(Rome 1593–1653 Naples) Madonna and Child, oil on canvas, 116 x 89.3 cm, framed Provenance: sale, Catherine Charbonneaux, Paris, 26 February 2010, lot 7 (as Attributed to Artemisia Gentileschi); where acquired by the present owner; Private collection, Switzerland Exhibited: Milan, Palazzo Reale, Artemisia Gentileschi – Storia di una passione, 22 September 2011 – 29 January 2012, cat. no. 9 (as Artemisia Gentileschi); Paris, Fondation Dina Vierny - Musée Maillol, Artemisia 1593–1654, gloire, pouvoir et passions d’une femme peintre, 14 March – 15 July 2012, cat. no. 43 (as Artemisia Gentileschi) Literature: R. Contini, in: R. Contini/F. Solinas (eds.), Artemisia Gentileschi. Storia di una passione, exhibition catalogue, Milan 2011, pp. 152–153, cat. no. 9, illustrated (as Artemisia Gentileschi); G. Papi, Artemisia Gentileschi, Milan, exhibition review, in: The Burlington Magazin, December 2011, CLIII, p. 846 (as not by Artemisia); R. Contini, in: R. Contini/F. Solinas (eds.), Artemisia 1593–1654, exhibition catalogue, Paris 2012, p. 43, cat. no. 3 (as Artemisia Gentileschi); F. Solinas, La Madonna de Latte di Artemisia Lomi Gentileschi alla Galleria Spada, in: A. Capriotti (ed.), Rome 2024, pp. 35–50, illustrated p. 37, fig. 2 (as Artemisia Gentileschi) We are grateful to Riccardo Lattuada for independently endorsing the attribution of the present painting and for his help in cataloguing this lot. This refined work has been dated to circa 1609–1610, when Artemisia Gentileschi was circa 16 or 17 years old, and it is therefore one of her first known works and a significant rare example of her precocious talent as a young artist. Artemisia studied painting in the workshop of her father Orazio. Her remarkable ability allowed her to duplicate his style closely in her earliest pictures, seen here in the present painting particularly in the depiction of the drapery. Her palette, the physiognomy of her figures, the sensitive glazing and modelling of skin tones, and the details of texture apparent in the present painting show Orazio’s influence. However, from the beginning Artemisia showed an ability to depict meaning and emotion in the narratives she painted, such as the evident affection of a mother and child displayed in this work, which set her work apart from that of her father. During the 1590s and early 1600s her father, like Caravaggio, worked directly on the canvas using posed models. It is likely that she was taught to paint in the same way. Lattuada has emphasised that the present composition is related to Scipione Pulzone’s Holy Family with Saint Elizabeth and Saint John the Baptist, circa 1588–1590, in the Galleria Borghese in Rome (inv. no. 313), as well as an engraving by Marcantonio Raimondi (see also R. Ward Bissell, Artemisia Gentileschi and the Authority of Art, 1999 pp. 184–187, no. 1, figs. 1–5). The position of the Madonna’s legs in the present lot are similar to those in Pulzone’s painting, as is the rendering of the hair of Mary and the Child which have the same golden highlights. The present composition is known in other later versions also by Artemisia, including one in the Galleria Spada, Rome (116.5 x 86.5 cm), dated to 1610–1611, and another from the Medici collections in the Galleria Palatina, Florence (118 x 86 cm), dated to 1616–1618. Although the compositions are similar and with identical iconography there are variations, especially in the pose of the Christ Child. The Madonna in the present composition has a serene, slightly plump, youthful countenance with unruly lighter hair and she appears to be more youthful than the Madonna in the other versions. It has been suggested that Artemisia used herself as a model and indeed the facial features of her female protagonist do appear to be similar. The Christ Child in the present composition is depicted with a refinement that is different to the later versions. The depiction of a transparent scarf around the Madonna’s neck in the present composition is also singular and the colouring of the present painting is harmonious and diffused. It has been suggested by Francesco Solinas that these versions of the Madonna and Child (Madonna del Latte) may derive from similar preparatory drawings and cartoons (see op. cit. Solinas, 2024). The three paintings were compared in Paris in 2012, during the Musée Maillol’s monographic exhibition and in all three compositions the figures are of similar dimensions. Artemisia, like her father Orazio and her uncle Aurelio Lomi, replicated compositions, in more or less similar versions, using drawings and cartoons which had been prepared sometimes years earlier. Her use of cartoons and preparatory drawings is documented in her correspondence, including letters written to her clients from Naples. The use of a cartoon – a thick sheet of perforated paper used to transfer the outline of a composition onto canvas, wall or panel – was a widespread artistic practice, especially in sixteenth century Tuscany, but also in Rome during this period. The present painting dating to 1609–1610 was created before the very public, well-documented trial of Agostino Tassi, which took place between the Spring and Winter of 1612. In 1611, Agostino Tassi, Orazio’s colleague on several important projects, took advantage of his access to the Gentileschi household by raping Artemisia. Orazio brought charges against Tassi who was found guilty and sentenced to exile, however he never served his sentence. Artemisia married a Florentine, Pietro Stiattesi, on 29 November 1612, and in January of the following year she settled with him in Florence. She lived there for the next seven years and bore four children; only one, a girl, survived to adulthood. Artemisia was to become a celebrated artist who would work for several European rulers, and she ran an impressive workshop during her more than 20 years in