Lot

25

Travellers in a Southern Landscape, (The Flight into Egypt), Pedro Onofre Cotto Ferrer (1669 – 1713)

In Stained Glass from Four Centuries

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Travellers in a Southern Landscape, (The Flight into Egypt), Pedro Onofre Cotto Ferrer (1669 – 1713)
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Travellers in a Southern Landscape, (The Flight into Egypt), Pedro Onofre Cotto Ferrer (1669 – 1713)
Glass panel painted on reverse with opaque and transparent pigments. Signed on the right "D. Pedro. Cotto. F". Carved softwood frame gilded over red bole, H 25.5, W 34.6 cm.

Pedro Onofre Cotto Ferrer (Palma de Mallorca 1669 - 1713 Madrid) came from a family of painters. He specialised in depicting landscapes with architecture and ruins. Evidence that Cotto also practised reverse glass painting was collected by the Spanish art historian Antonio Méndez Casal. He published two articles on the painter in 1935 and 1936, in which he listed all nine of the reverse glass paintings by the artist known at that time, three of which were signed and two of which were also dated. The small, very finely painted panel presented here is one of these extremely rare objects.

Cotto's paintings were still considered exceptional works of art in the 18th century: in 1724, two paintings of saints in the estate of Antonio Lopez Martinez were valued at 1500 reales, as highly as Madonna and Child with Saints by Peter Paul Rubens. This appreciation is also due to the fact that the artist, already conditioned by his training as a painter, had the ambition to realise his own pictorial inventions in reverse glass. He probably painted behind glass as fluidly as on canvas and alabaster. His art objets were elaborately executed with great care and attention to detail in an impressive colour palette - the resulting effect was more precious than an oil painting.

Provenance
Collection of J.H. Schwartz, no. 860.
Auctioned by Neumeister, Munich, June 2004, lot 247.

Literature
Illus. in Geyssant, Peintures sous verre. Eglomisés fixés et estampes sous verre de l'antiquité à nos jours, Paris 2008, p. 157.
Illus. in Bretz, Hinterglasmalerei ...die Farben leuchten so klar und rein. Maltechnik – Geschichte – Restaurierung, Munich 2013, illus. 35.
Illus. in Steiner, Landschaft in der Hinterglasmalerei des 18. Jahrhunderts, Berlin-Munich 2013, illus. 24.
For this painter see Méndez Casal, Pedro Cotto pintor mallorquín del siglo XVII, in: Revista Española de Arte 1935, p. 260f.
See also the same, Pedro Cotto pintor mallorquín del siglo XVII, in: Revista Española de Arte 1936, p. 49 f.
See also González Segarra, La colección pictórica de D. Lorenzo Armengual de la Mota: Peculiar ejemplo del interés por la pintura y la miniatura en la primera mitad del siglo XVIII, in: Espacio, Tiempo y Forma, serie VII, Historia del Arte, 11/1998, p. 248.

Wanderer in südlicher Landschaft, (Die Flucht nach Ägypten), Pedro Onofre Cotto Ferrer (1669 – 1713)
Hinterglasmalerei mit opaken und transparenten Farben. Rechts signiert "D. Pedro. Cotto. F". Geschnitzter und über rotem Bolus vergoldeter Weichholzrahmen H 25,5, B 34,6 cm.

