Bernardo Cavallino Paintings & Artwork for Sale | Bernardo Cavallino Art Value Price Guide

Dec. 10, 2024
CAVALLINO BERNARDO (1616 - 1656) - Saint Jude Thaddeus
Est: €40,000 - €60,000
CAVALLINO BERNARDO (1616 - 1656). Saint Jude Thaddeus. Provenance: Gilberto Algranti Collection, Milan in 1969; Private Collection, Milan; Francesco Romano Collection, Rome in 1973; Private Collection, Milan. Literature: A. Percy, Bernardo Cavallino of Naples 1616-1656. The Cleveland Museum of Art 1984, pp. 112 e 114, fig. 30-31b (as a Holy in preyer); Nicola Spinosa, Bernardo Cavallino1616-1656, Electa Napoli, 1985, pp. 122-123, fig. A21-22b; Nicola Spinosa, Grazia e tenerezza "in posa", Bernardo Cavallino e il suo tempo, Ugo Bozzi Editore, Roma, p. 323. . 76 x 95,50 cm.
Capitolium Art
Oct. 24, 2024
Santa Caterina d'Alessandria
Est: €40,000 - €60,000
Bernardo Cavallino (attribuito a) (Napoli 1616-Napoli 1656) Saint Catherine of Alexandria Oil on canvas cm. 118x91. Framed Luigi Moretti Collection, Rome.
Bertolami Fine Art s.r.l.
May. 28, 2024
Attributed to Bernardo Cavallino (Naples 1616-1656) - Immaculate
Est: €14,000 - €20,000
oil on canvas 68.5 x 56.5 cm PROVENANCE formerly Antonio Morassi collection, Milan (as per label on the back). EXHIBITIONS Mostra della pittura napoletana del '600 - '700 - '800 Naples, Castello Angioino, March - June 1938 (as per label on the back). The painting comes from the famous prototype in Caen (Musée de Beaux Art) of which Cavallino executed many versions of different dimension. This is in a smaller size for the private devotion.
Finarte
Jun. 15, 2023
ATTRIBUÉ À BERNARDO CAVALLINO (1616-1656) L'Immaculée Conception huile sur
Est: €10,000 - €15,000
ATTRIBUÉ À BERNARDO CAVALLINO (1616-1656) L'Immaculée Conception huile sur toile, sans cadre 88 x 72 cm. (34 5/8 x 28 1/3 in.)
Christie's
Mar. 30, 2023
Bernardo Cavallino, 1616/22 Neapel – 1654/56 ebenda, zugeschrieben
Est: €20,000 - €40,000
MATTHÄUS IM GEBET Öl auf Karton auf Leinwand. 42,5 x 31,3 cm. In bronziertem gekehltem Rahmen. Beigegeben eine Expertise von Paolo Giansiracusa, Turin, 5. September 2022, in Kopie. Das Gemälde wird von Giansiracusa in die 1630er- bzw. Anfang der 1640er-Jahre datiert und kann vergliechen werden mit einer Heiligen Katharina von Alexandrien, die im Barber Institute of Fine Arts der University of Birmingham verwahrt wird, bzw. mit einem San Lorenzo (1640-1645), der im Museo de Làzaro Galdiano in Madrid verwahrt wird. Ebenso vergleichbar ist ein Stefanus bei Giacometti Old Master Paintings in Mailand und ein Werk, das im Museo Nazionale di Capodimonte in Neapel verwahrt wird. Der Künstler war ein neapolitanischer Maler des Barock. Er malte meist biblische, mythologische oder historische Sujets. Seine Kunst ist von intimer Zartheit und großer malerischer Feinheit. Seine Figuren sind dabei von auffälliger Schlankheit und Eleganz. Literatur: Vgl. Michael Stoughton, Bernardo Cavallino. Fort Worth, in: The Burlington Magazine, Bd. 127 (984), 1985, S. 192-194. Vgl. Raffaello Causa, Pittura napoletana dal XV al XIX secolo, Bergamo 1957. Vgl. Gianluca Forgione, Per una rilettura di Bernardo Cavallino, in: Paragone. Arte, 108, 2013. Vgl. Maria Angela Novelli, Cavallino Bernardo, in: Dizionario biografico degli italiani, Bd. 23, hrsg. v. Istituto dell‘ Enciclopedia Italiana, Rom 1979. (1350134) (13) Bernardo Cavallino, 1616/22 Naples – 1654/56 ibid., attributed SAINT MATTHEW IN PRAYER Oil on card, laid on canvas. 42.5 x 31.3 cm. Accompanied by an expert’s report by Paolo Giansiracusa, Turin, 5 September 2022. Giansiracusa dates the painting to the 1630s/early 1640s and states that it compares well to a Saint Catherine of Alessandria held at the Barber Institute of Fine Arts at the University of Birmingham or to a San Lorenzo (1640-1645) held at the Museo de Lázaro Galdiano in Madrid. Also comparable is a Saint Stephen at Giacometti Old Master Paintings in Milan and a work held at the Museo Nazionale di Capodimonte in Naples.
