Michele Pace, called Michelangelo del Campidoglio

Anonymous sale, London, Phillips, 18 December 1984, lot 3 (as Abraham Brueghel);
With Paolo Brisigotti, London, May 1991.

L. Trezzani, 'Michelangelo de Campidoglio', in La Natura Morta in Italia, F. Porzio (ed.), Milan 1989, pp. 775, 777, cat. no. 911, reproduced p. 776 (as Campidoglio o Brueghel?);
V. van Eeck, 'On 17th century Roman still life painting: Michelangelo da Campidoglio, Abraham Brueghel and the Master of the Metropolitan Museum', in Paragone, 469, March 1989, p. 82, reproduced pl. 65;
L. Trezzani, 'Michele Pace detto Michelangelo del Campidoglio', in Pittori di Natura Morta a Roma, Artisti Italiani 1630-1750, G. and U. Bocchi (eds.), Viadana 2005, p. 424, reproduced in colour p. 422, fig. MPC.19 (as Campidoglio).

The canvas is lined. The paint surface is secure and stable with no major damages visible, only a very slight degree of wear in some of the shadows. The varnish is clear and even. Inspection under ultra violet light reveals scattered areas of minor strengthenings in the dark tones throughout, but very little intervention in the main elements of the still life. In very nice overall condition. Offered in a carved and gesso gilt wood frame in fair condition with only a few minor chips and losses.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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The absence of signed and dated works by Campidoglio makes it hard to place his paintings in a chronological order. It is thought that whilst he was born in, and spent much of his career working career in Rome, he later worked in Naples. Although we do not know when or where, it is clear that Campidoglio crossed paths with Abraham Brueghel (1631-1690), and that the younger Flemming was greatly influenced by Campidoglio. A signed canvas by Brueghel in the Pinacoteca D'Errico, Matera, reuses many of the motifs from the present painting.¹ The complicated arrangement of the three overlapping pomegranate, the same stone bass relief to the left of the composition, the placement of the fruits and bunches of grapes strewn across the foreground, and the bamboo cane jutting out towards the viewer that is so typical of the works of Campidgolio. Lucio Galante dates Brueghel's canvas to between 1665-1675 before he moved to Naples.² Ludovica Trezzani believes the Brueghel to have been executed during his Neapolitan period, which leads her to believe the present canvas to date to the latter years of Campidgolio's career, towards 1670.³

1. See L. Galante, 'La Natura Morta in Puglia e in Basilicata', in La natura morta in Italia, C. Pirovano (ed.), Milan 1989, p. 979, reproduced fig. 1197.
2. Galante 1989, p. 980.
3. Trezzani 2005, p. 429.