Naples. She also worked in Rome, Florence and Venice and also spent a brief period in London in the late 1630s before returning to Naples, where she died. Technical analysis by Gianluca Poldi: The painter used a canvas prepared with a brown ground, then locally covered with a white priming where the dark ground would affect the lightness of the final colour: i.e. under the Madonna’s robe and under the lights of her cloak, but also under shadowed areas of the background, as microscopic images show. Reflectance spectroscopy show the pigments used, including natural ultramarine (obtained from lapis lazuli) mixed with lead white in the blue cloak (with indigo used in old restorations), a carmine type red lake in the pink robe of the Madonna, ground both finely and coarsely, yellow and brow ochres and earths. From the point of view of painting technique, flesh tones are particularly interesting because large amounts of coarsely ground lead-based yellow are added by the painter to the usual mixture of lead white, vermillion and ochre, together with a few particles of red lake and, in the shadows, black pigment. IR reflectography show some composition changes, particularly in the Child, whose face profile was originally painted slightly closer to his Mother’s breast, and whose legs and right arm were placed in different positions: the left leg was probably aligned with the other, then raised to its present position. The white robe that covers the right leg of the Child runs under his right arm, indicating that the arm was painted in that position later, joining the other arm across his belly. A few small corrections can be seen along the Madonna’s outline. Some traces of outline drawing, possibly underdrawing, emerge in some zones by IRR. So, the painter worked on a composition that was presumably originally studied (on paper?), but then modified directly on the canvas, in a way that would also characterise some of her later works.
(Rome 1593 – after 1654 Naples) and (Naples 1606 – circa 1656) Abraham and the Three Angels, oil on canvas, 144.5 x 200.8 cm, framed Provenance: Private collection, Rome; Private collection, L’ Aquila; sale, Artemisia Auctions, Paris, 16 June 2014, lot 44 (as Bernardo Cavallino); Private European collection Documentation: possibly Archivio Storico del Banco di Napoli, Banco dei Poveri. Volume di bancali matr. 1386. Partita di ducati 5 del 24 dicembre 1645 estinta il 4 gennaio 1646. ‘Pagamento ad Artemisia Gentileschi per un quadro raffigurante Abramo’ (see G. Guida, Alcuni artisti dei secoli XVII-XIX nelle carte dell’Archivio storico del Banco di Napoli-Fondazione, in: Istituto Banco di Napoli-Fondazione. Quaderni dell’Archivio storico, 2011–2013, Naples 2014, p. 383) Literature: D. de Sarno Prignano, L’incontro di Abramo con i tre angeli di Bernardo Cavallino, in: L. Muti, D. de Sarno Prignano (eds.), Capolavori in proscenio. Dipinti del Cinque, Sei e Settecento, Faenza 2006, p. 113, fig. 18, illustrated p. 130 (as ‘autograph work by Cavallino, hitherto unknown to the studies’) The present painting is registered in the Fototeca Zeri under no. 51244 (as Giuseppe Marullo). We are grateful to Giuseppe Porzio for suggesting the attribution and for his help in cataloguing this lot. We are also grateful to Maria Cristina Terzaghi for independently confirming the attribution on the basis of a photograph. The present painting belongs to Artemisia Gentileschi’s artistic production of her second Neapolitan period and is datable, according to Porzio, to around the mid-1640s. During this period the scale of Artemisia’s commercial success, as well as her considerable management skills, meant that in order to meet the demand for her work she ran a large and well organised studio in which many young and highly skilled painters were employed. These artists included Bernardo Cavallino and predominantly Onofrio Palumbo (or more accurately, Palomba) who is recorded and documented working alongside Gentileschi (see G. Porzio, in: Dizionario biografico degli italiani, LXXX, Rome 2014, pp. 652-55). The close collaborative studio practice which characterises Artemisia’s whole Neapolitan production sometimes leads to stylistic incongruity, despite a clearly recognisable overall style and choice of subject matter. Separating the hand of the ‘master’ from that of her assistants is therefore, a highly complex task. That is to say that even in her own age, the name of Artemisia Gentileschi must have already indicated more of a conceptual and qualitative standard, a guarantee of quality rather than the assertion of the entire painting being by the hand of the master. In the present painting, the physical types of the angels, the pictorial calligraphy, the palette and the iridescent drapery, all recall the female figures in Lot and his daughters by Artemisia in the Nunziatura Apostolica, Madrid published by Gabriele Finaldi (see G. Finaldi, Pittura napoletana nella Nunziatura Apostolica di Madrid, in: Ricerche sull’arte a Napoli in età moderna. Saggi e documenti 2014. Scritti in onore di Giuseppe De Vito, Naples 2014, pp. 179-80, fig. 8). Likewise, the protagonist in the Samson and Delilah of Palazzo Zevallos, Naples, which after a complex history of attribution is now agreed to be by Artemisia. Significantly, there is a record of payment made to Artemisia, in December 1645, for a picture of Abraham, ‘uno quatro d’Abramo di palmi cinque e quattro’ [‘a picture of Abraham of five by four palms’], which remains unidentified (see G. Guida, Alcuni artisti dei secoli XVII-XIX nelle carte dell’Archivio storico del Banco di Napoli-Fondazione, in: Istituto Banco di Napoli-Fondazione. Quaderni dell’Archivio storico, 2011–2013, Naples 2014, p. 383). It has been suggested that the present painting may be the unidentified Abraham, especially as stylistically this work can be dated to the 1640s.
