Andrea Belvedere Sold at Auction Prices

Andrea Belvedere (attr.) "Still life with flowers" oil on canvas (83.5x67 cm.) antique frame (defects)...

(Napoli 1646 - 1732) (attr.) "Still life with flowers" oil on canvas (83.5x67 cm.) antique frame (defects) IT (attr.) "Composizione di fiori" olio su tela (cm 83,5x67) in cornice antica (difetti)

ANDREA BELVEDERE, 1652 – 1732

BLUMENBOUQUET IN VASE AUF STEINSOCKEL Öl auf Leinwand. Doubliert. 38 x 27 cm. In reliefverziertem, vergoldeten Rahmen. Beigegeben ein Gutachten von Prof. Alberto Cottino, Turin, 11. April 2023, in Kopie. Auf einem Steinsockel eine metallisch schimmernde Vase mit Zungenfries, in der eine fein aufgefasste Komposition von roten, weißen und blauen Blüten untergebracht ist. Cottino vergleicht die hier angebotene Darstellung etwa mit einem Werk von Bevedere, das in der Fototeca Zeri unter Nummer 84053 verzeichnet ist). Der Maler zählt zu den bedeutendsten Vertretern der Stilllebenmalerei in Neapel. Als „Abate Andrea“ stand er in der Tradition des Römers Paolo Porpora (1617-1673) und dessen Schüler, des Neapoletaners Giovanni Battista Ruoppolo (1629-1693). Zwischen 1694 und 1700 wirkte er als Hofmaler am Spanischen Hof unter König Karl II. Hier war er zusammen mit Luca Giordano im Escorial mit Ausmalung von Räumen betraut. Literatur: Vgl. Gerd-Helge Vogel, Pflanzen, Blüten, Früchte. Botanische Illustrationen in Kunst und Wissenschaft, Berlin 2014. (1410163) (3) (13)

Andrea Belvedere (around 1652—1732) - Still Life of Flowers from the 17th century and early 18th century, this lot is a pair with lot 272

Oil on canvas measurements: 77 x 50 cm, framed measurements: 100 x 72 cm

Andrea Belvedere (ca. 1652—1732) - Still Life of Flowers from the 17th century, early 18th century

Oil on canvas measurements: 77 x 50 cm, framed measurements: 100 x 72 cm

Andrea Belvedere - Paolo De Matteis (Napoli 1646/ 1652-1732, Piano del Cilento 1662-Napoli 1726) - Two triumphs of flowers and fruit with cherubs and classical architecture en plein air

a pair, oil on canvas, without frames 150 x 204 cm each The beautiful paintings, of significant size, are accompanied by a letter of Nicola Spinosa (a copy of which is available) which refers them to the collaboration between Andrea Belvedere (for the flower and fruit) and Paolo De Matteis (for the figures). All'interno della produzione di Andrea Belvedere, le ricche ed eleganti composizioni di fiori e frutta che riempiono le due scene possono essere ben confrontate con il Giardino con un'erma del Museo Stibbert a Firenze e con la Natura morta con fiori e conca di rame del Museo Correale a Sorrento (si veda L. Salerno, La Natura morta italiana, Roma, 1984, p. 235, figg. 58.1 e 58.2). I putti, che dolcemente si muovono tra i fiori, si ritrovano, invece, con le stesse fattezze in molte scene mitologiche e religiose di Paolo De Matteis. A titolo di esempio, il putto in ombra, al centro del primo dipinto, richiama inequivocabilmente il volto della figura femminile che impersonifica l'Allegoria della Mansuetudine nella Certosa di San Martino a Napoli (si veda N. Spinosa, Pittura Napoletana del Settecento. Dal Barocco al Rococò, Napoli, 1993, p. 250, n. 131) ed anche la giovane donna inginocchiata in primo piano sulla destra del Trionfo di San Rocco nella Chiesa di San Rocco a Guardia Sanframondi (N. Spinosa, ibidem, 1993, p. 259, n. 150). Allo stesso modo, stringente è il confronto degli altri puttini con quelli presenti sulla sinistra del Rinaldo e Armida, passato sul mercato antiquario parigino (N. Spinosa, ibidem, 1993, p. 263, n. 154), e con quelli che, in alto sullo sfondo, volano nel cielo della Venere consegna le armi ad Enea, già Palazzo Bonaccorsi a Macerata (N. Spinosa, ibidem, 1993, p. 263, n. 156).

Andrea Belvedere (Napoli 1646/ 1652-1732) - Roses, peonies and other flowers in a glass vase; Roses, hydrangeas and daffodils in a glass vase

a pair, oil on canvas 66 x 51 cm each The paintings are accompanied by a letter of Nicola Spinosa (a copy of which is available). According to the scholar, the works must be attributed to Andrea Belvedere in close contiguity with the mature activity of Giuseppe Recco. For a comparison see: R. Causa, Andrea Belvedere, pittore di fiori, Milano, 1964, tav. 2.

