper centre; in the bridge lower centre; and in the rocks lower right.

 

In overall fairly good condition and ready to hang in their current state.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

London, Ben Hunter Gallery, Caves and Grottoes: Group Exhibition, 25 November 2016 – 12 January 2017.

"The artist’s dynamic compositional approach and moody palette are so effective here – they strongly enhance the appeal of these already awe-inspiring and romantic monuments."


Arianna Leoni Sceti


The brother of Francesco, Gregorio Fidanza studied in Paris under Charles-François Lacroix de Marseille and went on to become official court painter to Stanislaus August, King of Poland. He drew his inspiration from the work of Claude Lorraine and Salvator Rosa, whose landscapes he often imitated. Virgil, the great poet of ancient Rome and author of the Aeneid was still widely read in the late 18th century. Positioned high up on the hillside above the Grotto of Posillipo, an ancient tunnel constructed in antiquity to shorten the route between Naples and Pozzuoli, Virgil's tomb – which can still be seen in Naples today – became a popular subject for artists due to its romantic appeal, sublime visual aesthetics and literary prestige.