LOT UND SEINE TÖCHTER Öl auf Leinwand. Doubliert. 43 x 56 cm. In vergoldetem Rahmen. Dargestellt ist eine Szene aus dem Alten Testament: Nach der Rettung aus der brennenden Stadt Sodom war Lot mit seinen beiden Töchtern ins Gebirge in eine Höhle geflüchtet. Aus Sorge um fehlende Nachkommen und mangels Ehemänner versuchten sich die jungen Frauen dadurch zu helfen, indem sie ihren Vater betrunken machten und sich des Nachts zu ihm legten. Auf dem Gemälde ist im Zentrum ein mit weißer Decke belegter steinerner Block zu sehen, auf dem eine helle Kanne und ein gefülltes Weinglas stehen. Rechtsseitig der bärtige, leicht angetrunkene Lot, der seiner Tochter mit seiner kräftigen linken Hand an die Brust greift, während sie dabei ist, das Glas vom Tisch zu erheben, um es ihm erneut zu reichen. Mit ausdruckslosem Gesicht schaut sie leicht nach unten in die Ferne. Ihr gegenüber sitzend, an der anderen Tischseite, ihre Schwester in rötlich-braunem Gewand mit weißem Tuch als Kopfbedeckung, die teils verschatteten Augen geschlossen, wohl über ihr Handeln nachdenkend. Im Hintergrund links Blick aus der Höhle hinaus auf die brennende Stadt Sodom, von der hohe gelbe und rötliche Flammen sowie Rauch und Qualm zu erkennen sind. Malerei mit starken Hell-Dunkel-Akzenten, die an Arbeiten des Caravaggio erinnern. Anmerkung: Die Künstlerin war eine italienische Malerin des Barock. Sie war die Tochter und das erste Kind des damals in Rom lebenden Malers Orazio Gentileschi (1563-1639) und der Prudentia Monotone. Oft stand sie Modell für ihren Vater, der auch frühzeitig ihr Talent erkannte und sie in der Malerei unterrichtete. Bereits mit 15 oder 16 Jahren soll sie auf professionellem Niveau gemalt haben. Davon zeugt auch das 1610 datierte und signierte Bild „Susanna und die Alten“ im Schloss Weißenstein in Pommersfelden. 1613 zog sie nach Florenz und fertigte etliche Werke für die Medici an, wobei sie besonders vom Großherzog der Toskana, Cosimo II gefördert wurde. (13518714) (18)
ARTEMISIA GENTILESCHI (ROME 1593-AFTER 1654 NAPLES) Portrait of a gentleman, probably Antoine de Ville (1596-1656), full-length oil on canvas 80 x 43 in. (203.2 x 109.2 cm.)
ARTEMISIA GENTILESCHI (Roma 1593 - Napoli 1656 ca.) MADONNA COL BAMBINO Olio su tela, cm. 117 x 100 PROVENIENZA Famiglia romana La nota tela raffigurante la Madonna con il bambino, custodita a Roma nella Galleria Spada, già attribuita a Bernardo Strozzi e successivamente a Francesco Cozza, e infine ad Artemisia Gentileschi e al Guerrieri, venne restituita alla grande pittrice solo dopo la conoscenza di un inventario redatto da un notaio e firmato da Alessandro Biffi il 22 dicembre del 1637. L'opera confluì nella proprietà Veralli e successivamente nella collezione Spada in virtù dell'unione tra la Marchesa Maria Veralli con Orazio Spada (Orazio e Artemisia Gentileschi, cat. mostra a cura di K. Christiansen, J.W. Mann, Milano 2001, pp. 299-302). L'opera di Artemisia che si fa risalire agli anni 1610/11, è memore degli insegnamenti del padre considerando le relazioni stilistiche e compositive tra la maternità Spada e la maternità di Orazio Gentileschi del 1609, oggi ubicata a Bucarest. La versione qui proposta, come da relazione del Prof. Claudio Strinati, si può considerare replica autografa della pittrice Artemisia da collocare cronologicamente agli inizi degli anni trenta del XVII secolo. Periodo in cui la pittrice si era già allontanata dalle delicatezze dei toni cromatici e disegnativi appresi dal padre, per sviluppare un pittoricismo più intenso attraverso una materia più profonda e spessa, come notiamo nella forza cromatica degli incarnati in relazione al colorismo delle vesti. Il fondo è di nero intenso sviluppato cromaticamente per imprimere alle figure una suggestiva forza emozionale all'ideale di maternità, mediata, allora, dalla accezione religiosa e sacrale della composizione CONDIZIONI DEL DIPINTO Rintelo novecentesco. Restauri parzialmente ossidati sugli incarnati e sul braccio del bimbo nella parte alta. Un punto di restauro sulla spalla della Vergine, taglio restaurato sul dorso della mano cadente a destra. Alcuni restauri sempre parzialmente ossidati nel basso CORNICE Cornice modanata in legno dorato, del XX secolo Il dipinto è accompagnato da relazione del Prof. Claudio Strinati in data 5 Giugno 2021 L'opera è corredata da attestato di Libera circolazione del Ministero per i beni e le attività Culturali e per il Turismo di Genova
