Adam de Coster, 1586 Mechelen – 1643 Antwerpen, zug.JUNGER LANDSKNECHT MIT EINEM WEINGLAS Öl auf Leinwand. 97 x 85 cm. Ungerahmt.Beigegeben eine Expertise von Didier Bodart vom 5.6.1998, in dem der Experte den Künstler Adam de Coster nennt. Daneben nennt er in Bildvergleichen auch den Maler Cryn Hendricksz. Volmaryn (um 1605-1645) und gibt Literaturverweise an: Benedict Nicolson, Candlelight Pictures from the South Netherlands, in: The Burlington Magazine, Vol. 58, 1966, S. 253-254. Ferner: Benedict Nicolson, International Caravaggesque Movement, lists of pictures by Caravaggio and his followers throughout Europe from 1590 to 1650, Oxford 1979. Der bärtige Jüngling im Halbbildnis nach links an einem Tisch wiedergegeben. In der linken Hand hält er ein kegelförmiges Rotweinglas, in der Rechten einen metallenen Gegenstand in Art einer Speerspitze. Die Kleidung weist ihn als Landsknecht aus, das dunkle, vor dem schwarzen Hintergrund kaum mehr sichtbare Barrett ist mit einer rötlichen Straußenfeder geschmückt. Beleuchtung aus hier nicht sichtbarer Lichtquelle von links oben, ein künstliches rötlich warmes Kerzenlicht, das den Wein im Glas zum Leuchten bringt und Gesicht, Hände und Schultern betont. Malweise von hoher Qualität, vergleichbar, jedenfalls was das Gesicht betrifft, mit Costers Gemälde „Die Verleugnung Petri“ in der Peter Koelliker-Sammlung. Anmerkung: Der Maler gilt als ein bedeutender Antwerpener Caravaggist, der sich überwiegend der Genre-Malerei zuwandte. Darin häufig Szenen in Kerzenbeleuchtung, was ihm den Beinamen „Pictor Noctium“ (Nachtmaler) einbrachte. So steht der Maler mit seinem Werk zwischen Georges de la Tour (1593-1652), dem sogenannten „Candlelightmaster“ und den späteren, Meistern für Kerzenlichtdarstellungen wie Godfried van Schalcken (1643-1706). Möglicherweise hat er, wie die meisten seiner Kollegen, eine Italienreise unternommen, was die Stilähnlichkeiten mit dem lombardischen Maler Antonio Campi (1523-1587) erklären würde. Seinen hohen Rang zu Lebzeiten beweist auch die Tatsache, dass er von Anthonius van Dyck (1599-1641) portraitiert wurde. (1150602) (11). Adam de Coster,1586 Mechelen – 1643 Antwerp, attributedYOUNG MERCENARY WITH WINE GLASSOil on canvas.97 x 85 cm.Unframed.Painting style of high quality. At least the facial features easily compare with the painting “The Denial of Saint Peter” by Coster held at the Peter Koelliker Collection.
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Gerrit van Honthorst, 1590 Utrecht – 1656 ebenda, Schule desANBETUNG DES KINDES IN DER KRIPPE Öl auf Leinwand. Doubliert. 98 x 125 cm. In einem dunkelbraunen Innenraum das neugeborene Jesuskind in einer Krippe mit Stroh liegend, auf einem weißen Tuch. Die seitlich danebenstehende Maria, in rotem leuchtenden Gewand mit dunklem Mantel und Kopfbedeckung, blickt liebevoll mit leicht gesenkten Augen das Neugeborene an und hält mit ihren Händen das Tuch an den seitlichen Ecken nach oben. Hinter ihr stehend Josef in braunem Gewand und Vollbart, ebenfalls auf das Kind herabblickend. Direkt vor dem Neugeborenen stehend und auf der linken Bildseite wiedergegeben, zwei junge Hirten mit dunkelblonden Haaren; einer mit Mantel und rot-braunem Schal, die Hände vor der Brust überkreuzt. Der neben ihm stehende junge Hirte, in gelblichem Gewand, hat sorgsam die Hände vor der Brust zum Gebet gefaltet, beide blicken mit gesenkten Köpfen liebevoll das Jesuskind an. Dabei werden nicht nur ihre Gesichter und die Kleidung beleuchtet, sondern auch auf das Gesicht von Maria fällt Licht, das von dem Neugeborenen ausgeht. Die Darstellung nimmt Bezug auf das Johannesevangelium in der Bibel, in der Jesus über sich selbst gesagt hat „Ich bin das Licht der Welt; wer mir nachfolgt, wird nicht in Finsternis wandeln, sondern wird das Licht des Lebens haben.“. Malerei in der typischen Manier des Künstlers mit starker Hell-Dunkel-Herausarbeitung, die auch an Arbeiten von Michelangelo Merisi il Caravaggio (1570/71-1610) erinnert. Rest., Retuschen. (1270461) (18)
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Carpi, Ugo da -- Der hl. Petrus predigend. Clair-obscur-Holzschnitt von drei Platten nach Polidoro da Caravaggio. 14 x 38,5 cm. B. XII, S. 77, 25 I (von II).Ausgezeichneter Druck, bis auf die Einfassungslinie beschnitten. Geringfügige Altersspuren, sonst sehr gut erhalten. Selten. - 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.
Lucchese, Michele -- Eine Seeschlacht. Radierung nach Polidoro da Caravaggio. 22 x 35,3 cm. Huelsen 154. Wz. Wappen mit Schrift "Rev. Camera Aposto Lica". Die Darstellung folgt einem Motiv Polidoros auf der Trajansäule. Ausgezeichneter, wenngleich späterer Druck mit feinem Rand um die Plattenkante, oben partiell auf diese geschnitten. Insgesamt leicht angestaubt, vereinzelt etwas fleckig, links unten kleine Quetschfältchen, verso alte Leimreste sowie Montierungsspuren, sonst schön. - 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.
Barocker Altmeister, sogenannter Caravaggisti, Italien, 17. Jhdt. Öl auf Leinwand. Eine ältere Dame mit einer jungen Frau im Gespräch. Die ältere, dargestellt mit Hut und weißen Tüchern, hält in ihrer linken Hand einen Klingelbeutel. Die jüngere, sehr hübsche Dame in spitzenbesetzter weißer Bluse schaut verträumt in Richtung der Alten. Die Kontraste, das Farbspiel sowie die Qualität der Malerei lassen an einen Nachfolger des berühmten Michelangelo Merisi da Caravaggio (* 1571 Mailand; † 1610 Porto Ercole) erinnern. Maße gerahmt 111 x 89 cm. Altersspuren. Doubliert. Partielle Retuschen. Rahmen teilweise leicht bestoßen. Vergoldung partiell berieben.Zustand: II - IIIAn Italian baroque Old Master painting, Caravaggismo, 17th century Oil on canvas. An elderly lady conversing with a young woman. The elderly lady, depicted with a hat and white kerchiefs, holds a collection box in her left hand. The younger lady, extremely pretty in a white, lace-trimmed blouse, gazes absent-mindedly towards the elderly woman. The contrasts, the play of colours and the quality of the painting are reminiscent of a successor of the famous Michelangelo Merisi da Caravaggio (* 1571 in Milan; † 1610 in Porto Ercole). Framed dimensions 111 x 89 cm. Signs of age. Re-lined. Retouching in places. The frame with minor knocks here and there. The gilding abraded in places.Condition: II - III
Pond (Arthur & Charles Knapton). A bound volume of 92 etchings and engravings from A Collection of Etchings and Engravings in Imitation of Drawings from Various Old Masters, 1734-43, 92 etched and engraved plates by Arthur Pond and Charles Knapton after Parmigianino, Giacomo Cortese, Guercino, Raphael, Claude, Luca Cangiagio, Giacomo Borgognone, Polidori Caravaggio, Annibale Carracci and others, at least half full-page, some mounted, various sizes, the largest 45 x 26.5 cm, occasional light spotting and soiling, a few small marginal tears and repairs, later half calf, spine with red label and gilt decoration, folioQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESOriginally published as A Collection of Etchings and Engravings in Imitation of Drawings from Various Old Masters, Being Facsimiles of their Respective Performances, Chiefly by Arthur Pond and Charles Knapton (London: John Boydell, 1734-43 and later). Arthur Pond (c. 1705-1758), engraver and portrait artist, who painted the portraits of Alexander Pope and the Duke of Cumberland, used mixed-method engravings to reproduce old masters in collaboration with the artist Charles Knapton (1700-1760) to produce the above work.