Hampel Fine Art Auctions
Mar. 30, 2023
Bernardo Cavallino, 1616/22 Neapel – 1654/56 ebenda, Werkstatt des
Est: €15,000 - €20,000
DIE VERMÄHLUNG DES TOBIAS Öl auf Leinwand. Doubliert. 75 x 101 cm. In Prunkrahmen. Auf dem Gemälde wiedergegeben ist eine Episode aus dem Buch Tobit, das zu den Apokryphen des Alten Testaments zählt. Der jugendliche Tobias in dunklem Gewand reicht gerade seiner zukünftigen Frau Sara die Hand zur Vermählung, die ihm leicht gebeugt in langen faltenreichen Gewändern gegenüber steht. Links hinter Tobias der Erzengel Raphael, der ihn auf seiner Reise begleitet hat, sowie zu seinen Füßen ein kleines Hündchen, ein weiterer Reisebegleiter. Zwischen beiden der Vater Saras stehend, mit seinem ausgestrecken linken Zeigefinger auf ihren zukünftigen Ehemann verweisend; hinter Sara weitere Familienangehörige. Am rechten Bildrand schließlich ein Tisch und davor am Boden diverse glänzende Kupfergefäße. Das Licht fällt aus nicht sichtbarer Quelle von links oben in den Raum und beleuchtet eine Gesichtshälfte des Tobias sowie Gesicht und Oberkörper von Sara. Malerei mit starken Hell-Dunkel-Kontrasten, an Arbeiten der Caravaggisten erinnernd. Die dargestellte Vermählung ist ein eher seltenes Motiv aus der Tobiasgeschichte; weit häufiger zu finden sind Darstellungen mit der Reise des Tobias in Begleitung des Erzengels, als auch die Heilung seines Vaters von der Blindheit. Der Künstler war ein neapolitanischer Maler des Barock. Er malte meist biblische, mythologische oder historische Sujets. Seine Kunst ist von intimer Zartheit und großer malerischer Feinheit. Seine Figuren sind dabei von auffälliger Schlankheit und Eleganz. (1350851) (18) Bernardo Cavallino, 1616/22 Naples – 1654/56 ibid., workshop of THE WEDDING OF TOBIAS Oil on canvas. Relined. 75 x 101 cm.
Hampel Fine Art Auctions
Sep. 22, 2022
Bernardo Cavallino, 1616/22 Neapel – 1654/56 ebenda
Est: €40,000 - €70,000
DREI GEWANDFIGUREN Öl auf Pappelholz. 17,5 x 22 cm. Dem Gemälde ist eine schriftliche Echtheitsbestätigung von Prof. Nicola Spinosa, Museo di Capodimonte, Neapel, beigegeben. Auf kleiner Holztafel gemalte, nebeneinanderstehende Figuren: Zwei Männer mit je einem Stab, sowie eine stehende Frau in langem dunklen Kleid, vor dunklem Hintergrund, auf grünlicher Bodenfläche. Die linke Jünglingsfigur mit angezogenem entblößten Bein, in einer Haltung, wie sie für die Darstellung etwa des Heiligen Rochus denkbar ist. Die Mittelfigur in rotem Umhang, wie auch die nach oben blickende Frauenfigur, ebenfalls in Anmutung von Heiligengestalten. Möglicherweise liegt hier eine seltene interessante Vorstudie entweder zu einer Gruppendarstellung oder zu einzelnen Bildthemen vor. Der lockere Pinselstrich, die manieristische Körperhaltung und die Farbgebung entsprechen ganz dem Malstil Cavallinos, der als Schüler des Massimo Stanzione (1585-1656) von Michelangelo Merisi il Caravaggio (1570/71-1610) beeinflusst war. Seine Werke, von denen nur etwa 80 gesichert sind, überwiegend kleinformatig. (†) (13306225) (10) Bernardo Cavallino, 1616/22 Naples – 1654/56 ibid. THREE FIGURES Oil on poplar panel. 17.5 x 22 cm. A written confirmation of authenticity Professor Nicola Spinosa, Museo di Capodimonte, Naples regarding the present painting is enclosed. (†)