Pedro Onofre Cotto Ferrer (Palma de Mallorca 1669 - 1713 Madrid) stammte aus einer Familie von Malern. Er spezialisierte sich auf die Darstellung von Landschaften mit Architektur und Ruinen. Belege dafür, dass Cotto Hinterglasmalerei ausgeübt hatte, trug der spanische Kunsthistoriker Antonio Méndez Casal zusammen. Er publizierte 1935 und 1936 zwei Artikel über den Maler, in denen er alle neun bis dato bekannten Hinterglasgemälde aufführte, davon sind drei signiert und zwei zusätzlich datiert. Zu diesen äußerst seltenen Objekten zählt auch die hier vorgestellte kleine, sehr fein gemalte Tafel.
Cottos Werke hatten noch im 18. Jahrhundert den Status eines ganz besonderen Kunstobjekts: 1724 wurden zwei Heiligenbilder im Nachlass von Antonio Lopez Martinez mit 1500 Reales genauso hoch eingeschätzt wie Madonna mit Kind und Heiligen von Peter Paul Rubens. Diese Wertschätzung verdankt sich auch der Tatsache, dass der Künstler, schon bedingt durch seine Ausbildung als Maler, den Ehrgeiz hatte, eigene Bildfindungen zu realisieren. Er malte vermutlich hinter Glas ebenso flüssig wie auf Leinwand und Alabaster. Seine Kunstkammerstücke waren dennoch mit großer Sorgfalt und Detailreichtum und in einer beeindruckenden Palette elaboriert ausgeführt - die Wirkung preziöser als ein Ölgemälde.

Provenienz
Sammlung J.H. Schwartz, Nr. 860.
Auktion Neumeister, München, Juni 2004, Lot 247.

Literatur
Abgebildet bei Geyssant, Peintures sous verre. Eglomisés fixés et estampes sous verre de l'antiquité à nos jours, Paris 2008, S. 157.
Abgebildet bei Bretz, Hinterglasmalerei ...die Farben leuchten so klar und rein. Maltechnik – Geschichte – Restaurierung, München 2013, Abb. 35.
Abgebildet bei Steiner, Landschaft in der Hinterglasmalerei des 18. Jahrhunderts, Berlin-München 2013, Abb. 24.
Zum Maler s. Méndez Casal, Pedro Cotto pintor mallorquín del siglo XVII, in: Revista Española de Arte 1935, S. 260f.
S.a. ders., Pedro Cotto pintor mallorquín del siglo XVII, in: Revista Española de Arte 1936, S. 49 f.
S.a. González Segarra, La colección pictórica de D. Lorenzo Armengual de la Mota: Peculiar ejemplo del interés por la pintura y la miniatura en la primera mitad del siglo XVIII, in: Espacio, Tiempo y Forma, serie VII, Historia del Arte, 11/1998, S. 248.

Travellers in a Southern Landscape, (The Flight into Egypt), Pedro Onofre Cotto Ferrer (1669 – 1713)
Glass panel painted on reverse with opaque and transparent pigments. Signed on the right "D. Pedro. Cotto. F". Carved softwood frame gilded over red bole, H 25.5, W 34.6 cm.

Pedro Onofre Cotto Ferrer (Palma de Mallorca 1669 - 1713 Madrid) came from a family of painters. He specialised in depicting landscapes with architecture and ruins. Evidence that Cotto also practised reverse glass painting was collected by the Spanish art historian Antonio Méndez Casal. He published two articles on the painter in 1935 and 1936, in which he listed all nine of the reverse glass paintings by the artist known at that time, three of which were signed and two of which were also dated. The small, very finely painted panel presented here is one of these extremely rare objects.

Cotto's paintings were still considered exceptional works of art in the 18th century: in 1724, two paintings of saints in the estate of Antonio Lopez Martinez were valued at 1500 reales, as highly as Madonna and Child with Saints by Peter Paul Rubens. This appreciation is also due to the fact that the artist, already conditioned by his training as a painter, had the ambition to realise his own pictorial inventions in reverse glass. He probably painted behind glass as fluidly as on canvas and alabaster. His art objets were elaborately executed with great care and attention to detail in an impressive colour palette - the resulting effect was more precious than an oil painting.

Provenance
Collection of J.H. Schwartz, no. 860.
Auctioned by Neumeister, Munich, June 2004, lot 247.