ANDREA BELVEDERE

(Napoli, 1652 circa - 1732) Vaso con garofani Vaso con peonie Olio su tela, cm 42X27 (2) Non solo pittore ma intellettuale e filosofo, Andrea Belvedere fu uno dei più importanti naturamortisti europei attivi tra sei e settecento. La sua produzione denota influenze che travalicano i confini della scuola napoletana, guardando agli esempi spagnoli di Juan de Arellano, dei fioranti nordici e logicamente, le creazioni di Paolo Porpora e Giuseppe Recco, esemplari soprattutto durante la giovinezza. A lui si deve l'evoluzione in chiave rocaille di questo peculiare genere pittorico, in anticipo rispetto al proprio tempo in virtù di una straordinaria sensibilità poetica. Dalle prove di sapore ancora arcaico custodite a Capodimonte e al museo di Correale a Sorrento, Belvedere attraversa la temperie barocca dettata da Abraham Brueghel, Franz Werner Tamm e Karel von Vogelaer giungendo ad atmosfere romantiche, sia pur sfarzose nella loro carica ornamentale. In questo caso le tele in esame si collocano alla prima maturità e mostrano una verve naturalistica ancor memore dei modelli di Recco e gli esempi romani di Mario Nuzzi. Bibliografia di riferimento: R. Middione, Andrea Belvedere, in La Natura morta in Italia, a cura di F. Porzio e F. Zeri, Milano 1989, II, pp. 936-940 D. M. Pagano, in L'oeil Gourmand. Percorso nella Natura Morta Napoletana del XVII secolo, a cura di V. Damian e N. Spinosa, Parigi 2007, pp. 130-133 D. M. Pagano, in Museo nazionale di Capodimonte. Dipinti del XVII Secolo. La scuola napoletana, le collezioni borboniche e post-unitarie, a cura di N. Spinosa, Napoli 2008, p. 45, n. 2

ANDREA BELVEDERE, gen. (L') ABATE ANDREA : Blumenstilleben mit rotem Papagei.

ANDREA BELVEDERE, gen. (L') ABATE ANDREA um 1652 - Neapel - 1732 Blumenstilleben mit rotem Papagei. Oel auf Leinwand. 50 x 39,5 cm. Doubliert. Mit kleinen Retuschen und feinen Krakelüren. Es ist wahrscheinlich, dass Belvedere sein Studium der Stillebenmalerei bei Paolo Porpora begonnen und es bei Giovanni Battista Ruoppolo fortgesetzt hat. Zudem wurde er von Giuseppe Recco und Abraham Brueghel beeinflusst. „Sein Werk, das die letzte, glänzende Phase des Stillebens in der neapolitan. Barockmalerei repräsentiert, ist noch unbeeinflußt vom rein dekorativen Stil, wie er für das Rokoko des 18. Jh. typisch ist. Belvedere schildert die Naturdinge mit großen Gefühl und Tiefe. Er liebt es, in seine Gemälde mit Blumen und Früchten verschiedene andere Gegenstände ebenfalls getreu 'd'apres nature' einzufügen, wie Gemüse, Insekten, Vögel, Felsstufen, Blumenvasen, Kupferschüsseln, Marmorbüsten, Architekturfragmente, Wasserspiegel, kleine Landschaftsausblicke. Bemerkenswert ist das kompositor. Geschick, der fließende und transparente Farbauftrag, die schlichte Verteilung der Lichter. Belvedere genoß solchen Ruhm bei den Zeitgenossen, daß man ihn 'Raffael des Stillebens' nannte“. (AOW/AKL online). Gerahmt. [bg]

Andrea Belvedere (attr.) "Still life with flowers" oil on canvas (83.5x67 cm.) framed...

(Napoli 1646 - 1732) (attr.) "Still life with flowers" oil on canvas (83.5x67 cm.) in antique frame IT (attr.) "Composizione di fiori" olio su tela (cm 83,5x67) in cornice antica

Andrea Belvedere (1652-1732) & atelier / studio Nature morte au perroquet et vase de fleurs dans un parc (ca. 1680/90) Still-life with a parrot and flowers in a stone urn on a garden floor (ca. 1680/90)

Huile sur toile. Cadre Italien d'époque en bois sculpté et doré. Oil on canvas. Period Italian frame.

