limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
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limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Series mounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot. Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.” In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPELLBOUND IN MOTION limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), A COMPLEX NATURE limited edition digital print on paper, signed in silver ink and numbered 64/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cm Note: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), HYPNOTIC REVEAL limited edition digital print on paper, signed in silver ink and numbered 58/100, from the Revelations : A Portrait of Magic seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), FROM THE EVIL WITHIN limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glass image size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
* STUART MCALPINE MILLER (SCOTTISH b. 1964), SPLIT PERSONALITY limited edition digital print on paper, signed in silver ink and numbered 43/100, from the Revelations : A Portrait of Magic Seriesmounted, framed and under glassimage size 81cm x 63cm, overall size 101cm x 82cmNote: certificate of authenticity is included with this lot.Note 2: Scottish artist Stuart regularly hits the headlines with his Pop Art paintings. Fusing cartoons with themes of idealism and consumerism, his multilayered artworks blend the past with the present through layers of figurative imagery, text and symbols. His release, Revelations: A Portrait of Magic, depicts the central characters of J.K. Rowling's Harry Potter series. Stuart's McAlpine Miller’s spectral style has been described as ‘supernatural realism’ by the BBC and Radio 2 art critic Estelle Lovatt, who also praised its 4D aesthetic, adding that he has “one of the most creative minds in art today”. Using subtle tones of paint, he creates the illusion of transparency. The overall effect is similar to looking through a glass bottle, distorting the image and presenting a different version of the same subject. In turn, a far-fetched reality is created, highlighting the unrealistic expectations of today’s society. A graduate of the prestigious Glasgow School of Art, Stuart is an admirer of Old Masters such as Caravaggio and Hieronymus Bosch but is particularly inspired by one of the leading exponents of Pop Art, Andy Warhol. Stuart says: “Warhol’s views on mass consumerism and the way he translated these into his art is something I really relate to. I hope my art does something similar and stands the test of time.” Inspired by JK Rowling's Harry Potter novels, Stuart’s Revelations: A Portrait of Magic collection has captured best-loved characters including Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Draco Malfoy and Bellatrix Lestrange. Stuart says: “The art of illusion and magic reveals itself through the unified bond of the three central characters. As we continue to work in unison, we open the doors to an unimagined future, turning the ordinary into the extraordinary. A new era lies ahead, as yet unrecognised but already awaiting our arrival.”In 2011, Stuart was chosen as artist-in-residence by the world-famous Savoy hotel after its major refurbishment. During his time there, he produced the collection A Time For Reflection: The Savoy Suite, which offered a unique insight into the hotel's patron, including Alfred Hitchcock, Marilyn Monroe and Charlie Chaplin. This popular release for Castle Fine Art was followed by Lost Lives/Split Personalities, which depicted some of history's most famous musicians including David Bowie, Amy Winehouse, Freddie Mercury and George Michael. Music took on a new meaning for Stuart when he began playing the piano seriously. Stuart says: “Music has for me, like many others, greatly influenced my own approach to my art, and the potential it creates within. The emotion that music can reveal allows the listener to transport themselves to a time, a place and a feeling. Art can do the same. We just have to open our minds.” The piano and art took on a new significance for Stuart when he was commissioned by Paul McCartney to paint the piano which he used on his 2004 European Tour. Stuart’s talents also saw him work on several advertising campaigns including Renault, McVities and Virgin; he also painted a triptych of The Alternative Last Supper used as backdrop for the main dining scene in Stephen Berkoff’s 1998 film Decadence. Stuart McAlpine Miller has commissions and collectors around the world, and has exhibited internationally, including Connaught Brown, the Catto Gallery, Kings Road Gallery, Rebecca Hossack Gallery and Duncan Miller in London; Ruth O'Hara and Hoerle-Guggenheim in New York and the SOTA Gallery, Hong Kong, as well as through the Castle Fine Art network of galleries in the UK.
Luigi Amidani (Parma, 1591 - after 1629)“Martyrdom of St. Matthias”Oil on canvas. 206 x 125 cm.This is a painting that was previously unknown to the art market. This large format picture was already mentioned and reproduced in 1965, in an art magazine in Jerez de la Frontera, Spain. The private collection where this canvas was found, together with another (“Martyrdom of St. Andrew”), with which it was paired, is also located in the same town. It was then considered a Luigi Miradori, according to another scholar (Pérez Sánchez). And previously, in the 19th century, it had other and varied attributions. Professor Massimo Pullin made a study on Amidani (1591-1629) and an attribution to this Italian Baroque painter. He used the method of viewing and comparing as many paintings by the artist as possible from many world art galleries, cathedrals and private collections, as well as compiling all the writings and studies related to this Italian painter written until then, with opinions of scholars and curators of art galleries such as the Louvre itself.For his rigorous study, he observed and contemplated in depth all the work by Amidani that existed in Spain (the so-called “Iberian stage” of the painter in which he broke loose from being a mere copyist): on the one hand, a series of ten small paintings (0.43 x 0.35 cm) depicting the “Martyrdoms of the Apostles”, which were in the Royal Academy of San Fernando belonging to the novitiate of the Jesuits in Seville, (then attributed to Tintoretto) and which were in the Academy before 1796 (brought by Ponz); This attribution changed in 1804, in the "Inventario de Alhajas" (Inventory of Treasures), and the new attribution was to Pablo de Céspedes - a painter from Cordoba, as was then noted in ink on the back of the frames. This mistaken attribution was maintained throughout the 19th century, until it was modified by Alfonso Pérez Sánchez in the 1963/64 inventory in which, he proposed Luigi Miradori as the artist. Massimo Pullini in the 21st century (2020) disputed the previous authorship as he recognized the style of the Italian Baroque painter who accompanied Velázquez on his first trip to Italy, in most of this small series. In addition, Luigi Amidani was a favorite disciple of Bartolomé Schedoni, a painter linked to the Farnese family who, in turn, had a close relationship with Velázquez on the occasion of that first trip to Italy. Some of these small-format paintings, which were always on view to students and teachers at the Academy, served as inspiration for later paintings. Massimo, on the other hand, also studied the remains of what could have been another series of the same subject (martyrdoms of apostles) in a larger format, in Spain and in other art galleries around the world, which house the martyrdoms of St. Peter and St. Paul in the Museum of Fine Arts in Valencia, and those of St. Andrew and St. Matthias in a private collection in Jerez de la Frontera, (one of them, the painting we are commenting on).In the small format painting “The Martyrdom of St. Matthias”, the saint is shown lying down and dressed, being viciously stoned by his executioners. In the large format work we have here in our catalog, he appears half-naked, in the style of St. Andrew, St. John, St. Jude Thaddeus, St. Bartholomew..., the torsos are exposed and covered by peplos or remains of tunics or torn and hanging clothes. Professor M. Pullini observes the figures' morphology and expressions as being similar to those of the large format painting from Jerez de la Frontera, faces “that can well be defined as neo-Gothic, full of a hardness that at times borders on the grotesque”. In this large canvas the saint is depicted as being stripped between two soldiers, and in the foreground, kneeling, is the one who announces the method of martyrdom, carrying a basket full of stones. According to tradition, the saint was stoned in Judea around the year 80, after being condemned to death by the High Priest, and later beheaded with an axe for having opposed Caesar.His face does not lose courage or strength, and despite the intuition that he is going to die, he looks on with the strength of the One who fills him with his truth. The large vertical format of the painting must certainly have been chosen to complete the pictorial collection of some chapel or church. Crudeness in the images, pronounced foreshortenings, and violent effects of light are very reminiscent of the influences exerted by the master Caravaggio, and his mature style and the abrupt chromatic contrasts are very much influenced by Ribera.Two other canvases also studied by Massimo could come from this same large-format series. No longer in Spain, the so-called “Stoning of an Apostle” which appeared on the London antique market and the “Martyrdom of St. Paul” that can be found in the Schloss Weißenstein in Pommersfelden (Germany). Reference bibliography:Bibliografía de referencia:- Luzón Nogué, José María (ed.) (2022). "Velázquez en Italia. Entre Luigi Amidani y Juan de Córdoba". Madrid: Real Academia de Bellas Artes de San Fernando.- Pulini, Massimo (Noviembre de 2020). “Luigi Amidani da Parma a Madrid, da pittore dei Farnese a ‘confidente’ di Velázquez”. About Art On Line.- VV. AA. (2000). Corpus velazqueño. Documentos y textos, 2 vols., bajo la dirección de J. M. Pita Andrade. Madrid.
JIRI ANDERLE (Czech / Bohemian 1936) - Lutenist (after Caravaggio) | 1982 | technique: etching and drawing on paper | 660 x 490 mm | signature: down the middle | note: Sheet 34/70 | framed under glass | Lot description | This graphic sheet by the Czech artist Jiri Anderle is inspired by the work of the Italian Baroque painter Caravaggio. Here, Anderle reinterpreted the motif of a musician with a lute, which symbolizes the harmony between art, music and nature. In typical fashion, Anderle uses fine linework and detailed shading to emphasize the emotional depth of the scene. The combination of realistic and surreal elements gives the work a timelessness that is characteristic of Anderle's work and refers to his fascination with classical art in a modern expression. | condition report*In case of missing photos, please feel free to contact us.
