Francesco (1751) Sasso Sold at Auction Prices

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    • Attributed FRANCESCO SASSO (Genoa, h. 1720-Madrid, 1776). "Portrait of a young man". Oil on canvas. Relined. Presents restorations.
      Oct. 17, 2023

      Attributed FRANCESCO SASSO (Genoa, h. 1720-Madrid, 1776). "Portrait of a young man". Oil on canvas. Relined. Presents restorations.

      Est: €40,000 - €45,000

      Attributed to FRANCESCO SASSO (Genoa, ca. 1720-Madrid, 1776). "Portrait of a young man. Oil on canvas. Re-tinted. It presents restorations. Measurements: 213 x 152 cm. Naturalistic scene starring a man accompanied by a dog. The young man is presented in an exacerbated way, with his mouth open and his hand raised in a gesture of awakening, totally out of sight of the spectator. His clothes and attitude indicate that he is a character of low social status, but the artist dignifies his figure by making him the protagonist of this scene set in a sombre exterior dominated by dark tones. This chromatic range accentuates the drama of the work and allows for a pictorial play of Tenebrist heritage between the warmth of the boy's skin and the darkness of his clothes. The artist's work is delicately rendered, with particular emphasis on its poor, naïve character. In this painting we see a scene framed within the genre, worked in a realistic language with a balanced, well-established composition. This composition and the theme treated by the author, typical of the scenes of the reality of the Golden Age and the picaresque literature of the century, bring the piece closer to the naturalist trend. It is a genre of genre painting in which popular types and attitudes, behaviour, values and habits common to a specific group of the population, region or class are described by means of a satirical, nostalgic or narrative description of the environments, customs, dress, festivals and entertainment, traditions, trades and types representative of a society. The idea of costumbrismo arose from an attempt to understand reality, or more precisely, reality understood in a particular way, from a specific point of view. The pictorial characteristics and subject matter of the piece indicate that the work is very close to the painting of Francesco Sasso. Of Italian origin, Sasso trained at the Genoa Academy, where he began to teach in 1751. Despite his teaching career, it should be noted that this was of a late date and he initially devoted himself to his artistic career, initially as a stucco decorator. In 1753 he moved to Spain, where he began to work as a teacher at the San Fernando academy. Later, he began to work on the ornamentation of the palace of "La Granja", contracted by Queen Isabella de Farnese, who relied on his presence for various commissions, including the pictorial training of her son, the Infante Dos Luis, who later, after his mother's death, also relied on the painter for various pictorial projects. Today he is remembered both for his ornamental works and for his miniatures, which became popular at court.

      Setdart Auction House
    • Attributed FRANCESCO SASSO (Genoa, h. 1720-Madrid, 1776). "Portrait of a young man". Oil on canvas. Relined. Presents restorations.
      Oct. 13, 2022

      Attributed FRANCESCO SASSO (Genoa, h. 1720-Madrid, 1776). "Portrait of a young man". Oil on canvas. Relined. Presents restorations.