Hampel Fine Art Auctions
Oct. 18, 2021
BERNARDO CAVALLINO ( BOTTEGA ) MARTYRDOM OF SAN LORENZO
Est: €8,000 - €10,000
Oil painting on canvas
Casa d'aste ARCADIA
Sep. 14, 2021
Bernardo Cavallino (Napoli 1616 - 1656) cerchia di-circle of
Est: €1,500 - €2,500
Bernardo Cavallino (Napoli 1616 - 1656) cerchia di-circle of Santo martire incoronato di fiori Olio su tela Holy martyr crowned with flowers Oil on canvas 85 x 71 cm Poco si conosce sulla formazione artistica di Bernardo Cavallino, anche se dalla sua pittura si nota un linguaggio pittorico articolato ove riverberano influenze veneziane di Tiziano, fiamminghe di Van Dick e Rubens e, soprattutto, di Caravaggio e dei seguaci caravaggeschi napoletani, nonché dal naturalismo cruento del Ribera. Oggi pare consolidarsi l’opinione di un suo alunnato presso Andrea Vaccaro e Massimo Stanzione. Grazie alla sua eterogenea formazione è riuscito a dipingere con personalità autonoma e riconoscibile all’interno del panorama seicentesco partenopeo. Le sue figure si caratterizzano per una sottile vena malinconica e le sue opere dimostrano un senso cromatico vigoroso che dimostra la conoscenza del neo venetismo romano. Edificanti le parole dell’esimio Nicola Spinosa a suo riguardo: L’adesione del napoletano ad alcuni aspetti del neo-venetismo classicheggiante dei Francesi a Roma non significò, comunque, rinuncia alle qualità peculiari della sua produzione precedente: “al tono sentimentale, tra l’idillio e l’elegia, di tante piccole composizioni degli anni Quaranta; alla resa intimistica, colta e raffinata, delle sue storie di amori e di martirii; alla esaltazione pacata, quasi sommessa, ma non per questo meno appassionata e sincera della bellezza femminile e dei teneri affetti quotidiani”, pag. 122 di “Civiltà del Seicento a Napoli”
Lucas Aste
Sep. 14, 2021
Bernardo Cavallino (Napoli 1616 - 1656) copia del XIX secolo da - 19th century copy from
Est: €1,000 - €1,500
Bernardo Cavallino (Napoli 1616 - 1656) copia del XIX secolo da - 19th century copy from Apparizione di Gesù Bambino a sant'Antonio da Padova Olio su tavola Apparition of the Child Jesus to Saint Anthony of Padua Oil on panel 87 x 60 cm L’opera, di indubbia qualità, nasce probabilmente per uso privato o monastico nel XIX secolo, e si rifà alla nota opera del Cavallino, oggi alla Galleria Nazionale di Capodimonte di Napoli
Lucas Aste
Dec. 05, 2019
Bernardo Cavallino, 1616/22 Neapel – 1654/56 ebenda, Kreis des
Est: €2,000 - €3,000
VERZÜCKUNG EINER JUNGEN HEILIGEN Öl auf Leinwand. 47 x 35,5 cm. Ungerahmt. Brustbildnis einer jungen Frau in altrosafarbenem Gewand, die mit ihrer rechten Hand, in der sich eine Blüte oder eine Flamme befindet, an ihre Brust fasst. Sie hat ihren Kopf mit leicht geröteten Wangen, halb geöffnetem Mund und glänzender Nasenspitze nach hinten gewendet; mit ihren dunklen Augen schaut sie konzentriert und andächtig oben gen Himmel. Malerei in zurückhaltender Farbgebung. Retuschen. (1211318) (18)
Hampel Fine Art Auctions
Dec. 05, 2019
Bernardo Cavallino, 1616/22 Neapel – 1654/56 ebenda
