Giovanni Battista Langetti Paintings & Artwork for Sale | Giovanni Battista Langetti Art Value Price Guide

Dec. 10, 2024
LANGETTI GIOVANNI BATTISTA (1626 - 1676) - Attributed to. Saint Paul the Apostle
Est: €10,000 - €15,000
LANGETTI GIOVANNI BATTISTA (1626 - 1676). Attributed to. Saint Paul the Apostle. 60,50 x 75 cm.
Capitolium Art
Dec. 05, 2024
Giovanni Battista Langetti, The Good Samaritan
Est: $30,000 - $50,000
Giovanni Battista Langetti The Good Samaritan oil on canvas 59.625 h x 76.24 w in (151 x 194 cm) Provenance: Sotheby's, London, Old Master Paintings, 9 July 1998, Lot 94 | Private Collection This work will ship from Chicago, Illinois.
Rago Arts and Auction Center
Oct. 22, 2024
Giovanni Battista Langetti
Est: €15,000 - €20,000
(Genoa 1635–1676) Saint Jerome, oil on canvas, 120.5 x 96 cm, framed Provenance: Private European collection
Dorotheum
Oct. 08, 2024
GIOVANNI BATTISTA LANGETTI. Painting "ST. JEROME"
Est: €50,000 - €70,000
GIOVANNI BATTISTA LANGETTI (Genova 1652-Venezia 1676). Oil painting on canvas depicting "ST. JEROME". Framed. Restoration. Already relined and re-stretched. GIOVANNI BATTISTA LANGETTI (Genova 1652-Venezia 1676). Dipinto olio su tela raffigurante "SAN GIROLAMO". In cornice. Restauri. Già rintelato e rintelaiato.
Viscontea Casa d'Aste s.r.l.
Jul. 05, 2024
Giovan Battista Langetti 1635 Genova-1676 Venezia Dario III ferito nella battaglia di Arbela
Est: €5,000 - €7,000
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Cambi Casa d'Aste
Jul. 04, 2024
GIOVANNI BATTISTA LANGETTI. Painting "SAINT JEROME"
Est: €50,000 - €70,000
GIOVANNI BATTISTA LANGETTI (Genova 1652-Venezia 1676). Oil painting on canvas depicting "SAINT JEROME". In frame. Restorations. Already relined and reframed. GIOVANNI BATTISTA LANGETTI (Genova 1652-Venezia 1676). Dipinto olio su tela raffigurante "SAN GIROLAMO". In cornice. Restauri. Già rintelato e rintelaiato.
Viscontea Casa d'Aste s.r.l.
Jun. 13, 2024
Giovan Battista Langetti 1635 Genova-1676 Venezia La Piscina probatica (da Jacopo Tintoretto)
Est: €6,000 - €8,000
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Cambi Casa d'Aste
Jun. 13, 2024
Giovan Battista Langetti 1635 Genova-1676 Venezia Suicidio di Catone
Est: €20,000 - €30,000
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Cambi Casa d'Aste
Jun. 13, 2024
Giovan Battista Langetti 1635 Genova-1676 Venezia Suicidio di Catone
Est: €18,000 - €24,000
“Segnato dalla spuria firma: 'JUSEPE DE RIBERA', il dipinto è, diversamente, manifesto esemplare di quella silloge di opere che Giovanni Batista Langetti ha dedicato a Catone l'Uticense (95-46 a. C.). Marina Stefani Mantovanelli, che al Langetti ha dedicato una vita di fondamentali studi, ha riunito nel ponderoso volume dedicato al pittore genovese ben tredici dipinti e un disegno basati sul suicidio di Catone. La nostra tela, che non appare nel detto catalogo, si apparenta strettamente con cinque dipinti che raffigurano Catone col volto stravolto dalla mortale ferita che si è inferto, la mano destra che ancora tiene la spada e la sinistra poggiata sull'orrendo taglio che si è procurato. L'esemplare ritenuto il prototipo di tale raffigurazione si conserva nel Palazzo Rosso di Genova, a questo direttamente si collegano le versioni di Ca Rezzonico in Venezia e a Seregno in collezione privata che dell'esemplare di Genova ripropongono il turgido tendaggio e lo splendido vaso posto su di un tavolo alla destra della composizione. Altre versioni conservate nel Museu de Belas Artes di Rio de Janeiro, nella collezione Shapiro di Miami Beach e nella collezione Baldacci di Firenze, palesano un indubbio scarto qualitativo a sfavore dei ricordati modelli. Del dipinto di Palazzo Rosso la Stefani Mantovanelli ne ha evidenziata l'acquisita suggestione veneziana nell'uso delle cromie terse e schiarite. La tela in esame, invece, è pienamente compresa in quel crudo riberismo che andava riformando la lezione caravaggesca piegandola su toni orridi e drammatici. Il dipinto rappresenta proprio in chiave di dramma l'episodio narrato da Plutarco, attraverso i particolari offerti dalla vasta ferita che si apre sul fianco di Catone e, soprattutto, nel volto di questi così distorto dallo spasimo sia fisico che psicologico. Opera, dunque, che a buon diritto si pone tra le valide prove che il Langetti ha dedicato al tema e che, verosimilmente, può esser intesa quale modello primigenio della serie. Ipotesi confortata da vari particolari, non ultimo una maggior cura nei dettagli descriventi il tavolo coperto di rosso panno, che fanno ritenere il dipinto non una semplice replica ma, come asserito, possibile splendida opera prima.”