A COLLECTION OF LATE 20TH CENTURY PAINTINGS AND PRINTS ETC, to include two oil on canvas maritime battle scenes signed Webb with an anchor, Battle of 'Trafalgar 1805' and 'Battle of the Nile 1798', approximate sizes 30cm x 40cm - both with small losses, an indistinctly signed watercolour depicting square rigged war ships, approximate size 39cm x 58cm, a print depicting the Barque Asia, approximate size 95cm x 129cm including frame, a smaller print of a sailing ship, a reproduction Sophie Anderson print of 'Music Hath Charms', Caravaggio print 'The Fortune Teller', a Christmas themed print, reproduction Charles Crombie golf prints etc and a painted metal sign from a golf course, approximate size 36cm x 122cm
Roman School, early 17th century- Salvator Mundi; oil on copper, 45.8 x 36.6 cm. Provenance: Private Collection, UK. Note: This arresting portrayal of Christ as Salvator Mundi, dramatically lit from one side so the subject's face is cast in atmospheric relief, shows the unmistakable influence of Caravaggio (1571-1610) and his circle of artists working in Rome at the beginning of the 17th century. The smooth, highly polished rendering of the skin is particularly reminiscent of the works of Caravaggio's pupil Bartolomeo Manfredi (1582-1622), including 'Cupid Chastised', held in the collection of the Art Institute of Chicago [1947.58]. The present work's intimate scale suggest it may have once hung in a private house or chapel.
Theodor Rombouts, Zwei junge Flötenspieler an einem Kohlebecken und ein RaucherÖl auf Leinwand (doubliert). 103,5 x 89,5 cm.Monogrammiert und datiert unten Mitte: TR (ligiert) 1637.GutachtenDr. Paul Huys Janssen, Den Bosch. 27. November 2018.ProvenienzPrivatsammlung, Luxemburg.Der in Antwerpen geborene Maler Theodor Rombouts reiste im September 1515 nach Italien und verbrachte in Rom die folgenden folgenden sieben Jahre. Caravaggio war zwar bereits verstorben, die prägende Kraft seiner Persönlichkeit lebte jedoch unter den römischen Malern fort und beeinflusste auch unmittelbar den jungen Flamen. Rombouts Werke aus dieser Zeit sind durch das kraftvolle Hell-Dunkel der römischen Caravaggisten geprägt, erst nach seiner Rückkehr nach Antwerpen im Jahr 1625 begann sich die Farbpalette unter dem Einfluss seines großen Zeitgenossen Peter Paul Rubens zu erhellen. Bei diesem 1637 datierten Bild „Zwei Flötespieler an einem Kohlebecken“ (Huys Janssen nennt es „Young Gentry“) handelt es sich um eines der letzten Werke des Malers, da er im selben Jahr verstarb. Die Szenerie dieser Komposition ist hell, in rosafarbenen, gelben und blauen Tönen, mit beherrschten, gezügelten Pinselstrichen ausgeführt. Die Stimmung ist ruhig und gelassen. Gewiss erinnert das dichte Nebeneinander der drei jungen Männer in Halbfigur an Kompositionen Caravaggios, aber nicht ihre Typologie. In den 1630er Jahren war Rombouts eindeutig zu einem unabhängigen klassischen Maler geworden.Nach einer alternativen Auffassung handelt es sich bei diesem Gemälde um ein Werk des Jacques des Rousseaux (um 1600 Tourcoing - 1638 Leiden).
Cobergher, Wenceslas (Nachfolger), 1560 - 1634: Anbetung des Christuskindes durch die Hirten, 17.-18. Jh.Öl auf Leinwand, doubliert auf grobem Rupfen, 158x122,5cm, vergoldet gerahmt, mit elektrifizierter Bildleuchte aus Messing am Oberrand (nicht getestet), die Bildfläche mit zwei Durchbrüchen u. alten prof. Leinwandrestaurierungen, kein Materialverlust. Die Darstellung der Anbetung der Hirten begann in der westlichen christlichen Welt um das 15. Jahrhundert zu erscheinen. Künstler von Caravaggio bis Guido Reni haben das Thema dargestellt; auch Cobergher, von dem eine Vorzeichnung zu diesem Gemälde überliefert ist, hat mit seiner Komposition für Nachfolger ein eindrucksvolles Vorbild geliefert. Z2-3.
Ted Jones (Irish, 1952)Greed, 1998Print on paper Limited edition 148 / 250Signed & numbered in pencilPublished by Killarney Art Gallery, IrelandFramed & glazedTed Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rosetti & Caravaggio. In 1998, demand for his work led to the publication of the first of a series of Signed Limited Edition Prints which have been hugely successful with over 20 titles published since its inception. In fact, demand has been so strong that many of the editions are completely sold out - some of these prints are now changing hands for 10 times their original price.His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.Measures approx. 41.5cm x 33cm (16.5" x 13").
Ted Jones (Irish, 1952)Pride, 2001Limited edition print on paperNo. 148 of 250Signed & numbered in pencilPublished by Killarney Art Gallery, IrelandFramed & glazedTed Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rosetti & Caravaggio. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.Measures approx. 41.5 x 33cm (16.5" x 13").
Ted Jones (Irish, b. 1952) Anger, 2000Print on paperLimited edition No. 148 / 250Signed & numbered in pencilPublished by Killarney Art Gallery, IrelandFramed & glazedTed Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rosetti & Caravaggio. In 1998, demand for his work led to the publication of the first of a series of Signed Limited Edition Prints which have been hugely successful with over 20 titles published since its inception. In fact, demand has been so strong that many of the editions are completely sold out - some of these prints are now changing hands for 10 times their original price.His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.Measures approx. 41.5cm x 33cm (16.5" x 13").
Italienischer Caravaggist des 17. JahrhundertsJÜNGLING VON EINER MAUS GEBISSENÖl auf Leinwand.65,1 x 51,1 cm.Das Bildmotiv lässt sich in eine Reihe ähnlicher Themen stellen, bei denen spontane Effekte zur Darstellung gebracht werden sollten. Schreck oder Entsetzen im Bild zu zeigen, war besonders bei Caravaggio zu einer neuen Aufgabe in der Malerei geworden. Sein exaltiert dargestellter „Jüngling von einer Eidechse gebissen“ steht am Anfang dieser Bildideen. Bartolomeo Cavarozzi (1590-1625) etwa schuf das Bild „Jüngling, von einer Krabbe gebissen“, welches in dieser Auktion auch angeboten wird. Ganz ähnlich hat der Maler das vorliegenden Gemälde den Augenblick des Schreckens beim Biss einer Maus in den Finger festgehalten. Zwar kommt hier das caravaggeske Hell-Dunkel noch nicht zum Tragen, umso mehr der Effekt des Augenblicks.Provenienz: Europäische Privatsammlung, 2017.Anmerkung:Zwei weitere Versionen dieser Darstellung sind in der Sammlung Borromeo, Isola Bella, sowie in der ehemaligen Mameli-Sammlung Rom zu finden. Das letzte Gemälde wurde im Dorotheum Wien, im November 2020 unter Lot 86 angeboten. Literatur: Vgl. Eberhard König, Michelangelo Merisi da Caravaggio, Köln 1997.Vgl. Sybille Ebert-Schifferer, Caravaggio. Sehen – Staunen – Glauben. Der Maler und sein Werk, München 2009.Vgl. Michael Fried, The Moment of Caravaggio, Princeton 2010.Vgl. F. Scaletti, Caravaggio, Catalogo ragionato delle opere autografe, attribuite e controverse, Bd. II, Napoli 2017, S. 65. (1410711) (3) (11)Italian Caravaggist, 17th centuryBOY BITTEN BY A MOUSE Oil on canvas.65.1 x 51.1 cm.The subject of the painting can be associated with a series of similar subjects portraying spontaneous effects. Depicting shock or horror in a painting had become a new task, especially for Caravaggio. His exalted depiction of Boy Bitten by a Lizard marks the start of these image ideas. Bartolomeo Cavarozzi (1590 -1625), for example, created the painting Youth Bitten by a Crab (also on offer for sale in this auction). Although the Caravaggesque chiaroscuro does not yet take effect here, the impact of the moment is even more noticeable. Two other versions of this depiction have become known held at the Borromeo Collection, Isola Bella, and formerly at the Mameli Collection, Rome (sold at auction, Dorotheum Vienna, November 2020 lot 86).Provenance: European private collection, Florence, 2017.
