Romolo e Remo con la lupa

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Titolo dell'opera:

Lupa con Romolo e Remo

Acquisizione:

Maria Brignole-Sale De Ferrari Duch. di Galliera 1874 Genova - donazione

Autore:

Biggi, Francesco - Parodi, Domenico

Object Type:

sculpture

Epoca:

Inventario:

317

Tecnica:

marmo

Descrizione:

The two sculptural groups were created by two Genoese sculptors, Bernardo Schiaffino and Francesco Biggi, probably based on designs by Domenico Parodi, the painter who created the frescoes and oversaw the decorative design of this room. Domenico Parodi was the son of the great Baroque sculptor Filippo Parodi, from whom he learned the art of sculpting marble and thinking in three dimensions, even in the creation of his frescoes, giving plasticity and monumentality to forms. The two sculptures were originally intended to be two fountains - the water flowed from a small pipe hidden inside the mouths of the two animals - and were placed in the small “indoor nymphaeum” commissioned by Anton Giulio, according to Brignole-Sale, inside this mezzanine. Here, in fact, by transforming what were normally service rooms, by 1710 the client had a private and totally exclusive apartment set up, embellished with luxurious furnishings and rich decorations. The choice of subjects is motivated by the fact that both episodes constitute two key points, the beginning and the end, of a narrative that covers the entire room, including the wooden doors of the built-in wardrobes, and retraces the salient episodes that mark the mythical origins of Rome: the birth of Helen, Paris' awarding of the apple of discord to Venus, Paris' abduction of Helen and, opposite, Aeneas' flight from Troy, finally arriving at the birth of Romulus and Remus. Sculpture group depicting Romulus and Remus as children in an affectionate pose next to the Roman she-wolf.

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Titolo dell'opera:

Front of sarcophagus with Bacchic thiasos

Acquisizione:

1867 Genova - acquisto

Ambito culturale:

ambito romano

Author/ School/ Dating:

Front of sarcophagus with Bacchic thiasos

Object Type:

sarcophagus

Epoca:

Inventario:

MSA 191

Tecnica:

marmo bianco scolpito

Descrizione:

This slab comes from a Roman sarcophagus, datable to the 2nd century AD, donated by the city of Gaeta to Francesco Spinola, a valiant commander in the defence of the town besieged by Spanish troops. The slab was later used in 1442, the year of Spinola's death, for his tomb in the church of San Domenico. The statue of San Giorgio vessillifero, in the Museum, also refers to it. Sculpted marble front with religious procession of mythological figures and animals.

Ritratto del Principe di Castiglione

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Titolo dell'opera:

Portrait of the Prince of Castiglione

Acquisizione:

Marcello Durazzo

Autore:

Leoni, Ottavio

Epoca:

Inventario:

D2439

Misure:

Unità di misura: mm; Altezza: 231; Larghezza: 156

Tecnica:

pietra nera

Descrizione:

The collection of portraits on cerulean paper by Ottavio Leoni (Rome 1578-1630) preserved in the civic collections of Genoa comprises 50 sheets and is certainly of great importance in terms of quality and chronological variety: these are, in fact, drawings of a high standard of execution, whose creation can be traced throughout the master's career as a portraitist, between the end of the 16th century and the first thirty years of the 17th century. The range of characters documented in the portraits is also very varied: a vivid cross-section of Roman society at the beginning of the 17th century. Historical and artistic research and the inscriptions on the sheets (some autographed, others from collections, and sometimes partially faded and cut) have in some cases made it possible to name the figures “photographed” by Leoni: in the Genoese collection, among the many possible examples, there are portraits of nobles, such as Vittoria Caetani dell'Aquila d'Aragona, the Marquis Paris Pinelli and Alessandro VII Sforza, Duke of Segni; portraits of princes and princesses, such as Maria Felice Peretti or the Prince of Castiglione; cardinals, such as Monsignor Gerolamo Grimaldi, Cardinal of Trinità dei Monti; but also figures from different social backgrounds, prominent in Rome at the time, such as the composer and organist Paolo Quagliati. There are also faces that have remained ‘anonymous’, both aristocrats and humble commoners: examples include the sheets with ‘Portraits of a man and a woman’ or those with ‘A monk and a child’, depicted individually and then arranged in pairs within a single blue paper passe-partout with an elegant gold border by a collector between the 18th and 19th centuries. The sheets in Genoa belong to different periods of Ottavio Leoni's career: there are older portraits, dating back to the end of the 16th century and characterised by more marked and continuous contours, more insistent, outlined only in black pencil (an example is a “Portrait of a Young Man”); others in which black pencil strokes are accompanied by white chalk, as in the case of the famous “Portrait of Vincenzo Gonzaga, Duke of Mantua”; Finally, there are others dating back to the last phase of the artist's career, between the second and third decades of the 17th century, in which there is a more nuanced use of red and black pencils and chalk, with more delicate transitions and soft coloured shading: examples from this period include the aforementioned ‘Portrait of the Prince of Castiglione’ and two ‘Portraits of a Man and a Woman’, mounted in a single passe-partout, in which the use of red pencil is highly characteristic. Some of the drawings in the Palazzo Rosso Drawings and Prints Cabinet – all of which came into the collection through Marcello Durazzo's bequest to the civic library in 1848 - bear the inscription “Ulisse Aldrovandi 1799”, an interesting indication of their previous provenance from the collections of Count Ulisse Aldrovandi, patron, collector and amateur painter of the late 18th century, of the Aldrovandi Marescotti family of Bologna. Aldrovandi, an academic of fine arts together with his brother Carlo Filippo, was in contact with artists and writers in his city and had established a sort of academy in his own home, where he had gathered paintings - particularly Nordic ones - but also drawings, prints and art books. Portrait of the Prince of Castiglione.

