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Wed 26 Jun

Spanish school; 17th century. "Saint John the Baptist". Oil on canvas. Preserves original canvas. Former attribution to Juan Bautista Maino (Pastrana, Guadalajara, 1581 - Madrid, 1649). Measurements: 102 x 77 cm; 187 x 135 cm (frame). In this work, deeply marked by devotion, the painter portrays Saint John the Baptist as a young beardless boy, holding the cross of reeds with the phylactery which reads "Ecce Agnus Dei", typical of his iconography. The saint is shown set in a lush nocturnal landscape of great depth, worked with a successful play of light contrasts that allow the mother-of-pearl finish of the protagonist's skin to become the illumination of the work. This characteristic shows us a delicate young man, not only in tone but also in form, with a rounded, delicate anatomy, as can be seen especially in the legs and also in the facial features, with the profile of the nose standing out, which is further enhanced by a pinkish finish that enhances the idea of youth. The painter of the work, which is based on the classical iconography of the scene, although he abandons the idea of the lamb, which is customary in depictions of Saint John the Baptist. In such a way that it gives greater prominence to the figure of the saint, in an individual, delicate and resounding manner. The quality of the finishes is excellent, the subtlety of the Nimbus of Holiness and the folding of the red cloak, with its play of light and shadow that shapes the volume in a fluid and natural way, are examples of the painter's artistic skill. The Gospels say of 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. 28 000 - 30 000 EUR

Wed 26 Jun

Italian school of the second half of the 17th century. "The Preaching of Jean-Baptiste". Oil on canvas. Relined. Size: 90 x 63 cm; 109 x 81 cm (frame). In this work the painter narrates a biblical episode: the preaching of Saint John the Baptist in the desert. When the saint went out to preach, he chose the Palestinian desert, an uninhabited place to which crowds flocked, as the Gospel narrates: "crowds came to him from all the region of Judea, and all the inhabitants of Jerusalem, and were baptised by him, confessing their sins" (Mk. 1:5). John turned the desert (which was not a dry plain but a wild and uninhabited area) into a hive of people, who came from all over to hear his message, confess their sins and change their lives. St. John chose this enclave precisely because it was the same place where General Joshua, centuries earlier, had entered with the people of Israel to seize the Promised Land and inaugurate a new age of splendour (Jos. 4:13,19). This scene depicts St. John the Baptist preaching in the Palestinian desert. Alongside him, the inhabitants of Judea are represented as coming before him to listen to him and be baptised. John the Baptist is depicted with his staff adorned with phylactelia. The disciples and listeners exchange impressions among themselves, showing a variety of attitudes to John's words. The way in which the figures have been portrayed, with their volumetric musculature and classically inspired clothing, brings us closer to the aesthetic precepts of the Italian school. The Gospels say of 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 that leaves 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 held in his hands. However, his attributes in Western art are very different. The most frequent is a lamb, which alludes to Jesus Christ, and he often carries a cross of reeds with a phylactery with the inscription "Ecce Agnus Dei". Spanish school; late 18th century.

Estim. 1 200 - 1 400 EUR

Thu 27 Jun

Diego Giacometti, 1902 Borgonovo/ Schweiz – 1985 Paris - CHEVAUX ET ARBRE Cast bronze, dark patina Height: 33.5 cm. Length: 59.5 cm. Depth: 4.5 cm. Signed "DIEGO" on the plinth, with the monogram "DG" next to it. Enclosed an expertise by James Lord, Paris, Nov. 20, 1986, in copy. Greenish patina in the treetop. Narrow plinth on stilted round feet. Created in two versions, once with only one horse on the tree, then the present version with two horses. Inscribed as an element of the "Console La promenade des amis". According to expertise, circa 1970, formerly Galerie Pierre Matisse New York, from the collection of Moises Staliar, director of Formula Italy. A.R. Literature: Cf. Claude Delay: Giacometti, Alberto et Diego, l'histoire cachée, Fayard, Paris 2007. Cf. Claude Delay: Alberto and Diego Giacometti. Die verborgene Geschichte, Römerhof Verlag, Zurich 2012 (1401557) (11) Diego Giacometti, 1902 Borgonovo/ Switzerland - 1985 Paris CHEVAUX ET ARBRE Height: 33.5 cm. Length: 59.5 cm. Depth: 4.5 cm. Signed "DIEGO" on plinth with monogram "DG" alongside it. Accompanied by an expert's report by James Lord, Paris, 20 November 1986, in copy. Bronze casting with dark patina, tree crown with greenish patina. Narrow plinth on stilted round feet. Manufactured in two versions. The first sculpture just with one horse on the tree; the present version with two horses. Described as an element of the "Console La promenade des amis". According to an expert's report dating ca. 1970, former Galerie Pierre Matisse in New York, from the collection of Moises Staliar, director of Formula Italy. Literature: cf. Claude Delay: Giacometti, Alberto et Diego, l'histoire cachée, Paris 2007. cf. Claude Delay: Alberto and Diego Giacometti. The hidden history, Zurich 2012 (†).

Estim. 60 000 - 80 000 EUR
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