Est: €70,000 - €100,000
ESTER VOR KÖNIG AHASVEROS Öl auf Leinwand. 98 x 151 cm. Der Künstler, über den lange nur wenig bekannt war, wurde erst durch die nachfolgend zitierte Publikation von Nicola Spinosa wieder ins Licht gerückt. Man vermutet, dass er möglicherweise Schüler von lokalen Malern wie Massimo Stanzione (1585-1656) war, jedenfalls von Michelangelo Merisi Caravaggio (1570/71-1610) und dessen Hell-Dunkel-Malerei stark beeinflusst. Auch dass er in der Eleganz seiner Bilddarstellungen von Anthony van Dyck (1599-1641) beeinflusst war, lässt sich im vorliegenden Bild deutlich erkennen. Ein gleichthematisches Werk seiner Hand findet sich in den Uffizien in Florenz, dort allerdings wohl noch in hellerer, noch nicht caravaggesker Farbgebung. Die Darstellung geht auf das biblische Buch Ester zurück, wo in Kapitel 5 die jüdische Nichte des Mordechai dem persischen König Ahasveros begegnet, der sie, der Legende gemäß, ehelichte und das jüdische Volk von Drangsal befreite. Die Szene ist mehrfigurig dargestellt: Die Hauptgestalten, Ester und der König, im Mittelgrund, wobei der König der jungen Frau das Zepter entgegenhält, während ihr Gesicht die Klage über ihr Volk zum Ausdruck bringt. Im Hintergrund seitlich weitere, die Szene begleitende Figuren. Die Farbstimmung lässt sich durchaus vergleichen mit einem weiteren Werk Cavallinos „Martyrium des Heiligen Stephan“ im Prado Museum, Madrid oder „Herkules und Omphale“, um 1640 (National Museum of Western Art, Japan). Literatur: Die Gemäldedarstellung ist besprochen und abgebildet in der genannten Publikation: Nicola Spinosa, Grazia e tenerezza in posa – Bernardo Cavallino e il suo tempo (1616-1656), Edizioni per la Storia dell’Arte, Rom 2014 , S. 288-289, Nr. 24, dort eine gleichgestaltete Version in kleineren Leinwandmaßen (76 x 102 cm). (1211984) (5) (11) Bernardo Cavallino, 1616 Naples – 1656 ibid. ESTER BEFOrE KING AHASUERUS Oil on canvas. 98 x 151 cm. For a long time, not much was known about this artist, not until the below mentioned publication by Nicola Spinosa brought him back to the fore. It is assumed that he was possibly a student of local painters such as Massimo Stanzione (1585 - 1656), and he was greatly influenced by Michelangelo Merisi Caravaggio (1570/71 - 1610). Furthermore it is clearly visible in the painting on offer for sale here that he was influenced by Anthony van Dyck (1599 - 1641) with regards to the elegance of his picture presentation. A painting of the same subject painted by him is held at the Uffizi Gallery in Florence, but with a brighter colour scheme, which is not yet in the style of Caravaggio. The colour atmosphere is by all means comparable with other works by Cavallino such as Martyrdom of Saint Stephen held at the Prado Museum, Madrid or Hercules and Omphale, ca. 1640 (National Museum of Western Art, Japan). Literature: The depiction of the painting is discussed and illustrated in the following publication: N. Spinosa, Grazia e tenerezza in posa - Bernardo Cavallino e il suo tempo (1616-1656), Edizioni per la Storia dell‘Arte, Rome 2014, pp. 288-289, no. 24, here a similar version with smaller canvas dimensions (76 x 102 cm).