NEAPOLITANISCHE SCHULE IM UMKREIS VON ANDREA BELVEDERE

NEAPOLITAN SCHOOL AROUND ANDREA BELVEDERE 1652 Naples - 1732 ibid. PAIR OF FLORAL STILL LIFES WITH ASTERS AND TULIPS IN A GLASS VASE Oil on canvas lay down on panel. Each: 74 × 56 cm (F. 91 x 71 cm). Part. min. old rest., slight old retouching, margins min. rubbed (insignificant). Frame. Provenance: Important private collection Bonn Rhineland. NEAPOLITANISCHE SCHULE IM UMKREIS VON ANDREA BELVEDERE 1652 Neapel - 1732 ebenda PAAR BLUMENSTILLLEBEN MIT ASTERN UND TULPEN IN EINER GLASVASE Öl auf Leinwand auf Holztafel (maroufliert). Jeweils: 74 × 56 cm (R. 91 x 71 cm). Part. min. Altrest., leichte Altretuschen., Ränder min berieben (unbedeutend). Rahmen. Provenienz: Bedeutende Privatsammlung Bonn Rheinland.

ATTRIBUÉ À ANDREA BELVÉDÈRE (1642-1732)

ATTRIBUÉ À ANDREA BELVÉDÈRE (1642-1732) VASE DE FLEURS ET CERISES SUR UN PARAPET Toile Restaurations anciennes Cadre de la vallée du Rhône Att. to A. Belvédère, Vase of flowers and cherries on a parapet, canvas, old restorations 99,50 x 74 CM - 39,2 x 29,1 IN.

FRANCESCO SOLIMENA (Italy, 1657 – 1747) AND ANDREA DEL BELVEDERE (Naples, 1652 – 1732). “Two geniuses between garlands and bouquets of flowers”. Oil on canvas. Relined. Presents Royal collection emblem, located in the lower right corner.

FRANCESCO SOLIMENA (Italy, 1657 - 1747) AND ANDREA DEL BELVEDERE (Naples, 1652 - 1732). "Two geniuses among garlands and bouquets of flowers". Oil on canvas. Re-coloured. It presents emblem of Royal collection, placed in the lower right corner. Measurements: 96,5 x 68,5 cm. Aesthetically in terms of theme and composition, the work seems to be a pair of the painting from the end of the 17th century, which belongs to the collection of the Prado Museum, entitled "Two genies between garlands and bouquets of flowers", an idea that is reinforced by the presence of the emblem or seal corresponding to the royal collection, which is located in the lower right-hand corner. The work is the product of a collaboration between two Italian painters, Francesco Solimena and Andrea del Belvedere. In this particular case, due to the aesthetics and technical finish, the figures of the angels or genii would be the work of Solimena, while the flowers would correspond to Belvedere. This type of collaboration between artists has been common since the Middle Ages, both at the level of the master apprentice, with several painters from the same workshop collaborating on a single painting, and at the professional level, combining the specialities of recognised artists, as in this particular case, for example. The monumentality of the figures in the work, the voluptuousness of the bodies, together with the profusion of flowers presented in their greatest splendour, indicate that this is a work intended for personal delight and taste, probably for the decoration of a private room. An Italian painter of the late Baroque period, Francesco Solimena trained with his father, who was also a painter, and developed his career in Naples, where he settled in 1674. There he furthered his training with De Maria, in whose studio he became acquainted with the more advanced Baroque works of Cortona, Lanfranco, Preti and Giordano. His early works reveal a clear affinity with the Roman Baroque as well as with the more recent Neapolitan pictorial tradition. Later, seeking to develop an alternative to Giordano's fanciful language, Solimena approached the darker art of Mattia Preti, insisting on greater plasticity. Thus the shading that characterises his figures began to appear in his work. He soon became the visible head of the Neapolitan school and was later influenced by the classicism of Maratta, which led him to seek a greater intensity in his drawing with academic accents. Works by Solimena are now in the Museo del Prado, the Hermitage in Saint Petersburg, the J. Paul Getty in Los Angeles, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York, the National Gallery in London and the Rijksmuseum in Amsterdam, among other public and private collections throughout the world.

Andrea Belvedere (Napoli 1652 ca. - 1732) attribuito

Andrea Belvedere (Napoli 1652 ca. - 1732) attribuito Vaso di fiori Olio su tela 61 x 48 cm Per un confronto si vedano le due opere conservate al Museo di Capodimonte: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500626194 https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500626158 Andrea Belvedere (Naples 1652 ca. - 1732) attributed Flowerpot Oil on canvas 61 x 48 cm For a correct comparison, you should see the two artworks kept in the Capodimonte Museum: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500626194 https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500626158

Andrea Belvedere (1652 Naples – 1732 ibid), A Pair of Paintings, Still Life with Large Bouquets in a Vase, circa 1700