GENTILESCHI, ARTEMISIA 1593 Rome - ca. 1654 Naples Title: Saint Mary Magdalene. Date: Ca. 1645-1650. Technique: Oil on wood. Mounting: Parquetted. Measurement: 68 x 48cm. Frame/Pedestal: Framed. Certificate: Riccarfo Lattuada, Rome, 30.03.2021. Provenance: Private ownership, Germany. This work presents Saint Mary Magdalene as penitent: After her conversion and encounter with Jesus, she lived as a hermit in southern France, near Marseilles, where she preached the Gospel. The cult of the penitent Magdalene has fascinated many artists, who saw her as the female equivalent of John the Baptist. She is usually depicted in ragged clothing, similar to that of St. John, or is covered only by her long hair. Her outer beauty has left her, her face is marked by fasting and nightly prayer vigils, but she shines with inner beauty, for she has found peace and joy in the Lord. This previously unknown painting has been in a private collection for about 50 years, where it was attributed to the Florentine painter Carlo Dolci. It has recently been recognised by Riccardo Lattuada as a work by Artemisia Gentileschi, with the indication that it is a work from the collaboration between Artemisia Gentileschi and her apprentice Onofrio Palumbo and was probably executed in the last phase of the painter's life. It is therefore a valuable addition to the corpus of paintings by the most famous artist of the seventeenth century. Around 1640-41, after working with her father Orazio in London, Artemisia went to Naples, where she spent the last phase of her life. In Naples, her works were sought after by collectors and patrons, and to meet the ever-increasing demand, the painter had to recruit collaborators, especially when it came to executing smaller passages of larger works. Her collaboration with painters such as Bernardo Cavallino, Onofrio Palumbo and Domenico Gargiulo is well known and well documented. The life of Onofrio Palumbo, who was involved in the execution of this painting but not in its conception (which is instead entirely the responsibility of Artemisia Gentileschi), is described by the painter and biographer of Neapolitan artists Bernardo De Dominici. The historiographer reports that Palumbo studied first with Battistello Caracciolo and then with Artemisia Gentileschi when the painter settled in Naples. This news has recently found archival confirmation: two payment vouchers from 1653 and 1654 actually attest to a collaboration between the two artists, i.e. in the same years of the execution of the present painting. Mary Magdalene, together with Judith and Susanna, is one of Gentileschi's favourite female figures, which she painted in many versions, both in portrait and landscape format, throughout her career. We are grateful to Riccardo Lattuada, Naples, for suggesting the attribution of the present painting on the basis of a high-resolution digital photograph.
FOLLOWER OF ARTEMISIA GENTILESCHI (Rome, 1593 - Naples, 1653) Susanna and the Elders Oil on canvas, cm. 172x122. Antique frame PROVENANCE: Private collection of Lazio.
olio su tela, cm 165x102, Copia del dipinto di Artemisia Gentileschi realizzato tra il 1622 e il 1625 e oggi conservato presso la Cattedrale di Siviglia (Sala del Tesoro).
Artemisia GENTILESCHI Rome, 1593 - Naples, vers 1652 Lucrèce Toile Lucretia, oil on canvas, by A. Gentileschi h: 96,50 w: 75 cm Provenance : Acquis à Cannes dans les années 1980 par l'actuel propriétaire ; Collection particulière, Lyon Expositions : 'Cléopâtre dans le miroir de l'art occidental', Genève, musée Rath, 28 mars - 1 août 2004, p. 110-112 , n°20 Commentaire : Artemisia est un nom magique, un sésame à la gloire comme d'autres célèbres prénoms qui ont éclipsés le nom de grands artistes : Raffaello, Léonardo, Michelangello… A ce jour c'est un club très fermé que celui de ces " stars " de la peinture auquel aucun artiste actuel ou du siècle passé n'a encore eu accès. La célébrité d'Artemisia Gentileschi tient tout autant à son histoire personnelle qu'à sa production de peintre. Fille du peintre Orazio Gentileschi, elle est l'élève de son père, proche et contemporain de Caravage. L'atelier d'Orazio jouit d'une grande renommée dans la Rome des premières années du XVIIe siècle sur laquelle tous les regards des amateurs d'arts d'Occident se portent. La course au trône papal et la rivalité des cardinaux qui en découle permet aux artistes de participer à l'établissement d'un statut de mécène-collectionneur pour tout grand " prince " cardinal qui souhaite se rapprocher du firmament. Les artistes de l'Europe se retrouvent à Rome pour tenter l'aventure de la célébrité et pour s'imprégner de la multiplicité des influences, caravagesque ou classicisante. La jeune élève est très douée et son père l'emploie jalousement pour réaliser ses commandes. Il la préserve des regards jaloux puisqu'il se dit que la fille d'Orazio est d'une grande beauté. Parmi les proches et collaborateurs du maître, le paysagiste Agostino Tassi franchit la ligne à ne pas dépasser : il outrage la jeune femme âgée de 17 ans et lui promet un mariage qu'il ne pourra honorer puisqu'il est déjà marié. Le scandale éclate en 1612 et tant Orazio qu'Artemisia décident de relever la tête et attaquent en justice le violeur. La clef de notre histoire n'est