DROUOT
Wednesday 26 Jun at : 14:00 (CEST)

GRANDS DECORS - Siècles Classiques

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Salle 5 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
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mercredi 26 juin - 11:00/12:00, Salle 5 - Hôtel Drouot
mardi 25 juin - 11:00/18:00, Salle 5 - Hôtel Drouot
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292 results

Lot 315 - Lippo D’ANDREA (Florence C. 1370 – post 1447) - Saint Philip and other martyrs Tempera and gold on panel 36.8 x 26.5 x 2 cm Some restoration and wear Old label on the back with an inscription in German: um 1420 lunentino (?) . Trace of an old label on the upper side bearing another inscription: A 19. Following his training in the artistic circle around Agnolo Gaddi (documented in Florence between 1369 and 1396), Lippo d'Andrea seems to have quickly embraced the phenomenon of neo-giottism, which spread to Florence at the end of the 14th century. Subsequently, the refined painting of Lorenzo Monaco (documented in Florence between 1391 and 1422) seems to have steered Lippo towards a different style. Our panel should indeed belong to the latter part of the artist's career (around 1430), when he combined the mystical elegance and vivid, delicately nuanced colors of Lorenzo Monaco's miniatures, but in a more relaxed, accommodating version, with the new Renaissance taste inspired by Giovanni del Ponte (Florence, 1385 - 1437/38) and Masolino da Panicale (Panicale, San Giovanni Valdarno 1383 - Firenze 1440 circa). The composition of our "altarolo" is very similar to that chosen by Lippo in his miniature of the Brigettine Gradual (Bernard H. Breslauer, New York, circa 1435), also divided into two parts. To a contemporary collector new to primitives, our panel should be quite fascinating in both composition and style. Indeed, the reading of the first is based on the same logic as a comic strip, with its division into superimposed planes and distinct compartments. The development of the second, on the other hand, is the result of a pure and simple fusion of two opposing stylistic traits: on the one hand, the realism derived from Giotto and, on the other, the still typically Gothic abstraction. Lippo's poetic charm also emanates from the almost ecstatic lyricism of his figures. We would like to thank Professor Alessandro Delpriori and Professor Alessandro Tomei for confirming the attribution of our painting to Lippo d'Andrea on the basis of photographs. Reference bibliography: L. Pisani, Pittura tardogotica a Firenze negli anni trenta del Quattrocento: il caso dello Pseudo-Ambrogio di Baldese, "Mitteilingen des Kunsthistorischen Institutes in Florenz", XLV, ½, 2002, p. 2-36 S. Chiodo, Lippo d'Andrea: problemi di iconografia e stile, "Arte Cristiana", XC, N. 808, 2002, pp. 1-16. H: 36.5 x W: 26.5 cm

Estim. 15 000 - 20 000 EUR

Lot 316 - Antonio CICOGNARA (actif à Cremona, vers 1480 – 1516) - Condemnation of Saint Lucy and the saint dragged by oxen, circa 1490 Oil and tempera (?) on panel 43 x 71 cm Restorations As a painter and miniaturist, Antonio Cicognara's work perfectly encapsulates the countless influences that existed in Cremona in the late 15th and early 16th centuries. His "expressionist" style, with its metallic, angular draperies and typical physiognomies, is linked to that of Mantegna in Mantua and Cosmè Tura in Ferrara, through the highly personal influence of Milanese artists such as Bernardino Butinone (Treviglio, 1450 - 1507) and Giovanni Antonio Piatti (Milan, 1447 or 1448 - Cremona, 1480). A sculptor, Piatti had also worked in Cremona on the marble plaques for the Arch of the Persian Martyrs in San Lorenzo (completed in 1482 by Amadeo and partially reassembled in 1820 in the two pulpits of Cremona Cathedral): the figures featured on these plaques could easily take the place of the figures in our painting, without altering the style or composition, in some cases being almost superimposable. The preciousness of the colors and certain elements, reminiscent of miniatures, the originality of the architectural details, the clear forms of the figures and the general exuberance of the composition make this panel a rare example of one of the most fascinating moments of the Renaissance in Northern Italy, and of Cicognara as a painter who was certainly unconventional. Stylistic reasons, dimensions, subject matter and strong physiognomic similarities between the figures all suggest that our panel may form the central part of a predella whose other elements are preserved in Boston (Saint Lucy and her Mother Praying before the Tomb of Saint Agatha, Isabelle Stewart Gardner Museum, as follower of Cosmè Tura, 43 x 32 cm) and Florence (Two Angels Watching the Body of Saint Lucy, The Harvard Center for Italian Renaissance Studies, Villa I Tatti, as Antonio Cicognara, 38 x 27 cm). We would like to thank Professor Michele Danieli and Professor Marco Tanzi for confirming the attribution of our painting to Antonio Cicognara on the basis of photographs. Reference bibliography: M. Tanzi, in Pittura a Cremona dal Romanico al Settecento, Milano, 1990, p. 239. M. Tanzi, Antonio Cicognara. Section of an altarpiece, in The Bernard and Mary Berenson Collection of European Paintings at I Tatti, 2015, p. 199 - 202, n. 23. H: 43 x W: 71 cm