Two still lifes of extremely remarkable color luminosity. In both cases, the flowers are lit from the upper left, the apparently landscape background is kept green-dark. In both cases, the bouquet is painted with special emphasis on individual flowers, such as pink roses or deep red double poppies next to poppy buds. The vases are tapered, plain-footed or bead-rimmed, each with a tall, shaded neck and multiple C-shaped handles, hinged to the sides. The painter is one of the most important representatives of still life painting in Naples. As "Abate Andrea" he continued the tradition of the Roman Paolo Porporo (1617-1673) and his pupil, the Neapolitan Gianbattista Ruoppolo (1629-1693). Between 1694 and 1700, he worked as a court painter at the Spanish court under King Charles II. Here, together with Luca Giordano, he was entrusted with the paintings of the rooms in the Escorial.

Andrea Belvedere, 1652 Neapel – 1732 ebenda, zugeschrieben

FRÜCHTESTILLLEBEN MIT MELONE UND BLUMENVASE Öl auf Leinwand, auf Hartfaser. 90 x 145 cm. In ornamental verziertem Rahmen. Wir danken Prof. Dr. Dr. hc Jan De Maere für freundliche Hinweise betreffend der Zuweisung an genannten Künstler. Beigegeben ausführliche Dokumentation mit umfassenden Vergleichsbeispielen. Breit gelagerte Parklandschaft mit links vorne dargestellter figürlicher Fontäne in Form eines Putto mit Füllhorn, aus dem Wasser quillt. Auf ihm ein Papagei sitzend, der begierig auf das Früchtestillleben blickt. Dieses gebildet aus einer Melone, Weintrauben, Pfirsichen und Feigen, dahinter auf einem Podest eine prall gefüllte Blumenvase, deren Inhalt den Bildraum erobert. Links wie rechts ein Ausblick auf die Parklandschaft bzw. auf eine hügelige Landschaft in abendlichem Licht mit Ruinenstaffage. (1361174) (13) Andrea Belvedere, 1652 Naples – 1732 ibid., attributed FRUIT STILL LIFE WITH MELON AND FLOWER VASE Oil on canvas, on hardboard. 90 x 145 cm. We would like to thank Professor Dr. Dr. hc Jan De Maere for his kind advice regarding the attribution to the artist. Extensive report with comparative examples enclosed.

ANDREA BELVEDERE (NAPOLI 1652 CA. - 1732) ATTRIBUITO

Andrea Belvedere (Napoli 1652 ca. - 1732) attribuito Vaso di fiori Olio su tela 61 x 48 cm Per un confronto si vedano le due opere conservate al Museo di Capodimonte: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500626194 https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500626158 Andrea Belvedere (Naples 1652 ca. - 1732) attributed Flowerpot Oil on canvas 61 x 48 cm For a correct comparison, you should see the two artworks kept in the Capodimonte Museum: https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500626194 https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1500626158

ANDREA BELVEDERE, gen. (L’) ABATE ANDREA : Blumenstilleben mit rotem Papagei.

ANDREA BELVEDERE, gen. (L’) ABATE ANDREA um 1652 - Neapel - 1732 Blumenstilleben mit rotem Papagei. Oel auf Leinwand. 50 x 39,5 cm. Doubliert. Mit kleinen Retuschen und feinen Krakelüren. Es ist wahrscheinlich, dass Belvedere sein Studium der Stillebenmalerei bei Paolo Porpora begonnen und es bei Giovanni Battista Ruoppolo fortgesetzt hat. Zudem wurde er von Giuseppe Recco und Abraham Brueghel beeinflusst. „Sein Werk, das die letzte, glänzende Phase des Stillebens in der neapolitan. Barockmalerei repräsentiert, ist noch unbeeinflußt vom rein dekorativen Stil, wie er für das Rokoko des 18. Jh. typisch ist. Belvedere schildert die Naturdinge mit großen Gefühl und Tiefe. Er liebt es, in seine Gemälde mit Blumen und Früchten versch. andere Gegenstände ebenfalls getreu ‘d’apres nature’ einzufügen, wie Gemüse, Insekten, Vögel, Felsstufen, Blumenvasen, Kupferschüsseln, Marmorbüsten, Architekturfragmente, Wasserspiegel, kleine Landschaftsausblicke. Bemerkenswert ist das kompositor. Geschick, der fließende und transparente Farbauftrag, die schlichte Verteilung der Lichter. Belvedere genoß solchen Ruhm bei den Zeitgen., daß man ihn ‘Raffael des Stillebens’ nannte“ (AOW/AKL online). Gerahmt. [ms]

Andrea Belvedere (1652 Naples – 1732 ibid), A Pair of Paintings, Still Life with Large Bouquets in a Vase, circa 1700