Theodor Rombouts, 1597 – 1637KARTENSPIELER AM TISCH MIT EINEM KIEBITZÖl auf Leinwand. Doubliert.145 x 200 cm.Beigegeben eine Expertise von Gianni Papi, Florenz, 11. April 2022, in Kopie.Wie nicht wenige Werke des Malers zeigt sich auch dieses in betontem Großformat. In abgedunkeltem Raum sitzen sich zwei Kartenspieler an einem Tisch gegenüber, zwei weitere Figuren, eine alte Wirtin und ein Jüngling vor seinem Glas und Teller sind rechts am Tischende zu sehen. Links dagegen beugt sich ein grauhaariger Alter weit vor, um in die Karten seines Tischnachbarn zu blicken. Die Figuren sind schlaglichtartig von links beleuchtet, aus einer Lichtquelle, die im Bild nicht zu sehen ist. Die Hell-Dunkel-Malerei des Caravaggismus lässt die Figuren umso plastischer erscheinen. Die Hauptfigur, ein Mann im noblen Landsknechtskostüm mit breitrandigem Hut und roter Feder und umgegürteter Stichwaffe im Halfter, sitzt einzig an der Frontseite des Tisches. Er hält seine Karten in der Linken und ist dabei eine rote Karte zu ziehen, während er gleichzeitig seine rechte Hand auffordernd an seinen Gegner richtet. Dieser wiederum zeigt sich noch unentschlossen. Die Darstellung lässt mehrere Deutungsmöglichkeiten des Spielgeschehens offen. Klar jedoch scheint, dass der Alte als Kibietz fungiert. Möglicherweise ist die Szene rechts dahingegen zu deuten, dass hier der Knappe des Landsknechts von der alten Wirtin ermahnt wird, von der Zusammenarbeit mit dem Betrüger abzulassen, was dieser nur mit einem Lächeln kommentiert.Papi sieht in dem vorliegenden Werk eine zweite eigenhändige Arbeit Theodor Rombouts, das sich im Museo di Belle Arti, Antwerpen, befindet. Bildaufbau und die Inszenierung der Darstellung stehen den Werken Caravaggios sehr nahe. So gilt Rombouts als der primäre Caravaggist dieser flämischen Stilrichtung. Zunächst studierte er unter anderem bei Abraham Janssens, vielleicht auch bei Nicolas Régnier in Antwerpen, bevor er sich 1616 nach Rom begab, um dort fast 10 Jahre zu bleiben. Es wird auch allgemein angenommen, dass er anlässlich eines Aufenthaltes in Florenz für Cosimo II de Medici arbeitete und damit auch mit Bartolomeo Manfredi in nahen Kontakt kam. 1625 wurde er Meister der Lukasgilde in Antwerpen.Auch in seinem bekannten Werk „Verleugnung Petri“ (Liechtenstein Museum) ist das Kartenspiel ein Begleitthema. Es erübrigt sich die Feststellung, dass Werke des Künstlers in weiteren bedeutenden Sammlungen zu finden sind. A.R.Literatur:Benedict Nicolson, Caravaggism in Europe, Bd. III, Turin 1990, S. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l‘Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, Ausst.-Kat., Palazzo Reale, Mailand 15.10.2005-6.2.2006, Mailand 2005. (1381861) (11) (†)Theodor Rombouts,1597 – 1637CARD PLAYERS AT A TABLE WITH LAPWINGOil on canvas. Relined.145 x 200 cm.Accompanied by an expert’s report by Gianni Papi, Florence, 11 April 2022, in copy.Literature:Benedict Nicolson, Caravaggism in Europe, vol. III, Turin 1990, p. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l’Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, exhibiton cat., Palazzo Reale, Mailand 15 October 2005-6 February 2006, Milan 2005.
Jack Butler Yeats RHA (1871-1957) On the Hazard (1911) Oil on panel, 29 x 38cm (11½ x 15”) SignedProvenance: Acquired directly from the artist by Serge Philipson, Dublin, May 1948; Christie's, London, 20 May 1999, lot 132; Sotheby's, London, 6 May 2010, lot 39; Sotheby's, London, 19 November 2013, lot 81; Sotheby’s, London, 19 November, 2019, lot 32, where purchased by the present owner.Exhibited: Dublin, Royal Hibernian Academy, 1911, no.134; Dublin, National Gallery of Ireland, 'Jack B. Yeats, A Centenary Exhibition', September - December 1971, no.28Literature: Hilary Pyle, 'Jack B. Yeats, A Catalogue Raisonné of the Oil Paintings', London, 1992, no.27, illustrated p.26This early oil by Jack B. Yeats shows a group of cabbies playing cards by candlelight on the side of a carriage. The title, ‘On the Hazard’ is a pun on the role of chance and unpredictability, and perhaps even the dangers of gambling, in the outcome of the game, and on a Dublin expression, ‘on the hazard’. This refers to the place where cabs waited for hire. James Joyce used it in Ulysses, (1922), when he wrote, ‘Mr Bloom went round the corner and passed the drooping nags of the hazard’.Four men sit around the cab, one is perched on the top, and leans over to watch the game. Two, their faces lit by the candlelight, are engrossed in their cards. A fourth sits with his back to the viewer and is shown as a dark silhouette wearing a large hat and cloak. To the right the wheels and horse trappings of the vehicle and part of the waiting horse can be deciphered. The composition is cut-off adding a modern note to the subject.Hilary Pyle has suggested the influence of Caravaggio in the dramatic use of chiaroscuro (light-dark) in the composition. But also, and more feasibly, that of the French realist and political cartoonist, Honoré Daumier.[i] Yeats, who owned few art history books, had a copy of Henri Frantz’s book on the artist, which was given to him and his wife, Cottie, by his father and sisters in 1904.[ii] Yeats shared Daumier’s interest in the lives of working class men and women and in the depiction of the impact of poverty on urban dwellers.The painting is dominated by deep brown tones which are alleviated by the bright yellow light and by flashes of intense blue and green, as seen in the neck scarf of one of the cabbies and in the design of the playing cards. To the right a dash of strong red indicates the reflection of light on the cab wheel. The light is skillfully used to delineate the poses and expressions of the cabbies who sit in a relaxed and companionable fashion. The face of the man looking down takes on a ghostly quality as its features are transformed by the shadows into a mask-like form. The two players, whose features are clearly presented, appear to be ‘poker-faced’ with clenched expressions that indicate their deep involvement and enjoyment of the game. The painting is a rare depiction of a forgotten aspect of Irish urban life, one that was also found across Europe and North America. Here Yeats’s vivid and original composition, its close-up view of the interaction results in an intense and captivating work of art.The painting was acquired from the artist by the noted collector, Serge Philipson, a Frenchman who settled in Ireland, in 1948.Dr Róisín KennedyAugust 2024[i] Hilary Pyle, A Catalogue Raisonné of the Oil Paintings, London, 1992, no.27.[ii] This is now in the Yeats Archive, National Gallery of Ireland, Y1/JY/24/1/6/66.
Oil on canvas 99 x 73.5 cm The painting shows significant elements of 17th century Spanish portraiture and its greatest representative, Diego Rodríguez de Silva y Velázquez. Our canvas was born in the circle of artists who grew up under his influence, among them the most important students: Juan Bautista Martínez del Mazo, Juan de Pareja and Juan Carreño de Miranda. At the age of twelve he entered Francisco Pacheco's workshop, immediately demonstrating his talent. In 1618 he was already an independent artist, he worked in the city painting with a strong influence of Caravaggio. He moved to Madrid and became official painter to Philip IV. He thus had the opportunity to explore the court collection and cultivate a particular interest in the Venetian school and Titian in particular. Probably following the advice of the Rubens, he traveled twice to Italy, an opportunity to closely study the different schools of painting and the great masters, refining his style and concentrating on the pictorial and environmental interpretation of light. Loved and respected by his colleagues from his time, thanks to Alonso Cano y Zurbarán he was granted the title of Knight of Santiago. His painting of excellent quality and realism was experienced after his death thanks to his students, among them: Juan Bautista Martínez del Mazo, Juan de Pareja and Juan Carreño de Miranda. Diego Velázquez (Seville 1599 - Madrid 1660) circle of Portrait of a leader Oil on canvas 99 x 73.5 cm
* DYLAN LISLE (SCOTTISH b. 1978), HERACLES oil on canvas, monogrammed and dated '06framedimage size 38cm x 49cm, overall size 58cm x 68cmNote: Dylan Lisle trained at The Gray's School of Art in Aberdeen. "The academic or technical aspects of painting and drawing have always fascinated me. I have striven to challenge myself creatively by utilising methods and processes pioneered by masters such as Caravaggio and Zurburan. Techniques such as monochromatic underpainting, velatura, glazing and dry brush are modified to found working processes particular to each focus. The process of learning and the acquisition of knowledge in these areas is a fervent motivation. Each painting could be understood as an exercise in the mastery of technique. With the aid of life models I am able to explore my interests in anatomy. The poses are normally based around particular physical dynamics such has the torsion of a body, the tension in a muscle group or the weight of a limb. I attempt to deconstruct the inherent characteristics of a subject in order to represent them accurately and convincingly. The style of this work stems from my long held admiration of Baroque and Classical art. The strong chiaroscuro lighting of Caravaggio and the tactile dynamics of Titian's drapery have been of great influence to me. I have borrowed elements of these styles and married them with unusual and challenging poses more reminiscent of contemporary work. The juxtaposition of these contrasting approaches hopefully culminates in something that, whilst remaining progressive, pays homage to the fading notion of painting as a skilful craft. Solo exhibitions 2007 First London Solo Show, Gallery 27/The Gallery on Cork Street, Cork Street, London 2006 Solo show, The Carby Art Gallery, Aberdeen 2005 Solo show, The Carby Art Gallery, Aberdeen 2005 Solo show, The Queens Road Gallery, Aberdeen Group exhibitions 2006 The Power of Ten, The Leith Gallery, Edinburgh 2003 Aberdeen Artists Annual Exhibition, City Art Gallery, Aberdeen."Condition of the picture is good overall, with no visible or known issues.
RÖMISCHE CARAVAGGIO-SCHULE DES 17. JH.('Michelangelo Merisi, auch Michael Angelo Merigi, genannt Caravaggio')29. September 1571 Mailand - 18. Juli 1610 Porto ErcoleDER BÜSSENDE HIERONIMUS Öl auf Leinwand (altdoubl.). 70 x 59 cm (R. 85 x 72 cm). Part. besch., altrest. und Altretuschen, Farbverluste. Polimentvergoldeter Rahmen des wohl 17. Jh. Provenienz: Ostdeutsche Privatsammlung.
POLIDORO DA CARAVAGGIO (ATTR.)('Polidoro Caldara')Um 1492 Caravaggio - 1543 MessinaDIE FAMILIE DES DARIUS VOR ALEXANDER, GEFANGENE VOR EINEM SENATOR Feder und Pinsel in Braun, teilweise laviert, Reste der Bleistiftvorzeichnung auf chamoisfarbenem Büttenpapier. Sichtmaß: 26 x 42 cm, Rahmenmaß: 41,5 x 56,5 cm. Unten links signiert: Polidoro. Part. leicht besch., Knickfalten, part. kleine Löcher, part. kleinere Einrisse, part. fleckig und Farbverluste. Im Passepartout und hinter Glas gerahmt. Provenienz: Hessische Privatsammlung.