TREVES, L. Beyond Caravaggio. (2016). Obrds. w. dust-j. -- D. FRANKLIN & S. SCHÜTZE. Caravaggio and his Followers in Rome. (2011). 4°. Obrds. w. dust-j. -- K. CHRISTIANSEN (&) J.W. MANN. Orazio and Artemisia Gentileschi. (2001). 4°. Ocl. w. dust-j. -- D. EKSERDJIAN. Parmigianino. (006). 4°. Obrds. w. dust-j. -- J. DUNKERTON, (a.o.). Dürer to Veronese. 16th-c. Painting in The National Gallery. (1999). 4°. Ocl. w. dust-j. -- And 8 o. (13).
Assorted Post 1950 Upholstery and Curtain Fabrics, including Grafton Antique Satin and Furnishing fabric; Warner & Sons, Oriental Horseman for Jasmine & Jade by Greeff, Sandalwood Screen from the Mandarin Tree, Emma C Berry from Seafaring, Caravaggio by Greeff, Country Manor Collection, Flemish Harvest Upland Game from Field and Forest; and Moygashel Linen, Sanderson Duelques Fleurs, Clare etc (two boxes) (sizes in the condition report) . All unused but may show some wear/dust. Sizes - Moygashel - 320cm by 120cm an d140cm by 120cm; Grafton Furnishing Cotton - 670cm by 120cm; Clare green and floral - 410cm by 123cm; Sanderson Flowers - 420cm by 124; red bird in branch - 480cm by 120cm, 240cm by 120cm; Sandalwood Screen - 190cm by 130cm, 190cm by 130cm, 210cm by 130cm, 190cm by 130cm, 180cm by 130cm, 160cm by 130cm; Oriental Horseman - three lengths of 185cm by 142cm, six lengths of 190cm by 142cm, two lengths of 180cm by 142cm. Sizes approximate
Humfrey (Peter). Lorenzo Lotto, Newhaven & London, Yale University Press, 1997, numerous colour and monochrome illustrations, original black cloth gilt in dust wrapper, together with: Vanbach (Carmen C., Hugo Chapman, Martin Clayton and George R. Goldner). Correggio and Parmigianino, Master Draughtsmen of the Renaissance, British Museum Press, 2000, colour and monochrome illustrations, original black cloth gilt in dust wrapper, plus: Ajmar-Wolheim (Marta and Flora Dennis). At Home in Renaissance Italy, V&A Publications, 2006, numerous colour and monochrome illustrations, original printed wrappers, and others on Italian Renaissance art, including Stephen Campbell, Cosme Tura of Ferrara, Yale University Press, 1997, Jonathan Scott, Salvator Rosa, His Life and Times, Yale University Press, 1995, Xavier F. Salomon, The Art of Guido Cagnacci, New York, Frick Collection/Scala Arts Publishers, 2016, John Pope-Hennessy, Fra Angelico, 2nd edition, Phaidon Press, 1974, Letizia Treves, Beyond Caravaggio, National Gallery, 2016, Svetlana Alpers and Michael Baxandall, Tiepolo and the Pictorial Intelligence, Yale University Press, 1994, etc., many exhibition catalogues, all original cloth in dust wrappers, or original printed wrappers, mainly 4to/VGQty: (approximately 80)
Carvaggio Large Hardback Book & Box Michelangelo Merisi Da Caravaggio by Mautizio Marini. Second edition 1989 Newton Compton Editori. 599 pages Both book and box in good condition. Dust jacket has small tear (1.5cm) at top of spine. Sold on behalf of the Michael Sobell Cancer Charity. We ship worldwide and combine shipping on multiple lots to keep costs as low as we can.
Jacopo Vignali (Prato Vecchio 1592-1664 Florence)David with the Head of Goliath oil on canvas113.5 x 87.5cm (44 11/16 x 34 7/16in).Footnotes:ProvenanceWith Pennington Museum Treasures, Los Angeles, 1976Private Collection, CaliforniaExhibitedCalifornia State University, Northridge, California, Collection without walls: problems in connoisseurship, October - November 1976, curated by Dr Jean Luc Bordeaux (as by Cristofano Allori)This striking, freshly discovered depiction of David and Goliath has been independently proclaimed by the foremost authorities in their field to be a 'masterpiece' by Jacopo Vignali, one of Florence's leading artists of the early 17th century. We are grateful to Professor Francesca Baldassari for identifying this work on the basis of colour photographs as 'a masterpiece by Jacopo Vignali datable to around 1624 on the basis of other monogrammed and dated works by him of the period, such as the Drunkenness of Noah in the National Gallery in Prague' (see fig. 1). This is an opinion that was corroborated, furthermore, in a recently unearthed letter to the late owner, dated 3 July, 2003, from Professor Mina Gregori, that refers to this 'splendid painting with 'David with the head of Goliath'' of which 'I firmly think that the painter is Jacopo Vignali, one of the best Florentine painters of the XVII century.' With reference to the painting's prior attribution to Cristofano Allori, she writes that 'this painting is one of his [Vignali's] masterpieces.' Professor Gregori continues: 'You can recognise Vignali from the light, very different from Cristofano and more naturalistic, coming from different experiences: And the boy is his usual model.' Both the dramatic composition and outstanding quality of this work represents the height of Vignali's achievement as a representative of a school of painting that valued so highly the importance of disegno.The subject of David and Goliath has inspired some of the greatest works of art of all time, including Donatello's and Michelangelo's sculptures, which Vignali will have been familiar with in his native Florence. There the subject symbolised the courage and resilience of the small city state (and subsequent Grand Duchy) in the face of the larger rising nation states that surrounded it. Florence was all too aware of the threats that encompassed her and consequently David was a perfect symbol of the liberty and freedom of the Florentine people, capturing the unwavering courage, unexpected strength, and historic perseverance that they saw in themselves. Traditionally, David had been portrayed after his victory, triumphant over the slain Goliath. Florentine artists like Verrocchio, Ghiberti and Donatello all depicted their own version of David standing over Goliath's severed head; while Michelangelo and Donatello instead, chose to represent David before the battle. The account of the battle between David and Goliath is told in Book 1 Samuel. Saul and the Israelites were facing the Philistines near the Valley of Elah. Twice a day for 40 days, Goliath, the champion of the Philistines, came out between the lines and challenged the Israelites to send out a champion of their own to decide the outcome in single combat. Only David, a young shepherd, accepted the challenge. Saul reluctantly agreed and offered his armour, which David declined since it was too large, taking only his sling and five stones from a brook. David and Goliath thus confronted each other, David hurling a stone from his sling with all his might which hit Goliath in the centre of his forehead: Goliath fell on his face to the ground, and David then cut off his head. By vanquishing sin David had made Israel safe; his unwavering faith in the face of war, and his subsequent rough path to kingship marked him as a hero; he was further admired for his Psalms, while his righteousness and repentance were extolled consistently throughout the Renaissance and Baroque period. When Saul tried to kill David, not once but several times, David never returned such an attempt, possessing virtues which Italian princes desired for themselves. As a king, David was quick to administer justice to those who deserved it and quick to welcome in outcasts, such as Jonathan's lame son. He defended his kingdom rigorously and victoriously. As a man, David was favoured by God, talented, handsome, and he rose to power at a young age. He was the pre-cursor of Christ, and a symbol of pious perfection. David's image was the perfect commission for a prince of the Church wanting a constant reminder of faithfulness and redemption, or for a secular prince, wanting a public and readily recognizable symbol of power and fidelity.Jacopo Vignali trained under Matteo Rosselli, entering his studio in Florence around 1605 at the age of only thirteen; in 1616 he joined the Accademia del Disegno becoming an academician in 1622. Although Rosselli was to have a lasting influence on his pupil's oeuvre, Vignali gradually evolved his own style distinguished by dramatic light effects, rich colour, painterly technique and a particularly poetic and emotional interpretation of his subjects. His most famous pupil was Carlo Dolci, who was profoundly affected by the intensity of his religious works. Thus Vignali has himself here put a new contemporary interpretation on this subject, employing his and his fellow early seventeenth century Florentine's celebration of rich and colourful fabrics in the use of contemporary costume in depicting a biblical scene, along with the innovative pictorial drama that Caravaggio had recently made popular throughout Italy, and subsequently Europe. Caravaggio had himself treated the subject three times, between circa 1605 and 1610 in masterpieces which are now respectively in the Prado, Vienna and the Villa Borghese. The masterful way in which Vignali handles the paint, the remarkably delicate modelling of the flesh tones and the theatrical elegance of his simple composition illustrate not only Vignali's particular style, but also the broader trends within Florentine painting at the time. Unpublished until now, this canvas is a rare and significant addition to the oeuvre of Jacopo Vignali, who has been regarded as the foremost painter of the Florentine Seicento.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Italien (Rom?), 2.Hälfte 16. Jh. Stehender männlicher Halbakt (Christus an der Geisselsäule). Schwarze und rote Kreide. 15,7x7,4 cm. - Alte Blattnummerierung „4“ oben links; verso Zuschreibungen an Michelangelo resp. an Gervasio Gatti von einer Hand des 19. Jh.? - Alt aufgezogen. Etwas berieben und fleckig. Die kleine, durchaus ansprechende Zeichnung ist offenbar nur ein Fragment eines Studienblattes. Die Abbildung der in stark bewegtem Kontrapost stehenden Figur des leidenden Christus verweist (wohl vermittelt) auf die bereits in seiner Zeit ikonische Darstellung der Geisselung Christi in der Borgherini Kapelle in San Pietro in Montorio in Rom (Sebastiano del Piombo nach Michelangelo, 1516/24), die verschiedene Zeitgenossen, aber auch Künstler folgender Generationen, u.a. Caravaggio (Museo di Capodimonte, Neapel) oder Palma il Giovane (Venedig, Oratorio die Crociferi), inspirierte und darüber hinaus in druckgraphischen Blättern (z.B. Adamo Scultori, um 1570 u.a.m.) verbreitet wurde. Unserer Zeichnung am nächsten ist allerdings der Kupferstich von Agostino Carracci (Bartsch 18; Exemplare z. B. in der Albertina oder in HAB Wolfenbüttel), der - gleich der vorliegenden Zeichnung - die Gestalt Christi spiegelverkehrt zum Original wiedergibt. Gerade in der Umgebung der Carraccis könnte man den unbekannten Zeichner suchen, denn die überlieferte Zuschreibung an Gervasio Gatti (Cremona um 1550-1631) sicher näherer Begründung bedürfte.