Cambi Casa d'Aste
Nov. 29, 2023
Giovanni Battista Langetti (Genova 1625-Venezia 1676) - Diogenes and Alexander the Great
Est: €15,000 - €20,000
oil on canvas 98 x 140 cm Il tema di Diogene e Alessandro è particolarmente caro a Giovanni Battista Langetti che lo ha trattato e rielaborato in numerose opere nel corso della sua attività pittorica. Diverse sono le fonti letterarie che raccontano l’episodio, tra cui Plutarco, Diogene Laerzio, Cicerone e Valerio Massimo. Secondo l’aneddoto, il grande Alessandro si recò di persona in visita a Diogene; lo trovò disteso al sole e gli chiese cosa potesse fare per lui. Il filosofo rispose chiedendogli di spostarsi per non coprirgli il sole con la sua ombra. L’episodio contrappone, da un lato, il desiderio di grandezza, l’ambizione e la volontà di essere riconosciuto (anche da Diogene) di Alessandro e, dall’altro, l’essenzialità e la superiorità interiore del filosofo cinico che, non necessitando di beni e passioni terrene, si dimostra più grande del re. Langetti, in tutte le sue versioni, tratta il tema in modo personale, decontestualizzando la scena dalla realtà e ponendola in una dimensione onirica e tenebrosa. Così avviene anche nel dipinto in esame, in cui il filosofo, disteso davanti alla sua botte e illuminato dalla luce del sole, emerge seminudo dalle tenebre, brillando in tutta la sua grandezza che, pur essendo di carattere interiore e spirituale, si riflette anche in un corpo solido, possente e fiero che domina il primo piano; sul lato sinistro si avvicina, quasi timidamente, Alessandro che è vestito con un ricca e scintillante armatura, in contrapposizione al semplice drappo di Diogene; nonostante questo, il re rimane in ombra, come se l’artista volesse sottolinearne l’inferiorità morale. L’interesse di Langetti per questo tema si spiega con la sua appartenenza al gruppo dei Tenebrosi, sviluppatosi a Venezia intorno al quarto decennio del XVII secolo, i cui membri aderivano a una spiritualità di matrice stoica. Tipica dei tenebrosi è anche la materia densa e pastosa, quasi tormentata, e resa vibrante da un contrasto violento ed esasperato tra luci e ombre. Il dipinto si può confrontare con il Diogene e Alessandro in collezione Melnik Lobkowicz, Repubblica Ceca (M. Stefani Mantovanelli, Giovanni Battista Langetti. Il principe dei Tenebrosi, Soncino, 2011, cat. 97) e con un altro dipinto con il medesimo soggetto in collezione privata mantovana (M. Stefani Mantovanelli, ibidem, cat. 102).
