It was 1954 when Giovanni Testori unveiled the Evening on the Square, now housed in the Musei Civici of Turin, a masterpiece of Giacomo Ceruti’s mature period. This is not just a painting, but a true manifesto of the so-called pentiture de la réalité, a style of painting that continues to captivate us even after seventy years. It has carved out a significant place in the art world, including exhibitions, publications, and the market.
Now, as in the past, the bustling world of the ‘underprivileged’ – as Testori called them – remains one of the most popular themes among the public. This is also due to the fact that, in the last decade, pauperist-themed works, despite their roots in the socio-cultural context of the seventeenth and eighteenth centuries, have increasingly been interpreted through a contemporary lens, intersecting themes that are currently at the heart of global debate. The subjects depicted – beggars, humble workers, destitute mothers, and barefoot children – embody a reality of extreme poverty that, despite its historical roots, still resonates in today’s landscape, where social inequality and marginalization of the less affluent classes persist. In a society that is increasingly focused on promoting greater awareness of social injustice, these paintings serve as powerful tools for reflection, making them valuable additions to both public and private collections.
In this current situation, as expected, the masterpieces are the ones that have garnered the most attention. It is not an exaggeration to say that the disarming Portaroli playing cards by Giacomo Ceruti are the standard-bearers: a memorable canvas, entered under the aegis of Matteo Salamon, who presented it at the last Biennale d’Antiquariato in Florence with an estimated value of one million euros. The price is not only justified by the extremely high quality and immaculate preservation, but also by the prestigious pedigree that traces the origin of the specimen to the renowned Padernello cycle.
The two Portaroli are a true connoisseur’s delight, and it’s a shame they’re not on display in 00000an Italian museum. However, many of Giacomo Ceruti’s masterpieces have recently been auctioned off, starting with the Cuoca col portarolo, which was sold at Pandolfini in Florence on May 15, 2024 (lot 58) for €85,680, including commissions. Or, how could we forget the breathtaking painting, The Spinner, infused with Arcadian essence, which was previously part of the Suida Manning collection? It was auctioned off in New York by Christie’s just a few days later, on May 23 (lot 15), for a whopping $176,400, all-inclusive. Or, if we want to go back a bit further in time, what about the majestic Mother with the Cow, sold at Sotheby’s New York auction on January 30, 2019 (lot 58) for $300,000? Once again, quality prevails: the Portrait of a Peasant Woman, painted by Ceruti using the unique reverse glass painting technique, serves as a testament to this. This truly exceptional piece, which appeared at the same venue on January 31, 2018 (lot 16), garnered a staggering $615,000, only to immediately slip away from prying eyes.
This, then, is the current state of affairs regarding the most prestigious Cerutian works. However, as we’ve learned from recent studies, particularly the 2023 monographic exhibition dedicated to Giacomo Ceruti, Pitocchetto wasn’t the only artist to carve out a leading role in this specialty. While passing through Brescia, his path occasionally intersected with the more comical and farcical Antonio Cifrondi, who also found his own space at the last BIAF, at Longari Arte, where two captivating canvases were displayed, depicting a Woman Spinning and a Flute Player. Once again, the origin of the work was not overlooked, as the pendant was part of the cycle painted by the Bergamo artist for the Zanchi family villa in Rosciate, dating back to ancient times.
What truly astonishes, beyond the occasionally repetitive or stereotypical production, are the works of Antonio Cifrondi that were auctioned off at the Cambi auction in Genoa on December 12th (lots 251-253) with a decidedly low estimate of €8,000 each. Surprisingly, the Spinner, the Chimney Sweep, and the Old Man achieved unexpectedly high prices, considering the painter’s usual quotations, reaching 32,600, 70,100, and 60,100 euros, respectively.
Given this seemingly anomalous situation, it’s only natural to wonder what happened to Cifrondi, leading him to compete with such vigor in the art market ring. It’s not easy to say, considering that the painter from Clusone had practically vanished from the radar, with the exception of a few sporadic appearances here and there, often marred by incorrect or overly generous attributions. The high quality and rarity of the subject, particularly the Spazzacamino, must have played a significant role in this case. However, is this enough to justify an 800% increase in the initial estimate? After all, as previously mentioned, this artist remains largely unknown beyond the inner circle of experts. Therefore, other factors must have contributed to this phenomenon, perhaps starting with the monographic exhibition held in Clusone between spring and summer of 2023. One thing is certain: the art market is like the stock market. If you follow its movements and fluctuations, it’s not hard to recall that Antonio Cifrondi had a significant showcase at TEFAF in Maastricht in March 2023, when Maurizio Canesso presented a stunning winter allegory featuring an Old Man in the Snow. The intriguing figure of the Ambulante, proposed by Canesso at the 2024 edition and later acquired by the Metropolitan Museum in New York, further confirms the significant role played by the ‘TEFAF effect’ in this market sector.