BINDINGS - Jean Jacques ROUSSEAU (1712-78). The Confessions ... Now for the First Time Completely Translated into English without Expurgation. [Edinburgh:] "Privately Printed", 1905. 2 volumes, large 8vo (229 x 145mm). Half titles, titles printed in red and black, etched plates. FINELY BOUND in later brown half crushed morocco gilt by Bayntun, spines lettered and decorated in gilt with 5 raised bands, top edges gilt, others uncut. With 6 other works in 10 vols. including The Most Delectable Nights of Straparola of Caravaggio (Paris, 1906, 2 vols., LIMITED TO 1,000 COPIES), Alexander Dumas' Les Trois Mousquetaires (Paris, 1922, 2 vols., spines faded) and G. F. Young's The Medici (London, 1926, 2 vols.), all FINELY BOUND in calf or morocco. (12)
Follower of Caravaggio, 17th century Judith and Holofernesoil on canvas 126 x 97cmProvenance: From the collection of Sir Edward Poynter RA;acquired by the vendor's late husband at Sotheby's, London, in the 1950s;from a Kensington town house.Condition report: Oil on canvas which has been lined. The cut edge of the original canvas is visible along the upper edge. The paint layer is stable but has suffered from wear and abrasion with the red ground visible in many areas. There is extensive, scattered retouching across the painting which is well matched to the original although slightly glossy in areas. The varnish is clear and semi-glossy. The frame is in a good condition overall. Sir Edward Poynter's address label to the reverse.
ORAZIO DE FERRARI (Genova Voltri, 1606 - Genoa, 1657)Saint martyrOil on canvas, cm. 109x95. FramedThe painting, unpublished, is accompanied by an expertise by Prof. Anna Orlando who has recognized that it is certainly an autograph work by Orazio De Ferrari. The expertise underlines the brilliant anatomy and the adherence to the luminism of Caravaggio. The work constitutes a significant example of the naturalistic tendencies widespread in Genoese painting between the third and fifth decade of the seventeenth century, of which De Ferrari is perhaps the most important exponent. Among the many possible terms of comparison we can mention here the Ecce Homo at the Pinacoteca di Brera in Milan and even more the San Sebastiano of a Senese private collection (see P. Donati, Orazio De Ferrari, Genoa 1997, cat. 12, p. 128) which, due to identity of format and specularity in the pose of the two figures of holy martyrs, was probably the pendant of our painting. In accordance with the opinion of Prof. Orlando, this canvas should be considered a significant youth proof by Orazio De Ferrari, datable to the beginning of the 30s of the 17th century.
NO RESERVE Italian Art.- Degenhart (Bernhard) & Annegrit Schmitt. Jacopo Bellini: The Louvre Album of Drawings, New York, 1984 § Tolnay (C. de) Michelangelo: Sculptor, Painter, Architect, Princeton, 1975 § Beck (J.H.) Raphael, New York, 1976 § Zampetti (P.) Painting from the Marches: Gentile to Raphael, 1971 § Whitfield (C.) & Jane Martineau. Painting in Naples 1606-1705 from Caravaggio to Giordano, 1982 § Berenson (B.) Italian Painters of the Renaissance, 1959, illustrations, many colour, original cloth or boards with dust-jackets, one or two a little rubbed; and c.45 others on Italian art, v.s. (c.50)
Französische Schule der Mitte des 17. Jahrhunderts, im Stile des Caravaggio CIMON UND PERES Öl auf Leinwand. Doubliert. 71 x 93 cm. In dekorativem Rahmen. Das Bildthema illustriert die römische Legende, übermittelt durch den Dichter Valerius Maximus. Danach wurde der römische Seher Cimon zum Tode durch Verhungern im Kerker verurteilt. Er wird hier in einem dunklen Kellerraum gezeigt; sein Körper ist lediglich mit einem leuchtend roten Tuch im Hüftbereich bedeckt, als Philosoph entsprechend langbärtig und mit turbanartiger weißer Kopfbedeckung auf einer Holzbefestigung sitzend, die Füße und Hände mit Eisenringen gehalten. Seine vor ihm kniende Tochter reicht ihm ihre Brust. Dabei blickt sie ernsthaft auf einen glänzenden zerbrochenen Krug und auf einen Totenschädel, die auf dem erhöhten Mauerstück hinter ihrem Vater stehen. Das Thema wurde vielfach Bildgegenstand in mehreren Stilepochen. 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, auch "Caritas Romana", ist in der Geschichte nicht immer nur positiv gesehen worden. Schließlich grenzt die Szene an ein Tabu, das hier gebrochen worden ist. Malerei mit starker Hell-Dunkel-Betonung, die an Caravaggio erinnert. Retuschen, verso zwei Unterlegungen. (12504118)
Antonio de Bellis, tätig zwischen 1636 und 1656 MARTYRIUM DES HEILIGEN LAURENTIUS Öl auf Leinwand. 110 x 91 cm. Die Personen in diesem Gemälde sind bewusst derart gedrängt wiedergegeben, dass es auf den ersten Blick zunächst schwerfällt, das Thema zu erkennen. Erst der genauere Blick zeigt die Zusammenhänge, der Heilige Laurentius, von Kaiser Valerian im Jahre 258 in Rom dazu verurteilt, auf einem Feuerrost getötet zu werden, hatte sich geweigert, das Kirchengut dem Kaiser auszuhändigen. Stattdessen verteilte er es an die Armen. So ist der Märtyrer hier in Rückenansicht, bereits auf einem Eisenrost sitzend gezeigt. Sein Folterer in gestreiften Pluderhosen und mit weißem Stirnband, hält eine goldene Figur hoch, in dem Sinne, sie dem Kaiser zukommen zu lassen, während Laurentius in eine andere Richtung weist. Ein Gehilfe am rechten Bildrand, etwas verschattet, trägt bereits Feuerholz herbei, während im Hintergrund zwei Männer disputieren. Ihre Köpfe sind lediglich im Durchblick zwischen den hochgerichteten Armen der beiden Hauptfiguren zu sehen. Diese Komposition, ein ausgesprochenes Merkmal des Manierismus, verleiht dem Bild eine ungewöhnliche Aussagekraft. Auch deshalb, weil die beiden Hauptfiguren nahezu nur mit dem Rücken zum Betrachter gezeigt werden. Die Spannung im Bild wird noch betont durch den hier deutlich ausgeprägten Hell-Dunkel-Effekt des Caravaggismus. Das sonst in den Martyriumsdarstellungen des Laurentius fast ausnahmslos gezeigte Feuer hat de Bellis hier vermieden. Stattdessen hat er in raffinierter Weise das Rot des Tuches zum Leuchten gebracht. Alleine schon diese Beobachtungen zeigen den Maler als einen auch in seinen künstlerischen Überlegungen großartigen Meister. Dies, und sein Gesamtwerk hat de Bellis, neben Bernardo Cavallino (1616/22-1654/56), Massimo Stanzione (1585-1656) und Jusepe de Ribera (1588/91-1652), zu einem der führenden Kräfte der Barockkunst der neapolitanischen Schule werden lassen. A.R. Literatur: Nicola Spinosa und Raffaello Causa, in: Civiltá del Seicento a Napoli, Electa Napoli, 1998, Katalognr. 