Estim. 8 000 - 12 000 EUR

Lot 317 - École SIENNOISE de la fin du XVe - début du XVIe siècle, atelier de Benvenuto di GIOVANNI - Holy Family with St. Clare and St. John the Baptist child with symbols of the Eucharist and Baptism 69 x 42 cm In a neo-Gothic carved and gilded wood frame (93 x 57 cm) The style of this panel reflects the artistic culture of the 15th-century Sienese school, dominated by the influence of Lorenzo di Pietro, known as Il Vecchietta (Castiglione d'Orcia, near Siena, 1410 - Siena 1480) and Giovanni di Paolo (Siena, 1398 - 1482). The choice of an asymmetrical composition, more dilated volumes, less graphic contours and looser forms suggest that our artist may have been familiar with the works that Luca Signorelli (Cortona, after 1441 - 1523) and Pinturicchio (Perugia 1454 - Siena 1513) executed for Siena in the late 15th and early 16th centuries. At that time, the city's most fashionable workshop was that of Benvenuto di Giovanni (Siena 1436 - 1518 circa) and his son Girolamo di Benvenuto (Siena 1470 - 1524). Our panel should have been made in this workshop. The iconography of our panel is very rare and, unless we are mistaken, has no similarities in other paintings. It would appear to have been the result of a very special commission for a private devotion. In a very intimate atmosphere, an angel appears in the sky carrying a loaf of bread in his hands: this would be the bread that came down from heaven (John 6:58: "This is the bread that came down from heaven .... whoever eats of this bread will live forever"). On the left, the Virgin Mary and St. Joseph with St. Clare of Assisi are contemplating the infant Jesus and the infant John the Baptist, on the right. The latter are standing next to each other, one dressed in red, the color of the Passion, the other in an animal-skin tunic tied at the waist, each holding a small jug. Jesus' would contain the wine (John 15:1-8: "I am the vine, and you are the branches. He who abides in me and I in him, the same bears much fruit, for apart from me you can do nothing"). The jug of the infant John the Baptist, on the other hand, would contain the water: it is tilted in the action of the baptizer. Above Jesus' head appears a river, a possible allusion to the Jordan in whose waters he had been baptized. Our painting is a perfect example of the inexhaustible iconographic richness and skill of artistic workshops in the ancient Italian states, and of the force of attraction that early religious painting still manages to arouse. . We would like to thank Mr. Angelo Loda for suggesting this interpretation of the subject. H: 69 x W: 42 cm

