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Giacomo Francesco Cipper

Italy (Voralberg 1664 -  Milan 1736 )
CIPPER Giacomo Francesco The Fruit Seller

Palais Dorotheum
Apr 25, 2017
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Variants on Artist's name :

Giacomo Francesco Cipper Detti Il Todeschini

 

Artworks in Arcadja
309

Some works of Giacomo Francesco Cipper

Extracted between 309 works in the catalog of Arcadja
Giacomo Francesco Cipper - A Boy Holding Two Ducks

Giacomo Francesco Cipper - A Boy Holding Two Ducks

Original
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Lot number: 566
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Description:
Giacomo Francesco Cipper, called il Todeschini (Feldkirch 1664–1736 Milan) A boy holding two ducks, oil on canvas, 114x88.8cm, framed Provenance: with Morandotti, Rome, 1950s or 1960s; Collection of the Boris Christoff Foundation, Italy; art market, London; where acquired by the present owner Literature: F. Arisi, Natura morta tra Milano e Parma in eta barocca, Piacenza, 1995, p. 475 and p. 485, ill. pl. 681
Giacomo Francesco Cipper - The Doctor's Visit

Giacomo Francesco Cipper - The Doctor's Visit

Original
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Gross Price
Lot number: 181
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Description:
Giacomo Francesco Cipper, called Todeschini THE DOCTOR'S VISIT FELDRICH 1664 - 1736 MILAN oil on canvas 49 1/2 by 67 1/4 in.; 125.7 by 170.8 cm. Literature L. Tognoli,G.F. Cipper, il "Todeschini" e la pittura di genere, Bergamo 1976, reproduced fig. 185 (as location unknown and erroneously attributed to Cipper). Catalogue Note Although published with an erroneous attribution by Tognoli, who likely only knewitfrom a black and white photograph, the present painting isconsistent in composition and handling with the genre scenes for which Giacomo Francesco Cipper, called Todeschini, is best known.
Giacomo Francesco Cipper -  The Brawl

Giacomo Francesco Cipper - The Brawl

Original 1705
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Gross Price
Lot number: 117
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Description:
Giacomo Francesco Cipper, called il Todeschini (Feldkirch 1664–1736 Milan) The Brawl, oil on canvas, 225 x 430 cm, framed Provenance: Aristocratic collection, Lombardy; where acquired by the present owner Literature: G. Gruber, Giacomo Francesco Cipper detto il Todeschini (1664-1736), doctoral thesis, Vienna University, 1997, p. 146, no. 368; G. Gruber, Il ruolo delle stampe nell\’ambito della pittura di genere, in: F. Porzio (ed.), Da Caravaggio a Ceruti. La scena di genere e l\’immagine dei pitocchi nella pittura italiana, exhibition catalogue, Milan 1998, p. 454, fig. 7; G. Gruber, Vie et oeuvre de Giacomo Francesco Cipper, in: Autour de Giacomo Francesco Cipper. Gens d\’Italie au XVIIe et XVIIIe siècles, B. Sarrazin (ed.), exhibition catalogue, Lyon 2005, p. 34, fig. 15 On account of its quality and large scale the present painting is one of the most significant works by Giacomo Francesco Cipper called il Todeschini. The scene represents a brawl, a subject that was treated frequently in seventeenth and eighteenth century genre painting. Although the most ordinary humble reality was the prime source of inspiration for this type of painting, the diffusion of this kind of image was contributed to significantly by prints, and especially by the etchings of Jaques Callot. These provided an iconographic repertoire, largely proffering from northern Europe, that became the model for many artists to the extent that they became an academic tool in drawing schools, especially in Germany. Even the paintings of Todeschini are characterised by this type of cross-fertilization: indeed, the present painting is based upon a seventeenth century engraving by Jan Baptiste de Wael (1632 – after 1669) that belonged to a series (Bibliothèque National de France, Paris) from which the artist often borrowed for his paintings. The same engraving was also used as a source by Antonio Mercurio Amorosi (1660-1738) in his Brawl in a private collection at Ancona (see Gruber 1998 in literature). Cipper extended the compositional scope of the engraving, adding new details to each side of the centrally positioned table around which the brawl takes place. On the left there is an open fire in the chimney piece at which a youth cooks a chicken on a spit, with wild game laid out in the foreground. On the right, a countrywoman stands to one side observing the scene with a meditative air, while beyond her two drinkers are seated at another table. In the centre background, a youth watches the brawl holding onto the bars of a high window. This crowded scene is masterfully orchestrated around a series of diagonals that contribute to the rhythm of the composition, providing each figure with a theatrically appropriate position. The repertoire of types is typical of Cipper\’s painting: country-folk, mendicants, young commoners, and scenes taken from everyday experience. The broad compositional arrangement and the skilful manipulation of light contribute to generating spatial depth in the painting, while the intensely rendered chiaroscuro indicates a dating for this work in the first years of the eighteenth century, as it can be compared to other works of the period, such as the Genre scene in a Milanese private collection dated 1705 (see L. Tognoli, G. F. Cipper, il \‘Todeschini\’ e la pittura di genere, Bergamo 1976, p. 149, no. 50 and fig. 9, p. 22). During this period, the Austrian painter was already resident in Milan where he was to conduct the greater part of his career. The large format of the present painting would indicate that this work was a prestigious commission, indicating that already at this date, Cipper was in contact with the most important aristocratic families of Lombardy. Please note that the present painting is subject to special collection conditions. Specialist: Mark Mac Donnell
Giacomo Francesco Cipper - The Fruit Seller

