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Andrea de Leone Sold at Auction Prices

b. 1610 - d. 1685

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    • ANDREA DE LEONE (NAPLES 1610-1685) Studies of a woman kneeling and another
      Feb. 01, 2024

      ANDREA DE LEONE (NAPLES 1610-1685) Studies of a woman kneeling and another

      Est: $3,000 - $4,000

      ANDREA DE LEONE (NAPLES 1610-1685) Studies of a woman kneeling and another woman addressing a prostate man red chalk, brown wash, watermark bird on three hills inscribed in a circle 7 1⁄8 x 10 1⁄8 in. (18 x 26 cm)

      Christie's
    • ANDREA DE LEONE (NAPLES 1596-AFTER 1677) Bacchanal oil on canvas 39 x 51 in
      Dec. 07, 2021

      ANDREA DE LEONE (NAPLES 1596-AFTER 1677) Bacchanal oil on canvas 39 x 51 in

      Est: £400,000 - £600,000

      ANDREA DE LEONE (NAPLES 1596-AFTER 1677) Bacchanal oil on canvas 39 x 51 in. (99.2 x 129.3 cm.)

      Christie's
    • ANDREA DE LEONE (NAPLES 1610 - 1685)
      Apr. 22, 2021

      ANDREA DE LEONE (NAPLES 1610 - 1685)

      Est: £5,000 - £7,000

      ANDREA DE LEONE (NAPLES 1610 - 1685) Battle between the Hebrews and the Philistines with David & Goliath oil on octagonal canvas 48.5 x 62 cm (19 x 24 1/2 in.) Painted circa 1650-1660 PROVENANCE: European private collection. Bears inscription on the reverse David che uccide il Gigante Golia / Dipinto di Andrea da Leone The present recently rediscovered work, can be dated to the mature period of Andrea di Leone’s career as a painter of battles, when his work reflects his increasing stylistic independence from his master Aniello Falcone (Naples 1660 - 1665). The scene of David fighting Goliath in the foreground emphasises the violent backdrop inspired by the wars of the time. Goliath's size and distortion in the foreground are typical of De Leone's style in his later years, as also shown in a signed painting of the same subject dating to circa 1645 in the collection of the Capodimonte Museum in Naples (inv. 8315), (fig. 1). De Leone’s sophisticated use of lapis lazuli in David’s cloak and in the sky adds drama to the composition. Divided into two parts, the foreground remains in the shadows leaving the protagonists in the dark while the light shed on the turbulent background reveals a mass of soldiers on the battlefield. The Neapolitan practice of life drawing was key to the depiction of such battle scenes, as illustrated by the several red chalk male nudes in movement. Andrea di Leone built his fame and a commercial success on his battle paintings, stimulated by important commissions, and strong market demand thereafter. The battle painting genre developed in Naples in Aniello’s Falcone workshop, And it was Andrea de Leone and Salvatore Rosa in particular who went on to explore the theme further. The genre had become a flourishing topic of the day in aristocratic European circles, and in Naples most particularly, due to the Thirty Years’ War, which had seen young Neapolitans sent to the front across Europe. We are grateful to Miriam di Penta for her help in cataloguing this present lot. (1) see Andrea di Leone, Andrea De Leone (Napoli 1610-1685), Dipinti e disegni, Rome, 2016, cat. entry Q.7

      Chiswick Auctions
    • Andrea de Leone (Naples 1610-1685) Priests by a tomb and young women garla
      Dec. 08, 2020

      Andrea de Leone (Naples 1610-1685) Priests by a tomb and young women garla

      Est: £1,000 - £1,500

      Andrea de Leone (Naples 1610-1685) Priests by a tomb and young women garlanding a herm (recto); Study of a... traces of black chalk, pen and brown ink (recto), brown wash (recto and verso) 7 1/8 x 9 7/8 in. (18 x 25 cm)

