ANTONIO FRANCESCO PERUZZINI (ANCONA 1643⁄6-1724 MILAN)
ANTONIO FRANCESCO PERUZZINI (ANCONA 1643⁄6-1724 MILAN)
ANTONIO FRANCESCO PERUZZINI (ANCONA 1643⁄6-1724 MILAN)
2 More
ANTONIO FRANCESCO PERUZZINI (ANCONA 1643/ 6-1724 MILAN)

A Mediterranean landscape with figures boarding a boat in choppy seas, a fragment

Details
ANTONIO FRANCESCO PERUZZINI (ANCONA 1643/ 6-1724 MILAN)
A Mediterranean landscape with figures boarding a boat in choppy seas, a fragment
oil on canvas
20 1⁄8 x 26 ¾ in. (51.1 x 67.9 cm.)
Provenance
Charles Frederick Taft Seaverns (1878-1956) and Mary Bushnell Hillyer Seaverns (1880-1947), Hartford, by 1930, and by descent to the present owner.
Literature
B. Geiger, Magnasco, Bergamo, 1949, p. 96, as Alessandro Magnasco.
L. Muti and D. de Sarno Prignano, Alessandro Magnasco, Ravenna, 1994, p. 298, no. R. 170, under rejected attributions, as Circle of Alessandro Magnasco.
Exhibited
Hartford, Wadsworth Atheneum Museum, Exhibition of Italian Painting of the Sei- and Settecento, 22 January- 5 February 1930, no. 20, as Alessandro Magnasco.
New York, The Metropolitan Museum of Art, Tiepolo and his Contemporaries, 14 March- 24 April 1938, no. 7, as Alessandro Magnasco.
New York, Durlacher Brothers, A Loan Exhibition of Paintings by Alessandro Magnasco, 9 January- 3 February 1940, no. 16, as Alessandro Magnasco.

Brought to you by

Taylor Alessio
Taylor Alessio Junior Specialist, Head of Part II

Lot Essay

Antonio Francesco Peruzzini’s painterly style, marked by spiky and staccato handling of paint, has often been confused with the loose and swift brushwork of his collaborator, Alessandro Magnasco. The two artists crossed paths in Florence where they were patronized by the great lover of art and literature Ferdinand de’ Medici, for whom they produced a number of paintings. The landscapes were supplied by Peruzzini and figures by Magnasco – two of these collaborations, featuring hermits in forested landscapes, remain in the collection of the Uffizi Gallery, Florence (inv. nos. 5870 and 6247).

The present painting is perhaps the lower corner of a larger composition which has been cropped along the upper and left edges. The quick, short and almost frenzied brushstrokes as well as the mossy green palette and ochre ground are recognizable hallmarks of Peruzzini’s style. When the painting was published by Laura Murti and Daniele de Sarno Prignano in 1994, it was known to the authors only from a black-and-white photograph. We are grateful to Daniele de Sarno Prignano and Laura Muti who, on the basis of high-resolution color photographs, have revised their opinion and now consider the painting may be a product of collaboration between Antonio Francesco Peruzzini and Alessandro Magnasco (for the figures) (private communication, April 2025).

More from Old Masters and 19th Century Paintings

View All
View All