Null Giovan Battista Mariotti 1690 Vicenza-1479 Venezia
San Girolamo Published o…

Description

Giovan Battista Mariotti 1690 Vicenza-1479 Venezia San Girolamo Published on the Zeri Photo Library (card no. 66834) W. 69 - H. 80 cm oil on canvas Private collection, Bologna Published on the Zeri Photo Library (card no. 66834)

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Giovan Battista Mariotti 1690 Vicenza-1479 Venezia San Girolamo Published on the Zeri Photo Library (card no. 66834) W. 69 - H. 80 cm oil on canvas Private collection, Bologna Published on the Zeri Photo Library (card no. 66834)

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Estim. 1 000 - 1 200 EUR

Jean RANSY (1910-1991). Mysterious Flanders. Circa 1975. Gouache. This is the final version selected for the cover of Paul de Saint Hilaire's book, "La Flandre mystérieuse", published in 1976 by Rossel, Nouveaux guides collection, number 7. The brochure will be given to the purchaser. Related work: A small lighter version measuring 21 x 13 cm Ferraton sale February 2015. Belgian private collection. Our larger, more accomplished model features notable additions: Golden Fleece on the boat, Profile of Saint John the Baptist lower right, bat in the sky and many other small details. Dimensions: 64 x 40 cm. Minor tear to upper right corner.

Estim. 4 000 - 5 000 EUR

After ANDREA DEL VERROCCHIO (Florence, 1435 - Venice, 1488). "The Condottiero Bartolomeo Colleoni". Bronze. Ferdinand Barbedienne Fondeur. Measurements: 16 x 43 x 17 cm. Replica in medium format of the equestrian monument in bronze dedicated to the Condottiero Bartolomeo Colleoni, 395 cm high without the pedestal, realized by Andrea del Verrocchio between 1480 and 1488 and located in Venice, in the square of Saints John and Paul. It is the second equestrian statue of the Renaissance, after the monument to Gattamelata by Donatello in Padua, 1446-53. Its history dates back to 1479, when the Republic of Venice decreed the realization of an equestrian monument dedicated to this Condottiero, who died three years earlier, to be placed in the Piazza dei Santi Giovanni e Paolo. In 1480 Verrocchio was commissioned to execute it, and he began the work in his workshop in Florence. In 1481 the wax model was sent to Venice, where the artist went in 1486 to personally direct the casting of the final model, in lost-wax bronze. Andrea Verrocchio died in 1488 with the work unfinished, although the wax model was to remain, and in his will he determined that Lorenzo di Credi should continue the project. However, the Venetian Signoria preferred the local artist Alessandro Leopardi, a painter and sculptor, multidisciplinary in the modern way, as Verrocchio himself had been. The Florentine artist based the creation of the monument on the equestrian statue of Donatello's Gattamelata, the ancient statues of Marcus Aurelius and the horses of St. Mark (13th century) and of the Regisole (a work of late antiquity in Pavia, lost in the 18th century). There were also frescoes by Giovanni Acuto, Paolo Ucello and Andrea del Castagno. There was, on the other hand, the important technical problem of representing the horse with a raised front leg, in a majestic forward position, which Donatello had prudently solved by placing a sphere under the raised leg. Verrocchio will be the first to succeed in erecting an equestrian statue supported only on three legs.

Estim. 5 500 - 6 000 EUR

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. 4 500 - 5 500 EUR

Circle by CHARLES LE BRUN (Paris, 1619-1690); circa 1700. "The Family of Darius before Alexander". Oil on canvas. Re-retouched. It presents repainting and old restorations. Measurements: 65 x 98 cm; 85 x 118 cm (frame). This work follows the model established by the artist Charles Le Brun in 1660, when he made a painting of the same subject, which is nowadays kept in the Palace of Versailles. Le Brun's work has the same composition; however, in this particular case, the landscape format allows a larger number of figures to be depicted. In the central area is the same composition as the one mentioned above, with the Mother of Darius kneeling on the ground in front of the upright figures of Alexander and Hephaestius. Several figures, forming a large procession, are sheltered under the canvas of a tent, as in Le Brun's painting. In this particular case, however, the artist has allowed himself a little licence by depicting a group of soldiers on the right-hand side of the painting. The scene depicts the moment when, after the battle of Issus, Alexander and his friend Hephaestius decided to visit the family of Darius, who had been defeated. Because of Alexander's youth, Darius' mother was confused and knelt down before Hephaestius. Charles Le Brun was a French painter and an important art theorist. He trained in the studio of Simon Vouet as a child, receiving commissions from Cardinal Richeliu at the age of fifteen. Between 1642 and 1646 he was in Rome, where he came into contact with works by Raphael, Guido Reni, the Bolognese school, etc., and where he was also a pupil of Poussin. He returned to Paris and continued with an important body of work, reaching his stylistic maturity towards the middle of the century (classicist and elegant painting). He was ennobled by Louis XIV, who appointed him Premier Peintre du Roi in 1664. His work can be found in the Louvre in Paris, Versailles, the Los Angeles County Museum of Art, the J. Paul Getty Museum (Los Angeles, USA), the Metropolitan Museum in New York, the Musée des Beaux-Arts in Lyon (France), the Hermitage in Saint Petersburg (Russia), the National Gallery of Art in Washington D.C. (USA), the Rijksmuseum in Amsterdam, etc.

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