249, Besprechung und Abb. S. 216 (Das vorliegende Gemälde hier zweifach besprochen und abgebildet). Ausstellungskatalog: Battistello Caracciolo e il primo naturalismo a Napoli, Electa Napoli, 1992, Text und Abb. S. 229. Stefano Ticozzi, Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d"~ogni etá e d"~ogni nazione"~, 1830. Achille della Ragione, Le quattro stanze dell"~arte: Giordano, Preti, Stanzione, De Bellis, Neapel 2008. Clovis Whitfield, Painting in Naples from Caravaggio to Giordano, Royal Academy of Arts, 1982, S. 149-150. (1240253) Antonio de Bellis, ACTIVE 1636 "" 1656 THE MARTYRDOM OF SAINT LAURENTIUS Oil on canvas. 110 x 91 cm. Literature: N. Spinosa and R. Causa, in: Civiltá del Seicento a Napoli, Electa Napoli, 1998, cat. no. 249, ill. p. 216. Battistello Caracciolo e il primo naturalismo a Napoli, Electa Napoli, 1992, text and ill. p. 229. Stefano Ticozzi, Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d"~ogni etá e d"~ogni nazione"~, 1830. Achille della Ragione, Le quattro stanze dell"~arte: Giordano, Preti, Stanzione, De Bellis, Naples 2008. Clovis Whitfield, Painting in Naples from Caravaggio to Giordano, Royal Academy of Arts, 1982, p. 149-150. Antonio de Bellis, ca. 1616 Naples - ca. 1656 THE MARTYRDOM OF SAINT LAZARUS Oil on canvas. 110 x 91 cm. Belli's entire oeuvre made him one of the leading exponents of Baroque art and the Neapolitan School, besides Bernardo Cavallino, Massimo Stanzioni and Jusepe de Ribera. The painting on offer for sale here has been discussed and illustrated twice in the following literature: Literature: N. Spinosa and R. Causa, in: Civiltá del Seicento a Napoli, Naples, 1998, cat. no. 249, discussion and ill. p. 216. Also: Battistello Caracciolo e il primo naturalismo a Napol, exhibition catalogue, Naples, 1992, text and ill. p. 229. S. Ticozzi, Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d'ogni etá e d'ogni nazione', 1830. Achille della Ragione - Le quattro stanze dell'arte: Giordano, Preti, Stanzione, De Bellis. Napoli, 2008. C. Whitfield, Painting in Naples from Caravaggio to Giordano, Royal Academy of Arts, 1982, pp. 149-150.
ter Brugghen, zug., Hendrick ter Brugghen, zug., Hendrick ter Brugghen, zug., Hendrick 1588 - 1629 Musikergruppe Öl auf Leinwand. Doubliert. 72 x 72 cm. In vergoldetem Rahmen mit Eierstab. Das quadratische Bildformat ist bei Werken des Ter Brugghen nicht selten zu finden. Die Halbfiguren der Musiker sind somit dicht gedrängt ins Format eingebunden, je eine Zweier- und Dreiergruppe lassen einen Durchblick nach hinten zu. Mit Violine, Geigenbogen und Flöte sind die beiden im Vordergrund gezeigt, dahinter wohl eine Sängerin mit einem abgegriffenen Notenblatt. Eine Person hält einen (bitteren?) Apfel in der Hand. Eine Deutungserklärung ließe mehrere Schlüsse zu. Die beiden links Stehenden blicken auf den Betrachter mit Betroffenheit. Eindeutig jedoch steht der allen hier Gezeigten eigene Gesichtsausdruck mit einer Aussage in Zusammenhang, die vorläufig Rätsel aufgibt. Denkbar wäre das bittere Los des Berufsstandes der Musiker und ihres kargen Einkommens. Ter Brugghen, ein Schüler des Abraham Boemaert, ging um 1604 nach Italien als Caravaggio noch lebte. Ab da übernahm auch er den weithin geübten Caravaggismus, was in diesem Bild jedoch noch keineswegs deutlich erkennbar ist. Die Darstellung oft auch nur wenig begütert bekleideter Musiker ist zu einem seiner Hauptthemen geworden. Ein Flötenspieler mit gleicher Mütze von 1627 findet sich auch in einem weiteren seiner Gemälde (Puschkin-Museum). A.R. ter Brugghen, zug., Hendrick ter Brugghen, zug., Hendrick Hendrick ter Brugghen, 1588 - 1629, attributed A GROUP OF MUSICIANS Oil on canvas. Relined. 72 x 72 cm. In gilt frame with bead and reel décor. Ter Brugghen often uses a square picture format. He was a student of Abraham Bloemaert, he travelled to Italy in 1604 while Caravaggio was still alive. From then on, he also adopted the widely popular Caravaggism, which is, however, not yet noticeable in the painting on offer for sale here. The depiction of musicians, some of them in humble attire, became one of his favourite subjects. A flute player with the same hat dating to 1627 and other works by him are held at The Pushkin State Museum of Fine Arts in Moscow.
Guido Reni (Bologna 1575 - Bologna 1642), Werkstatt oder nächster Umkreis Betende Madonna Öl/Lw., 74,5 x 62,5 cm, etw. rest., doubl. - Gutachten: Wir danken Francesca Baldassari für wertvolle Hinweise. - Einer der bedeutendsten Maler des italienischen Barock. R. lernte zusammen mit F. Albani u. Domenichino in der Werkstatt des D. Calvaert, gegen 1595 wechselten alle drei an L. Carraccis 'Accademia degli Incamminati'. 1601 folgte Reni A. Carracci nach Rom, wo er unter der Protektion der Borghese-Familie zu einem der führenden Maler aufstieg. Nach kurzem Aufenthalt in Neapel kehrte er nach Bologna zurück, wo er die maßgeblichen Auftraggeber für sich gewinnen konnte. Sein Stil, der Einflüsse der Caracci, aber auch Raffaels u. Caravaggios aufnahm, wurde den verschiedensten bildnerischen Aufgaben gerecht. Mus.: Paris (Louvre), London (Nat. Gall.), Rom (Vatikan), Madrid (Prado), Mailand (Brera), Wien (Kunsthist. Mus.) u.a. Lit.: Thieme-Becker, Bénézit u.a. Reni, Guido (Bologna 1575 - Bologna 1642), studio or close circle Madonna in Prayer Oil/canvas, 74,5 x 62,5 cm, some rest., relined. - Expertise: We are grateful to Francesca Baldassari for her help. - One of the most important painters of Italian Baroque. Together with F. Albani a. Domenichino he was taught in the studio of D. Calvaert, around 1595 the three of them changed to L. Carraccis 'Accademia degli Incamminati'. In 1601 R. went to Rome with A. Caracci where he, patronized by the Borghese family, rose to a leading position. After a short sojourn in Naples he returned to Bologna where he was able to win over the most influental patrons. His style, influenced by the Carracci but also by Raphael a. Caravaggio, was most suitable to serve different commissions. Mus.: Paris (Louvre), London (Nat. Gall.), Rome (Vatican), Madrid (Prado), Milan (Brera), Vienna (Kunsthistorisches Museum) a. others. Lit.: Thieme-Becker, Bénézit a. others.
