Description

Antiveduto Gramatica, 1571 Siena – 1626 Rom

RETURN OF DAVID WITH THE HEAD OF GOLIATH Oil on canvas. Doubled. 142.5 x 197.5 cm. Circa 1610. In gilded frame with foliate relief. Depiction from the biblical story of David's battle against the giant Goliath. On the left at the edge, the young David with a bright red cloak, holding a long staff with the giant's oversized head upwards in his hands, a red bloodstain visible on his forehead. He had hit the giant on the forehead with a slingshot and cut off his head with his sword. To his right are female figures making music and dancing lightly with a triangle, tambourine and wind instrument, celebrating his triumph; to David's left is a soldier in armor. Provenance: Princes De Ferrari, Palazzo De Ferrari, Genoa. Literature: Bruno Santi and Claudio Strinati (eds.), Roma e Siena: Echi e opera. Raffaello e Caravaggio ad centro di un rapporto millenario, exhibition catalog, Siena 2005, pp. 412-413. Cf. Pierluigi Carofano, Antonio Vignali (eds.), Tenerezza e luce nella pittura italiana tra Quattrocento e Settecento, exhibition catalog, Pontedera 2013. Pierluigi Carofano, in: I miti e il territorio nella Sicilia dalle mille culture. L'Influenza di Caravaggio e dei Fiamminghi nella pittura meridionale, exhibition catalog, F. Paliaga (ed.), Castello Normanno-Svevo di Salemi, Pontedera 2015. Exhibitions: Siena, Palazzo Squarcialupi, Roma e Siena: Echi e opera. Raffaello e Caravaggio al centro di un rapporto millenario, November 2005-February 2006. (14012510) (13) Antiveduto Gramatica, 1571 Siena - 1626 Rome DAVID RETURNING WITH THE HEAD OF GOLIATH, CA. 1610 Oil on canvas. Relined. 142.5 x 197.5 cm. Provenance: De Ferrari Princes, Palazzo De Ferrari, Genoa. Literature: B. Santi and C. Strinati (ed.), Roma e Siena: Echi e opera. Raffaello e Caravaggio ad centro di un rapporto millenario, exhibition catalogue, Siena 2005, pp. 412-413. cf. Pierluigi Carofano and A. Vignali (ed.), Tenerezza e luce nella pittura italiana tra Quattrocento e Settecento, exhibition catalogue, Pontedera 2013. Pierluigi Carofano, in: I miti e il territorio nella Sicilia dalle mille culture. L'Influenza di Caravaggio e dei Fiamminghi nella pittura meridionale, exhibition catalogue, F. Paliaga (ed.), Pontedera 2015. Exhibitions: Roma e Siena: Echi e opera. Raffaello e Caravaggio al centro di un rapporto millenario, Palazzo Squarcialupi, Siena, November 2005 - February 2006. (†)

Automatically translated by DeepL. The original version is the only legally valid version.
To see the original version, click here.

186 
Go to lot
<
>

Antiveduto Gramatica, 1571 Siena – 1626 Rom

Estimate 150 000 - 250 000 EUR
Starting price 150 000 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 32.5 %

For sale on Thursday 27 Jun : 10:00 (CEST)
munich, Germany
Hampel
+4989.288.041.70
Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address
Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.

You may also like

MARIUS JEAN ANTONIN MERCIÉ (1845-1916) David defeating Goliath Model created in Rome 1869-70; published by Barbedienne (1810-1892) from 1875. Bronze with brown patina Signed "A MERCIE" on the terrace Bears the founder's stamp "F. BARBEDIENNE. Fondeur" on the back of the base (Small deformation of the sword) David defeating Goliath, bronze sculpture with brown patina by Marius Jean Anthonin Mercié HEIGHT 62.50 CM - WIDTH 24.6 IN. Related work Antonin Mercié, David, circa 1872, bronze, H. 184,1 ; W. 76,8 ; D. 83,2 CM, Paris, Musée d'Orsay, inv. RF 186. Related literature Florence Rionnet, Les bronzes Barbedienne, l'œuvre d'une dynastie de fondeurs (1834-1954), Paris, Arthena, 2016, model listed under no. 1072, p. 372. With this shipment from Rome, Antonin Mercié met with immediate success and recognition from the State, which awarded him the Légion d'honneur and commissioned a bronze version in 1872, which was placed in the Musée des Artistes Vivants in 1874. It was also a popular success: the work was reproduced in all the newspapers. Bronze reductions multiplied, and the Barbedienne foundry produced six versions in different sizes. On December 18, 1916, the newspaper l'Écho reported a news item that summed up the general craze for this figure: "The most popular statue made by Antonin Mercié is certainly his 'David vainqueur'. The little Italians who sell plaster casts in the streets of Paris almost always carry several models of this figure in their baskets. [...] " Antonin Mercié's contemporaries saw in this sculpture, sent from Rome in 1870, an echo of the events that were shaking France at the time. After the Prussian victory, the French spirit was rising and already looking forward to a forthcoming reconquest. Mercié saw in the biblical hero an expression of this hope. He makes David a personification of France and Goliath a symbol of the Prussian oppressor. Mercié's use of the biblical subject follows in the footsteps of Florentine sculptors of the Renaissance, notably Donatello, who gave his David a civic and political dimension. From the Florentine master, Mercié also takes on the graceful allure given by the canon of the body and the slight contrapposto. To this youthful gentleness, Mercié added more dynamic and realistic details, making his sculptures popular with the Third Republic. In the wake of this David, Mercié received numerous commissions for public monuments exalting the fatherland and its heroes.