Edwaert Collier Edwaert necklace

Vanitas still life with sword, terrestrial glo…

Description

Edwaert Collier

Edwaert necklace Vanitas still life with sword, terrestrial globe and musical instruments Oil on wood. 32 x 26.5 cm. Signed and dated lower right on the score: E. Collier 1696 / f.. Provenance Dutch private collection. Edwaert Collier is one of the most celebrated masters of the Dutch vanitas still life. The signed and dated depiction from 1696 shows a typical composition for him, in which elements such as the open book leaning on the back of a mandolin are prominently presented in front of a terrestrial globe and other instruments arranged on the table. The Latin quote on the note on the pillar in the background reveals the painting's message to the viewer: "Do not forget that you are mortal". We would like to thank Dr. Fred G. Meijer, Amsterdam, for confirming the painting's authenticity on the basis of digital photographs.

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Edwaert Collier

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JUAN ANTONIO FRÍAS Y ESCALANTE Córdoba, 1633 - Madrid, 1669). "St. Michael the Archangel subduing the devil". Oil on canvas. Relined. We thank Dr. Alvaro Pascual Chenel, for his help confirming the authorship of the master. Frame of the early twentieth century. Measurements: 82 x 56 cm; 95 x 69 cm (frame). Álvaro Pascual Chenel has a PhD in Art History from the University of Bologna, and in History from the University of Alcalá de Henares. His main line of research focuses on the image of power in Spanish art of the Modern Age. He has published numerous studies, such as the article on Juan Antonio Frías y Escalante. In this canvas we see the representation of St. Michael subduing the devil, standing on his body, holding up a sword, in a little undefined scenario, but that is guessed earthly by the clouds that are glimpsed and the orography of the lower area. The composition is dynamic and scenographic, and follows a very frequent model in the Baroque, with the saint with Roman soldier's attire, full body, occupying most of the pictorial surface. According to tradition, St. Michael is the head of the heavenly militia and defender of the Church. Precisely for this reason he fights against the rebellious angels and the dragon of the Apocalypse. He is also psychopomp, that is to say, he leads the dead and weighs the souls on the day of the Last Judgment. Scholars have linked his cult to that of several gods of antiquity: Anubis in Egyptian mythology, Hermes and Mercury in classical mythology, and Wotan in Norse mythology. In the West, the cult of St. Michael began to develop from the 5th and 6th centuries, first in Italy and France, and then spreading to Germany and the rest of Christendom. The churches and chapels dedicated to him are innumerable around the year 1000, in connection with the belief that on that date the Apocalypse would arrive. His temples are often located on high places, since he is a celestial saint. The kings of France gave him a particular veneration from the 14th century, and the Counter-Reformation made him the head of the church against the Protestant heresy, giving a new impulse to his cult. St. Michael the Archangel is a military saint, and therefore patron saint of knights and of all trades related to weapons, as well as to the scales, for his role as apocalyptic judge. His iconography is of considerable richness, but relatively stable. As a general rule, he appears in the attire of a soldier or knight, holding a spear or sword and a shield, generally decorated with a cross, although here he bears the legend "QVDOS". When he fights the dragon, he fights on foot or in the air, which distinguishes him from St. George, who is almost always on horseback. However, the great difference between the two saints is St. Michael's wings. A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the beginning his works show his admiration for Venice, especially for Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centered on cold colors, a very refined palette of pinks, blues, grays and mauves, which we see in part in this canvas, especially in the cloths and flowers that surround the composition, although here the cold tones are offset by the warmth of the golds and carmines. Also typical of Escalante will be the light, delicate, almost transparent brushstroke, in which the example of Titian is manifested.

Estim. 20 000 - 24 000 EUR

"SPADINO"; GIOVANNI PAOLO CASTELLI (Rome, 1659 - 1730). "Still life with birds and fruit". Oil on canvas. Bibliography: Europ. Art, II. n.6. June 1991, pg. 57, image pg. 59. Size: 92 x 130 cm; 125 x 164 cm (frame). The combination of juicy fruits and exotic birds was repeatedly explored by Spadino, a painter in whose still lifes the most sensualist and exuberant side of the Baroque. The ripeness of the fruits has reached the highest degree of succulence (some are even beginning to open, announcing the ephemeral nature of their splendour). The flowers are also at the peak of their fragrance, ready to wither. The carefully chosen, distinctly baroque scenography is enhanced by the careful study of light, based on a rhythmic play of alternating plant shadows and glows that draw the eye to the porcelain bowl, the figs and the grapes, resolved with accomplished glazes. Known as "Spadino", Giovanni Paolo Castelli was an Italian painter of the Baroque period, mainly active in Rome and specialising in painting still lifes, principally flowers and fruit. He came from a family of artists whose patron was Jan Herinans, a Flemish painter linked to the Pamphili family and specialising in floral compositions. Castelli therefore grew up in direct contact with the artistic circles of Rome at the time and began his training with his older brother, Bartolomeo Castelli (1641-1686), by then a well-known still-life painter. From 1674 he worked as an independent master and after Bartolomeo's death in 1686 he took over the family workshop. Giovanni Paolo Castelli's language also reveals the influence of the Flemish artist Abraham Brueghel, who was active in Italy. In fact, it seems that between 1671 and 1674 Castelli furthered his training in Brueghel's workshop. Castelli painted mainly rich cups and vases with flowers and fruit, with a personal style marked by a brilliant palette that emphasises the contours of the objects, rendered with meticulous detail and attention to quality. His language reveals the Flemish forms that he may have learned from his godfather Herinans, and later also from Brueghel, during the latter's stay in Rome before his final departure for Naples. His language was continued by his son, Bartolomeo Spadino (1696-1738). The origin of the nickname inherited by his son, "Spadino", is uncertain; it literally means "the man with the sword", and was already held by his father, just as he would pass it on to his son. Scholars raise the question of why he inherited the nickname and not his older brother, suggesting that the answer is the shape of his signature, which is very angular, like the blade of a knife. Other historians suggest that it may be due to the fact that the artist used a long, narrow palette, the shape of which is reminiscent of a sword. However, it is documented that Giovanni Paolo was imprisoned between 1680 and 1683 for murder, which may indicate that he earned his nickname by killing his enemy in a duel. Now considered one of the most important still-life painters of the Roman school of the late 17th and early 18th century, Giovanni Paolo Castelli is currently represented in the Pinacoteca Civica Fortunato Duranti in Montefortino, the Museum of Fine Arts in Boston, the Fesch in Ajaccio and the Pinacoteca in Rieti, among other collections.

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