Schürer, Hans Christoph: Heilige mit Perlendiadem Heilige mit Perlendiadem. Öl auf Holz. 50 x 37,7 cm. Um 1600. Die Heilige mit Perlendiadem hat ihren Kopf in den Nacken gelegt, ihr Blick führt nach oben, dabei fällt ihr locker gebundenes Haar über ihren Rücken hinab. Ihre Wangen sind gerötet, ihr Mund ist leicht geöffnet und ihr nackter Oberkörper wird lediglich von einem durchscheinenden Tuch umhüllt. Ikonographisch folgt das Gemälde einer im frühen 17. Jahrhundert entstandenen Bildtradition der ekstatischen Heiligen, wie sie beispielsweise von Caravaggio oder Rubens mit der Darstellung der Maria Magdalena in Verzückung etabliert wurde. Darüber hinaus steht das Gemälde sowohl stilistisch als auch motivisch in Zusammenhang zweier Werkgruppen der Allegorie der Sinne, die dem Maler Hans Christoph Schürer zugeschrieben werden (Anhaltische Gemäldegalerie Dessau, Inv. Nrn. 1429-1433; Nationalmuseum Stockholm, Inv.Nr. NM 5637; Museen der Stadt Bamberg, Inv. Nrn. 381D-384D). Unsere Heilige zeigt frappante Ähnlichkeit mit der Figur des Tastsinns dieser Gruppe. Die Kopfhaltung mit dem nach oben gerichteten Blick, die Partie der Nase und des Mundes, die gesetzten Glanzpunkte. Unverkennbar sind auch die malerischen Reminiszenzen an Schürers Lehrer Hans von Aachen. Dr. Thomas Fusenig, Münster, dem das Werk im Original bekannt ist, bestätigt die Zuschreibung an Hans Christoph Schürer (mdl. am 23. Februar 2018). 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.
CIRCLE OF HENDRIK GOLTZIUS AFTER POLIDORO CARAVAGGIO (DUTCH 1558-1617) OLYMPIAN GODS, DOUBLE SIDED pen and ink on paper, unframed(16cm x 19cm (6.25in x 7.5in))Footnote: Note: These studies relate to a group of monochrome frescoes by Polidoro of eight Olympian gods in niches that adorned the façade of a house on the Quirinal Hill, Rome. The frescoes are now lost but were recorded in print by Goltzius in 1592. Provenance: Bears the collector's stamp of E. Fabricius, a collector of works by Goltzius (active in Berlin, circa 1920).
Oil paint on canvas depicting Jesus child feeding birds with grapes. Luigi Miradori's attribution (Genova, 1605, Cremona 1656), called the Genovesino. Cm 55 x 40,5, in frame cm 71x58. "Religious scene, although it does not seem, that leads to think of the generosity and goodness of the Jesus child feeding birds with grapes, which represents Divine help to humanity. This painting shows the erudite culture of Miradori. In fact his paintings are characterized by the great inventive freedom that shows a clear influence deriving from the Caravaggio suggestions assimilated from the Gentileschi, during the Genovese period, and that give us a vividly realistic split through the manipulations of color with chiaroscuro tones. This painter was defined "cheerful, bizarre, facetious" by Arisi, his biographer, and in this painting seems to demonstrate these characteristics: the tones are perfectly calibrated and the taste for original inventions and anecdotal descriptions is evident." ASOR Studio
(Napoli 1680 - 1731) Natura morta con frutta e fioriSiglato NC sul vasoOlio su tela, cm 68X100Casissa fu un raffinato emulo di Gaspare Lopez, Francesco Lavagna e del suo maestro Andrea Belvedere. Il De Dominici ne ricorda la longevità e la fama dettata dalle sue suntuose nature morte. Il suo stile ridondante e di gusto rocaille si esprime al meglio soprattutto nella realizzazione di eleganti vasi fioriti, concepiti tramite una stesura libera e sciolta, che in parte tralascia la veridicità botanica prediligendo gli aspetti estetici e pittorici, ricchi di gradazione cromatiche intrise di una luminosità atta a valorizzare al meglio i valori tonali. Nel nostro caso, vediamo come l'artista sembra dialogare sapientemente con gli esempi migliori della natura in posa seicentesca di Luca Forte, dei Ruoppolo, di Giuseppe Recco e Brueghel interpretandone il valore neobarocco che contraddistingue la precocità dell'artista, qui quanto mai negli esiti singolare. A confronto possiamo analizzare la tela di collezione Gargiulo pubblicata da Roberto Middione, in cui possiamo osservare la medesima individuazione oggettuale quasi alla Ruoppolo Senior in cui il nostro già esprime il suo decorativismo atmosferico in analogia con la sensibilità del Belvedere e la fantasia di stesura giordanesca. L'opera è corredata da una scheda critica di Giancarlo Sestieri.Bibliografia di riferimento:N. Spinosa, Pittura Napoletana del Settecento. Dal Barocco al Rococò, Napoli 1986, p. 69R. Middione, in Barocco da Caravaggio a Vanvitelli, catalogo della mostra a cura di Nicola Spinosa, Napoli 2009, p. 432
(Bisceglie, 1605 - 1651)San Pietro penitenteOlio su tela, cm 99X74Il dipinto raffigura San Pietro penitente e l'impostazione iconografica evoca modelli ribereschi. La stesura e la luminosità tenebrosa invece, indicano una inclinazione pittoricistica rispetto ai prototipi dell'artista spagnolo, indicando l'influenza di Novelli, del Van Dyck e della pittura bolognese. Questi indizi fanno pensare ad un autore meridionale, di formazione napoletana e con esiti di stile che conducono a Cesare Fracanzano. L'artista che dalla natia Puglia è documentato nella città partenopea insieme al fratello Francesco, già negli anni Venti e documentato nella bottega di Giuseppe Ribera, producendo una serie di interessantissime opere dal vigoroso impasto. L'orientamento del pittore verso il maestro, dal quale desunse il naturalistico gioco chiaroscurale nel descrivere le figure, è qui ben rappresentato e la scelta di utilizzare una tavolozza quasi monocroma solo rinvigorita dalla luce ne pone in rilievo la forza espressiva e la qualità. Tali considerazioni suggeriscono una datazione matura, al sesto decennio, quando il pittore oramai affrancato dalle influenze riberesche modula la sua arte con declinazioni cromatiche d'influenza vandichiana e romana in analogia con il San Pietro della chiesa di Santa Maria di Nazareth di Barletta, la bellissima Adorazione dei pastori, esposta alla mostra Ritorno al Barocco curata da Nicola Spinosa e l'Adamo e Eva compiangono Abele morente recentemente pubblicata da Viviana Farina. Bibliografia di riferimento:P. Piscitello, in Ritorno al barocco da Caravaggio a Vanvitelli, catalogo della mostra a cura di N. Spinosa, Napoli 2009, pp. 127-128, n. 1.48V. Farina, Artemisia e i pittori del conte. La collezione di Giangirolamo II Acquaviva d'Aragona, catalogo della mostra a cura di V. Farina, Cava dei Tirreni 2018, pp. 302 ; 303, n. 41
(Bologna 1580 - 1654)San SebastianoOlio su tela, cm 170X106Garbieri ha lavorato nello studio di Ludovico Carracci a Bologna, e per via delle somiglianze stilistiche sono stati sovente confusi. Nel suo articolo del 1989 Brogi traccia i parallelismi stilistici tra i due autori e il catalogo dell'allievo (cfr. A. Brogi, Lorenzo Garbieri. Un incamminato fra romanzo sacro e romanzo nero, in Paragone, 1989, n. 15, pp. 3 - 25). Nel nostro caso possiamo notare che il tema e la tipologia espressiva del Santo trovano confronto con le analoghe iconografie di Ludovico, in particolare con il San Sebastiano della Fondazione Santomasi, tuttavia, il pittore secondo la sua indole tende a accentuare gli aspetti drammatici. In tal senso, le sue opere denotano un affrancamento dalle istanze classiciste, prediligendo un realismo robusto e più intensi contrasti luministici che lo avvicinano, com'è stato indicato dal Malvasia, al gusto del Caravaggio (sec. XVII, p. 89), mutuato o attraverso la conoscenza di opere del pittore lombardo o attraverso il contatto con artisti quali Giacomo Cavedoni e Leonello Spada (cfr. C. C. Malvasia, Scritti originali... spettanti alla sua Felsina pittrice (sec. XVII), a cura di L. Marzocchi, Bologna 1982, pp. 87-105).