Two still lifes of extremely remarkable color luminosity. In both cases, the flowers are lit from the upper left, the apparently landscape background is kept green-dark. In both cases, the bouquet is painted with special emphasis on individual flowers, such as pink roses or deep red double poppies next to poppy buds. The vases are tapered, plain-footed or bead-rimmed, each with a tall, shaded neck and multiple C-shaped handles, hinged to the sides. The painter is one of the most important representatives of still life painting in Naples. As "Abate Andrea" he continued the tradition of the Roman Paolo Porporo (1617-1673) and his pupil, the Neapolitan Gianbattista Ruoppolo (1629-1693). Between 1694 and 1700, he worked as a court painter at the Spanish court under King Charles II. Here, together with Luca Giordano, he was entrusted with the paintings of the rooms in the Escorial.

Andrea Belvedere (1652 Naples – 1732 ibid), A Pair of Paintings, Still Life with Large Bouquets, Each in a Vase, circa 1700

Two still lifes of extremely remarkable color luminosity. In both cases, the flowers are lit from the upper left, the apparently landscape background is kept green-dark. In both cases, the bouquet is painted with special emphasis on individual flowers, such as pink roses or deep red double poppies next to poppy buds. The vases are tapered, plain-footed or bead-rimmed, each with a tall, shaded neck and multiple C-shaped handles, hinged to the sides. The painter is one of the most important representatives of still life painting in Naples. As "Abate Andrea" he continued the tradition of the Roman Paolo Porporo (1617-1673) and his pupil, the Neapolitan Gianbattista Ruoppolo (1629-1693). Between 1694 and 1700, he worked as a court painter at the Spanish court under King Charles II. Here, together with Luca Giordano, he was entrusted with the paintings of the rooms in the Escorial.

ANDREA DEL BELVEDERE (Italy, ca. 1652-1732). "Still life". Oil on canvas. Relined. With faults and repainting. Frame of the 19th century.

ANDREA DEL BELVEDERE (Italy, ca. 1652-1732). "Still life". Oil on canvas. Re-coloured. With faults and repainting. Frame of the 19th century. Measurements: 100,5 x 126,5 cm; 121 x 147 cm (frame). Andrea del Belvedere offers us a complex still life full of flowers and fruits magnificently worked, among which we can discern the figure of two putti and a classical sculpture. The elements of the still life are placed in the foreground in a typically baroque and dynamic composition. The movement is emphasised by the use of bright, metallic colours such as the pink of the children's flesh tones, the red of the watermelon and the grey of the sculpture, which in turn create a strong contrast with the rest of the tenebrist tones of the canvas, typical of Neapolitan still lifes. Andrea del Belvedere was a Neapolitan painter who specialised in still lifes, principally of flowers. He was the last representative of what is known as the "Neapolitan still-life school", one of the most important still-life schools, highly appreciated in the antiquarian market, as well as among collectors and art historians. Little is known about the life of Andrea da Belvedere. It is thought that he trained with Paolo Porpora and Giovanni Battista Ruoppolo. Through northern influence he introduced greater complexity into his compositions, sometimes arranging his floral bouquets in front of rocky landscapes with animals or children's figures. His success took him to the Spanish court at the invitation of Luca Giordano, where he remained from 1694 to 1700. The Prado Museum and the Royal Palace of El Prado hold his work in their collections. The Neapolitan still-life school of the Baroque enjoyed a spectacular development, leaving behind the splendour of the 16th century and progressing within a clearly identifiable, fully Baroque style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specialising in the painting of flowers, fruit, fish and game, thus satisfying the demands of a vast clientele characterised by a new 17th-century taste. In addition to these artists, there are also the minor figures who are slowly emerging from an unjust oblivion, and some artists who worked between the 17th and 18th centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still-life painters, who worked during the 17th and early 18th centuries, are known as "i generisti" and were important not only in their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by Italian influence, particularly the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life genre. The distinguishing feature of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromaticism, with a dominance of reddish and earthy tones.