Italienischer Maler(Tätig im 17. Jh. wohl in Rom)Der Hl. Sebastian wird von Irene und einer Dienerin gepflegtSzenische Darstellung der Heiligenlegende in abendlich gestimmter Landschaft mit dem an einen Baum gebundenen, als schöner, adonishafter Jüngling geschilderten Sebastian, dem gerade ein Pfeil aus dem Oberschenkel gezogen wird; im Himmel schwebend zwei Engel mit Märtyrerpalme und Lorbeerkranz. Wegen seines Bekenntnisses zum Christentum sollte der römische Legionär Sebastian auf Befehl des Kaisers Diokletian durch numidische Bogenschützen hingerichtet werden, überlebte jedoch zunächst durch ein Wunder. Von der frommen christlichen Witwe Irene und einer Dienerin gepflegt, kam er nämlich wieder zu Kräften. Da sich Sebastian allerdings erneut zu seinem Glauben bekannte, wurde er schließlich noch einmal hingerichtet und damit endgültig zum Märtyrer. Der Hl. Sebastian wurde zu einem der beliebtesten Themen in der europäischen Malerei der Renaissance und des Barock, insbesondere in Italien. Das vorliegende, monumental große Gemälde ist vermutlich von einem Maler in Rom geschaffen worden, beeinflusst durch Annibale Carracci und Caravaggio, wobei die Figurengestaltung des Sebastian auf ein genaues Studium der menschlichen Anatomie schließen lässt. Öl/Lwd., doubl.; 158,5 cm x 198,5 cm. Rahmen.Italian painter active 17th C., probably in Rome. Oil on canvas, relined.
* After Polidoro da Caravaggio (circa 1499-circa 1543). The Rape of the Sabine Women, circa 1550-1600, pen, brown ink and brown wash, heightened with touches of white chalk on laid paper, outer ruled boder in brown ink, some marks, and small area of surface loss to left margin, sheet size 213 x 440 mm (8 3/8 x 15 1/4 ins), mounted on 18th century laid paper with the artist's name in brown ink to lower left, laid down on 19th century French canvas and stretcher, with framer's printed label to verso of Victor Thorel, Quai de l'Archeveche, 27, Lyon, overall size 34 x 50.5 cm (9 1/2 x 20 ins)QTY: (1)NOTE:An early copy after part of the frieze depicting the Rape of the Sabine Women, by Polidoro da Caravaggio (circa 1499-circa 1543), on the façade of the Palazzo Ricci-Parracciani, still extant in Via Giulia, Rome. The frieze was also engraved in reverse by Cherubino Alberti (Bartsch XVII, 109, 159).See Lanfranco Ravelli, Polidoro Caldara da Caravaggio, I. Disegni di Polidoro, II. Copie da Polidoro (Monumenta Bergomensia XLVIII), 545, 551, 552, 554, 563 and 564.
A collection of 16th and 17th century engravings and etchings, including 16th century prints by Cherubino Alberti (1553–1615) after Polidoro da Caravaggio: Rape of the Sabines, engraving, circa 1590, from the set of five, together with three further 16th century engravings, one by Jan Collaert, and two copies after engravings by Hendrick Goltzius and Albrecht Dürer. Joachim von Sandrart the Elder (1606-1688), Roman Ruins in the Egyptian Period, etching, together with a collection of mainly 17th century engravings by or after D. Barrière, J.W. Baur, J. van Beverwijck (6 copies in reverse), J. P. Beerendrecht, P.G. Bianchi, A. van der Cabel, S. Cantarini (one by and one copy in reverse), S. Le Clerc, H. Collaert, W.B. Crabeth I, F. Desquenoy, I. Duvivier, L. Gautier, A. van de Kablel, M. Küsel, G. de Lairesse, J.P. Le Bas, C. Le Brun, Claude Gellée le Lorrain, M. Merian II, F. Meyer, C. de Passe, G. Perelle, F. Perrier, P. Potter, J.A. Riedel, Rembrandt, J. Rigaud, J. van Sandrart, F. Schiaminossi, C. Schut II, I. Silvestre, H. Swaneveld, W. Vaughan, J. van de Velde, A.P. van de Venne, P. Veronese, C. Visscher, S. Vouet, J.B. de Wael, A. Waterloo, A. van Westerhout A. Wierix, and F. Wierotter, 28cm x 39cm and smaller (a collection).
Luca Giordano WerkstattKreuzabnahme des Hl. AndreasÖl auf Leinwand; gerahmt163 x 217,5 cmDorotheum Wien, 5. Oktober 1976, Lot 39, Tafel 2 (als Luca Giordano);Sammlung Erna Weidinger (1923–2021)Seine Anhänger heben Andreas würdevoll von dem Kreuz und bedecken den Leib mit Tüchern. Dieser Akt der Ehrfurcht wirkt beinah wie eine Verbeugung vor dem Verstorbenen. Ein weiterer Jünger straft die Skeptiker mit Blicken, während er vorsichtig die Fesseln des Predigers löst. Putten durchbrechen den wolkenverhangenen Himmel und eine Lichtquelle hüllt die bewegende Szene in wohlig warmes Licht. Die expressiven Regungen der Figuren werden mittels Körpersprache und Hell-Dunkel-Spiel effektvoll zur Schau gestellt. Der leuchtend-stimmungsvolle Raum, die warme Farbpalette, die kompliziert bewegten, muskulösen Körper, die Draperien oder die delikate, beinah pathetische Gestik und Mimik der Figuren verweisen auf Giordanos Vorbilder wie Caravaggio, Veronese oder seinen Lehrer Jusepe de Ribera.Das Gemälde ist eine Wiederholung der Kreuzabnahme des heiligen Andreas (Öl auf Leinwand, 170 x 225 cm) für den Martyriums-Zyklus in der Pfarrkirche von Pedrengo bei Padua, den Luca Giordano ca. 1650-1654 gefertigt hat. Drei weitere Gemälde in der dem heiligen Evasio geweihten Kirche verbildlichen die Leiden der Heiligen Bartholomäus, Petrus und Paulus. Die vorliegende Komposition entspricht dem Andreasbild von Pedrengo, unterscheidet sich lediglich in der geringeren Größe (vgl. Oreste Ferrari/Giuseppe Scavizzi, Luca Giordano. L'opera completa, Neapel 1992, S. 254, Nr. A21, S. 468 (SW-Abb. 81)).
Konvolut von 11 alten Stichen1) Andechs: "MONS SANCTUS ANDECHS". Blick auf den Klosterberg. Kupferstich aus C. Stengel, Monasteriologia, Augsburg, 1619, 12,1 x 17,3 cm (Darstellungsgröße).2) Schärding: "SCHAERDINGEN". Gesamtansicht über den Inn. Kupferstich von J. Stridbeck, um 1700, 15,4 x 28 cm (Darstellungsgröße).3) Wasserburg am Inn: "Wasserburg". Gesamtansicht auf den Inn vom gegenüberliegenden Ufer aus. Lithografie von J. B. Dilger aus dem 1. Jahrgang von Johann Baptist Dilgers "Vaterländisches Magazin", 1837, 13 x 19,5 cm (Darstellungsgröße).4) Rain am Lech: "Rhain oder Rain in Ober Bayern bey 2. Stund von Donawerth gelegen", Kupferstich von Gabriel Bodenehr, um 1720, 15,1 x 29,1 cm (Darstellungsgröße).5) Moosburg an der Isar: "Eigentliche Delineation und andeuttung beider Allirten Läger und bequemen Standes bey Mosburg", 1648, Kupferstich aus Merian's "Theatrum Europaeum" um 1650, 24,8 x 34,6 cm (Darstellungsgröße).6) Isen bei Erding: "Marckh Isen". Gesamtansicht. Kupferstich v. Michael Wening aus "Historico topographica descriptio Bavariae" b. Rentamt München, 1701, 25,8 x 35 cm (Darstellungsgröße).7) Wasserburg am Inn: "Statt Wasserburg". Gesamtansicht mit Innschleife. Kupferstich von Michael Wening, 1701 (Späterer Abzug), 25,4 x 35,2 cm (Darstellungsgröße).8) Rosenheim am Inn: Marck Rosenhaimb und Schloß Rain". Kupferstich v. Michael Wening, 1701 (Späterer Abzug), 255 x 35,5 cm (Plattengröße).9) Regensburg an der Donau: "Cathédrale de Ratisbonne". Ansicht der Kathedrale von Regensburg. Stahlstich von J. Huguenet, 14 x 9 cm (Darstellungsgröße).10) "POLIDORO DA CARAVAGGIO INVE." (Nr. 1 von 6 Blättern), Kupferstich von Giovanni Battista Galestruzzi, 1658, 11,2 x 15,6 cm (Plattengröße).11) Deckengemälde, Kupferstich von Jeremias Wolff, um 1720, 17,5 x 23,1 cm (Darstellungsgröße).Alters- und Gebrauchsspuren.Jeweils ohne Rahmen.