      Est: €47,000 - €50,000

      Attributed to FRANCESCO SASSO (Genoa, ca. 1720-Madrid, 1776). "Portrait of a young man. Oil on canvas. Re-tinted. It presents restorations. Measurements: 213 x 152 cm. Naturalistic scene starring a man accompanied by a dog. The young man is presented in an exacerbated way, with his mouth open and his hand raised in a gesture of awakening, totally out of sight of the spectator. His clothes and attitude indicate that he is a character of low social status, but the artist dignifies his figure by making him the protagonist of this scene set in a sombre exterior dominated by dark tones. This chromatic range accentuates the drama of the work and allows for a pictorial play of Tenebrist heritage between the warmth of the boy's skin and the darkness of his clothes. The artist's work is delicately rendered, with particular emphasis on its poor, naïve character. In this painting we see a scene framed within the genre, worked in a realistic language with a balanced, well-established composition. This composition and the theme treated by the author, typical of the scenes of the reality of the Golden Age and the picaresque literature of the century, bring the piece closer to the naturalist trend. It is a genre of genre painting in which popular types and attitudes, behaviour, values and habits common to a specific group of the population, region or class are described by means of a satirical, nostalgic or narrative description of the environments, customs, dress, festivals and entertainment, traditions, trades and types representative of a society. The idea of costumbrismo arose from an attempt to understand reality, or more precisely, reality understood in a particular way, from a specific point of view. The pictorial characteristics and subject matter of the piece indicate that the work is very close to the painting of Francesco Sasso. Of Italian origin, Sasso trained at the Genoa Academy, where he began to teach in 1751. Despite his teaching career, it should be noted that this was of a late date and he initially devoted himself to his artistic career, initially as a stucco decorator. In 1753 he moved to Spain, where he began to work as a teacher at the San Fernando academy. Later, he began to work on the ornamentation of the palace of "La Granja", contracted by Queen Isabella de Farnese, who relied on his presence for various commissions, including the pictorial training of her son, the Infante Dos Luis, who later, after his mother's death, also relied on the painter for various pictorial projects. Today he is remembered both for his ornamental works and for his miniatures, which became popular at court.

      Setdart Auction House
    • FRANCESCO SASSO (1720-1776)
      May. 08, 2022

      FRANCESCO SASSO (1720-1776)

      Est: €12,000 - €15,000

      FRANCESCO SASSO (1720-1776) Portrait d’un nain loqueteux Toile Porte un monogramme CC sous un couronne, en bas à gauche. Porte en dessous un numéro d’inventaire: N°688 et à droite P.A. ...13 107,5 x 79,5 cm Provenance : Collection de l’Infant don Luis de Borbon y Farnesio, Arenas, palais de la Mosquera, jusqu’en 1785, inventaire après-décès en 1787 par descendance à sa veuve jusqu’en 1820, puis collection du majorat de Chinchon au palais de Boadilla del Monte (sa marque CC). Probablement dans l’inventaire de 1826 du palais de Boadilla del Monte, dans l’antichambre des dames : « un tableau avec un nain loqueteux, avec un cadre doré, de plus de cinq cuartos de haut » (105 cm). Figure probablement dans les inventaires de Boadilla de 1847, et de 1888 au n°153 « Sasso, napolitain, Un nain » vente à Monaco, Christie’s, le 7 décembre 1987, n°50 vente à Paris, Artcurial, 19 juin 2012, n°36. Bibliographie : Olivier Meslay et Sophie Dominguez-Fuentes, L’homme au tricorne de Francesco Sasso une acquisition du département des peintures du musée du Louvre, Revue du Louvre, 2007, p.73, n°5 et p.78, note 6.

      HVMC - Hôtel des Ventes de Monte-Carlo
    • Francesco Sasso Pieve di Teco, vers 1720 - Madrid, 1776 Un nain loqueteux Huile sur toile
      Nov. 13, 2013

      Francesco Sasso Pieve di Teco, vers 1720 - Madrid, 1776 Un nain loqueteux Huile sur toile