Finarte
Oct. 25, 2023
Giovanni Battista Langetti
Est: €40,000 - €60,000
(Genoa 1635–1676) The Good Samaritan, oil on canvas, 104 x 97 cm, framed Provenance: Private collection, Paris; sale, Artcurial, Paris, 19 June 2012, lot 25 (as Giovanni Battista Langetti); Private European collection Literature: M. S. Mantovanelli, Giovanni Battista Langetti: il principe dei tenebrosi, Soncino 2011, p. 185, no. 74, fig. 51 (as Giovanni Battista Langetti) The painting depicts the story of the Good Samaritan, told in the Gospel of Luke 10:29–37: a man travelling from Jerusalem to Jericho is attacked by some thieves, who strip and beat him. A priest and a Levite pass by without helping the victim, but a Samaritan stops and takes the man to an inn, paying for his care. The subject was handled by Langetti on various other occasions, according to his frequent habit of revisiting motifs: a similar composition is held in the Harrach Collection, Vienna (inv. no. 519) and other versions can be found in the Holburne Museum in Bath and the Musée des Beaux-Arts in Lyon; the Fototeca Zeri also holds the image of a canvas depicting The Good Samaritan in a private Milanese collection (no. 59190). Langetti’s manner of painting is consistent throughout the course of his brief career, and it is characterised by the great speed of his dense brushwork together with a tendency to use a dark palette. In his compositions, importance is given to the nude figure, as well as to an intensity of expression and gesture. His usual choice of positioning the figure’s torso on the diagonal invites the viewer to look beyond the picture plane, conferring vitality and dynamism to his images. Giovanni Battista Langetti’s earliest training took place in his native city of Genoa, he completed his apprenticeship in Rome in the studio of Pietro da Cortona. He travelled to Naples where he came in contact with various painters influenced by Caravaggio, most notably Jusepe de Ribera. From the latter half of the 1650s he established himself definitively in Venice without loosing contact with his native Genoese ambient. Boschini described the painter as ‘a tenebrist and dark genius’ (see M. Boschini, La Carta del Navegar pitoresco, 1660, ed. by A. Pallucchini, Venice/Rome 1966, p. 577) on account of his painterly style, which drew him into association with other painters active in Venice at the time whose work is characterised by extreme naturalism and a dramatically violent deployment of light and shade.
Dorotheum
Sep. 18, 2023
Giovanni Battista Langetti (1635–1676) Drunken Noah
Est: €12,000 - €20,000
Langetti came from Rome, first studied with Gioacchino Assereto (1600-1649) in Genoa, then with Pietro da Cortona (1596-1669) in Rome and with Giovanni Francesco Cassana (1611-1691) in Venice. He merged diverse influences in his work, but above all by Ribera and Caravaggio. Langetti often represented male nudes in his works, which are characterized by a mature or older age and an energetic life. He found his artistic specialization in depicting the aging of the body with expressive realism and in heroic or tragic characters. This is also shown by the painting with the drunkenness of Noah: Noah's son Ham discovers his drunken father bared and tells his brothers Sem and Japhet. These two cover his nakedness without looking at him. We see in the picture how Ham scolds his sleeping father with his index finger while the other two brothers solve the problem with decency. When Noah later found out about it, he cursed Ham's son and his descendants. Langetti has characterized the aged epidermis with virtuosity and a keen sense for the materiality of the color and how it stretches over the bones and tendons of the aged man. Giovanni Bellini first presented the topic in a dramatic close-up (Musée des Beaux-Arts et d’Archeologie de Besançon). Langetti also treated elongated male nudes in other paintings, The Good Samaritan (Padua, private collection) or Cain flee after the murder of Abel (Nîmes, Musée des Beaux-Arts). Mattia Vinco dated the painting around 1670.
Fine Antiques Prague s.r.o.
Jun. 29, 2023
Oil on canvas Giovanni Battista Langetti (attrib.)