Andrea Belvedere, 1652 Neapel – 1732 ebenda

GemäldepaarSTILLLEBEN MIT GROSSEN BLUMENBOUQUETS JEWEILS IN EINER VASE, ca. 1700 Öl auf Leinwand. Je ca. 82 x 60 cm. Gerahmt. Beigegeben eine Expertise von Alessandro Delpriori, Florenz. Die beiden Stillleben von höchst beachtlicher Leuchtkraft der Farben. In beiden Fällen sind die Blüten von links oben beleuchtet, der landschaftlich scheinende Hintergrund jeweils grünlich-dunkel gehalten. Der Strauß jeweils hoch aufgesteckt, mit besonderer Betonung einzelner Blüten, wie etwa die rosafarbenen Rosen oder dunkelroter gefüllter Mohn neben den Mohnknospen. Dem Hintergrund entsprechend ist der Vordergrund am Bildrand in Art eines Sandbodens gemalt. Die Vasen eingezogen, mit glattem Fuß bzw. mit Perlstabrand, jeweils mit verschattetem hohem Hals und seitlich mehrfach C-bogig auschwingenden Henkeln. Der Maler zählt zu den bedeutendsten Vertretern der Stilllebenmalerei in Neapel. Als „Abate Andrea“ stand er in der Tradition des Römers Paolo Porpora (1617-1673) und dessen Schüler, des Neapoletaners Gianbattista Ruoppolo (1629-1693). Zwischen 1694 und 1700 wirkte er als Hofmaler am Spanischen Hof unter König Karl II. Hier war er zusammen mit Luca Giordano im Escorial mit Ausmalung von Räumen betraut. A.R. Literatur: Gerd-Helge Vogel, Pflanzen, Blüten, Früchte. Botanische Illustrationen in Kunst und Wissenschaft, Berlin 2014. (13406531) (11) Andrea Belvedere, 1652 Naples – 1732 ibid. A pair of paintings LARGE FLORAL BOUQUETS IN A VASE EACH, CA. 1700 Oil on canvas. ca. 82 x 60 cm each. Accompanied by an expert’s report by Alessandro Delpriori, Florence. The painter is one of the most important exponents of still life painting in Naples.

Andrea Belvedere, called Abate Andrea, Putti Adorning a Bust with Flowers - Allegory of Sculpture

Andrea Belvedere, one of the most esteemed still-life painters of the Neapolitan Baroque, was initially inspired by artists such as Paolo Porpora and Giovanni Battista Recco; later he took his cue from models such as Abraham Breughel and Giovanni Battista Ruoppolo and adopted their lavish opulence. As was not unusual, Belvedere, as a flower specialist, often collaborated with figure painters such as Giordano and Solimena. In the present painting, the figures can be attributed to the hand of Nicola Vaccaro. Professor Nicola Spinosa confirmed this attribution at the last auction.

Andrea Belvedere (Napoli 1646/ 1652-1732) - Triumph of flowers with historiated glass vase depicting Cain and Abel, carved capital and little monkey in a garden

oil on canvas

Andrea Belvedere (Napoli 1646/ 1652-1732) - Flowers in a vase

oil on canvas

BELVEDERE ANDREA (1652 - 1732) Still life of flowers

BELVEDERE ANDREA (1652 - 1732). Still life of flowers. Cm 28,00 x 45,00.

Attributed to Andrea Belvedere (1642 - 1732), floral still life with a parrot and ducks, oil on canvas, unsigned, 49 1/2" x 39 1/4"....

Attributed to Andrea Belvedere (1642 - 1732), floral still life with a parrot and ducks, oil on canvas, unsigned, 49 1/2" x 39 1/4". Provenance: Offered for sale by Sotheby's, important old master paintings and sculpture sale, January 26, 2012.

Attribué à Andrea BELVEDERE Naples, vers 1650 - 1732 Vase de fleurs sur un entablement Huile sur toile

Attribué à Andrea BELVEDERE Naples, vers 1650 - 1732 Vase de fleurs sur un entablement Huile sur toile (Restaurations) Vase of flowers on an entablature, oil on canvas, attr. to A. Belvedere h: 40,50 w: 28,50 cm Estimation 4 000 - 6 000 €

BELVEDERE ANDREA

BELVEDERE ANDREA (1646-1732) 'Mazzo di fiori' olio cm. 30x46

Großes Blumenstillleben mit einem Papagei

Belvedere, Andrea. Neapel um 1652 - 1732. Umkreis. Großes Blumenstillleben mit einem Papagei. Öl auf Leinwand. Doubliert. 75 x 110,5cm. Rahmen. Provenienz: Privatbesitz, Deutschland. Wir danken Alberto Cottino, Turin, der die Zuschreibung des vorliegenden Gemäldes auf Grundlage einer hochaufgelösten Digitalfotografie vorgeschlagen hat. Sonderregelungen Art & Interior ART & INTERIOR Erläuterungen zum Katalog Andrea Belvedere Italien Italienische Schule Barock 17./18. Jh. Originale Stillleben Gemälde Vögel

ANDREA BELVEDERE (attr. a)

