Null STELLETSKY Dimitri Semenovitch (1875-1947)
The Baptism of Christ.
Gouache a…

Description

STELLETSKY Dimitri Semenovitch (1875-1947) The Baptism of Christ. Gouache and graphite on paper signed lower right in Cyrillic characters by the artist "D. Stelletsky", preserved under glass in a natural wood frame. Good condition, age wear to frame. Sight: H.: 35.5 cm - W.: 26.5 cm. Frame: H.: 52.5 cm - W.: 44.5 cm

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STELLETSKY Dimitri Semenovitch (1875-1947) The Baptism of Christ. Gouache and graphite on paper signed lower right in Cyrillic characters by the artist "D. Stelletsky", preserved under glass in a natural wood frame. Good condition, age wear to frame. Sight: H.: 35.5 cm - W.: 26.5 cm. Frame: H.: 52.5 cm - W.: 44.5 cm

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Estim. 5 000 - 6 000 EUR

Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian. Measurements: 25 x 19 cm; 36 x 30,5 cm (frame). This painting belongs to the Tuscan mannerist school and is attributed to the painter Francesco Vanni. An etching of this painter with the same subject and compositional treatment, one of whose copies is preserved in the British Museum, may have served as a preliminary study for the oil painting shown here. The high quality of this painting, in accordance with the mastery of the Sienese master, shows St. Francis of Assisi leaning on a rock, with closed eyelids and half-open lips while listening to the celestial music of the violin played by an angel next to his ear. One of the saint's hands begins to bleed, his wound mimicking the stigmata of Christ's Passion. Each of these narrative details faithfully follows the passages described by St. Bonaventure, biographer of the founder of the Franciscan Order: being gravely ill, St. Francis began to hear music so beautiful that he thought he had already crossed the threshold to the eternal kingdom. Subtle gradations of halftones model the angel's infantile body. The seraphic face contrasts with the wiry, angular features of the ecstatic saint. An amber light emerges from the celestial background and outlines the infant's body against the light, giving it a great beauty, in which we identify Vanni's style. The work clearly belongs to the artistic circle of Francesco Vanni, an Italian painter, draughtsman, engraver, publisher and printer active in Rome and in his hometown of Siena. Vanni was part of a family of painters. When he was 16, Vanni moved to Bologna and then to Rome. He was apprenticed to Giovanni de 'Vecchi during 1579-1580, although he was also greatly influenced artistically by other Tuscan painters of his time. In Rome, he worked with Salimbeni, Bartolomeo Passerotti and Andrea Lilio. Pope Clement VIII commissioned him to paint an altarpiece for St. Peter's, later transferred to mosaic, Simon the Magician rebuked by St. Peter. He painted several other pictures for Roman churches; including St. Michael defeats the rebellious angels for the sacristy of S. Gregorio; a Pieta of St. Mary in Vallicella; and the Assumption of St. Lawrence in Miranda. In Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans. Vanni painted a Baptism of Constantine (1586-1587) for the church of San Agostino in Siena. He was active as an engraver and engraved three devotional engravings after his own designs. In addition, he was the publisher of a large 4-plate map of Siena that he himself had designed and had engraved by the Flemish engraver Pieter the Elder. He asked Lorenzo Usimbardi in 1595 for help in obtaining financial support for the publication of the map.

Estim. 900 - 1 200 EUR

Flemish school; 17th century. "Saint John the Baptist". Oil on copper. It presents faults on the pictorial surface. It has a Spanish frame of the XVIIIth century with faults. Measurements: 20 x 15 cm; 43 x 28 cm (frame). The Gospels say about John the Baptist that he was the son of the priest Zechariah and Elizabeth, cousin of the Virgin Mary. He retired at a very young age to the Judean desert to lead an ascetic life and preach penance, and recognised in Jesus, who was baptised by him, the Messiah foretold by the prophets. A year after Christ's baptism, in the year 29, John was arrested and imprisoned by the tetrarch of Galilee Herod Antipas, whose marriage to Herodias, his niece and sister-in-law, he had dared to censure. Finally, St. John was beheaded, and his head given to Salome as a reward for his beautiful dances. This saint appears in Christian art in two different guises: as a child, a playmate of Jesus, and as an adult, an ascetic preacher. The adult Saint John depicted here is dressed in Eastern art in a camel-skin sackcloth, which in the West was replaced by a sheepskin, leaving his arms, legs and part of his torso bare. The red cloak he wears at times, as well as in the scene of his intercession at the Last Judgement, alludes to his martyrdom. In Byzantine art he is depicted as a large-winged angel, with his severed head on a tray which he holds in his hands. However, his attributes in Western art are very different. The most frequent is a lamb, alluding to Jesus Christ, and he often carries a cross of reeds with a phylactery with the inscription "Ecce Agnus Dei".

Estim. 1 700 - 3 400 EUR

Baptism of Christ in the Jordan by John the Baptist - Dutch painter of the 17th century - River landscape with rocky shore, shepherds on the bank and the hovering dove as a symbol of the Holy Spirit above the scene. Oil/leaf wood. 28.5 x 38 cm. - The Italianate landscape and the treatment of the paint suggest an authorship by Cornelis Van Poelenburgh (Utrecht 1594-1667 ibid.), who was influenced by Italian landscape painting during his trip to Italy.

Estim. 120 - 180 EUR

Festival Icon Russia, late 19th century, inscribed in Church Slavonic, tempera over chalk ground over a hardwood board with two narrow sides, richly gold-grounded, engraved and punched, central motif of the Resurrection of Christ, framed by 16 small-format scenes from the life of Christ and Mary, including the Annunciation, Baptism, Nativity etc., depictions of the four Evangelists in the corners, good condition, dimensions 36 x 30 cm.

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