Est: €5,000 - €8,000
Oil on canvas Giovanni Battista Langetti (attributed)ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND QUOTE FOR SHIPPING COST CAN BE REQUEST BY SENDING AN EMAIL TO: info@unicartauctions.com ULTERIORI FOTO, INFORMAZIONI SUL LOTTO E PREVENTIVO PER LE SPESE DI SPEDIZIONE POSSONO ESSERE RICHIESTE INVIANDO UNA MAIL A: info@unicartauctions.com Olio su tela raffigurante scena mitologica. attribuito a Langetti
Unicart Auctions
Mar. 30, 2023
Giovanni Battista Langetti, 1625 Genua – 1676 Venedig, zugeschrieben
Est: €24,000 - €40,000
DER TOD DES CATO VON UTICA Öl auf Leinwand. Doubliert. 92 x 113 cm. In profiliertem Rahmen. Der Tod des Cato von Utica (95-46 v. Chr.) findet sich mehrfach in unterschiedlicher Ausführung in den Werken des Langetti und seiner Werkstatt. Cato hatte erkannt, dass er gegen Ende des Bürgerkrieges an politischem Einfluss einbüßte, und die republikanische Freiheit schien durch Caesars Sieg unerreichbar, sodass er der Situation - eigentlich für bei seinem Kampfesgeist und Mut undenkbar - ebenso wie Scipio durch Selbstmord auswich, so dass er sein Leben angesichts der politischen Bedingungen aufgab. Provenienz: Laut Einlieferertradition aus der Sammlung Luigi Koelliker, Mailand. Literatur: Vgl. Anna Orlando (Hrsg.), Dipinti Genovesi dal Cinquecento al Settecento, Katalog der Collezione Koelliker, Mailand 2006. Vgl. Marina Stefani Mantovanelli, Giovanni Battista Langetti. Il Principe dei Tenebrosi, Soncino 2011. Vgl. Sabine Wussow, Die Persönlichkeit des Cato Uticensis - zwischen stoischer Moralphilosophie und republikanischem Politikverständnis, Diss., Dortmund 2004, Kapitel 3: Der Selbstmord des Cato Uticensis aus der Sicht der stoischen Philosophie und der römischen Staatsauffassung, S. 228ff. (13411410) (13) Giovanni Battista Langetti, 1625 Genoa – 1676 Venice, attributed THE DEATH OF CATO OF UTICA Oil on canvas. Relined. 92 x 113 cm. Provenance: According to the tradition of the consignors this originates from the collection of Luigi Koelliker, Milan.
Hampel Fine Art Auctions
Mar. 02, 2023
ATTRIBUTED TO GIOVANNI BATTISTA LANGETTI (ITALIAN 1625-1676), DIOGENES
Est: £5,000 - £8,000
ATTRIBUTED TO GIOVANNI BATTISTA LANGETTI (ITALIAN 1625-1676)DIOGENESOil on canvasSigned with erroneous monogram (lower right)84 x 75cm (33 x 29½ in.)Provenance:The Wodehouse, Wombourne, StaffordshirePossibly a part of a larger composition depicting Diogenes and Alexander the Great.
Dreweatts 1759 Fine Sales
Dec. 14, 2022
Langetti Giovan Battista, Uccisione di Archimede
Est: €10,000 - €15,000
olio su tela, W. 120 - H. 93 Cm
Cambi Casa d'Aste
Dec. 14, 2022
Langetti Giovan Battista attribuito a, San Gerolamo
Est: €2,500 - €3,000
olio su tela, W. 107 - H. 103 Cm
Cambi Casa d'Aste
Nov. 17, 2022
Langetti, Giovanni Battista (attr.)
Est: €800 - €1,200
Langetti, Giovanni Battista (attr.) Genua 1625/35 - Venedig 1676 92 x 72 cm Ecce Homo. Öl/Lwd., doubl. Aus einer alten württembergischen Sammlung. Langetti, Giovanni Battista (attr.) Genua 1625/35 - Venedig 1676 92 x 72 cm Ecce Homo. Oil/canvas, relined. Old Wurttemberg private collection.
Nagel Auction
Sep. 22, 2022
Apollo ties Marsyas to a tree, Lorenzo Zucchi, Giovanni Battista Langetti
Est: €350 - €550
Apollo ties Marsyas to a tree. Engraving made by Lorenzo Zucchi (1704-1779) after a painting of Giovanni Battista Langetti (1625-1676). Engraved and published in Italy ca 1714-1779. Le Blanc 40. A fine impression in good condition. Printed on laid paper trimmed in the platemark just around the subject and in the textborder, text is complete.