(Napoli, 1652 circa - 1732) Vaso fiorito Olio su tela, cm 64,5X49 Non solo pittore ma intellettuale e filosofo, Andrea Belvedere fu uno dei protagonisti della pittura di natura morta a Napoli tra Sei e Settecento. La sua produzione denota influenze che travalicano i confini locali, guardando agli esempi spagnoli di Juan de Arellano, dei fioranti nordici e logicamente le creazioni di Paolo Porpora e Giuseppe Recco, esemplari soprattutto durante la giovinezza. A lui si deve l'evoluzione in chiave rocaille di questo peculiare genere pittorico, in anticipo rispetto al proprio tempo in virtù di una straordinaria sensibilità poetica. Dalle prove di sapore ancora arcaico custodite a Capodimonte e al museo di Correale a Sorrento, Belvedere attraversa la temperie barocca dettata da Abraham Brueghel, Franz Werner Tamm e Karel von Vogelaer giungendo ad atmosfere romantiche, sia pur sfarzose nella loro carica ornamentale. Bibliografia di riferimento: R. Middione, Andrea Belvedere, in La Natura morta in Italia, a cura di F. Porzio e F. Zeri, Milano 1989, II, pp. 936 ; 940 D. m. Pagano, in museo nazionale di Capodimonte. Dipinti del XVII Secolo. La scuola napoletana, le collezioni borboniche e post-unitarie, a cura di N. Spinosa, Napoli 2008, p. 45, n. 2

ATTRIBUITO A ANDREA BELVEDERE 1642-1732 NATURA MORTA CON FUNGHI, ZUCCA E FIORI STILL LIFE WITH MUSHROOMS, PUMPKIN AND FLOWERS

Oil on canvas. 29.92 x 42.72 in. Flower painter among the best known of the Neapolitan school, Belvedere was a man of various interests, from literature to theater, as told by De Dominicis, his biographer (who also tells of a long stay in Spain). And on closer inspection, some of his still lifes are built precisely with the wisdom of a theatrical stage, with objects arranged in the dark under a spotlight. TAGS: Paintings

Andrea Belvedere (Naples 1642-1732) Tulips, roses and other flowers in a terracotta vase

Andrea Belvedere (Naples 1642-1732) Tulips, roses and other flowers in a terracotta vase oil on canvas 49.2 x 38.8cm (19 3/8 x 15 1/4in). For further information on this lot please visit the Bonhams website

Andrea Belvedere (Napoli 1652 circa – 1732) VASO DI FIORI olio su tela, cm 95x82

Andrea Belvedere (Napoli 1652 circa – 1732) VASO DI FIORI olio su tela, cm 95x82   FLOWERS IN A VASE oil on canvas, cm 95x82   Il bel dipinto qui presentato si iscrive nella tarda attività di Andrea Belvedere, poco prima del viaggio in Spagna nel 1694 o al ritorno dalla corte di Madrid nel 1700. Una datazione successiva agli inizi del nuovo secolo sembrerebbe comunque esclusa in virtù del noto passo di Bernardo De Dominici secondo il quale negli ultimi trent’anni della sua esistenza Andrea Belvedere abbandonò l’attività di pittore per dedicarsi esclusivamente al teatro. E’ comunque al suo periodo più tardo che appartengono le tele di imponente formato dove composizioni di fiori all’aperto si accompagnano a frammenti architettonici e a rilievi scolpiti, e spesso ad animali, per lo più volatili: queste infatti le soluzioni proposte nei dipinti, da tempo noti, nella Galleria Palatina e nel Museo Stibbert a Firenze, e nel Museo Correale di Terranova a Sorrento dove è riunita la maggior parte delle opere pubbliche dell’artista. Come è noto, si tratta di soluzioni compositive largamente debitrici dell’esempio della scuola romana, trasmessa a Napoli da Abraham Brueghel dopo il 1670 e rinnovata, nell’ultimo decennio del secolo, dalla declinazione più aggiornata e aperta all’Europa proposta da Karel van Vogelaer e Franz Werner Tamm. Da qui, gli esiti di seguaci del Belvedere che, come Lopez e Casissa, ripeteranno questi modelli nel corso della prima metà del Settecento variandoli tuttavia con il loro personalissimo stile. E’ appunto in un’opera di Nicola Casissa esposta alla mostra napoletana del 2009 curata da Nicola Spinosa (Ritorno al Barocco. Da Caravaggio a Vanvitelli. Napoli, Museo di Capodimonte. Catalogo, Napoli 2009, p. 433, n.1.256) che ritroviamo il vaso di fiori istoriato poggiante su una zampa di rapace e posto in risalto nella sua vivace policromia dall’ambientazione all’aperto, contro il cielo buio della sera. Soluzioni che risentono indubbiamente anche dell’esperienza di teatro coltivata da Andrea Belvedere.    

ATTRIBUITO A ANDREA BELVEDERE 1642-1732 NATURA MORTA CON FUNGHI, ZUCCA E FIORI

Oil on canvas.  29.92 x 42.72 in. Provenienza/Provenance Asta Casa d'Aste Datrino, 1973.  Collezione privata, Chivasso. 