Graphik -- Ca. 9 Blatt des 16.-17. Jh.Darunter von und nach: Barocci, Catarini, P. da Caravaggio, Ag. Carracci, Dente, Leoni, Lucchese, Angolo del Moro, Rosa. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Elisabetta Sirani (Bologna, 1638-1665) - Allegory of Liberality; and Allegory of Honora pair, oil on canvas86.5 x 113.5 cm eachthe Liberality signed and dated lower left ELISAB.ta SIRANI F. / 1657 in baroque frames with foliage and masksFor this lot a particular important cultural interest has been declared by the Soprintendenza Speciale per l'Archeologia, Belle Arti e Paesaggio di Roma (art. 10, D.Lgs. 42/2004). Photographic references: Fototeca Zeri, n. 5496-5497 PROVENANCE Carlo Cesare Malvasia Collection, Bologna, until 1718; Fritz Heinemann Collection, Munich; Ledbury Collection, Herefordshire, England; Neil Mac Laren Collection, London; Sotheby's London, 19 April 1972, lot 69; Private collection, Bologna. EXHIBITIONSElisabetta Sirani, “pittrice eroina” 1638 – 1665, Bologna, Museo Civico Archeologico, 4 December 2004 – 27 February 2005; Le stanze del Cardinale, Caravaggio, Guido Reni, Guercino, Mattia Preti, Caldarola (MC), Palazzo dei Cardinali Pallotta, 22 May – 12 November 2009LITERATUREElisabetta Sirani, “pittrice eroina” 1638 – 1665, exhibition catalogue, Bologna Museo Civico Archeologico, 4 December 2004 – 27 February 2005, cat. 81-82, p. 228; Le stanze del Cardinale, Caravaggio, Guido Reni, Guercino, Mattia Preti, exhibition catalogue, Caldarola (MC), Palazzo dei Cardinali Pallotta, 22 May – 12 November 2009, cat. 49 -50, pp. 171-172; A. Modesti, Elisabetta Sirani "Virtuosa". Women cultural production in early modern Bologna, Turnhout (Belgio), 2014, pp. 241-242. I dipinti offerti nel lotto facevano parte di una serie di sette opere, di analoghe misure e soggetti, documentata nell'inventario della collezione di Carlo Cesare Malvasia, celebre storiografo bolognese, autore della Felsina pittrice, Vite de' pittori bolognesi, edita nel 1678. Nell'inventario, redatto post mortem nel 1694, i dipinti sono descritti con cornice liscia tinta di berrettino, ovvero di rosso porpora: "... un quadro, o sia ottangolo con cornice lissia, tinta di berrettino, con una figura che versa una cornucopia con fiori, et asta in mano [...] Un quadro, o sia otangolo con cornice lissia tinta di berrettino, rapresenta una Dona meza figura che hà in mano un bacile di danari". Questo preciso riscontro documentario è molto utile perché ci permette anche di datare le eccezionali cornici che ancora oggi accompagnano le opere; nell'inventario di Cesare Alberto Malvasia, fratello ed erede di Carlo, redatto nel 1697, infatti le tele sono descritte entro cornici barocche intagliate: "con cornici a fogliami rilevati e dorati". Si tratta evidentemente delle stesse che possiamo ammirare tuttora e che costituiscono quindi parte integrante e imprescindibile di questi capolavori. Il passaggio della collezione Malvasia al successivo erede, Cornelio Gaetano, ne decretò la dispersione, poiché alla sua morte, nel 1718, l'intera quadreria fu smembrata e venduta a diversi collezionisti e mercanti europei. I dipinti offerti nel lotto ricomparvero sul mercato antiquario inglese, dove furono acquistati nel 1972 da un collezionista privato bolognese, nella collezione dei cui eredi si trovano tutt'oggi. Tutti i quadri della serie rappresentano figure allegoriche puntualmente derivate dall'Iconologia di Cesare Ripa, testo a cui Elisabetta poteva facilmente attingere, essendo presente nella biblioteca del padre, Giovanni Andrea Sirani (Bologna 1610 - 1670), noto pittore allievo e collaboratore di Guido Reni. I dipinti sono citati anche nel diario di lavoro della pittrice, la Nota delle pitture fatte da me Elisabetta Sirani, all'anno 1657, data che infatti si legge sotto la firma nel quadro raffigurante l'Allegoria della Liberalità. Fu proprio Malvasia a pubblicare, nel 1678, il testo di Elisabetta; e forse in quell'occasione il padre Giovanni Andrea donò allo storiografo le sette tele che costituivano la serie ispirata all'Iconologia di Ripa. Come già anticipato, la serie fu smembrata e andò dispersa nel XVIII secolo. Oltre alle due qui presentate, se ne conoscono solo altre due, raffiguranti Allegoria della Virtù e Allegoria della Fama, anch'esse firmate e datate 1657. Già in collezione privata a Parigi, queste ultime furono acquistate nel 2010 da Altomani & Sons e messe in vendita all'asta Sotheby's a New York il 26 gennaio 2012 (lotto 51), dove rimasero invendute. Rientrate in Italia in regime di temporanea importazione, furono vendute ad un ignoto collezionista. I dipinti offerti nel lotto rappresentano quindi gli unici due esemplari fruibili della serie, assumendo così un ruolo di eccezionale rarità e importanza non solo nella produzione pittorica di Elisabetta, ma anche quali testimonianza della storia del collezionismo e del gusto della Bologna barocca. Tra il 1657 e il 1658, infatti, la Sirani elabora uno stile più maturo e personale, superando i modelli paterni, ancora fortemente legati alla maniera di Guido Reni. La serie delle Allegorie è un tassello importante nella carriera della pittrice, perché ne documenta l'esordio nella produzione di quadri da stanza, che dal 1660 saranno fonte di grande successo anche internazionale, come dimostrano le committenze di regnanti e diplomatici in Italia e in Europa. In quegli stessi anni Elisabetta inizia a rielaborare le novità introdotte da altri maestri, soprattutto Guercino, che sarà di grande ispirazione nella fase più matura dell'artista e il cui influsso è ben leggibile nel dipinto raffigurante Allegoria dell'Onore, qui presentato. L'elaborazione dei diversi linguaggi figurativi che in quel periodo caratterizzano la produzione artistica bolognese ed emiliana, rende la pittrice parte attiva della trasmissione dei modi di Guido Reni, Simone Cantarini, Flaminio Torre e Guercino alle generazioni successive, da Gian Gioseffo del Sole a Donato Creti. In particolare, nei dipinti qui offerti, la Sirani, pur ispirandosi alle indicazioni iconografiche di Cesare Ripa, "inventa" le sue Allegorie cercando la sua cifra stilistica personale nella minuziosa e raffinata descrizione dei particolari: nella Liberalità la vaporosa grazia delle stoffe avvolgenti, le ricercate passamanerie decorate di perle, la sensualità dei capelli biondi sciolti sul candore della scollatura; nell'Onore il paesaggio e il cielo, in cui nuvole di un grigio tempestoso lasciano intravedere un tramonto che si accende su uno scorcio di mare solcato da una vela solitaria. Anche i fiori nella cornucopia sono resi con una sensibilità descrittiva che denuncia una particolare attenzione al genere della natura morta. L'eccezionale talento artistico di Elisabetta emerge pienamente in queste due opere, facendoci rimpiangere gli altri capolavori che ella avrebbe potuto realizzare, se non fosse stata colpita da una morte così precoce, a soli 27 anni. Nonostante il brevissimo periodo di attività, infatti, la Sirani fu una delle rarissime donne pittrici nel Seicento ad assurgere ad un ruolo di primo piano nel panorama artistico dell'epoca, ottenendo fama e ricchezza pari a quelle dei suoi colleghi uomini.For this lot a particular important cultural interest has been declared by the Soprintendenza Speciale per l'Archeologia, Belle Arti e Paesaggio di Roma (art. 10, D.Lgs. 42/2004).
A Collection of Art & Architecture Books, mainly reference works, including: Schütze (Sebastian), Caravaggio: The Complete Works, Taschen, dust jacket; Cecil Beaton: Theatre of War, Cape, dust jacket; Muraro (Michelangelo) and Paolo Marton, Ventian Villas, Konemannm, dust jacket; and others including several Taschen published books, Country Houses, interior design, etc. (19 boxes)
Claudio Giulianelli, "Lo vendo Maschere"Halbfigurenbildnis einer herrschaftlich im schulterfreien rosa Kleid gewandeten jungen Frau mit üppigem Kopfputz, einen Korb mit Masken in den Händen haltend, von einer maskierten Kasperpuppe beobachtet, vor weiter sonniger Landschaft, die aus Dantes "Göttlicher Komödie" entliehene Figur der Beatrice zieht sich wie ein "roter Faden" durch das vielschichtige philosophische Werk Giulianellis und transportiert anhand der beigefügten symbolischen Gegenstände die subtilen Zweifel, Innenansichten, Botschaften oder gar Visionen des Künstlers, gering pastose, phantastisch-symbolistische Malerei im freundlichen Kolorit, Öl auf Leinwand und Keilrahmen, rechts unten signiert "C. Giulianelli", rückseitig auf der Leinwand signiert, ortsbezeichnet, datiert und italienisch betitelt "Claudio Giulianelli, Corchiano 2023 »Lo vendo Maschere [dt. Ich verkaufe Masken]«", ungerahmt, Maße ca. 80 x 60 cm. Künstlerinfo: italienischer Maler, Philosoph und Chemiker (geboren 1956 in Rom), zunächst Studium zum Chemiker, autodidaktische Hinwendung zur Malerei, beeinflusst von Malern wie Hieronymus Bosch, Jan van Eyck, Pieter Bruegel der Ältere und Caravaggio sowie Dantes "Göttlicher Komödie", unternahm Studienreisen durch Europa, 1992 Umzug nach Corchiano, beschickte Ausstellungen in Italien, den USA, Großbritannien, China, Belgien und Schweden, 2017 Gründungsmitglied der "Mega Art Association and Gallery", Quelle: Homepage des Künstlers und Internet.