pas l'outrage en lui-même mais le choix de relever l'affront et d'en demander réparation publiquement par l'intermédiaire de la justice dans une société presque exclusivement masculine, qui plus est dans un Etat religieux. Après plusieurs mois de procès, Agostino Tassi est condamné à l'exil, une victoire pour la jeune femme outragée qui a su tenir tête à l'opprobre publique dont elle fut naturellement victime dans ce XVIIe siècle qui laissait bien peu de place à la parole de ses semblables. Sa victoire est d'autant plus totale qu'elle dessine une trajectoire illustre à sa carrière et retrouve un statut de femme honorable en épousant un homme établi, le peintre florentin Pierantonio Stattiesi. Grâce à cette union avec un artiste, elle peut exercer librement - et indépendamment de la tutelle de son père - son activité de peintre. Sa période florentine est glorieuse. Elle y reçoit des commandes du grand-duc Côme II, et participe à la vie intellectuelle de la cité en intégrant des cercles fermés. A l'âge de 23 ans, elle est même la première femme à intégrer l'Accademia del disegno. Mais la fougueuse Artemisia se satisfait peu de cette vie bien établie et les amours la redirigent vers Rome où elle installe un atelier dont le succès parvient vite à faire de l'ombre à celui de son père. Très vite reconnue de tous et protégée du grand mécène et érudit Cassiano del Pozzo, elle règne à Rome mais décide de conquérir d'autres capitales. Après un séjour de trois ans à Venise, c'est à Naples qu'elle s'installe au tournant des années 1620-1630 en y travaillant pour le vice-roi et les grands du royaume. Son dynamisme la place à la tête d'un important atelier dont sort nombre de peintres napolitains du XVIIe siècle. Femme forte par excellence, nous comprenons sa prédilection pour des sujets de l'histoire ancienne flattant les vertus féminines : Judith, Lucrèce, Jael et Suzanne partagent le quotidien d'Artemisia mais aussi Sainte Catherine et autres martyres qu'elle se plut à dépeindre, parfois en s'y auto-portraiturant. Si le jeu de l'autoportrait n'est pas à proprement retenu pour notre toile, nous sommes face à ce que nous pourrions décrire comme un " sujet autobiographique ". En choisissant de peindre une Lucrèce, l'artiste illustre un moment de sa vie par le choix de ce sujet. En 509 avant J.-C., la patricienne romaine Lucrèce subit l'outrage physique de Sextus Tarquin, l'un des fils du roi de Rome Tarquin le Superbe. Refusant de vivre dans le déshonneur elle décide de se donner la mort, entrainant ainsi la révolte romaine contre la royauté et l'établissement de la République. Le choix fatal de Lucrèce en fait un exemplum. C'est-à-dire qu'elle réalise un acte qui la transforme en modèle de vertu à imiter. Il en est de même pour Judith dont l'iconographie permet une lecture autobiographique, si l'on considère Artemisia se rêvant en Judith vengeresse tranchant la tête d'un " Holopherne-Tassi " dans le célèbre tableau de la galerie des Offices à Florence (fig. 1), mais aussi dans les nombreuses autres Judith peintes par l'artiste. Le choix du sujet de Lucrèce fut plusieurs fois retenu par Artemisia comme l'atteste le récent passage en vente publique d'une grande toile (fig.2) 1, ou encore dans le tableau de la collection Gerolamo Etro à Milan, de dimensions proches du nôtre (100 x 77 cm). Notre artiste se définit néanmoins comme une nouvelle héroïne qui donne un nouvel élan à la lecture de l'histoire ancienne. Si le fait déclencheur est le même pour Lucrèce que pour Artemisia, cette dernière décide relever la tête et d'affronter seule l'opprobre général au sein d'une société dirigée par le sexe masculin. Ce choix est d'autant plus saisissant que l'action se déroule elle aussi dans cette Rome papale dont les travers semblent assez semblables à ceux de l'antique Rome royale. Dans une composition élégante où le mouvement du corps nous entraine dans une spirale envoûtante de soieries et de tulles transparents, Artemisia fait preuve d'un talent immense dans le rendu des nuances de blancs. Le merveilleux état de conservation de la matière picturale en fait un tableau rare et précieux à plus d'un titre. L'élégante richesse du couteau et la parure de grosses perles témoignent du haut statut social de Lucrèce qui était l'épouse de Tarquin Collatin, homme fort et proche du roi Tarquin. 1. Vente anonyme ; Vienne, Dorotheum, 23 octobre 2018, n°56, vendu 1.885.000 €. Estimation 600 000 - 800 000 €
Attributed to GENTILESCHI, ARTEMISIA (Rome 1593 - 1653 Naples) The Holy Magdalene, spurning the symbols of transience. Oil on canvas. 95 x 77 cm (octagon). Provenance: Private collection, Switzerland. --------------- GENTILESCHI, ARTEMISIA (ZUGESCHRIEBEN) (Rom 1593 - 1653 Neapel) Heilige Magdalena, die Symbole der Vergänglichkeit abweisend. Öl auf Leinwand. 95 x 77 cm (oktogonal). Provenienz: Privatbesitz Schweiz.
