Large oil on canvas, good condition, no frame attached, canvas measurements: 131 x 101 cm. Giovanni Do (before 1617 - ?1656) was a Spanish painter, a contemporary of José de Ribera and also active in Naples. It should be noted that the model used for the present work bears great similarity to another Pythagoras painted by Ribera around 1630 and preserved in the Museum of Fine Arts of Valencia, with the majority of models used for his works by Neapolitan masters such as Ribera, Caravaggio or the artist himself mentioning sailors and stevedores of the port of Naples. Born in the Valencian city of Xàtiva, near Valencia, in Spain, in 1626 there are already records of Giovanni Do as a painter in Naples, being that same year in which he married Grazia, sister of Pacecco De Rosa; In the marriage contract she is described as Spanish and the painters Giovanni Battista Caracciolo and the also Spanish Jusepe de Ribera appear as witnesses. The considered great masterpiece of hers is the tenebrist ''Adoration of the Shepherds'' for the church of the Pietà dei Turchini in Naples. The Royal Academy of Fine Arts of San Fernando in Madrid has a beautiful Adoration of the Shepherds that turned out to be a version of an unpublished original by Ribera, of similar measurements, it was discovered that in 2012 it appeared on the Art market. Reference bibliography: Jusepe de Ribera, 1591-1652, a full text exhibition catalog from The Metropolitan Museum of Art. Provenance: from an important private family art collection, Barcelona.
DO, JUAN (AUCH GIOVANNI) (Jativa 1601 - 1656 Neapel); Zugeschrieben - Attributed : Die Vision des Heiligen Hieronymus; Öl auf Leinwand, doubliert; 118x146 cm; verso a. altem Etikett bez. "Franz de Herrera 1576-1656"
A Philosopher, seated, half-length oil on panel 45 1/8 x 331/2 in. (114.4 x 85 cm.) PROVENANCE Anon. Sale, Christie's, London, 12 December 1952, lot 89, as 'G. Dou - Portrait of a Rabbi', (78 gns. to the father of the present owner). NOTES Hitherto unpublished, we are grateful to Professor Werner Sumowski for confirming the attribution on the basis of a transparency. He dates the picture to the 1640s by comparison with a panel dated 164* in the collection of Dr. Alfred Bader (see W. Sumowski, Gem„lde der Rembrandt Schule, Landau/Pfalz, 1983, III, p. 1648, no. 1126, illustrated p. 1700).