Hampel Fine Art Auctions
Jul. 16, 2019
BERNARDO CAVALLINO (1616-1656)
Est: €80,000 - €120,000
BERNARDO CAVALLINO (1616-1656) Huile sur toile Dimensions : 100 x 127,5 cm Provenance : Collection privée Rome Accompagné du Certificat des Beaux-Arts italiens. Expertise : on y joint les lettres du Professeur Ferdinando Bologna, 1978, du Professeur Tito Diodati, 1980 et pulsation du Professeur Spinosa. Description : Moment précoce de sa carrière, probablement autour de 1635-37 mais les critiques s'accordent sur un travail avant 1640. C'est l'une des premières versions à plusieurs figures du thème biblique Ester et Assuérus. Les effets de lumières et les jeux chromatiques sont parfaitement orchestrés dans un espace composé d' effets théâtraux et soutenu par des drapés de tonalité rouge incandescent donnant à la scène toute sa splendeur et sa force Baroque. L’espace est divisé en deux parties bien distincte, l'une à droite avec le pouvoir Royal représenté par des figures masculines et l’autre à gauche avec Ester et ses servantes et dames de compagnie. Le peintre capte le moment sensuel durant lequel Esther s’évanouit devant le Roi. Cavallino est un peintre majeur à Naples durant la période Caravagesque et il y tiendra un rôle primordial. Bibliographie : "Pittura dei Seicento a Napoli", Spinosa N. 2010 n.54 p.189-190; Forgione 2013, p.68 note 43; « Grazie e tenerezza in « posa » Bernardo Cavallino e il suo tempo, Nicola Spinosa Biographie : Peintre italien baroque de l'Ecole Napolitaine, il dédie une grande partie de son activité à la peinture de chevalet avec des œuvres dédiées au commandes privées ou pour de petites chapelles et oratoires. Elève de Massimo Stanzione, Bernardo Cavallino est le plus lyrique et le plus sensible des maîtres napolitains du 17ème siècle, influencé par Vélasquez, Falcone et ensuite, Rubens et Van Dyck. Cependant, on peut considérer ses œuvres à mi-chemin entre Caravage et Federico Barocci pour leur ténébrisme et des similitudes avec certaines des caractéristiques de la sculpture baroque romaine. Le Louvre Paris, Musée d'Histoire et d'Art Vienne, Les Offices et Palazzo Vecchio Florence, Pinacothèque Brera, Musée Capodimonte Naples, National Gallery Londres, Metropolitan New-York, National Gallery Washington, Getty Center Los Angeles, Thyssen-Bornemisza Madrid, Musée National Barcelone, etc.
Accademia Fine Art
Dec. 06, 2018
Bernardo Cavallino (Naples 1616-1656) - Saint Cecilia
Est: £200,000 - £300,000
Bernardo Cavallino (Naples 1616-1656) Saint Cecilia oil on canvas 39 ¼ x 29 ¼ in. (99.6 x 74.9 cm.)
Christie's
Dec. 05, 2018
Bernardo Cavallino (Naples 1616-1656) Saint John the Evangelist unframed
Est: £20,000 - £30,000
Bernardo Cavallino (Naples 1616-1656) Saint John the Evangelist oil on canvas, octagonal93.2 x 83.4cm (36 11/16 x 32 13/16in).unframed Provenance: With Algranti, Milan, before 1984Sale, Sotheby's, New York, 27 January 2005, lot 151LiteratureA. Percy, in Bernardo Cavallino of Naples 1616-1656, exh. cat., Cleveland, 1984, p. 110, under cat. nos. 30 and 31, ill., p. 112, fig. 30-31d (as 'Cavallino(?)') N. Spinosa, La Pittura napoletano del '600, , Naples, 1984, ill., no. 120N. Spinosa, Grazia e tenerezza 'in posa' Bernardo Cavallino e il suo tempo 1616-1656, Rome, 2013, pp.322-3, cat. no. 58.2., illOnly tentatively given to Cavallino in the exhibition catalogue of 1984 (see Percy and Spinosa, under Literature), the present work was securely attributed to the Neapolitan painter when it came on the market in 2005, at which point Prof. Nicola Spinosa was able to inspect the painting firsthand. He has since published the work in his monograph on the artist and grouped it alongside other octagonal paintings, of similar dimensions, depicting Saint Andrew, Saint Bartholomew and Saint Judas Thaddeus (?), which most probably formed a series. One further work which may also be added to the series is the Saint Simon, from the Manuli Collection, Milan (see Spinosa, 2013, cat. no. 60), which, whilst presently an oval, could possibly have been altered from its original octagonal format. This group all relate closely to a pair of paintings of Saint Peter and Saint Paul (private collection, France), also octagonal in shape but of larger dimensions, which are significant for the fact that they are the earliest known signed works by Cavallino (ibid pp. 296-7, cat. 30 and 30.1, fig. 59 and 60). In his entry for the series of apostles, Spinosa suggests a dating of circa 1645. He notes that whilst these works all retain the intense chiaroscuro of Cavallino's earlier paintings, the sharper, more refined treatment of the drapery points to a date later than the Saint Peter and Saint Paul. The influence of Jusepe de Ribera's work in the present painting, and its companions, is undeniable. Cavallino would certainly have been very familiar with Ribera's series of prophets for the Certosa di San Martino, Naples, completed in 1643. The younger artist has, however, taken Ribera's model of a robust, naturalistically observed, single figure dramatically illuminated, and combined it with his softer, more refined technique lending his figures a more contemplative air.