Old Master Print
Jun. 30, 2022
Giovanni Battista Langetti, 1625 Genua – 1676 Venedig, zugeschrieben
Est: €8,000 - €10,000
DIE TRUNKENHEIT NOAHS Öl auf Leinwand. Doubliert. 117,5 x 167,5 cm. In breitem profiliertem bronziertem Rahmen. Beigegeben in Kopie eine Expertise von Mattia Vinco vom 24. März 2018, welcher Vergleichsbeispiele, etwa im Musée des Beaux Arts in Nîmes oder auch im Musée des Beaux Arts et d‘Archéologie in Besançon nennt. Diagonal liegt Noah in komplizierter Haltung völlig entblößt, den Blicken des Betrachters schutzlos ausgeliefert, lediglich seine Scham wird durch ein großes bedeutungsschwangeres Weinblatt bedeckt. Seine Söhne Sem und Japhet wenden respektvoll ihren Blick ab, während sie sich mit einem Gewand für ihren Vater nähern, lediglich der dritte Sohn – Cham – beugt sich witzelnd nach vorn und weist durch die Form seines erhobenen Zeigefingers auf das, was dem Bildbetrachter verborgen bleibt (1. Buch Mose 9, 20-27). Der 1635 in Genua geborene Giovanni Battista Langetti stellt den alten Körper Noahs in diesem ca. 1670 entstandenen Gemälde in heller Erleuchtung dar mit reichem, den Muskeln und Falten geschuldetem Schattenspiel. Literatur: Vgl. Marco Boschini, Anna Pallucchini, La carta del navegar pitoresco, Rom und Venedig 1966, S. 576-578 und 626. Vgl. Rodolfo Pallucchini, La pittura veneziana del Seicento, Mailand 1981, S. 243-250. Vgl. Lidia Bortolotti, In Dizionario biografico degli Italiani, Rom 2004. Vgl. Marina Stefani Mantovanelli, Giovanni Battista Langetti. Il principe dei tenebrosi, Soncino 2011. (13210716) (13)
Hampel Fine Art Auctions
Jun. 30, 2022
Giovanni Battista Langetti, 1625 – 1676
Est: €12,000 - €16,000
TITYOS MIT DEM ADLER Öl auf Leinwand. Doubliert. 120 x 100 cm. In vergoldetem Profilrahmen. Anbei in Kopie ein Gutachten von Franco Paliaga, Florenz, Februar 2019. An einen Fels gekettet sehen wir den schmerzverzerrten Körper des Tityos, der von einem Adler malträtiert wird. Ein ähnliches Gemälde wird im Mauritshuis verwahrt, wenngleich die Komposition dort ins Diagonale ausgerichtet ist, während sich Prometheus im vorliegenden Gemälde unter der Vertikalen krümmt. Von Ribera hingegen ist eine vollends in die Horizontale gebrachte Darstellung des Themas bekannt, die 1632 angefertigt worden ist. In einer Privatsammlung in Modena wird eine Darstellung des Marsyas ebenfalls von Langetti verwahrt, die ebenfalls viel Ähnlichkeit mit unserem Gemälde hat. Literatur: Vgl. Marina Stefani Mantovanelli, Giovanni Battista Langetti. Il Principe dei Tenebrosi, Soncino 2011, S. 145, Nr. 11, Abb. 11 sowie S. 167, Nr. 56, Abb. 40. (1321191) (4) (13) Giovanni Battista Langetti, 1625 – 1676 TITYOS AND THE EAGLE Oil on canvas. Relined. 120 x 100 cm. Accompanied by an expert’s report by Franco Paliaga, Florence, February 2019. Literature: cf. Marina Stefani Mantovanelli, Giovanni Battista Langetti. Il Principe dei Tenebrosi, Soncino 2011, p. 145, no. 11, ill. 11, and p. 167, no. 56, ill. 40.