(Helsingør, 1624 - Roma, 1687)Ritratto di giovane al pozzoOlio su tela, cm 99X74Si deve a Roberto Longhi la corretta lettura critica del pittore di origini danesi Monsù Bernardo, lo studioso ne distinse la produzione rispetto a quella di Antonio Amorosi e ne colse le affinità con Domenico Fetti (cfr. R. Longhi, Monsù Bernardo, in La critica d'arte, 1938, pp. 121-130). Mentre fu Federico Zeri a evidenziare alcune affinità con Bernardo Strozzi, grazie al ritrovamento nella Galleria Pallavicini di Roma di una copia della nota Cena in Emmaus che il Cappuccino replicò più volte. È indubbio che il Keil fu uno dei più originali pittori del suo tempo, tanto che Filippo Baldinucci gli dedicò una biografia nelle sue Notizie de' professori del disegno da Cimabue in qua, considerandolo un artefice lodatissimo, i cui quadri erano richiesti in tutta Europa (Firenze 1728, VI, pp. 510-516). Artista itinerante e dal plurilinguismo stilistico, Keil si formò inizialmente con il padre Gaspard e il danese Morten van Steenwinkel, per poi unirsi alla celeberrima bottega di Rembrandt ad Amsterdam dal 1642 al 1644. Partito per l'irrinunciabile viaggio in Italia, sostò nelle città tedesche di Francoforte, Colonia, Magonza e Augusta, dove portò a termine alcune commissioni, per giungere finalmente a Venezia nel 1651. In questo periodo lo sappiamo intento a eseguire ritratti, affreschi e tele di carattere sacro nei territori della Serenissima, in particolare a Bergamo, per poi approdare a Roma nel 1656. Nella Città Eterna l'artista conobbe il caravaggismo e la Scuola dei Bamboccianti, senza tralasciare i modelli delle eleganti nature morte ivi prodotte. Questa cultura eterogenea si coglie assai bene nel dipinto qui presentato, tipico della sua migliore produzione e partecipe di quelle dedicate all'allegoria dei Cinque sensi da lui compiute cogliendo il pretesto di un soggetto alto offrendoci singolari ritratti di vita quotidiana. Nel nostro caso la scena allude al tatto e all'elemento dell'acqua, evocati da un giovane intento a raccogliere acqua da un pozzo e caratterizzata da una stesura morbida e fluida, ma capace di descriverne con schiettezza la figura senza tuttavia trascendere nel crudo realismo. Sono poi da osservare gli eleganti brani di natura morta e la straordinaria resa delle vesti, in modo particolare il nastro rosa della manica, che denotano una qualità tra le migliori della produzione di Keilhau, che in questo caso si rivela altresì quale straordinario ritrattista. Infine, si deve indicare che di questa composizione non esistono altre versioni e vista la propensione dell'artista a replicare più volte le sue opere, la tela in esame si rivela un unicum. Bibliografia di riferimento:F. Baldinucci, Notizie de' Professionisti del Disegno (1681 - 1728), Firenze, 1972, ad vocemR. Longhi, Monsù Bernardo, in La critica d'arte, 1938, pp. 121-130L. Laureati, in Da Caravaggio a Ceruti. La scena di genere e l'immagine dei pitocchi nella pittura italiana, catalogo della mostra, a cura di F. Porzio, Milano 1998, pp. 336-337M. Heimburger, Bernardo Keilhau detto Monsù Bernardo, Roma 1988, p. 217, n. 128M. Heimburger, Eberhart keilhau, København 2014
(Helsingør, 1624 - Roma, 1687)Scena di genereOlio su tela, cm 74X99Anche questa tela sia pur ossidata e sporca rivela al di sotto delle vernici una notevole qualità pittorica e la scena raffigurata non trova corrispondenze con altre opere di Bernhard Keilhau a noi note. La costruzione scenica dell'immagine risponde in armonia con la tecnica e il lessico del maestro, a esempio, l'inquadratura e la posa delle figure trova corrispondenza con i Musici esitati presso Christie's di New York nel 1999 (cfr. Heimburger 2014, p. 204, n. 108, olio su tela, cm 70X95). Nel nostro caso possiamo altresì notare la notevole forza espressiva, in modo particolare se osserviamo il volto del giovane, quanto mai tenebroso nei suoi esiti comparabili a quelli di Mattia Preti. È al cospetto di queste opere in cui si coglie la modernità del pittore e il suo aderire al migliore naturalismo romano, corrente che il Monsù farà propria con autorevolezza per poi anticipare di gran lunga quella che sarà la pittura di genere del secolo successivo e di Antonio Mercurio Amorosi (Comunanza, 1660 - Roma, 5 ottobre 1738) in particolare, ma anche del Monaldi e di altri interpreti della pittura di genere settecentesca. In poche parole, si deve asserire che l'artista riuscirà a superare i limiti della bambocciata di carattere nordico dando reale fisionomia ai protagonisti della vita popolare romana, compiendo quello che Giuliano Briganti, sulla scia di Giovanni Battista Passeri, definiva il concetto della finestra aperta al cospetto del mondo, valutando lo spessore di questo genere che in quegli anni si inseriva con pieno diritto nel generale cammino verso il realismo di sguardo e di pensiero avviato dalla cultura europea (cfr. Briganti 1983, p. 5). Infine, si deve meditare sul talento ritrattistico dell'artista, di cui non conosciamo testi figurativi specifici, ma è forte la tentazione che possa essersi cimentato anche in questo campo. Bibliografia di riferimento:F. Baldinucci, Notizie de' Professionisti del Disegno (1681 - 1728), Firenze, 1972, ad vocemR. Longhi, Monsù Bernardo, in La critica d'arte, 1938, pp. 121-130G. Briganti, L. Laureati, L. Trezzani, I Bamboccianti, Roma 1983, ad vocemL. Laureati, in Da Caravaggio a Ceruti. La scena di genere e l'immagine dei pitocchi nella pittura italiana, catalogo della mostra, a cura di F. Porzio, Milano 1998, pp. 336-337M. Heimburger, Bernardo Keilhau detto Monsù Bernardo, Roma 1988, p. 217, n. 128M. Heimburger, Eberhart keilhau, København 2014, ad vocem
Sacrificio di AbramoOlio su tela, cm 222X173A partire dal contributo di Vittoria Markova il dilemma d'ordinare filologicamente il corpus di Tommaso Salini è diventato uno dei problemi più complessi degli studi caravaggeschi. Solo negli ultimi anni e per merito di Gianni Papi è in atto una selezione atta a distinguere le diverse mani di un catalogo che si sviluppava in maniera sempre più incoerente. Da questo meticoloso lavoro lo studioso ha individuato alcune personalità come il Maestro degli Armenti, il Maestro del Bacco, il Maestro di Baranello e, più recentemente, il Maestro della Flagellazione Lampronti, che riferita inizialmente a Baburen è stata ricondotta correttamente alla galassia saliniana. Come sappiamo, il punto cardine dell'artista è il San Nicola da Tolentino conservato nella chiesa di Sant'Agostino a Roma, vero e proprio punto fermo per poter risalire al volto reale del nostro autore, a cui si aggiungono un Martirio di Santa Cecilia pubblicato da Federico Zeri nel 1955 e oggi d'ubicazione ignota e infine uno stendardo per la chiesa oggi distrutta di Santa Andrea in Vincis, conservato in collezione privata. A questo scarno nucleo si aggiungono il San Francesco donato da Salini stesso all'Accademia di San Luca e una Santa Cecilia firmata e datata 1615 e un San Carlo firmato e datato 1617 entrambi di collezione privata. È quindi un'aggiunta importante al catalogo dei quesiti saliniani questo straordinario Sacrificio d'Isacco che all'analisi mostra aspetti qualitativi notevoli ed esibisce nella sua complessità illustrativa straordinari brani di natura morta e una ancor più energica forza espressiva nei volti. A questi aspetti non dobbiamo sottovalutare le raffinatezze pittoriche che emergono dalle vernici ossidate, raffinatezze che consentono di raggiungere vertici di verosimiglianza altissimi, e basti osservare il capro in primo piano, lo sguardo drammatico di Abramo e quello rassegnato e vigile di Isacco, che sembra accorgersi che il sacrificio non sarà portato a compimento. Infine, a sorprendere per la sua dolcezza e innovazione è il piccolo angelo che par sussurrare al vecchio patriarca la parola di Dio, un angelo come vediamo, ben diverso da quelli energici e imperiosi presenti in analoghe iconografie dell'epoca. Ed è in virtù di questi aspetti che forse diviene possibile accarezzare l'idea di poter pensare al Cavalier dello Speron d'oro quale autore, certi che la vita dell'amico Baglione non elencò tutte le sue opere, senza dimenticare quel Maestro degli armenti con cui trova non pochi punti in comune. Bibliografia di riferimento: G. Baglione, Le vite de' pittori scultori et architetti [...], Rome 1642, p. 288V. Markova, Alcune nuove proposte per Tommaso Salini, in Paragone, XL, 475, 1989, pp. 26 ; 41G. Papi, Un tema caravaggesco tra i quadri di figura di Tommaso Salini, Paragone, 12, 1989G. Papi, Il maestro di Baranello, fra Salini e Napoli, nel Bollettino dell'Associazione degli storici dell'arte italiana, 17, 2011, pagg. 10 ; 23G. Papi, Il Maestro della Flagellazione Lampronti, in Entro l'aria bruna d'una camera rinchiusa. Scritti su Caravaggio e l'ambiente caravaggesco , Napoli 2016, pagg. 211 ; 27