Bonhams
Nov. 14, 2017
Attribué à Bernardo Cavallino Naples, 1616 - 1656 Moïse frappant le rocher Huile sur toile
Est: €10,000 - €15,000
Attribué à Bernardo Cavallino Naples, 1616 - 1656 Moïse frappant le rocher Huile sur toile Moses striking the rock, oil on canvas, attr. to B. Cavallino h: 97 w: 88,50 cm Estimation 10 000 - 15 000 €
Artcurial
May. 18, 2017
BERNARDO CAVALLINO (NAPLES 1616–?1656) Saint Dorothy
Est: £150,000 - £200,000
BERNARDO CAVALLINO (NAPLES 1616–?1656) Saint Dorothy oil on canvas 27 7/8 x 22 7/8 in. (72 x 58 cm.) in a gilt foliate frame
Christie's
Nov. 30, 2016
BERNARDO CAVALLINO (Naples 1616-1656) «Lot and his Daughters» and «Tobias Curing the Blindness of Tobit»
Est: -
BERNARDO CAVALLINO (Nápoles 1616-1656) Lot y sus hijas y Tobias curando la ceguera de Tobit, Pareja de óleos sobre lienzo de 66 x 89,5 cmRealizados hacia 1640. Nicola Spinosa sitúa estas obras en una etapa de inicio a la madurezdel artista, caracterizada por el progresivo abandono del tenebrismonaturalista de influencia riberesca de su primera etapa en favor de unsentido del color y la composición muy avanzado y de gran calidadpictórica, que justifica que esté considerado como uno de lospintores más refinados y elegantes del siglo XVII europeo.Según el cronista Bernardo de Dominici en su biografia de Cavallino,éste se formó como pintor con Massimo Stanzione. Su producciónjuvenil combina el tenebrismo derivado de Caravaggio y Jose de Ribera con un cromatismo mas luminoso, más propio de la pintura venecianatamizada por la influencia de Van Dyck y de otros pintores comoArtemisia Gentileschi. Sin embargo su estilo evoluciona hacia unprogresivo refinamiento que enlazaría con
Sala Retiro Subastas
Oct. 12, 2011
Circle of Bernardo Cavallino (Naples 1616-1656)
Est: £2,000 - £3,000
Circle of Bernardo Cavallino (Naples 1616-1656) David with the head of Goliath Oil on canvas 80 x 66 cm (31? x 26 in)
Dreweatts 1759
Jun. 21, 2011
Circle of Bernardo Cavallino (Naples 1616-1656)
Est: £2,000 - £3,000
Circle of Bernardo Cavallino (Naples 1616-1656) David with the head of Goliath oil on canvas 32 x 26¼ in. (81.3 x 66.6 cm.)
Christie's
Apr. 13, 2011
Bernardo Cavallino
Est: €25,000 - €30,000
Bernardo Cavallino
Dorotheum
Jan. 28, 2010
BERNARDO CAVALLINO
Est: $30,000 - $50,000
SAINT LUKE
Sotheby's
Jul. 08, 2009
Bernardo Cavallino , Naples 1618-1654 Tobias curing the Blindness of Tobit; Lot and His Daughters a pair, both oil on canvas
Est: £300,000 - £500,000
a pair, both oil on canvas Quantity: 2
Sotheby's
Mar. 24, 2009
Circle of Bernardo Cavallino (Naples 1616-1656)
Est: £800 - £1,200
Circle of Bernardo Cavallino (Naples 1616-1656) The Penitent Magdalene with signature 'J. Ribera pix 1632 Valencia' (lower right) oil on canvas laid down on panel, oval 24 x 19 3/8 in. (60.9 x 49.2 cm.)
Christie's
Jan. 29, 2009
Bernardo Cavallino , Naples 1618-1654 Portrait of a girl oil on canvas
Est: $150,000 - $200,000
oil on canvas
Sotheby's
Apr. 19, 2007
Galatea
Est: $400,000 - $600,000
Bernardo Cavallino Naples 1616-c. 1656 Galatea oil on canvas 77½ x 100¼ in. 196.9 x 254.6 cm.
Christie's
Jun. 16, 2004
Bernardo Cavallino (Napoli, 1616-1656)
Est: €100,000 - €150,000
Busto di Vecchio (Apostolo?) olio su tela, senza cornice 77.5 x 65.5 cm.