SAENREDAM, Jan (1565-1607), after Polidoro da Caravaggio/Caldaro (1492-1543), after Hendrick Goltzius (1558-1617). ("Marcus Furius Camillus arrives in Rome to negociate with the Gauls"). (1593). Engr. w. 2 lines caption in Latin underneath. 357 x 567 mm plate mark. (Margins short/close to/on plate edge, several splits running into image (partly rep. on v°), no wm detected, but a good and strong impression). NOTE: Hollstein Dutch 118-1(3); see also Strauss, H. Goltzius, vol. 2, p. 508: "The artist's [Caldaro's] frescoes of the life of Furius Camillus (…) survive only in Saenredam's engravings made from Goltzius' drawings".
Galestruzzi, Giovanni Battista: (1615/18 Florenz - 1669). Trophäen römischer Waffen aus Dekorationen über den Fenstern im zweiten Stock des Palazzo Milesi in Rom (Nr. 3 /6). Aus der Serie: Antichi trofei di guerra. Radierung. 1656. G.B. Galestruzzi nach Polidoro da Caravaggio. 11,2 x 15,5 cm. ╔Dabei: Ders,╗Die Soldaten des Cyrus, die das Heer der Spargabises zerstückeln (Tafel 4). Aus der Serie: Fassade des Palazzo Milesi. Radierung. 1640-60. 11,1 x 12,5 cm. R
ROBERT LONGO (AMERICAN B. 1953) UNTITLED (AFTER CARAVAGGIO, THE TAKING OF CHRIST, 1602) Pencil Signed and dated 2008 (lower right); titled (lower left) 14 x 19.5cm (5½ x 7½ in.) Provenance: Gift from Patrizia Papachristidis, Metro Pictures, New York, where purchased by Count Manfredi della Gherardesca Condition Report: Executed on white wove paper, hinged to the mount at two points along the upper edge. Some smudging to the mount which is original to the work and not visible when framed. In good original condition. Framed under perspex.Condition Report Disclaimer
Christ among the doctors, Caravaggio, Theodore Vercruys / Description: Christ among the doctors, after a painting of Caravaggio (1571-1610). Large engraving made by Theodore Vercruys (Dutch, 1680-1739) in 1707-1739. Rare engraving, First state before the text "Fran. Petrucci del.". One same engraving found with this text in the Hamburger Kunsthalle. Engraving in good condition, printed on laid paper with narrow margins. Borders mounted on another paper. Good impression. With a good watermark. / Dimensions: 26,5 cm x 38,8 cm / Condition: Rare engraving. In good condition, printed on laid paper with narrow margins. Borders mounted on another paper. Good impression. With a good watermark, / Literature: / Medium: engraving /Circa: 1707-1739 350
Boxes of Art and Architectural reference books, to include Old Masters from the Thyssen- Bornemisza Museum La Belle Epoque, Art Nouveau, Musee D'Orsay Robert Rosenblum, Wiener Werkstatte, auction catalogue from Christies, Sotheby's Old Master Paintings etc Two volume bound catalogue Champalimaud Christies, Venice Art and Architecture, Futurismo, Interni Barcelona, Les Noces de Cana Caravaggio (qty in three boxes)
Ted Jones (Irish, 1952) - Sloth - 2003 - A contemporary limited edition print on paper painting. Limited edition number 148 / 250. Signed & numbered in pencil. Published by Killarney Art Gallery, Ireland. Framed & glazed. Measures approx. 41.5 x 33cm (16.5" x 13"). Ted Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rossetti & Caravaggio. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.
Ted Jones (Irish, 1952) - Coel, Craic angus Rince - 2000 - A contemporary limited edition print on paper painting. Limited edition No. 148 / 500. Signed & numbered in pencil. Published by Killarney Art Gallery, Ireland. Framed & glazed. Measures approx. 40 x 31cm (16" x 11"). Ted Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style unmistakably his own. His unique style probably owes a lot to the fact that he never attended Art College, left to his own devices his style was able to evolve without influence, save his admiration for great artists such as Klimt, Rossetti & Caravaggio. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.
Südniederländischer oder deutscher Maler, um 1630JUNGER MANN SPIELT DIE TENORBLOCKFLÖTEÖl auf Holz.92 x 72,5 cm.In vegetabil dekoriertem Rahmen.Ein vergleichbares Gemälde wurde beim RKD in Den Haag unter Inv.Nr. 195887 durch Dr. Jan Kosten dem Künstler Cecco del Caravaggio (1580-1630), zugewiesen. Ein Mann, der reich gekleidet eine Tenorblockflöte spielt, hat seinen Arm auf eine Tischkante gelegt, auf der ein Glutbehältnis mit danebenliegenden Tabakspfeifen und Spielkarten liegen. Eine kaum aus der Verschattung heraustretende junge Frau, die einer weiteren Figur nah gegenüber steht wird zusammen mit dieser Zeugnis eines intimen Konzertes: Die Menge an Pfeifen und der symbolische Gehalt der diagonal den Bildraum definierenden Flöte, legt zusammen mit der Szene im Halbdunkel nahe, dass es sich hier um eine Bordellszene handelt mit angedeuteter Kritik an den dort herrschenden Lastern.Anmerkung:Das vergleichbare beim RKD gelistete Gemälde wurde 2006 bei Tajan, Paris sowie 2008 bei Sotheby‘s London versteigert.Literatur:Vgl. Claudio Strinati, Alessandro Zuccari, Elisa Bagnoni, I Caravaggeschi. Percorsi e protagonisti, Mailand 2010, Bd. 2, S. 361-369. (1391604)Southern Dutch or German School, ca. 1630YOUNG MAN PLAYING THE TENOR RECORDEROil on panel.92 x 72.5 cm.The painting is comparable to another version at the RKD in The Hague with no. 195887 and there attributed to the artist Cecco del Caravaggio (1580-1630), a student of Caravaggio by Dr Jan Kosten.Note:The comparable painting at the RKD was formerly sold at Tajan, Paris in 2006 and at Sotheby’s London, in 2008.Literature:Compare Claudio Strinati, Alessandro Zuccari, Elisa Bagnoni, I Caravaggeschi. Percorsi e protagonisti, Milan, 2010, vol. 2, pp. 361-369.
Jan Janssens, 1590 Ghent – um 1650CARITAS ROMANAÖl auf Leinwand. Doubliert.111 x 149 cm.In vergoldetem, breiten Rahmen mit Perlstabfries.Beigegeben ein Gutachten von Claudio Strinati, in Kopie.Das Bildthema illustriert, wie auch das Vergleichsbild Janssens in der Real Academia de Bellas Artes de San Fernando in Madrid, die römische Legende, übermittelt durch den Dichter Valerius Maximus. Danach wurde der römische Seher Cimon zu Tode durch Verhungern im Kerker verurteilt. Seine Tochter jedoch ernährte den Vater durch ihre Muttermilch. Das Thema wurde vielfach Bildgegenstand in mehreren Stilepochen. Hier sind die beiden Hauptfiguren im dunklen Kerkerraum gezeigt, der Vater als Philosoph entsprechend langbärtig am Boden sitzend, die Arme in Ketten gelegt. Die Tochter, neben ihm stehend, reicht ihm die Brust, aufmerksam zurückblickend, ob die beiden Beobachter hinter dem vergitterten Fenster das Geschehen bemerken. Der Verurteilte wurde der Legende gemäß schließlich freigelassen, da die Richter von der bereitwilligen Liebe der Tochter gerührt waren. Der Bildgegenstand, als Akt der Nächstenliebe zu verstehen, ist in der Geschichte nicht immer nur positiv gesehen worden. Schließlich grenzt die Szene an ein Tabu, das jedoch hier aufgebrochen worden ist.Literatur: Claudio Strinati, In lights and shadows, Caravaggism in Europe, Ausstellungskatalog, Lampronti Gallery, 29. Juni-31. Juli 2015, S. 76-77, Kat. Nr. 26. Vgl. Benedict Nicolson, Caravaggism in Europe, Bd. I, 1979, S. 130 sowie Bd. III, Abb. 1086-1096. Vgl. Valerio Massimo, Dictorum et factorum memorabilium libri, V. 4, Pisa 1986. Vgl. Maurizio Calvesi, Le realtà del Caravaggio, Turin 1990, S. 355-362. Vgl. Silvia Danesi Squarzina, Fiamenghi che vanno e vengono non li si puol dar regola: Paesi Bassi e Italia fra Cinquecento e Seicento; pittura, storia e cultura degli emblemi, Sant‘ Oreste 1995. Vgl. Hermann Voss, La pittura barocca a Roma, Rom 1999, S. 118-119, Abb. 87. (1390117) (13) (†)Jan Janssens, 1590 Ghent – ca. 1650CARITAS ROMANA Oil on canvas. Relined.111 x 149 cm.Accompanied by an expert’s report by Claudio Strinati, in copy. Literature: C. Strinati, in: Lights and Shadows, Caravaggism in Europe, exhibition catalogue, Lampronti Gallery, 29 June - 31 July 2015, Rome 2015, cat. no. 26, pp. 76-77. cf. B. Nicolson, Caravaggism in Europe, 1979, vol. I, p. 130, vol. III, ill. 1086-1096. cf. Valerio Massimo, Factorum et Dictorum memorabilium libri, V. 4, Pisa 1986. cf. M. Calvesi, Le realtà del Caravaggio, Turin 1990, pp. 355-362. cf. S. Danesi Squarzina, Fiamenghi che vanno e vengono non li si puol dar regola: Paesi Bassi e Italia fra Cinquecento e Seicento; pittura, storia e cultura degli emblemi, Sant’Oreste 1995. H. Voss, Pittura del Barocco a Roma, Rome 1999, pp. 118-119, ill. 87.