      Est: €12,000 - €15,000

      Francesco Sasso Pieve di Teco, vers 1720 - Madrid, 1776 Un nain loqueteux Huile sur toile Porte le numéro '688' en bas à gauche 'A RAGGED DWARF', OIL ON CANVAS, BY F. SASSO h: 107,50 w: 85 cm Provenance : Ancienne collection de l'Infant don Luis de Borbon y Farnesio, Arenas, palais de la Mosquera, jusqu'en 1785 ; numéroté '13.' en bas à droite ; Par descendance à sa veuve, Maria Teresa Vallabriga y Rozas, Saragosse, jusqu'en 1820 ; Ancienne collection du majorat de Chinchón, Palais de Boadilla del Monte ; sa marque composée de deux C surmontés d'une couronne en bas à gauche ; Ancienne collection du comte de Maubou ; Vente anonyme ; Monaco, Christie's, 7 décembre 1987, n° 50 ; Vente anonyme ; Rome, Christie's, 8 avril 1991, n° 38 ; Chez André Gombert, Paris, en 1993 ; Acquis auprès de ce dernier par l'actuel propriétaire ; Collection particulière, Paris Bibliographie : Probablement inventaire après-décès de l'Infant don Luis de Borbon y Farnesio, 1787 Probablement inventaire du palais de Boadilla del Monte, 1826, dans l'antichambre des dames : "Un tableau avec un nain loqueteux, avec un cadre doré, de plus de cinq cuartos (105 cm) de haut" Probablement inventaire du palais de Boadilla del Monte, 1847 Probablement 'Inventaire des tableaux qui constituent la collection de peintures du Palais de Boadilla', 1888, n° 153 : "Etage noble / Premier Salon, à droite : n° 153 Sasso, napolitain, un nain." Olivier Meslay, "L'Homme au tricorne de Francesco Sasso (vers 1720 - 1776). Une oeuvre singulière de la collection de l'infant don Luis de Borbon", Le tableau du mois, n° 141, Paris, Musée du Louvre, 4-30 avril 2007, fig. 2. Olivier Meslay et Sophie Domininguez-Fuentes, "L'homme au tricorne de Francesco Sasso, une aquisition du département des peintures au musée du Louvre", Revue du Louvre, 2007, n° 5, p. 73 et p. 78, note 6 Commentaire : Ce saisissant tableau de Francesco Sasso représentant un Nain loqueteux lui fut sans doute commandé par l'infant d'Espagne don Luis de Borbon (1727-1783). L'œuvre faisait en effet partie des collections de ce prince, frère du roi d'Espagne Charles III, aux côtés d'une quinzaine d'autres représentations de mendiants et figures populaires de la main du même artiste. Ce peintre originaire de Pieve di Teco près de Gênes enseigna au sein de l'Académie de sa ville natale avant de partir pour l'Espagne. Il s'établit à Madrid en 1753 où il obtint rapidement les faveurs de la reine-mère Elisabeth Farnèse pour laquelle il réalisa des fresques au palais de la Granja et quelques décors religieux. En 1758, il fut chargé de l'enseignement artistique de l'infant don Luis et devint Pintor de Cámara. Il s'établit définitivement à Madrid où il poursuivit sa carrière sous la protection de don Luis. Ce prince fut sans doute l'un des amateurs les plus éclairés du XVIIIe siècle, soutenant les artistes contemporains tels que Goya. Sa collection comprenait près de mille tableaux aujourd'hui identifiables grâce aux inventaires manuscrits réalisés après son décès et aux numéros figurant dans le bas des toiles ainsi que nous pouvons l'observer sur notre Nain loqueteux (le numéro '13.' en rouge en bas à droite de notre toile) Si notre tableau rappelle immanquablement les portraits de nains du Siècle d'or espagnol représentés par Velázquez, nous n'avons pas affaire ici à un personnage de cour. Le réalisme cru avec lequel le personnage est représenté, pieds nus, les vêtements déchirés et le regard convergeant, nous renvoie à la peinture de Ribera. Le peintre espagnol actif à Naples avait en effet dès le XVIIe siècle représenté ces personnages de la rue en pied sur des toiles de dimensions relativement importantes, comme en témoigne le Pied-bot du Louvre (Fig. 1). Notre Nain loqueteux appartient à la même tradition de sujets picaresques. Il se tient debout dans un espace indéfini, de la vaisselle et de la nourriture à ses pieds ; une simple bougie est fixée au mur qui se trouve derrière lui. Cet arrière-plan presque neutre ainsi que le coloris monochrome du tableau, variant avec subtilité les bruns, les ocres et les blancs, sont caractéristiques de l'art de Sasso. D'autres figures ayant appartenu à don Luis ont pu être identifiées, telles que L'Homme au tricorne acquis par le musée du Louvre en 2005 (Fig. 2).

      Artcurial
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