Giacomo Francesco Cipper - The Fruit Seller

Original
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Price:

Lot number: 109
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Description:
Giacomo Francesco Cipper, called il Todeschini (Feldkirch 1664–1736 Milan) The fruit seller, oil on canvas, 187.5 x 126.5 cm, framed Provenance: commissioned by Count Alfonso Vismara, villa di Montesolaro, Como; and thence by descent to the present owner Exhibited: Bergamo, Palazzo della Ragione, Mostra di Fra Galgario e del Settecento in Bergamo, July - September 1955, n. 45; Paris, Petit Palais, La peinture italienne au XVIII siècle, November 1960 - January 1961, n. 474; Naples, Palazzo Reale, La natura morta italiana, October - November 1964, n. 224 Literature: Mostra di Fra Galgario e del Settecento in Bergamo, ed. by F. Mazzini, exhibition catalogue, Milan 1955, p. 41, no. 45; La peinture italienne au XVIII siècle, exhibition catalogue, Paris 1961, no. 474; E. Waterhouse, Italian Baroque Painting, London 1962, p. 150 and fig. 127; C. Volpe, in: La natura morta italiana, exhibition catalogue, Milan 1964, p. 96, no. 224 and tav. 100 b; O. J. Blazícˇek, Ancora del Todeschini – Cipper, in Arte in Europa. Scritti di Storia dell’’’’’’’’Arte in onore di Edoardo Arslan, vol. I, Milan 1966, p. 777; L. Tognoli, G. F. Cipper, il “Todeschini” e la pittura di genere, Bergamo 1976, p. 153, no. 88 and fig. 101 (with measurements: 200 x 134 cm); M. S. Proni, Giacomo Francesco Cipper detto il “Todeschini”, Soncino 1994, pp. 100–102, illustrated (with measurements: 192 x 131 cm) This painting, which is the pendant to lot 110, represents a market scene. In the foreground to the right a young fruit-seller offers her merchandise to a man standing behind her. On the left, the splendid still life illustrates a great variety of vegetables, a basket over-spilling with peaches is held by a boy depicted in shade in the middle ground and behind him, a youth is seen begging. This work is one of the most celebrated compositions by Giacomo Francesco Cipper called ‘Todeschini’’’’’’’’, an Austrian painter who was active in Italy from the end of the seventeenth century in Lombardy. During the second decade of the eighteenth century his career was sufficiently established to receive commissions from noble families. It is indeed likely that the present work dates to this period and it was commissioned, along with five other canvases, by count Alfonso Vismara for his villa in Montesolaro near Como, an elegant building from the seventeenth century that had been renovated in the prevailing late Baroque (or barocchetto) taste of the era, which still dominates the surrounding landscape from the hill on which it rises. In addition to the present painting and its pendant lot 110 the cycle included The Sowing Lesson, The Fortune Teller, The School Teacher and The Music Teacher (Private collection). The present Market Scene is undoubtedly one of the artist’’’’’’’’s highest achievements both for its pictorial quality and its great expressive power. The knowledgeable use of light to model the still life elements and to investigate with extreme realism and detailed precision the people that animate the scene, is notable. The light, for example, draws attention to details such as the ring and the earrings that the fruit-seller wears, ennobling her person; her composed posture is distant from the roughness of many countrywomen typically depicted in other works by Cipper. His use of colour is also more luminous compared to his earlier use of earth tones, and his compositional structures are more studied, with still life elements disposed across multiple planes so as to underline the spatial recession, perspectivally framed by the four figures. The four figures are familiar from Cipper’’’’’’’’s repertoire of other genre representations, for example the man with the black hat can also be found, dressed identically, in The Fishmonger and a Struggle between Porters from a private collection in Bergamo. Very little is known of the Austrian painter’’’’’’’’s formative years, but from his production we can see strong ties to the paintings of Bernhard Keil, called Monsù Bernardo, a Danish painter who also settled in Italy; most notably they share a similar choice of humble subjects and a similar expressive freedom in the use of a swift and fluid brush stroke. Cipper earned fame for his many genre compositions drawn from everyday life, which frequently alluded to allegorical meanings, thus reflecting a typical trait of the Northern artistic tradition in which ‘Todesco’’’’’’’’, as he often signed himself, was deeply influenced by.
Giacomo Francesco Cipper - The Poultry-seller

Giacomo Francesco Cipper - The Poultry-seller

Original
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Starting price:

Price:

Gross Price
Lot number: 8
Other WORKS AT AUCTION
Description:
Giacomo Francesco Cipper (1664-1736)
Description:
Giacomo Francesco Cipper, called Il Todeschini, circle of, The Poultry-Seller
Notes:
VAT: Margin scheme
Dimensions:
73 x 58.5 cm
Artist or Maker:
Giacomo Francesco Cipper, called Il Todeschini, circle of
Medium:
Oil on canvas (relined)

LA BIOGRAFIA DI Giacomo Francesco Cipper

TODESCHINI , Giacomo Francesco Cipper, pittore tedesco attivo fra XVII e il XVIII secolo.
La sua formazione fu di origine nordica, lavorò nell'Italia settentrionale soprattutto a Bergamo e a Brescia, prediligendo soggetti popolareschi.

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