      Christie's
    • ANDREA DE LEONE (NAPLES 1596 - AFTER 1677)
      Dec. 04, 2020

      ANDREA DE LEONE (NAPLES 1596 - AFTER 1677)

      Est: £10,000 - £15,000

      ANDREA DE LEONE (NAPLES 1610 - 1685) Battle between the Hebrews and the Philistines with David & Goliath oil on octagonal canvas 48.5 x 62 cm (19 x 24 1/2 in) Painted circa 1650-1660 Bears inscription on the reverse David che uccide il Gigante Golia / Dipinto di Andrea da Leone The present work, recently rediscovered, can be dated from the mature period of Andrea di Leone’s career as a painter of battles, when he asserted his stylistic independence from his master Aniello Falcone (Naples 1660 - 1665). Both Goliath's size and distortion in the foreground are typical of De Leone's style in his more mature works, as also shown in a signed painting of the same subject dating circa 1645 in the collection of the Capodimonte Museum in Naples (inv. 8315), (fig. 1). De Leone’s sophisticated use of lapis lazuli in David’s cloak and in the sky adds drama to the composition. Divided into two parts, the foreground remains in the shadows leaving the protagonists in the dark while the light shed on the turbulent background reveals a mass of soldiers on the battle field. The Neapolitan practice of life drawing was key to the depiction of such battle scenes, as illustrated by the several red chalk male nudes in movement (fig. 2). The biblical scene of David fighting Goliath in the foreground emphasises the violent backdrop inspired by the war of the time. Andrea di Leone built his fame and a commercial success on his battle paintings, stimulated by important commissions, and strong market demand thereafter. The genre of landscapes with battles had become a topic of the time in aristocratic European circles, and in Naples most particularly, due to the Thirty Years’ War, which had seen the young Neapolitans sent to the front across Europe. The genre of battle paintings was developed in Naples in Aniello’s Falcone workshop, which Andrea de Leone himself and Salvatore Rosa in particular went on to explore further. We are grateful to Miriam di Penta for her help in cataloguing this present lot. (1) see Andrea di Leone, Andrea De Leone (Napoli 1610-1685), Dipinti e disegni, Rome, 2016, cat. entry Q.7

      Chiswick Auctions
    • Andrea De Leone (Napoli 1610 - 1685)
      Nov. 28, 2017

      Andrea De Leone (Napoli 1610 - 1685)

      Est: €35,000 - €50,000

      Battaglia olio su tela, cm 124,5 x 169,5 sul telaio in alto a sinistra antico numero d'inventario: 62. Il dipinto offerto nel lotto, raffigurante Cristiani e Turchi in battaglia, tradizionalmente attribuito ad Aniello Falcone, si deve collegare, invece, alla produzione del suo allievo Andrea De Lione, la cui attività è molto legata a quella del caposcuola napoletano. Dalla recente ricostruzione di Miriam Di Penta [Andrea de Leone (Napoli, 1610-1685). Dipinti - Disegni, Roma 2016], emerge infatti una figura artistica di grande spessore nel panorama della pittura napoletana del Seicento, con aperture verso il classicismo romano, anche autonome rispetto a quelle dello stesso Falcone. Il tema dello scontro di cavalleria tra Turchi e Cristiani ricorre di sovente come sottotipo del genere del dipinto di battaglia, lo conferma anche la parallela produzione di Falcone che è interessante confrontare con il dipinto in esame, cfr. G. Sestieri, I pittori di battaglie. Maestri italiani e stranieri del XVII e XVIII secolo, Roma 1999, pp. 87-92, pp. 336-353. 1

      Finarte Roma
    • Andrea de Leone , Naples 1610 - 1685 An Amoured Soldier with another in a Landscape oil on canvas
      Jan. 29, 2009

      Andrea de Leone , Naples 1610 - 1685 An Amoured Soldier with another in a Landscape oil on canvas

      Est: $25,000 - $30,000

      oil on canvas

      Sotheby's
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