MANNER OF ARTEMISIA GENTILESCHI (italian 1593-1652) MADONNA AND CHILD Oil on canvas 47 1/2 x 37 7/8 in. (120.7 x 98.2cm) provenance: Private Collection, Pennsylvania. note: The present painting follows the composition by Gentileschi painted circa 1609, in the Galleria Corsini, Rome.
Attribué à Artemisia GENTILESCHI (1597-1651) Vierge à l’Enfant Toile H_119 cm. L_83 cm Petits manques et restaurations anciennes Notre Vierge à l’Enfant est à rapprocher de la composition d’Artemisia Gentileschi, aujourd’hui conservée au Palazzo Pitti à Florence (toile, 118 x 86 cm, inv.2129). On y retrouve la même position de la Vierge, tenant sur ses genoux l’Enfant Jésus, qui se penche sur lui. Dans cette scène empreinte de tendresse, se détachent sur un fond sombre la robe mauve et le manteau bleu de la Vierge.
CIRCLE OF ARTEMISIA GENTILESCHI (1593-1656), ITALIANMADONNA WITH POMEGRANATE KISSED BY A PUTTO WITH THE ENFANTS CHRIST AND ST. JOHN THE BAPTIST IN A LANDSCAPEOil on canvas28.75" x 33.5" — 73 x 85.1 cm.Estimate: $1,500—2,500
Attribué à Artemisia Gentileschi Rome, 1593 - Naples, vers 1652 Judith et Holopherne Cuivre Annoté 'Girard V m (...)' à l'encre au verso 'JUDITH AND HOLOFERNES', OIL ON COPPER, ATTR. TO A. GENTILESCHI h: 31 w: 24 cm Provenance : Collection particulière, Ile-de-France Commentaire : Peu d'artistes ont le privilège, des siècles après leur mort, de se faire appeler par leur prénom. Léonard, Raphaël, Titien et, parmi cette liste étourdissante … Artemisia ! La scène peinte sur le petit cuivre que nous présentons est en lien direct avec la renommée d'Artemisia. Le viol en 1611 de la jeune artiste alors assistante de son père à Rome est sans conteste l'événement clef de sa jeunesse. Au printemps 1612, son père Orazio Gentileschi présente à la cour pontificale une requête accusant son collègue Agostino Tassi d'avoir déniaisé sa fille sous la contrainte. Le procès qui s'en suivit fut douloureux pour la famille et particulièrement pour Artemisia qui voyait commencer sa vie à l'ombre d'une terrible histoire. La période du procès fut néanmoins celle de la création du plus grand chef-d'œuvre de l'artiste : Judith et Holpherne (1). Certes le sujet avait été traité avec une grande violence quelques années auparavant par Caravage (2), mais - au-delà d'une intense violence - Artemisia parvient à composer une scène dramatique d'une intensité psychologique inouïe tant et si bien que les commentateurs de l'époque ne purent qu'y retrouver la personnification d'Artemisa dans Judith et celle de Tassi dans Holopherne. La jeune artiste outragée commençait à savourer sa vengeance, par ce tableau mais aussi en continuant à renforcer son talent par un travail assidu. Plusieurs versions de sa Judith furent exécutées dans les années qui suivirent. C'est sans doute de la version commandée par Cosme II que notre cuivre est le plus proche (3). Le musée de Saint Louis conserve un ravissant cuivre représentant Danaé (4) qui n'est autre qu'une variante de sa grande Cléopâtre (5). Artemisia s'est plusieurs fois attachée à reprendre ses compositions en en modifiant seulement quelques éléments. L'utilisation du cuivre permettait une luminosité et une transparence idéale pour se divertir à reprendre avec variantes des sujets traités à grande échelle sur d'importantes toiles. Artemisia s'inspira en cela de son père qui réalisa par exemple une réplique autographe en petit format sur cuivre de son David contemplant la tête de Goliath (6). Certains commanditaires n'étaient pas insensibles aux charmes de ces petits cuivres mais aussi à la brillance des plaques de pierre noire ou encore d'ardoise qu'appréciaient nombres d'artistes. Artemisia affectionnait ce support comme en témoigne la Vierge à l'Enfant tenant un rosaire (7), ou la Sainte Apolline (localisation inconnue). Il est établi qu'elle avait adopté pour ses cuivres une technique plus finie et délicate, ayant été marquée par ceux de Guido Reni qu'elle avait vus à Florence (par exemple la Vierge cousant dans la collection de Cosme II). Trois peintures sur cuivre sont signalées dans l'inventaire du 10 février 1621 des biens laissés à Florence par Artemisia, pour garantir ses dettes. Il est séduisant de penser que notre ravissant petit cuivre faisait partie de ces trois œuvres signalées… 1. La plus ancienne version de cette composition est celle actuellement conservée à Naples, musée de Capodimonte (toile, 159 x 126 cm). Les repentirs visibles à la radiographie démontrent son antériorité au sein des différentes versions. La toile a été diminuée sur la gauche et en haut. Judith y est vêtue de bleue et sa servante de rouge. 2. Caravage, Judith et Holopherne, 1599, Rome, Palazzo Barberini, Galleria d'Arte Antica 3. Florence, galerie des Offices (toile, 162 x 100 cm), signée en bas à droite, commandée en 1621 par le grand-duc Cosimo II. La composition est complète avec les jambes d'Holopherne sur la gauche et plus d'espace au-dessus des héroïnes. Judith est en jaune et la servante en rouge. 4. Danaé, Huile sur cuivre, 41,30 x 52,70 cm., Saint Louis, The Saint Louis Art Museum 5. Cléopâtre, Huile sur toile, 118 x 181 cm., Milan, collection particulière, 6. David contemplant la tête de Goliath, Huile sur cuivre, 36,70 x 28,70 cm., Berlin, Gemäldegalerie 7 - Vierge à l'Enfant tenant un rosaire, signée en bas à droite, huile sur cuivre, 72 x 52 cm., El Ecorial, Casita del Principe.