Literature
Illus. in Geyssant, Peintures sous verre. Eglomisés fixés et estampes sous verre de l'antiquité à nos jours, Paris 2008, p. 157.
Illus. in Bretz, Hinterglasmalerei ...die Farben leuchten so klar und rein. Maltechnik – Geschichte – Restaurierung, Munich 2013, illus. 35.
Illus. in Steiner, Landschaft in der Hinterglasmalerei des 18. Jahrhunderts, Berlin-Munich 2013, illus. 24.
For this painter see Méndez Casal, Pedro Cotto pintor mallorquín del siglo XVII, in: Revista Española de Arte 1935, p. 260f.
See also the same, Pedro Cotto pintor mallorquín del siglo XVII, in: Revista Española de Arte 1936, p. 49 f.
See also González Segarra, La colección pictórica de D. Lorenzo Armengual de la Mota: Peculiar ejemplo del interés por la pintura y la miniatura en la primera mitad del siglo XVIII, in: Espacio, Tiempo y Forma, serie VII, Historia del Arte, 11/1998, p. 248.

Wanderer in südlicher Landschaft, (Die Flucht nach Ägypten), Pedro Onofre Cotto Ferrer (1669 – 1713)
Hinterglasmalerei mit opaken und transparenten Farben. Rechts signiert "D. Pedro. Cotto. F". Geschnitzter und über rotem Bolus vergoldeter Weichholzrahmen H 25,5, B 34,6 cm.

Pedro Onofre Cotto Ferrer (Palma de Mallorca 1669 - 1713 Madrid) stammte aus einer Familie von Malern. Er spezialisierte sich auf die Darstellung von Landschaften mit Architektur und Ruinen. Belege dafür, dass Cotto Hinterglasmalerei ausgeübt hatte, trug der spanische Kunsthistoriker Antonio Méndez Casal zusammen. Er publizierte 1935 und 1936 zwei Artikel über den Maler, in denen er alle neun bis dato bekannten Hinterglasgemälde aufführte, davon sind drei signiert und zwei zusätzlich datiert. Zu diesen äußerst seltenen Objekten zählt auch die hier vorgestellte kleine, sehr fein gemalte Tafel.
Cottos Werke hatten noch im 18. Jahrhundert den Status eines ganz besonderen Kunstobjekts: 1724 wurden zwei Heiligenbilder im Nachlass von Antonio Lopez Martinez mit 1500 Reales genauso hoch eingeschätzt wie Madonna mit Kind und Heiligen von Peter Paul Rubens. Diese Wertschätzung verdankt sich auch der Tatsache, dass der Künstler, schon bedingt durch seine Ausbildung als Maler, den Ehrgeiz hatte, eigene Bildfindungen zu realisieren. Er malte vermutlich hinter Glas ebenso flüssig wie auf Leinwand und Alabaster. Seine Kunstkammerstücke waren dennoch mit großer Sorgfalt und Detailreichtum und in einer beeindruckenden Palette elaboriert ausgeführt - die Wirkung preziöser als ein Ölgemälde.

Provenienz
Sammlung J.H. Schwartz, Nr. 860.
Auktion Neumeister, München, Juni 2004, Lot 247.

Literatur
Abgebildet bei Geyssant, Peintures sous verre. Eglomisés fixés et estampes sous verre de l'antiquité à nos jours, Paris 2008, S. 157.
Abgebildet bei Bretz, Hinterglasmalerei ...die Farben leuchten so klar und rein. Maltechnik – Geschichte – Restaurierung, München 2013, Abb. 35.
Abgebildet bei Steiner, Landschaft in der Hinterglasmalerei des 18. Jahrhunderts, Berlin-München 2013, Abb. 24.
Zum Maler s. Méndez Casal, Pedro Cotto pintor mallorquín del siglo XVII, in: Revista Española de Arte 1935, S. 260f.
S.a. ders., Pedro Cotto pintor mallorquín del siglo XVII, in: Revista Española de Arte 1936, S. 49 f.
S.a. González Segarra, La colección pictórica de D. Lorenzo Armengual de la Mota: Peculiar ejemplo del interés por la pintura y la miniatura en la primera mitad del siglo XVIII, in: Espacio, Tiempo y Forma, serie VII, Historia del Arte, 11/1998, S. 248.

Stained Glass from Four Centuries

Sale Date(s)
Lots: 95
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