Estim. 8 000 - 10 000 EUR

Lot 324 - Giuseppe CESARI dit Il CAVALIER d'ARPINO (Arpino, 1568 - Rome, 1640) - The Holy Family adored by Saint Francis with an angel Oil on copper in grisaille 42 x 34.5 cm Minor restorations 18th-century Carlo Maratta frame in carved and gilded wood (restorations and some missing parts) Provenance : Sestieri, Rome Italo Faldi, Rome Born into a family of artists, Ercole Procaccini hails from Milan, where his namesake grandfather (1515 - 1595) moved in 1586 to found a painting academy. Ercole worked there with his uncle, Giulio Cesare Procaccini (Bologna, 1574 - Milan, 1625), who gave him a taste for a style inspired by the emotions of Correggio and the grandiloquence of Rubens. We now know that Ercole the Younger held a position of great importance in the Lombard artistic world of the mid-seventeenth century: thanks to the support of the powerful Arese family and the Spanish governor in Milan, the Marquis of Caracena, he took part in the major artistic projects of the period. His compositions on religious subjects, with their sober style and direct message, had certainly attracted the favor of the protagonists of Milan's Counter-Reformation. He was also able to excel in paintings with mythological subjects, as is the case with this attractive canvas already attributed to his uncle, which represents a major rediscovery of Lombard pagan painting. The theme was very dear to the artists of Northern Europe, and it also enjoyed a certain success in Lombardy. Dating back to the Roman playwright Terence, the motto "Sine Cerere et Baccho friget Venus" means that, in order not to lose its strength, love needs food (Ceres) and wine (Bacchus). In this painting, Ercole opts for the tight composition found particularly in Nordic examples. However, his interpretation is all about bewitching light-and-shadow effects and an amber palette, revealing his affinity with the works of Giovanni Stefano Danedi, known as il Montalto (1612 - 1690). The dense brushwork, the brown and red tones, the figures in the foreground animated by a warm light while Bacchus, in the background, is in twilight: these are all typical characteristics of this admirable creator of bewitching and highly eloquent images. Bibliography: H. Roettgen, Il Cavalier Giuseppe Cesari d'Arpino. Un grande pittore nello splendore della fama e nell'incostanza della fortuna, Rome, 2002, p. 379, n. 137 M.S. Bolzoni, Il Cavalier Giuseppe Cesari d'Arpino. Maestro del disegno. Catalogo ragionato dell'opera grafica, Rome, 2013, p. 343, n. 222 (cit.). H. Roettgen, Cavalier Giuseppe Cesari d'Arpino. Die Zeichnungen. I disegni. III Reife und Alter. Maturita' e anzianita' 1605-1640, Stoccarda 2013, pp. 16-17, n. 427 (published in black and white). Related works by Cavalier d'Arpino: The panel with identical subject (42 x 32 cm) in the Pushkin Museum of Fine Arts, Moscow (see image no. 1). The altarpiece The Virgin and Child with St. Francis and St. Catherine in the church of Santa Maria della Tomba (Rotoli chapel) in Sulmona (Abruzzo, Italy). The Holy Family adored by St. Francis drawing at the Uffizi (Gabinetto Disegni e Stampe). H: 45 x W: 36.5 cm

Estim. 15 000 - 20 000 EUR

Lot 358 - Ercole PROCACCINI LE JEUNE (Milan 1605 - Milan 1680) - "Sine Cerere et Baccho friget Venus" Allegory with Venus, Ceres, Bacchus and Love Oil on canvas 70 x 60 cm Some restorations Antique carved and gilded wood frame Private collection, Brescia Private collection, France Born into a family of artists, Ercole Procaccini hails from Milan, where his namesake grandfather (1515 - 1595) moved in 1586 to found a painting academy. Ercole worked there with his uncle, Giulio Cesare Procaccini (Bologna, 1574 - Milan, 1625), who gave him a taste for a style inspired by the emotions of Correggio and the grandiloquence of Rubens. We now know that Ercole the Younger held a position of great importance in the Lombard artistic world of the mid-seventeenth century: thanks to the support of the powerful Arese family and the Spanish governor in Milan, the Marquis of Caracena, he took part in the major artistic projects of the period. His compositions on religious subjects, with their sober style and direct message, had certainly attracted the favor of the protagonists of Milan's Counter-Reformation. He was also able to excel in paintings with mythological subjects, as is the case with this attractive canvas already attributed to his uncle, which represents a major rediscovery of Lombard pagan painting. The theme was very dear to the artists of Northern Europe, and it also enjoyed a certain success in Lombardy. Dating back to the Roman playwright Terence, the motto "Sine Cerere et Baccho friget Venus" means that, in order not to lose its strength, love needs food (Ceres) and wine (Bacchus). In this painting, Ercole opts for the tight composition found particularly in Nordic examples. However, his interpretation is all about bewitching light-and-shadow effects and an amber palette, revealing his affinity with the works of Giovanni Stefano Danedi, known as il Montalto (1612 - 1690). The dense brushwork, the brown and red tones, the figures in the foreground animated by a warm light while Bacchus, in the background, is in twilight: these are all typical characteristics of this admirable creator of bewitching and highly eloquent images. Bibliography: F. M. Ferro, Giulio Cesare Procaccini: aggiunte agli ultimi anni milanesi, in "Rivista d'Arte", series V, volume 2, 2012, pp. 279-280, n. 5 (as Giulio Cesare Procaccini; published in black and white) H. Brigstocke, O. d'Albo, Giulio Cesare Procaccini. Life and Work, 2020, RA11 p. 409, fig. p. 290 (as a follower of Giulio Cesare Procaccini; published in black and white). H: 70 x W: 60 cm

Estim. 12 000 - 16 000 EUR