If these names, such as Sebastianone, whose delightful Self-Portrait in the Studio was rediscovered by Giorgio Baratti at the BIAF, are like comets in the market world, the sales catalogs of the next artist are literally overrun. We’re referring to Giacomo Francesco Cipper, better known by his pseudonym Todeschini. He’s a painter who’s not particularly rare, but unfortunately, his repertoire has been tainted by low-quality junk that hasn’t done him any favors. We hope that the situation will improve after the upcoming monographic exhibition at the Castle of Trento. However, how can we truly connect with Todeschini’s works? It’s simple: focus on the pedigree, playing it safe to try and snatch up his rare signed paintings, which, understandably, drive up prices, sometimes even doubling initial estimates. Two examples are the Concert, which appeared at Dorotheum in Vienna on May 11, 2022 (lot 113) and sold for €58,880, and the Frugal Meal with Hurdy-Gurdy Player, which was auctioned by Wannenes in Genoa on March 15, 2022 (lot 238) for €68,850.
The situation surrounding Eberhard Keilhau, known to all as Monsù Bernardo, is akin to a catalyst for those who have even a vague understanding of genre painting. The moral of the story? In recent years, only a few significant works have been sold. To find a notable example, we must go back to 2022, when a remarkable School of Children (lot 34) emerged from Wannenes on November 27th, joining the Gastaldi Rotelli collection for nearly €70,000. What’s behind this high price? The painting is a beautiful, authentic variant of Monsù Bernardo’s masterpiece, currently housed in the Musée des Beaux-Arts in Grenoble. So, even in this case, borrowing from a well-known New Jersey band’s catchy tune, we could say that ‘pedigree is the only rule’. But beware, as Monsù Bernardo is not a figure to be generalized. Despite the hunting season having already been open for a few weeks, the beautiful Cacciatore, previously in the Lerma collection, remained unsold when it appeared in Madrid at Greco Subastas on October 23 (lot 88).
To conclude this excursus, there is still at least one name that cannot be overlooked. I’m referring to Pietro Bellotti, a renowned painter known for his depictions of beggars, pitocchi, and scenes of popular life. Despite his fame as an eccentric creator of parca, philosophers, and neo-romantic subjects, the spectacular Parca Lachesi, which quadrupled its initial estimate of £50,000 at the Sotheby’s London auction on December 7, 2023 (lot 22), serves as a reminder of his talent.
As we mentioned, while money flows freely for the parcae, the situation is different when it comes to pauperist-themed productions. These, like those of Todeschini and Monsù Bernardo, frequently flood the market. However, their frequent poor quality does not match the high caliber of an artist like Pietro Bellotti. And when a glimmer of quality emerges, it’s the confusion surrounding the artist that casts a shadow. This is what happened at the Cambi Genoese auction on December 14, 2022 (lot 147), when a Garda Spinner was mistaken for a work by the captivating Master of denim canvas. This painter, known for his distinct features, was last seen at the Dorotheum in Vienna about ten years ago (10/17/2012, lot 635), selling for a considerable sum of nearly €100,000. Despite the significant price, the woman’s haunting gaze flew under the radar.
It’s time to finally unclog Pietro Bellotti’s sink, which has been neglected over the decades, completely ignoring the importance of quality. However, quality is and must always remain the essential yardstick for any evaluation. The Woman Spinning, an alter Clotho, reminds us of this. It was sold at Sotheby’s in New York on February 6th, with an improper attribution to the circle of Georges de la Tour (lot 470), and was auctioned for €30,000.
Who knows if the lucky winner will blindly trust the reference to the Cerchia di La Tour or dare to place their bets on Pietro Bellotti. Who knows… In the meantime, for the less fearful, it might be a good idea to visit the hardware store and get some drain cleaner. After all, it’s better to make some room in Bellotti’s pauperist catalog, especially now that the Gallerie dell’Accademia in Venice has made a resounding acquisition. Thanks to the Ministry of Culture’s funds, they secured the rediscovered Popolani all’aperto, which passed through Millon in Cremona on September 27, 2023 (lot 107), for €275,000. This monumental canvas, first unveiled at Gilberto Algranti’s Galleria Relarte in Palazzo Serbelloni, Milan, in 1964, was hailed by Enos Malagutti as a genuine work by Giacomo Ceruti, earning it a conservation order the following year. Despite the attribution to Ceruti having been set aside for some time, it is undeniable that the Popolani still stand out as the only evidence truly capable of rivaling the examples of the Padernello cycle, establishing a significant precedent.
All that remains is to wait a little longer and see how this game, valid for the Italian championship of reality painting, will unfold. The players have been battling it out on the field for some time, while the audience roars in the stands. In short, everyone is eagerly awaiting the referee’s final whistle, which will determine the outcome of the match through a penalty shootout. May the best man win.
21 February 2025