Gioacchino Assereto,1600 – 1649, zug.ACHILL BEI DEN TÖCHTERN DES LYCOMEDESÖl auf Leinwand. Doubliert.126 x 170 cm.In vergoldetem, ornamental verziertem Rahmen.Großformatige Darstellung des ungewöhnlichen Themas, wobei die Orientierung des Genueser Barockmalers hin zu Caravaggio und auch Rubens augenscheinlich ist. Die Komposition ist typisch für Assereto, wenngleich wir das Thema kein weiteres Mal in seinem Schaffen kennen. Rest. (13908149) (13)Gioacchino Assereto,1600 – 1649, attributedACHILLES AMONG THE DAUGHTERS OF LYCOMEDESOil on canvas. Relined.126 x 170 cm.In gilt frame with ornamental décor.Large format depiction of an unusual subject. The influence of Caravaggio and Rubens on the work of this Genoese Baroque painter is obvious. The composition is typical for Assereto, event though this subject cannot be found in his ouvre another time. Restored.
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 NeapelHEILIGER PETRUSÖl auf Leinwand. Doubliert.126,5 x 99 cm.In breitem ornamental verzierten Rahmen.Beigegeben eine Expertise von Prof. Nicola Spinosa, in Kopie.Das Bildthema geht auf die Stelle des Neuen Testaments zurück, wonach der Heilige Petrus in schuldhafter Reue seines Verrats an Jesus gedenkt. Diese Bibelstelle wurde von mehreren bedeutenden Malern aufgegriffen. Der Blick ist, wie auch hier, zumeist nach oben gerichtet. Hier sitzt der Heilige an einem Tisch, den Kopf auf seinen linken Arm gestützt. Die Qualität der Bildoberfläche im Bereich des Heiligen lässt keinen Zweifel an der vollen eigenständigen Schaffung des Gemäldes durch Ribera, in dem die charakteristische Rauheit der Hände und die Falten der Stirn, die verwelkte Haut und die Rötung um die Augen, verursacht durch Weinen und Alter, deutlich wahrnehmbar sind. Das Motiv finden wir auch in Darstellungen des Guido Reni oder Diego Velasquez. Für das Gemälde gibt es einige Vergleichsbeispiele, wie etwa ein Werk in einer Londoner Privatsammlung, signiert „Jusepe R“ (Spinosa, 2003, S. 272, Nr. A. 67), ebenfalls dargestellt in einem intimen und bußfertigen Gespräch mit der Gottheit, sowie die halbfigurige Interpretation desselben Modells, dargestellt in der identischen physiognomischen Haltung, aufbewahrt in der Eremitage von Sankt Petersburg (Spinosa, 2003, S. 276, Nr. A80). Auch im Giustiniani-Inventar von 1638 von Spagnoletto wird ein Gemälde erwähnt, das dem vorliegenden Werk nahe steht (Danesi Squarzina, 2003, S. 325). Ebenso ist ein Gemälde, das im Art Institute of Chicago (Inv. Nr. 1993:60) verwahrt wird, thematisch vergleichbar.Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen.Provenienz:Christie‘s, 08. Dezember 2017, Lot 165 als aus der Werkstatt Riberas stammend. Literatur:Vgl. Nicola Spinosa, L‘opera completa di Ribera, Mailand 1979.Vgl. Silvia Danesi Squarzina, La collezione Giustiniani, 3 Bde., Turin 2003.Vgl. James Hall, Dizionario dei soggetti e dei simboli nell‘arte, Mailand 2003.Vgl. Nicola Spinosa, Ribera, L‘opera completa, Neapel 2003.Vgl. Nicola Spinosa, Ribera. La obra completa, Madrid 2008, S. 501. (1381871) (13) (†)Jusepe de Ribera,also known as „lo Spagnoletto“,1588/91 Xàtiva/ Valencia – 1652 NaplesSAINT PETEROil on canvas. Relined.126.5 x 99 cm.Accompanied by an expert’s report by Prof Nicola Spinosa, in copy.Provenance: Christie’s, 8 December 2017, lot 165 as a work by the workshop of Ribera.
Matthias Stomer d. Ä., um 1600 – um 1650, zug.DER HEILIGE HIERONYMUSÖl auf Leinwand. Doubliert.72,5 x 93 cm.Stomers Schaffen blieb während den mehr als zwanzig Jahren, die der Maler in Italien zwischen Rom, Neapel und Sizilien verbrachte, mehr oder weniger unverändert. Wahrscheinlich traf er in den späten 1620er-Jahren in Rom ein, möglicherweise um 1628 (siehe Angheli Zalapì, in: Dipinti caravaggeschi, Carrara 2000, S. 48-79, 83-88).Der Heilige Hieronymus ist hier jugendlicher dargestellt, als es ikonografisch Brauch war – rustikal und muskulös, als hätte Stomer einen Tischler oder Arbeiter als Modell angeheuert, im Gegensatz zur üblichen Darstellung des Heiligen Hieronymus als alten Mann mit faltiger Haut. Er trägt einen roten Überwurf, der auch seinen Kopf bedeckt. Seine beiden kräftigen Hände hat er auf einen glänzenden Schädel gelegt. Die Komposition wird allein von ihm beherrscht, der eingetaucht in einen dunklen Raum, vom Schein einer verdeckten Kerze dramatisch beleuchtet wird.Das Werk lässt sich mit ähnlichen Kompositionen des Künstlers vergleichen, deren Protagonisten ebenfalls Einzelfiguren oder bestenfalls Figurenpaare sind, die halbfigurig dargestellt von einer Kerze oder Öllampe erleuchtet werden. Das Bild Christus vor Pilatus aus der Sammlung Koelliker, das 2006 in Ariccia ausgestellt war (Gianni Papi, in: La schola del Caravaggio, 2006, S. 256), zeigt beispielsweise dieselbe Raumlösung mit einem dunklen Bereich, aus dem Licht hervortritt. Ebenfalls vergleichbar ist die Komposition der Gefangennahme Jesu (Sotheby‘s, London, 16. April 1997, Lot 152), welcher im Gebet mit einem Raufbold zu sehen ist und dessen roter Mantel beinahe mit dem hier dargestellten identisch ist. Dem vorliegenden Werk noch näher ist „Der heilige Petrus im Gebet“ (Christie‘s, London, 30. April 2015, Lot 502), der sich eines ähnlichen kompositorischen Kunstgriffs in Form des schwarzen Balkens bedient, der die Öllampe zum Teil verdeckt, aber immer noch zulässt, dass sie die Szene erhellt. Ein solcher Kniff scheint auf eine Erfindung seines holländischen Kollegen, den Caravaggisten Gerrit van Honthorst bzw. Gherardo delle Notti, als der er in Rom gepriesen wurde, zurückzugehen. Derselbe Balken, eingesetzt, um das Licht einer Öllampe teilweise zu verdecken und dadurch gleichzeitig zu betonen, findet sich auch in Stomers „Alter Frau beim Beten des Rosenkranzes“, ehemals in der Sammlung Nicolson in London (siehe Benedict Nicolson, Caravaggism in Europe, Turin 1990, Bd. III, Abb. 1527).Es ist schwierig, Matthias Stomers Schaffen in eine zeitliche Abfolge zu bringen. Es fehlen Datierungen, von denen man ausgehen könnte, zumal nur eines seiner Werke, „Das Wunder des heiligen Isidor“ [Isidro Labrador] in Caccamo, datiert ist mit 1641; darüber hinaus macht es die allgemeine stilistische Uniformität von Stomers Oeuvre schwierig, eine Entwicklung abzulesen.Neu entdeckte dokumentarische Hinweise haben mehr Gewissheit über Stomers neapolitanische Periode gebracht, die bis vor Kurzem aufgrund des Vorhandenseins mehrerer Werke des Künstlers in der Stadt nur angenommen wurde. Man weiß jetzt, dass Stomer ab spätestens August 1635 bis Juli 1638 dort lebte (siehe Marije Osnabrugge, New Documents for Matthias Stom in Naples, in: The Burlington Magazine, 1331, 2014, S. 107f.).Aufgrund auffälliger stilistischer Gemeinsamkeiten mit Werken, die für gewöhnlich in die neapolitanische Zeit des Künstlers datiert werden – etwa mit den beiden ehemaligen Casadei-Bildern „Verkündigung“ und „Anbetung des Jesuskinds“, die jüngst in einer Honthorst-Ausstellung zu sehen waren (Gherardo delle Notti, 2015, S. 240-242, Einträge von Gianni Papi und G. Badino), dem „Tod des Seneca“ im Capodimonte und der „Anbetung der Hirten“ im Museo Filangieri in Neapel –, lässt sich auch das vorliegende Gemälde in den zeitlichen Kontext von Stoms neapolitanischer Periode einordnen.Literatur:Gianni Papi, Tre dipinti di Matthias Stom, in: Gianni Papi, Senza più attendere a studio e insegnamenti. Scritti su Caravaggio e l‘ambiente caravaggesco, Neapel 2018, S. 243-247 (in Kopie vorliegend). (13901110) (18) (†)Matthias Stomer the Elder,ca. 1600 – ca. 1650, attributedSAINT JEROME Oil on canvas. Relined.72.5 x 93 cm.