Christie's
Jan. 24, 2003
Antonio de Bellis (active Naples c.1630-c.1660)
Est: $60,000 - $80,000
Christ and the Woman of Samaria at the well oil on canvas 90 x 683/4 in. (228.5 x 174.5 cm.) PROVENANCE Lord Blantyre, Erskine House, Bishopton, Renfrewshire (+) sale, Christie's, London, 19 April 1912, lot 20, as 'Guido' (7 gns and 7s); where almost certainly purchased by an ancestor of the present owner and thence by descent. NOTES It was not until the 1980s that Antonio de Bellis was recognized as one of the leading personalities of Seicento painting in Naples, largely thanks to the studies of Giuseppe de Vito ('Tracce di pittura napoletana del '600', in Ricerche sul '600 napoletano, Milan 1982, pp. 41-61, figs. 24-37; and 'Ritrovamenti e precisazioni a seguito della prima edizione della mostra del '600 napoletano', in Ricerche sul '600 napoletano, Milan 1984, pp. 11-13, figs. 25-47). Very little biographical material is still known about the artist and much of what the biographer De' Dominici tell us has since proven to be incorrect (De' Dominici informs us that De Bellis died prematurely in the plague of 1656, for example, but the discovery of paintings dated 1657-58 has disproved this). De' Dominici is almost certainly correct, however, in relating that De Bellis began as a pupil of Massimo Stanzione, as this seems to be borne out by the stylistic affinity between the two artists' works in the 1630s (see, for example, De Bellis' San Carlo Borromeo cycle in San Carlo alle Mortelle, datable to 1636-39). As well as Stanzione, De Bellis turned to Jusepe de Ribera and the 'Master of the Annunciation to the Shepherds' for inspiration during this decade. After 1640, however, his style becomes much more closely associated with that of his contemporary Bernardo Cavallino, to whom many of De Bellis' works were once attributed, and this particular painting must surely date from this moment in De Bellis' career. The figure of the Samaritan woman finds many parallels in other works by De Bellis dating from this period. One of the Jewish women in De Bellis' painting of David returning victorious with the head of Goliath, formerly in a private collection, Paris (oil on canvas, 105 by 129 cm.; De Vito, op. cit., 1984, fig. 47), could almost be the same model as that used for the Samaritan woman. Her lost profile and the pose of her body in contrapposto with a ribbon-clad foot coming forward are extremely similar, and De Bellis has chosen to silhouette his female figure with a cluster of trees, beyond which an atmospheric sky is visible. The angular folds and violet tones of the Samaritan woman's drapery are extremely close to those in De Bellis' painting of Saint Catherine of Alexandria (formerly Finarte, Rome, where it was interestingly ascribed to Cavallino; ibid, fig. 46). The tapering fingers and theatrical gestures of Christ and the Samaritan woman appear to be characteristic features of De Bellis' paintings at this date: they can also be found in his Drunkenness of Noah (private collection, Milan) and his Sacrifice of Noah (Museum of Fine Arts, Houston, Texas), both of which are painted on a similarly large scale (De Vito, op. cit., 1982, figs. 32 and 34 respectively). Both these, and The Finding of Moses (National Gallery, London), were once thought to be by Cavallino, until De Bellis' authorship was more recently recognized, and the qualities in the latter's works praised by De' Dominici might equally be applied to Cavallino: 'ad ogni modo si verde in essi l'ottimo componimento, con che sono ideati, il buon disegno, e l'intendimento di chiaroscuro, con belli accidenti di lumi' (B. De' Dominici, Vite de' Pittori Scultori ed Architetti Napoletani, Naples, 1742 (1979 ed.), III, p. 111). This famous episode, taken from John 4: 1-30, shows Christ pausing to rest at Jacob's well, just outside the town of Sychar in Samaria, while on his way from Judaea to Galilee. He asks a woman from the town, an adulteress who has come to draw water from the well, for a drink and she shows alarm at his request (for the Samaritans were not looked upon by Jews with respect). She indicates the well from which she intends to draw water, and De Bellis has introduced an interesting conceit: he has depicted the scene of Moses striking water from the rock as a trompe l'oeil bas-relief on the side of the well. Moses strikes water from what appears to be a crevice in the rock but is, in fact, a crack in the well on which Christ sits: the visual parallel further underlines the link between the Old and New Testament. Given that De Bellis also adopted this 'dual narrative' in his painting of The Sacrifice of Noah in Houston, where another scene is shown in bas-relief on the sacrificial altar, it is likely that these two works date from around the same time.
