#c17th

Guitar. Ebony and ivory veneer back and sides, pine soundboard, ebony and mother-of-pearl neck and brass frets. Italian, Venice, Matteo Sellas, 1623

Image: via @alanspazzaliartist

Bathers at San Niccolò on the Arno (1600) by Domenico Cresti, called Passignano (1559-1638).

Question:

Is the provenance and chain of authenticity of this work assured?

It ‘feels’ too modern, the spirit of the renaissance notwithstanding.

Answer:

(Courtesy @ganymedesrocks )

Authenticity?

It is believed that this work moved rapidly into the collections of Marchese Filippo  Niccolini (1655-1738) who was the third Marquis of Ponsacco and  Camugliano. Not only did this family gain from alliances with the House of Medici but also from those with many well-heeled families such as the Riccardis, the Da Filicaias and others in the great cities of Florence, Sienna, Lucca, Pisa and the like.   Alas, from the era of the 8th Marquis, the family saw the economic ruin of the house. The Niccolinis were forced to sell their very rich artistic collections and dispose of the palace in Via Dei Servi. The next generation, however, rebuilt and created  new alliances, meaning that many artists in their collections remained with the family until the 1950's at which time paintings such this one found collectors in England.  Based on this evidence, the work’s chain of authenticity is ‘assured’. 

Modern ‘Feel’?

Grotesque panel, blackwork with small silhouetted figures, bandwork, foliage and flowers. Engraving. Matthias Beutler, Germany, ca.1582-1616

Cittern. Joachim Tielke, Hamburg, ca. 1685

Print by Esaias van Hulsen, plate from a suite of 6 designs for goldsmith's ornament, Dutch, 1617

Portrait of Margaret Layton probably by Marcus Gheeraerts (the Younger), Britain, ca.1620.

‘This is an extremely rare example of a portrait featuring a garment that still survives.’ 

Pendant in the shape of a toad. Baroque pearls, gold and enamel. Spain (?), c. 1600 - c. 1620.