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Titolo dell'opera:

Pharmacy jar

Acquisizione:

Montagu Yeats Brown 1893 - donazione

Ambito culturale:

manifattura ligure

Author/ School/ Dating:

Pharmacy jar

Object Type:

vase

Epoca:

Inventario:

M.V.1591

Tecnica:

maiolica decorata in monocromia blu su fondo bianco

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Descrizione:

The vase, which can be linked to Ming Dynasty oriental models in terms of morphology and decoration, bears a mark that was probably an attempt to counterfeit the well-known ‘lantern’ mark used by the Grosso factory in Albisola and later by the Chiodo factory in Savona.

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Titolo dell'opera:

Pharmacy jar

Acquisizione:

Montague Yeats Brown 1893 - donazione

Ambito culturale:

manifattura savonese

Author/ School/ Dating:

Pharmacy jar

Object Type:

vase

Epoca:

Inventario:

M.V.1531

Tecnica:

maiolica

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Titolo dell'opera:

Spool-shaped pharmacy jar

Acquisizione:

Montague Yeats Brown 1893 - donazione

Ambito culturale:

manifattura di Albisola

Author/ School/ Dating:

Spool-shaped pharmacy jar

Object Type:

vase

Epoca:

Inventario:

M.V.1567

Tecnica:

maiolica

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Descrizione:

A spool-shaped albarello with slightly rounded ends and a cylindrical middle section. The monochrome blue decoration, as with other vases from the Pescio workshop, includes plant and animal motifs. Among the latter is a horse, which is not usually found in this Chinese-inspired repertoire.

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Titolo dell'opera:

Pharmacy jar

Ambito culturale:

manifattura di Albisola

Author/ School/ Dating:

Pharmacy jar

Object Type:

vase

Epoca:

Inventario:

P. 418

Tecnica:

maiolica

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Descrizione:

Cylindrical jar with light blue majolica decoration on a white background.

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Titolo dell'opera:

Pharmacy jar

Ambito culturale:

manifattura di Savona

Author/ School/ Dating:

Pharmacy jar

Object Type:

vase

Epoca:

Inventario:

C. 747

Tecnica:

maiolica

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Descrizione:

The subject depicted on the front of the vase also appears, with some variations, on other pieces from the same set. The object has a similar shape to the vase with inventory number C. 752, which is part of the same set. The tap is missing. The decoration on the front includes a depiction of a bearded figure in oriental dress, identifiable as a doctor or apothecary, flanked by two cherubs. On the back is a painting of a warrior on horseback.

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Titolo dell'opera:

Pharmacy jar

Ambito culturale:

Manifattura savonese

Author/ School/ Dating:

Pharmacy jar

Object Type:

vase

Epoca:

Inventario:

O.C.C.35

Tecnica:

maiolica

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Descrizione:

The scene depicted on the front has been interpreted as ‘Joseph reconciles with his brothers’, given that other vases from the same collection (P. 268, P. 266, P. 276, P. 270, P. 277, P. 278) depict other episodes from the character's story. Baluster vase with a narrowing at the bottom, where the pharmaceutical inscription is located, and a bulge at the top. Pair of lion-head handles set on relief masks; a third mask, on the front, houses the bronze tap. The upper part of the vase is painted with a biblical scene depicting two male figures prostrating themselves before three standing figures, one of whom is holding a wand. On the reverse side, a couple is seated against a landscape background, flanked by a cherub holding a branch with fruit.

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Titolo dell'opera:

Plate

Acquisizione:

Montague Yeats Brown 1893 - donazione

Ambito culturale:

manifattura savonese

Author/ School/ Dating:

Plate

Object Type:

dish

Epoca:

Inventario:

M.V.1594

Tecnica:

maiolica

Ultimi prestiti:

Superbe Maioliche - Palazzo Bianco - 07/04/2022 10/07/2022

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Descrizione:

Plate with ring foot. The decoration, which covers the entire surface without distinction between the rim and the foot, features a warrior on horseback dressed in ancient garb and carrying a crusader banner, set against a landscape background.

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