NO RESERVE Michelangelo.- Cunego (Domenico) Seven works after frescos in the vault and ceiling of the Sistine Chapel, including a schematic outline engraving of the Last Judgement, and others of the Creation of Adam, Creation of Eve, etc., etching and engravings on thick laid paper, sheet sizes between 350 x 510 mm (13 3/4 x 20 in) and 550 x 790 mm (21 3/4 31 1/8 in), all with full margins and deckled edges, some marginal surface dirt and stains, occasional spotting and light browning, unframed, [circa 1793]; together with five prints by Giovanni Francesco Venturini after Polidoro da Caravaggio, with figures reproduced from the façade of the Palazzo Milesi in the via della Maschera d'Oro, etching with engravings on laid paper, various sizes, unframed, [circa 1695 but later] (12)
Chris Sedgwick (Florida/North Carolina, b. 1981) oil on board painting titled "Divination of the Continuum" depicting four figures (two standing, the others crouched to the ground), holding divining rods and sticks, with a desolate landscape and shadowy source of light in the background. Titled and dated "2007" en verso. Gallery Minerva, Ashville, NC label en verso. Housed in a green painted wooden frame with gilt rabbet edge. Sight - 23 5/8" H x 47 3/8" W. Framed - 28 1/2" H x 25 1/4" W. Biography: Chris Sedgwick graduated from Florida State University and began a career in painting after moving to Asheville, NC. His work, heavily influenced by medieval art and the paintings of Caravaggio, Gustav Klimt and Maxfield Parrish, can be found in permanent collections including Florida State University, Western Carolina University, and Purdue University. He currently lives in Colorado. Provenance: private Nashville, TN collection. CONDITION: Excellent condition.
NO RESERVE Italian Art.- Posner (Donald) Annibale Carracci: A Study in the Reform of Italian Painting around 1590, 2 vol., 1971 § Hibbard (Howard) Caravaggio, 1983 § Wittkower (Rudolf) Gian Lorenzo Bernini: The Sculptor of the Roman Baroque, 1955 § Wittkower (R.) & Irma B.Jaffe, editors. Baroque Art: The Jesuit Contribution, New York, 1972 § Haskell (Francis) Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque, 1963, illustrations, some colour, original cloth, all but the third with dust-jackets, the last a little frayed at edges; and c.25 others on 17th century & Baroque art, mostly Italian, 4to & 8vo (c.30)
Venuti (Ridolfino, and Amaduzzi, Giovanni Cristoforo). Vetera Monumenta quae in Hortis Caelimontanis et in aedibus Matthaeiorum adservantur nunc primum in unum collecta et adnotationibus illustrata, 3 volumes, Rome: Monaldini, 1776-79, volumes 1 & 2 with half-titles and engraved pictorial title (by Johann Cassini after Vincenzo Brenna), volume 3 lacking all before main text, engraved dedication and 266 plates by Mazzoni, Morghen, Baroni, Giardoni, Carloni, Gregori, Giordano, and others (of 270, lacking numbered plates CV & CVI in vol.1 and XVI in vol.3), 2 plates folding, a few pencil annotations, plate XCII in volume 1 torn to lower outer blank corner and repaired, plate XXXIII in volume 2 torn with long repaired closed tear, some dust-soiling and light spotting, edges untrimmed, modern maroon half morocco gilt, spines with manuscript number applied in white, folio (Qty: 3)NOTESRossetti, Rome 11296; Cicognara 3898; not in Berlin Katalog. This work forms a comprehensive catalogue of the collection of antiquities belonging to the renowned collector and patron of the arts Ciriaco Mattei (1542-1614), at his residences in Rome, the Palazzo Mattei and Villa Celimontana. He was also a close friend of Caravaggio. The first volume reproduces statues; the second, busts, herms, shields, and bas-reliefs; the third, bas-reliefs, sarcophagi and inscriptions. Sold with all faults, not subject to return.
FOUR OIL PAINTINGS to include a copy of Caravaggio 'Head of Medusa' on canvas, framed, approximate size 76cm x 78cm, 'White River' by Peter Van Blommstein, oil on board, approximate size 40cm x 75cm, coastal landscape, indistinctly signed, oil on canvas, approximate size 76cm x 76cm, and fighting ships at sea, unsigned, oil on canvas, approximate size 76cm x 100cm (4)
Rogers (Charles) A Collection of Prints in imitation of drawings, to which are annexed lives of their authors with explanatory and critical notes, 2 vol., engraved additional titles by Bartolozzi after G. B. Cipriani, engraved portrait frontispiece after Joshua Reynolds by Ryland, engraved dedication leaf by Ashby, and 112 artworks in 108 plates (2 folding) on 105 leaves, engravings, soft-ground etchings, mezzotints, stipple-engravings, printed in sepia, black and bistre, engraved and woodcut head-pieces and decorations, duplicate plate loosely inserted, first and last few ff. of each vol. mounted on stubs, occasional offsetting, loosely inserted note in a contemporary hand stating "Subscriber's copy, this one the 13th - proofs on india paper", 20th century half calf, surface soiling to covers, folio, Printed by J. Nichols and sold by John Boydell, Benjamin White, and Peter Molini, 1778.⁂ First edition of this fine, elaborate production with works after Leonardo, Michelangelo, Raphael, Caravaggio, Rubens, Van Dyck, Corregio and others. . Rogers commissioned the leading engravers of his day to reproduce drawings in his own collection, as well as that of Sir Joshua Reynolds, Earl Spencer, Robert Adam and John Barnard, among others.
Popham (A.E.). Catalogue of the Drawings of Parmigianino, 3 volumes, Yale University Press, 1971, numerous monochrome illustrations, original blue cloth gilt, covers heavily damptstained to outer edges (with very minimal effect on the text leaves of the first two volumes, and some marginal damp marking to text leaves of the third volume), large 4to, together with Brauer (Heinrich and Wittkower, Rudolf). Bernini's Drawings, reprint edition, Collectors' Editions, circa 1975, original quarter mock morocco gilt, 4to, plus Rearick (Janet Cox), The Drawings of Pontormo, 2 volumes, Harvard University Press, 1964, monochrome plates, original cloth in slightly frayed dust wrappers, small 4to, and Shaw (James Byam). Drawings by Old Masters at Christ Church, Oxford, 2 volumes (Catalogue/Plates), Oxford University Press, 1976, monochrome illustrations, orignal red cloth gilt in dust wrappers, 4to, plus others on Italian drawings, including: Lanfranco Ravelli, Polidoro Caldara da Caravaggio, 1978, A.E. Popham, Correggio's Drawings, 1957, Paul Joannides, The Drawings of Raphael, 1983, Phyllis Pray Bober, Drawings after the Antique by Amico Aspertini, 1957, British Museum, Italian Drawings, XIV-XV Centuries, 2 volumes, 1950, Italian Drawings, Michelangelo and His Studio, 1953, Artists Working in Rome c. 1550 to c. 1640, 1982 & School of Parma XVI Century, 2 volumes, 1967, etc., original cloth in dust wrappers, and some volumes paper bound, mostly 4to (Qty: 35)NOTESEx libris Michael Jaffé (1923–1997).