Christie's
Jan. 24, 2002
*MASSIMO STANZIONE (1585-1656)
Est: $60,000 - $80,000
oil on canvas, unframed This unpublished work of the Allegory of Painting may be dated, by comparison with other works by the artist, to Stanzione's mature period; that is, to the 1630s. The female figure belongs to a type used in many of Stanzione's paintings of the Virgin and female saints executed in the fourth decade of the 17th Century: compare, to name but one example, Mary Magdalene adoring the Cross in the Marsicola collection, Rome (S. Schütze & T. Willette, Massimo Stanzione. L'opera completa, 1992, p. 211, cat. no. A49, illus. fig. 181). The basic compositional motif of a single putto appearing to a female figure reappears in the artist's two paintings, of almost identical composition, Saint Agatha in prison (Gallerie Nazionali di Capodimonte, Naples) and Saint Giuliana (church of the Santissima Trinità, Palermo) (Schütze & Willette, op. cit., pp. 213-4, cat. nos. A57 & A57a, illus. figs. 195 & 196). The flying putto with outstretched right arm also recalls the putto in Stanzione's altarpiece for the Cappella di Sant'Ugo in the Museo Nazionale di San Martino (op. cit., cat. no. A76, illus. fig. 272). The putto is shown holding up a laurel wreath with which he is about to crown the figure who represents Painting - her brushes and palette in hand. The style of the painting is reminiscent of the works of Bernardo Cavallino, to whom the painting was originally attributed, and this can largely be explained by Cavallino's presence in Stanzione's workshop during the latter half of the 1630s. For this reason, and by comparison with other paintings by Stanzione, this work may be dated to the later 1630s.
Sotheby's
Dec. 12, 2001
Bernardo Cavallino (Naples 1616-1656)
Est: $72,500 - $101,500
The Denial of Saint Peter oil on canvas, unframed 24 x 29 5/8 in. (61 x 75.3 cm.) PROVENANCE In the family of the present owner since circa 1900. NOTES This rediscovered picture is an important addition to the oeuvre of one of the most poetic artists of the Neapolitan Baroque. It is the only known autograph version of this composition, which was until now recorded solely through a studio copy formerly in the Church of the Gerolomini, Naples. That picture and its pendant, The Liberation of Saint Peter from Prison, were stolen in the 1980s (A. Percy, in the catalogue to the exhibition, Bernardo Cavallino of Naples 1616-1656, Cleveland Museum of Art, Kimbell Art Museum, Fort Worth, and Museo Pignatelli Cortes, Naples, 1984-5, under no. 23, fig. 23a-b). The Denial of Saint Peter can be dated to circa 1640, a moment when the naturalistic force of the art of Jusepe Ribera, Aniello Falcone and the Master of the Annunciation of the Shepherds merges into the lyrical style of Vouet and Artemisia Gentileschi. The strong chiaroscuro, the refined highlights on Saint Peter's face and hands, the sophisticated brushwork of the drapery of Saint Peter and the white drapery of the Maid show the calculated, refined and delicate touch so characteristic of the artist. We are grateful to Professor Riccardo Lattuada (letter, 28 June 2001) and to Professor Nicola Spinosa (letter, 25 September 2001) who have independently confirmed the attribution and date the picture to the early 1640s on the basis of colour transparencies.
Christie's
Dec. 13, 2000
Bernardo Cavallino (Naples 1616-1656)
Est: $145,000 - $217,500
A personification of painting oil on canvas, unframed 487/8 x 391/8 in. (123.5 x 99.5 cm.) PROVENANCE In the family of the present owner since circa 1950. NOTES This hitherto unpublished picture is an important addition to the oeuvre of the most individual and poetic artist working in Naples during the first half of the seventeenth century. A copy of it, whereabouts unknown, was published by Ann Lurie in the catalogue of the exhibition, Bernardo Cavallino of Naples (The Cleveland Museum of Art, The Kimbell Art Museum, Museo Pignatelli Corter, Naples, 1984-1985, p. 182, fig. 66a). Thus it is likely that the present picture can be identified as the original, which Lurie considered lost ( ibid. ). We are grateful to Professor Nicola Spinosa for confirming the attribution on the basis of a colour transparency; he dates the picture to the late 1630s or the early 1640s, a period when the artist was strongly influenced by Artemisia Gentileschi (letter, 23 October 2000). Furthermore, he believes that the picture certainly predates one of the same subject in the Novelli collection, Naples ( op. cit., 1984-5, no. 66). SALESROOM NOTICE Please note that this lot is sold framed.
Christie's