Set of two lithographic prints comprising:</br>lithographic print of painting by Artemisia Gentileschi entitled Self-portrait as Pittura, originally painted c.1638-9.</br>Recorded by the trustees of the sales of Charles I in October 1649 at Hampton Court; sold to Jackson on 23rd October 1651. Recovered at the Restoration.Oil on canvas. Painted as a self-portrait in accordance with the description of the personification of 'Painting' given in the Iconologia of Cesare Ripa (1611): A beautiful woman with full black hair, gold chain and iridescent clothing. It is probable that Artemisia produced this work during her stay in London from 1638 - 41.</br>Print size inches: 7.1 x 9.4 together with lithographic print of painting by Giorgione entitled A Shepherd with a Pipe, originally painted c.1510-15</br>Acquired by Charles I (1600-49) as by Giorgione, recovered after the Restoration.Oil on canvas. Now attributed to Titian, this haunting pastoral theme is reminiscent of Giorgione with whom Titian was apprenticed. However the execution of the painting gives rise to the thought that it may have been painted by Titian based on a lost original conceived by Giorgione. Never the less, some scholars continue to attribute 'The Shepherd' to Giorgione.</br>Print size inches: 7.2 x 9.2
Set of two lithographic prints comprising:</br>lithographic print of painting by Artemisia Gentileschi entitled Self-portrait as Pittura, originally painted c.1638-9.</br>Recorded by the trustees of the sales of Charles I in October 1649 at Hampton Court; sold to Jackson on 23rd October 1651. Recovered at the Restoration.Oil on canvas. Painted as a self-portrait in accordance with the description of the personification of 'Painting' given in the Iconologia of Cesare Ripa (1611): A beautiful woman with full black hair, gold chain and iridescent clothing. It is probable that Artemisia produced this work during her stay in London from 1638 - 41.</br>Print size inches: 7.1 x 9.4 together with lithographic print of painting by Giulio Romano entitled Isabella d?Este, originally painted c.1531</br>Among the pictures presented to Charles II in 1660 by the States of Holland and West Friesland.Oil on panel. This portrait is traditionally identified as Isabella d'Este (1474-1539), wife of Giovanni Francesco Gonzaga. However, documentary evidence and contemporary descriptions suggest that the sitter may be Margherita Paleologo (1510-66) who married Isabella's son, Frederico Gonzaga, the first Duke of Mantua, in 1531. Isabella herself was one of the foremost patrons of the arts in Renaissance Italy. </br>Print size inches: 7.3 x 9.3
Set of two lithographic prints comprising:</br>lithographic print of painting by Artemisia Gentileschi entitled Self-portrait as Pittura, originally painted c.1638-9.</br>Recorded by the trustees of the sales of Charles I in October 1649 at Hampton Court; sold to Jackson on 23rd October 1651. Recovered at the Restoration.Oil on canvas. Painted as a self-portrait in accordance with the description of the personification of 'Painting' given in the Iconologia of Cesare Ripa (1611): A beautiful woman with full black hair, gold chain and iridescent clothing. It is probable that Artemisia produced this work during her stay in London from 1638 - 41.</br>Print size inches: 7.1 x 9.4 together with lithographic print of painting by Lorenzo Lotto entitled Andrea Odoni, originally painted 1527 (signed and dated 1527)</br>Among the pictures presented to Charles II (1630-85) in 1660 by the States of Holland and West Friesland.Oil on canvas. Portrait of the Humanist and antique dealer Andrea Odoni surrounded by his collection of antiques, coins and a book. His outstretched hand holds a small statuette, possibly Egyptian. In Venice, where this portrait was executed in 1527 in addition to being Lotto's birthplace, there was widespread interest among the Humanists in Egyptian hieroglyphics as a source of arcane knowledge and divine wisdom.</br>Print size inches: 8.9 x 7.9
Lithographic print of painting by Artemisia Gentileschi entitled Self-portrait as Pittura, originally painted c.1638-9.</br>Recorded by the trustees of the sales of Charles I in October 1649 at Hampton Court; sold to Jackson on 23rd October 1651. Recovered at the Restoration.Oil on canvas. Painted as a self-portrait in accordance with the description of the personification of 'Painting' given in the Iconologia of Cesare Ripa (1611): A beautiful woman with full black hair, gold chain and iridescent clothing. It is probable that Artemisia produced this work during her stay in London from 1638 - 41.</br>Print size inches: 7.1 x 9.4