Mario Nuzzi said Mario de 'Fiori (Rome 1603-1673 Rome). Triumph of flowers with fruit, game and game of putti. "First Protagonist plan. Is the one who said the kind Fiorante still life is to be able to bear the name of law" Mario dei Fiori. "Baroque painter, a pupil of the painter Caravaggio Tommaso Salini, he developed a cultural and scientific knowledge, as well as artistic, which allowed him to have the most important commissions of the time.
Fifteen boxes of various reference books, mainly on the subject of art, sculpture, design, etc, to include "The Painting of William Blake" by Darrell Figgis, velum bound, published by William Brendan and Son Limited, Plymouth, limited edition copy No'd. 30 and signed,"Constable and His Drawings" by Ian Fleming Williams, published by Philip Wilson Publishers Limited London, "Painting in Naples from Caravaggio to Giordana", published by Weidenfeld & Nicholson London
NO RESERVE Italian Art.- Hibberd (Howard) Caravaggio, 1983 § Schütze (Sebastian) Caravaggio: The Complete Works, Cologne, 2009 § Marini (M.) Caravaggio..., second edition, Rome, 1989 § Marder (T.A.) Bernini and the Art of Architecture, New York, 1998 § Martinelli (V.) Bernini: Disegni, some pages loose, Florence, 1981, illustrations, many colour, original cloth or boards with dust-jackets, the third also with slip-case; and 6 others on Caravaggio, Bernini & the Baroque, 4to & folio (11)
Liam Belton RHA (b.1947)Congo Gong and Herb CutterOil on canvas, 50 x 76cm (19¾ x 30)Signed; also signed, inscribed and dated 2016 versoLiam Belton is a well-known and popular figure in Irish art circles. Given the ineffable calm and stillness of his paintings it is somewhat surprising that he first came to attention for political activism as a student in the National College of Art in the late 1960s and early ‘70s, fighting for the reforms that culminated in the college’s re-organisation into the National College of Art and Design in 1971. His political leanings led to attempts to establish free art education for all in Ballymun and Ballyfermot and he spent over twenty years teaching art to people with visual impairments but little of his Beuysian principles are visible in his paintings.Instead his signature still-life paintings represent a distillation of all that is calm, considered and, above all, constructed, rather than overtly representative of social life or ideology. While still-life paintings make up the dominant trope in his work, Belton travelled the country to compile a series of paintings of megalithic monuments in the early 2000s that show his capabilities as a landscape artist, yet retaining essential features of the still-life genre. This can be seen in Carrowmore, Co. Sligo - Dolmen (ca. 2003).However his annual entries to the RHA annual exhibition and other shows tended to be still-life paintings, generally executed in a cool, muted, palette, ranging from creamy white to chocolate, and rendered with a quite extraordinary attention to precision, balance and detail. The content changes only a little. Generally they contain domestic utensils, some of which have an antique quality, and exotic ceramic figures or references to art history in the form of pictures or postcards of work by the great masters; for a time in the past decade, they have included quite garishly coloured items from popular culture such as Disneyland figurines and toy cars, and almost always there is at least one egg, quiet, still and shadow-casting. Most still-life artists love to display their skill at capturing texture. In Liam Belton’s very classical approach, texture is a superficial quality, easily set aside in favour of colour and composition.Pewter and Eggs (2015) and Congo Gong and Herb Cutter (2016) mark a turn away from that brief flirtation with strong colour and pop and, like Carrowmore, they epitomise Belton’s love of clarity, precision and austere colours. What they all have in common is his absorption with space and with the past. The past, represented by the squat stones of the dolmen or the tribal objects and reproductions of artworks, has been reduced to stillness but the careful distancing of one item from another in the still-lifes, or viewer from dolmen in Carrowmore and his other paintings from that series, evokes a space for the stillness to work. Just as the megalithic monuments are weighed down with a sense of time and mortality, the still-life objects also recall art historical memento mori (premonitions of death) as for example in the work of Caravaggio or Dutch 17th century painters. The pervasive presence of an egg in Belton’s still-life paintings may be intended to counter-act that with a suggestion of new life and re-birth, but they also read like a reference to the myth of Giotto’s perfect circle - the test of a great artist. In this case the egg becomes a direct reference to that other perfectly-observed egg in art, the one that dangles, enigmatically, above the Madonna and saints in Piero Della Francesco’s The Virgin and Child Enthroned (c. 1475) in Milan. These are paintings about art first, pondered on, arranged, adjusted, and only about life as a secondary consideration. Even the inclusion of a reproduction of a painting by William Scott in Congo Gong and Herb Cutter, has been chosen less to impress with the artist’s knowledge of the Moderns, but rather because Scott’s emphatic shapes form a perfect co-relative for the shapes of Belton’s chosen objects.A dedicated member of the RHA since 1991, Keeper of the RHA from 1995 -2001 and a former member of the Board of the National Gallery of Ireland, Liam Belton is represented by the Peppercanister Gallery. His work is to be found in major Irish art collections.Catherine MarshallAugust 2019
![* Amling, (Karl Gustav, circa 1650 - 1703). Nox [Night], 1698, copper engraving on laid paper, after Pieter de Witte (1548-16](https://cdn.globalauctionplatform.com/c63196c6-290a-4918-92fb-aae10104027c/5363983c-dadd-42ca-9f71-aae30118f551/468x382.jpg)
* Amling, (Karl Gustav, circa 1650 - 1703). Nox [Night], 1698, copper engraving on laid paper, after Pieter de Witte (1548-1628), trimmed just inside the platemark, a very good impression, sheet size 26.5 x 15.9cm (10.5 x 6.3ins), window-mounted, together with Edelinck (Jan, circa 1643 - 1680). Statue de Galatée, de marbre blanc...dans la grotte de Versailles, [Paris circa 1675] , fine copper engraving on laid paper by Edelinck after a drawing by H. Watelé, off the sculpture by Jean-Baptiste Tuby, plate size 38.5 x 29.7cm (15.25 x 11.7ins), with margins, a very good impression, window-mounted, plus Fantetti, (Cesrae, circa 1660-?). Adam and Eve, circa 1680-1700, copper engraving on laid paper by Fantetti after Raphael, published by De Rossi, Rome, numbered five to lower right hand corner, plate size 24 x 25.8cm (9.5 x 10.2ins), with margins, window-mounted, and other Old Master prints including a hand coloured woodcut illustration from a book signed in the image V S, German gothic printed text to verso, Willem Panneels, Mary Magdalene in the House of Simon the Pharisee, copper engraving after Rubens, trimmed to image, sheet size 14.2 x 17.1cms (5.6 x 6.8ins), a mezzotint portrait of Lucas Holstenius, Vatican Librarian, by Haid, copper engraving of a Roman marble frieze by Giovanni Battista Galestruzzi after Polidoro da Caravaggio (numbered 2 lower right corner), and a further group of 16th century German woodcut illustrations with printed text to versos (Qty: 16)
![NO RESERVE Constable (W.G.) Canaletto: Giovanni Antonio Canal 1697-1768 [with Catalogue Raisonné], 2 vol., second, revised ed](https://cdn.globalauctionplatform.com/301ad9da-51ab-4cd1-ae03-aaa30115c199/aed82f37-6043-4f75-8bf9-aad400bfb6ba/468x382.jpg)
NO RESERVE Constable (W.G.) Canaletto: Giovanni Antonio Canal 1697-1768 [with Catalogue Raisonné], 2 vol., second, revised edition, Oxford, 1976 § Escholier (Raymond) Delacroix: Peintre, Graveur, Écrivain, 3 vol., modern half calf, spines rubbed, Paris, 1926-29 § Spike (John T.) Caravaggio, second, revised edition with CD-ROM, New York, 2010 § Syson (Luke) & others. Leonardo da Vinci: Painter of the Court of Milan, reprint, 2012 § Blunt (Anthony) The Drawings of Poussin, ex-library copy with stamps, New Haven & London, 1979 § Bevers (Holm) & others. Drawings by Rembrandt and his Pupils: Telling the Difference, original wrappers, Los Angeles, 2000, illustrations, many colour, all but the last original cloth or boards with dust-jackets, the fourth a little rubbed; and 11 others on Old Masters, 4to & 8vo (20)
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