Jusepe de Ribera, 1588/19 Xàtiva/ Valencia – 1652 Neapel, Kreis desFRANCISCUS DE PAULAÖl auf Leinwand.102 x 82 cm.In ebonisiertem Profilrahmen.Der Heilige Franz von Paola war Begründer des Paulanerordens. Geboren 1416 und benannt nach seiner kalabrischen Geburtsstadt Paola/Italien, orientierte er sich am kargen Leben des Heiligen Franziskus, gründete das Kloster Milazzo und galt alsbald als Wundertäter und Beschützer der Armen. Um ihn rankten sich Legenden. An den französischen Hof wurde er als Berater geholt; 1519 heiliggesprochen.Das Gemälde zeigt den Heiligen in Dreiviertelfigur. Entsprechend in schlichter Kutte, mit Stock und einem Zettel mit Aufschrift „CHARITAS“, zum Zeichen der Unterstützung der Armen. Der Stil orientiert sich ganz an den Werken des Ribera, der wiederum bei Francisco Ribalta (1565-1628) in Valencia studierte. Später stand er unter dem Einfluss von Caravaggio, was das Hell-Dunkel seiner Malerei erklärt. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig schlanken Gestalten wie Einsiedlern oder Philosophen. Provenienz:Privatsammlung, Frankreich.Literatur:Vgl.: Nicola Spinosa, Ribera. La obra completa, Madrid 2008. (1390582) (13))
Abraham Janssens, 1575 Antwerpen – 1632 ebendaLA ZINGARA – JUNGE DAME MIT WEINGLASUND ARTISCHOCKENÖl auf Leinwand.116 x 94 cm.Beigegeben eine Expertise von Giuliano Briganti, Rom, vom 11. Juni 1964, in Kopie.Großformatiges Bild mit Darstellung einer jungen Frau in rotem Kleid und grünem Seidenumhang sowie einem ornamental gewirkten Schal, der an ihrem Haarschmuck befestigt ist und über ihre Schultern fällt. Sie sitzt vor einem dunklen Velum mit Baldachin. Vor ihr ein gedeckter Tisch, darauf eine Schale mit Artischocken sowie ein weiterer Tischaufsatz mit einem gebackenen Geflügel, Brot und Salzgefäß. In der linken Hand hält sie ein Römer-Weinglas. Die Arme geschmückt mit Armbändern, gefertigt aus Kameen und Gemmen. Links im Hintergrund am Bildrand eine Säule. Die Darstellung ist zweifellos eine symbolische Anspielung auf sinnliche Erfahrungsinhalte, wie sie in der Barock-Malerei üblich sind. Auch hier dürfte es sich um eine allegorische Sinndeutung handeln wie Janssens vergleichbares Bild „Lascivea“ zeigt.Literatur:Ausstellungskatalog Villa Castello Smilea, Il giuoco al tempo di Caravaggio, Pierluigi Carofano (a cura di), 7.12.2013 - 6.1.2014, S. 108, Nr. 8. (1380313) (13)Abraham Janssens,1575 Antwerp – 1632 ibid.LA ZINGARA – YOUNG WOMAN WITH WINE GLASS AND ARTICHOKESOil on canvas.116 x 94 cm.Accompanied by an expert’s report by Giuliano Briganti, Rome, dated 11 June 1964, in copy.Literature:Exhibition catalogue Villa Castello Smilea, Il giuoco al tempo di Caravaggio, Pierluigi Carofano (ed.), 7 December 2013 - 6 January 2014, p. 108, no. 8.
Giovanni Battista Beinaschi, 1636 Fossano – 1688 Neapel, zug.DER HEILIGE JOSEF MIT DEM KIND, DREI PUTTI UND EINEM ENGELÖl auf Leinwand. Doubliert.47 x 37 cm.In dekorativem Rahmen.Beigegeben eine Expertise von Emilio Negro, Bologna, der das vorliegende Gemälde dem oben genannten Maler zuschreibt, in Kopie.Im Vordergrund die Dreiviertel-Darstellung des älteren Josef in grauem Gewand mit goldgelben Umhang, sowie mit grauem Haar und Vollbart, der liebevoll den Jesusknaben auf einem weißen Tuch in seinen Armen wiegt. Vor dunklem Hintergrund wird die Darstellung beleuchtet vom Licht, das vom Himmel ausgeht und über die Wolken fällt, als auch von den beiden Heiligenscheinen von Jesus und Josef. Hinter Josef stehend ein geflügelter Engel mit einem blühenden Stab, dem Attribut des Heiligen. Darstellung mit starken Hell-Dunkel-Kontrasten, die an Caravaggio erinnern. Negro sieht in dem vorliegenden Werk ein Andachtsbild von Beinaschi voller künstlerischer Reife. (1391832) (18))
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel BILDNIS EINES LESENDEN PHILOSOPHENÖl auf Leinwand. Altdoubliert.91 x 112 cm.Unten mittig signiert.In teilebonisiertem breitem Rahmen.Beigegeben eine Bestätigung von Prof. Riccardo Lattuada.Ganz in der Auffassung Riberas geschaffenes Dreiviertelbild eines älteren Mannes mit grauen Bartstoppeln in einem Innenraum, der vom schwarzen Hintergrund links zur rechten Seite aufhellt. Der sitzende Gelehrte in dunklem Gewand unter dem der helle Hemdkragen hervorschaut und mit einer schwarzen Kopfbedeckung. Er hält in seinen leicht angehobenen Händen einen handgeschriebenen Brief, den er aufmerksam mit gesenkten Augen liest. Links von ihm auf einer Tischplatte mehrere große alte, wohl wertvolle ledergebundene Bücher, die ihn als Gelehrten ausweisen. Besonders auffällig, wie bei Ribera sehr häufig, der betonte Hell-Dunkel-Kontrast: das von links oben aus nicht sichtbarer Quelle einfallende Licht beleuchtet die linke Gesichtshälfte vor schwarzem Hintergrund, während die Kopfbedeckung vor hellem beigen Hintergrund wiedergegeben wird. Das Gemälde von hoher Qualität. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen. (1390115) (13) (†)Jusepe de Ribera, also known as „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 NaplesPORTRAIT OF A READING PHILOSOPHEROil on canvas. Old relining.91 x 112 cm.Accompanied by a confirmation by Prof Riccardo Lattuada.
Theodor Rombouts, 1597 – 1637KARTENSPIELER AM TISCH MIT EINEM KIEBITZÖl auf Leinwand. Doubliert.145 x 200 cm.Beigegeben eine Expertise von Gianni Papi, Florenz, 11. April 2022, in Kopie.Wie nicht wenige Werke des Malers zeigt sich auch dieses in betontem Großformat. In abgedunkeltem Raum sitzen sich zwei Kartenspieler an einem Tisch gegenüber, zwei weitere Figuren, eine alte Wirtin und ein Jüngling vor seinem Glas und Teller sind rechts am Tischende zu sehen. Links dagegen beugt sich ein grauhaariger Alter weit vor, um in die Karten seines Tischnachbarn zu blicken. Die Figuren sind schlaglichtartig von links beleuchtet, aus einer Lichtquelle, die im Bild nicht zu sehen ist. Die Hell-Dunkel-Malerei des Caravaggismus lässt die Figuren umso plastischer erscheinen. Die Hauptfigur, ein Mann im noblen Landsknechtskostüm mit breitrandigem Hut und roter Feder und umgegürteter Stichwaffe im Halfter, sitzt einzig an der Frontseite des Tisches. Er hält seine Karten in der Linken und ist dabei eine rote Karte zu ziehen, während er gleichzeitig seine rechte Hand auffordernd an seinen Gegner richtet. Dieser wiederum zeigt sich noch unentschlossen. Die Darstellung lässt mehrere Deutungsmöglichkeiten des Spielgeschehens offen. Klar jedoch scheint, dass der Alte als Kibietz fungiert. Möglicherweise ist die Szene rechts dahingegen zu deuten, dass hier der Knappe des Landsknechts von der alten Wirtin ermahnt wird, von der Zusammenarbeit mit dem Betrüger abzulassen, was dieser nur mit einem Lächeln kommentiert.Papi sieht in dem vorliegenden Werk eine zweite eigenhändige Arbeit Theodor Rombouts, das sich im Museo di Belle Arti, Antwerpen, befindet. Bildaufbau und die Inszenierung der Darstellung stehen den Werken Caravaggios sehr nahe. So gilt Rombouts als der primäre Caravaggist dieser flämischen Stilrichtung. Zunächst studierte er unter anderem bei Abraham Janssens, vielleicht auch bei Nicolas Régnier in Antwerpen, bevor er sich 1616 nach Rom begab, um dort fast 10 Jahre zu bleiben. Es wird auch allgemein angenommen, dass er anlässlich eines Aufenthaltes in Florenz für Cosimo II de Medici arbeitete und damit auch mit Bartolomeo Manfredi in nahen Kontakt kam. 1625 wurde er Meister der Lukasgilde in Antwerpen.Auch in seinem bekannten Werk „Verleugnung Petri“ (Liechtenstein Museum) ist das Kartenspiel ein Begleitthema. Es erübrigt sich die Feststellung, dass Werke des Künstlers in weiteren bedeutenden Sammlungen zu finden sind. A.R.Literatur:Benedict Nicolson, Caravaggism in Europe, Bd. III, Turin 1990, S. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l‘Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, Ausst.-Kat., Palazzo Reale, Mailand 15.10.2005-6.2.2006, Mailand 2005. (1381861) (11) (†)Theodor Rombouts,1597 – 1637CARD PLAYERS AT A TABLE WITH LAPWINGOil on canvas. Relined.145 x 200 cm.Accompanied by an expert’s report by Gianni Papi, Florence, 11 April 2022, in copy.Literature:Benedict Nicolson, Caravaggism in Europe, vol. III, Turin 1990, p. 164.Andrea Perego, Vittorio Sgarbi et. al., Caravaggio e l’Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, exhibiton cat., Palazzo Reale, Mailand 15 October 2005-6 February 2006, Milan 2005.
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