Andrea Belvedere, Umkreis

Stillleben

Andrea Belvedere (1652-1732), attribuito a, Natura morta con fiori

olio su tela, cm 45x60

Andrea Belvedere Nápoles 1652 - 1732 Floreros Pareja de óleos sobre lienzo

Andrea Belvedere Nápoles 1652 - 1732 Floreros Pareja de óleos sobre lienzo Bibliografía y exposición: "L'' Època del Barroc", Barcelona, Departament de Cultura de la Generalitat, 1983, p. 26 y 27 (reproducidos) 40,8x29,7 cm

Andrea Belvedere (Napoli 1652-1732), attribuito a, Natura morta con fiori e frutta

olio su tela, cm 35x43, in cornice

BELVEDERE, ANDREA (ATTRIBUTED)

BELVEDERE, ANDREA (ATTRIBUTED) (c. 1652 Naples 1732) Orange blossom garland with beetles and butterflies, suspended on two blue ribbons. Oil on canvas. 26.5 x 42 cm. Provenance: - European Fine Arts, Dublin (label on the reverse). - collection Schmitz-Eichhoff. --------------- BELVEDERE, ANDREA (ZUGESCHRIEBEN) (um 1652 Neapel 1732) Orangenblütengirlande mit Käfern und Schmetterlingen, an zwei blauen Schleifen aufgehängt. Öl auf Leinwand. 26,5 x 42 cm. Provenienz: - Kunsthandel European Fine Arts, Dublin (verso Etikette). - Sammlung Schmitz-Eichoff.

ATTRIBUTED TO ANDREA BELVEDERE (Naples, 1652-1732), Still life - ATRIBUIDO A ANDREA BELVEDERE (Nápoles, 1652-1732) Florero

ATRIBUIDO A ANDREA BELVEDERE (Nápoles, 1652-1732) Florero

Andrea Belvedere, 1652 Neapel - 1732, zug.

Andrea Belvedere, 1652 Neapel - 1732, zug. Gemäldepaar BLUMENSTILLLEBEN MIT FRÜCHTEN UND BUNTEM VOGEL Öl auf Kupfer. Ca. 26,7 x 20,5 cm. Verso Reste ehemaliger Bezeichnungen erkennbar. Einheitlich gerahmt Der Schüler des Giovan Battista Ruoppolo war 1692 in Spanien tätig. Die beiden Gemälde im Hochoval. Jeweils bronzefarbene, godronnierte Prunkvase mit Maskaron auf einem Steintisch. Frühlings- und Sommerblumen dicht gebunden vor blauem Landschaftshintergrund. Auf dem Steintisch Obst bzw. offene Wassermelone und ein bunter Vogel. (1020541) (11) Andrea Belvedere, 1652 Naples - 1732, attributed Pair of paintings. FLOWER STILL LIFE WITH FRUIT AND COLOURFUL BIRD Oil on copper. Ca. 26.7 x 20.5 cm. Verso visible remains of a former inscription. In 1692, this student of Giovan Battista Ruoppolo was active in Spain.

Andrea Belvedere (Napoli 1652-1732), attribuito a "Natura morta con vaso di fiori"

Andrea Belvedere (Napoli 1652-1732), attribuito a "Natura morta con vaso di fiori" olio su tela, cm 67x54

ANDREA BELVEDERE

NAPLES 1652 - 1732 FLORAL STILL LIFE WITH A PARROT AND DUCKS oil on canvas 49 1/2 by 39 1/4 in.; 125.7 by 99.7 cm.

Andrea Belvedere, called Abate Andrea (Naples 1642-1732)

Andrea Belvedere, called Abate Andrea (Naples 1642-1732) Roses, tulips, carnations and other flowers in a stone urn, with roses on a trellis, figs, cherries and a pomegranate on a garden floor oil on canvas 24¾ x 38 7/8 in. (62.8 x 98.7 cm.)

Attributed to Andrea Belvedere (Naples 1652-1732)

Attributed to Andrea Belvedere (Naples 1652-1732) Roses, carnations, parrot tulips, narcissi and other flowers in a sculpted urn on a plinth oil on canvas 35½ x 21½ in. (90.3 x 54.7 cm.)

Coq, perroquet et corbeille de fruits

ENTOURAGE D'ANDREA BELVEDERE (1652-1732) Coq, perroquet et corbeille de fruits Huile sur toile 76 x 103 cm. (29 7/8 x 40½ in.)

Andrea Belvedere Naples 1652 - 1732 , A still life of peonies, roses, carnations, morning glory, hyacinths and other flowers in a sculpted vase; A still life of peonies, roses, carnations, bluebells and other flowers in a sculpted vase a pair, both