BILDNIS DER HEILIGEN CÄCILIE Öl auf Leinwand. 103 x 76 cm. Halbbildnis der Heiligen, die in der römischen Kirche als Patronin der Musik verehrt wird. Der Oberkörper leicht nach links, der Kopf dagegen nach rechts gewandt, mit Blick nach oben. Diese Körperbewegung war stets als Mittel des lebendig bewegten Bildes eingesetzt worden. Die Heilige trägt ein goldfarbenes, mit Blüten und Blättern ornamentiertes Kleid, von dem der Ärmel bis zur Schulter sichtbar ist, darüber ein rotes Tuch, die rechte Hand an die Brust gelegt, die linke hält ein unten eingerolltes Notenblatt. Kopfbedeckung in Art eines Turbans in zurückhaltendem Tizianrot mit silber-grauen Aufhellungen. Am Ohr ein kleiner, goldener Ring. Links hinten wird ein Orgelkasten sichtbar. Um das Haupt zieht vor dunklem Hintergrund ein zarter Nimbusreifen. Expertise: Dem Gemälde sind mehrere Expertisen beigegeben: Rosario Macaluto, Milano, November 1945, Prof. Dr. Giacomo Migone, E. Clerici Sella, Prof. H. Fey, Prof. Lentini, Prof. Dr. Lodovico Margugliani. Literatur: Lodovico Magugliani, Note Pittoriche, in: Fenarete Letture d´Italia, Rivista d´Atualità e Cultura, Anno IXX, Nr. 4, S. 26-28, Abb. S. 26. (962145)
Attribué à Artemisia GENTILESCHI (1593 -1654) Portrait d'Artemisia Gentileschi en Renommée Toile. 68 x 52 cm Ces cheveux bouclés châtain clair, presque roux, son front haut et ses arcades sourcilières bombées,...
ARTEMISIA GENTILESCHI ROMA 1593 - 1652/1653 NAPOLI BETSABEA AL BAGNO ON 26 TH APRIL 1979 THE MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI DECLARED THIS PAINTING AS A VERY IMPORTANT WORK OF ART WITH CULTURAL INTEREST. THIS LOT CANNOT BE EXPORTED. olio su tela 288 x 228 cm
SAINT CATHERINE OF ALEXANDRIA measurements note 29 3/4 by 23 3/4 in.; 75.5 by 60.4 cm. oil on canvas, unframed PROVENANCE Miguel Roderigues Felloy, Rambla del Plat 9, Barcelona, Spain, before 1939 (according to an inscription on the reverse of the stretcher). NOTE This unpublished painting is an exciting addition to the oeuvre of Artemesia Gentileschi, and would appear to date to the artist's maturity (see below). It represents Saint Catherine of Alexandria, holding the palm of her martyrdom in one hand and her book in the other which she props up on the spiked wheel (an instrument of her martydom). She looks up in in astonishment overhead, and it is likely that Artemesia is depicting the moment of her vision of the Madonna and Child. In fact, the composition is striking in its similarity to depictions of the male evangelist saints or church fathers. Catherine holds her frond in her fingers almost like a quill (albeit in her left hand) and a book in the other. The upward gaze was the usual position to represent divine inspiration, and the pose would appear to show an awareness of such paintings by artists like Ribera (see, for example, his Saint Jerome in the Doria-Pamphilij collection, Rome, N. Spinosa, Ribera, Naples 2003, p. 272, cat. A66, illus.). The subject matter of Saint Catherine was treated on at least one other occasion by Artemesia, and such a painting is famously mentioned in letters of late 1635 and early 1636 that she wrote to Andrea Cioli, the secretary to Granduke Ferdinando di' Medici offering him in gratitude "un quatro che un pezzo fa ho finito con l'Imagine di Santa Caterina dedicato per V.S.Ill.ma. (a painting that I finished a bit ago with the image of Saint Catherine, dedicated to your Excellency)." It is tempting to associate those documents with a painting of this subject in the Uffizi, Florence (inv.1890, no. 8032, see Artemesia, exhibition catalogue, Casa Buonarotti, Florence, Rome 1991, pp. 147-149, no. 18). The Uffizi picture is of a different tonality and conception than the present canvas and must date to about the time the letters were written. We are grateful to Prof. Nicola Spinosa who, based on images, confirms this painting to be by Artemisia and dates it to her second and final sojourn in Naples, from 1641-1652. The present painting is accompanied by an unpublished article by Dr. Gianni Papi confirming the attribution. He dates the painting to Artemisia's first sojourn (1630-38) and suggests it is very possibly the painting intended for Andrea Cioli (see above).
Clio: the Muse of History signed, inscribed and dated '[1]632 ARTEMISIA [fa]ciebat all Illu t e M. Sme. r o FRosier[s?]' (ar linked, fr linked, on the open book) oil on canvas 50 1/4 x 38 1/4 in. (127.6 x 97.2 cm.)
![STUDIO OF ARTEMISIA GENTILESCHI (ROME 1593-1654[?] NAPLES) The Infant Moses](https://stageimg.invaluable.com/housePhotos/christies/22/762122/H0027-L357824697.jpg)
