Null Orazio Gentileschi 1563 Pisa-1639 Londra, copia da
Loth and the daughters c…

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Orazio Gentileschi 1563 Pisa-1639 Londra, copia da Loth and the daughters cm 25X33 oil on copper

50

Orazio Gentileschi 1563 Pisa-1639 Londra, copia da Loth and the daughters cm 25X33 oil on copper

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Estim. 35 000 - 45 000 EUR

Important Holy Family, Italian school of the Gentileschi, Orazio and Artemis (Rome, 1593 - Naples 1654) Italian school of the 17th century. Oil on canvas, measurements: 143 x 122 cm. Unreserved lot, liquidation of an important family inheritance, property of an important private collection, Barcelona.

Estim. 10 000 - 12 000 EUR

Landscape with Waterfall, Attributed to Orazio Borgianni (Roma, h. 1575-1616) Oil on canvas. (Rome, ca. 1575-1616). Italian painter and engraver. His training takes place fundamentally in Rome, where he is interested both in the examples of classical antiquity and in the naturalism of Caravaggio. In 1598 he is already in Spain, and in 1601 he is in Pamplona. In June 1603 he appears as one of the signatories of the petition for the establishment of an artistic academy in Madrid. Probably three of the works in the Prado correspond to this first Spanish stage: Christ crucified, Saint Francis receiving the stigmata and Saint Christopher. Between 1603 and 1604 he is again in Italy, but in 1605 he returns to Spain, where he remains until 1607, the year of his definitive return to Rome, where he will remain until his death. His stays in Spain provided him with a clientele that continues to demand commissions from him even after his return to Italy; this is how the works for the Valladolid monastery of Porta Coeli are understood. In them, Borgianni carried out some canvases of clear Caravaggio ancestry, an influence that was felt in the Roman painter especially from 1604, and despite the personal differences between the two artists. In 1610 he is appointed a member of the Academy of Virtuosi of the Pantheon. There are four canvases by Borgianni in the inventories of the Museo del Prado. Christ crucified comes from the Museum of the Trinity, while Saint Francis receiving the stigmata and Saint Christopher are modern acquisitions, from 1984 and 1988, respectively. Reference bibliography: Wethey, Harold Edwin, “Orazio Borgianni in Italy and Spain”, The Burlington Magazine, London, 1964, pp. 147-159. Longhi, Roberto, “Orazio Borgianni” [1919], Edition of the Complete Works, Florence, Sansoni, 1961, t. I, pp. 111-128. Francischi Osti, O., "The testament of Orazio Borgianni", Quaderni di Emblema, Miscellanea / 2, Bergamo, 1973, pp. 97-102. Bottari, Stefano, "An Early Work ...

Estim. 3 000 - 4 000 EUR

Italian school, XVII-XVIII century. Following models of ORAZIO GENTILESCHI (Pisa; 1563-London; 1639). "Virgin of the milk". Fragment of the "Rest in the Flight into Egypt" (Louvre Museum). Oil on canvas. Presents some lack in the frame. It needs restoration. Measurements: 117 x 102 cm; 131 x 116 cm (frame). This painting of classicist school retakes the motive of the maternity extracted from the painting of the mannerist painter Orazio Gentileschi dedicated to the theme of the flight to Egypt (oil painting conserved in the Louvre), where the Holy Family appears making a rest in its way, after leaving Bethlehem to escape to the persecution of Herod. The painter in question is inspired by that image of the Virgin breastfeeding the Child Jesus, respecting the volumetric and monumental proportions of the bodies. He also follows the model of the Virgin of the Milk. Jesus suckles the breast while looking at us out of the corner of his eye, adopting a natural gesture, without any artifice. The mother has classical features that remind us of the timeless. Her hair is gathered in a silky, light brown bun. The painter has chosen a range of more contrasting and earthy tones than the original, so that the flesh tones are slightly atheistic and the light models bodies and features with ingenuity. The whole shows a sacred and leisurely image without the need to introduce symbolic elements. Orazio Lomi Gentileschi was an Italian painter born in Tuscany. He began his career in Rome, painting in a mannerist style. Much of his early work in Rome was collaborative in nature. He painted the figures in Agostino Tassi's landscapes in the Rospigliosi palace, and possibly in the great hall of the Quirinal palace. After 1600, he was influenced by the more naturalistic style of Caravaggio and began to have commissions in Fabriano and Genoa before moving to Paris, to the court of Maria de' Medici. He remained there for two years, but only one painting from his stay has been identified, an allegorical figure of Public Happiness, painted for the Luxembourg Palace, and now in the Louvre collection. In 1626, Gentileschi, accompanied by his three sons left France for England, where he joined the household of the king's prime minister, George Villiers, 1st Duke of Buckingham. He was a favorite artist of Queen Henrietta Maria, for whom he painted the ceiling of the Queen's House at Greenwich. The paintings of his English period are more elegant, artificial and sober than his earlier works. They include two versions of The Finding of Moses (1633), one of which was sent to Philip IV of Spain; it was previously supposed to have been a gift from Charles I, but is now known to have been sent on Gentileschi's own initiative.

Estim. 17 000 - 20 000 EUR

Atelier of Francesco Lazzaro Guardi (Venice, Italy, 1712-1793) The quay and the entrance to the Grand Canal in Venice. Oil on canvas. Attached copy of the valuation letter issued by Christie's (London) from Paul Raison, expert in Antique Painting. 28 x 49 cm.

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