GIUSEPPE RUOPPOLO (NAPLES 1639-1710)
GIUSEPPE RUOPPOLO (NAPLES 1639-1710)
GIUSEPPE RUOPPOLO (NAPLES 1639-1710)
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GIUSEPPE RUOPPOLO (NAPLES 1639-1710)
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A Lifelong Pursuit: Old Masters from a Distinguished Private Collection
GIUSEPPE RUOPPOLO (NAPLES 1639-1710)

Plums, apples and pears with a basket; Pears, apples, grapes, melon and other fruit; A bird perched on a blue and white plate, with cherries, pears, a melon and a basket; A basket of strawberries and a jug of flowers, with a guinea pig, gourd and other fruit

Details
GIUSEPPE RUOPPOLO (NAPLES 1639-1710)
Plums, apples and pears with a basket; Pears, apples, grapes, melon and other fruit; A bird perched on a blue and white plate, with cherries, pears, a melon and a basket; A basket of strawberries and a jug of flowers, with a guinea pig, gourd and other fruit
the second signed 'li / Ruoppo' and '.G.Ruoppoli' (lower right); the fourth signed '.G.Ruoppoli' (lower right)
oil on canvas
the first, 19 5⁄8 x 24 ¾ in. (49.8 x 62.8 cm.); the second, 19 ½ x 24 5⁄8 in. (49.5 x 62.5 cm.); the third, 19 ½ x 24 ¾ in. (49.5 x 62.8 cm.); the fourth, 19 ¾ x 24 ¾ in. (50.2 x 62.8 cm.)(4)
a set of four
Provenance
with Cesare Lampronti SRL, by 2001.
Private collection, Rome, by 2005.
with Galerie Canesso, Paris, where acquired in 2006 by the present owner.
Literature
G. de Vito, 'Giuseppe Ruoppoli(o) contemporaneo di Giovanni Battista', Ricerche sul '600 napoletano. Saggi e documenti 2005 rubrica per «Luca Giordano», Naples, 2005, pp. 20-21, 25, figs. VII-X.
L. Ravelli, 'La rappresentazione della zucca nella natura morta italiana', Paragone, LVII, nos. 65-66 (671-673), January-March 2006, pp. 134, 136, note 22, fig. 144, illustrating the fourth.

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Lot Essay

The Neapolitan still-life painter Giuseppe Ruoppolo is traditionally thought to have been a pupil of his uncle, Giovanni Battista Ruoppolo. Publishing these paintings in 2006, Giuseppe de Vito highlighted that since Giovanni Battista was only a year older than his nephew, it was entirely possible the two were in fact contemporaries and trained under the same master (loc. cit.). This set of four canvases was painted later in Giuseppe's career and they are unusual in their more intimate scale and less decadent array of fruits and vegetables. As De Vito observes, while they are executed in a more muted palette, they nevertheless ‘retain a taste for the inventive’ ('conservano però il gusto per l'inventiva', op. cit., p. 25).

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