Hampel Fine Art Auctions
May. 24, 2022
Giovan Battista Langetti (Genova 1625 - Venezia 1676) e bottega
Est: €4,500 - €6,500
Giovan Battista Langetti (Genova 1625 - Venezia 1676) e bottega San Girolamo penitente Olio su tela 72 x 55 cm L’opera è corredata da uno studio del Dott.Giuseppe Sava, disponibile su richiesta via email. Giambattista Langetti nacque a Genova nel 1635, dove fu quasi sicuramente allievo di Giovan Battista Carlone. In seguito, secondo Ratti, fu a Roma, ove per un periodo si formò presso la bottega di Pietro Da Cortona. Proprio in questo periodo Langetti si avvicinò alla pittura drammatica e raccapricciante di Jusepe de Ribera. Verso il 1655 si trasferì in laguna, dove divenne il vero e proprio caposcuola dei “tenebrosi”, ottenendo un importante riscontro tra le nobili collezioni cittadine. Nel suo alto linguaggio pittorico seppe magistralmente amalgamare la tragicità dello Spagnoletto, il colore veneto con i dettami barocchi romani, nonché afflati fiamminghi appresi a Genova in età giovanile, di Van Dick e Rubens su tutti. Giovan Battista Langetti (Genoa 1625 - Venice 1676) and workshop Penitent St. Jerome Oil on canvas 72 x 55 cm The artwork is accompanied by a study by Dr. Giuseppe Sava, available on request via email.
Lucas Aste
Mar. 31, 2022
Giovanni Battista Langetti | 1635 - 1676
Est: €10,000 - €12,000
Giovanni Battista Langetti | 1635 - 1676 FIGURE OF OLD WOMAN WITH LARGE VASE oil on canvas, cm 108x92,8. The work is accompanied by written essay by Mrs. Anna Orlando. IT: Giovanni Battista Langetti | 1635 - 1676 FIGURA DI VECCHIA CON GRANDE VASO olio su tela, cm 108x92,8. L'opera è accompagnata da una scheda della studiosa Anna Orlando.
Fondaco Aste
Dec. 09, 2021
Giovanni Battista Langetti, 1625 Genua – 1676 Venedig, zugeschrieben
Est: €5,000 - €8,000
PORTRAIT EINES PHILOSOPHEN Öl auf Leinwand, auf Karton aufgezogen. 59 x 46 cm. In ebonisiertem teilvergoldetem Rahmen. Über einer geometrischen Zeichnung mit einem Zirkel sinnierend ein Mann mittleren Alters mit antikisierendem rotem Umhang und lichtem Haar. Kopfstudien, die Langetti zugeschrieben werden und wurden, sind bekannt, so etwa der Kopf eines bärtigen Mannes (Fondazione Zeri 36518). Rest. (1291882) (3) (13)
Hampel Fine Art Auctions
Nov. 27, 2021
Giovanni Battista Langetti (1635–1676), Drunken Noah
Est: €5,000 - €7,000
Langetti came from Rome and first studied with Gioacchino Assereto (1600-1649) in Genoa, then with Pietro da Cortona (1596-1669) in Rome, and later with Giovanni Francesco Cassana (1611-1691), in Venice. He merged diverse influences in his work; above all, by Ribera and Caravaggio. Langetti often represented male nudes in his works, which are characterized by a mature, or older age, and an energetic life. He found his artistic specialization in depicting the aging of the body with expressive realism, and in heroic, or tragic characters. This is also shown by the painting with the drunkenness of Noah: Noah's son Ham discovers his drunken father and tells his brothers Sem and Japhet. These two cover his nakedness without looking at him. We see in the picture how Ham scolds his sleeping father with his index finger while the other two brothers solve the problem with decency. When Noah later found out about it, he cursed Ham's son and his descendants. Langetti has characterized the aged epidermis with virtuosity and a keen sense for the materiality of color, and how it stretches over the bones and tendons of the aged man. Giovanni Bellini first presented the topic in a dramatic close-up (Musée des Beaux-Arts et d’Archeologie de Besançon). Langetti also treated elongated male nudes in other paintings; The Good Samaritan (Padua, private collection), or Cain Fleeing after the Murder of Abel (Nîmes, Musée des Beaux-Arts). Mattia Vinco dated the painting around 1670. Expert opinion by doc. Mattia Vinco, 24 March 2018
Fine Antiques Prague s.r.o.
Sep. 25, 2021
Langetti, Giovanni Battista (1625 Genua - Venedig 1676)
Est: €10,000 - €12,000
König Salomos Urteil. Öl/Lwd. (doubliert). 139x 113 cm. Im Barock-Rahmen, Holz, vergoldet (besch.), 17./18. Jh. Wir bedanken uns bei Roeland Kollewijn für die mündliche Bestätigung der Autorschaft.
Dannenberg
Jun. 21, 2021
Tenebroso Giovanni Battista Langetti, Genoa 1635 - 1676 Venice (attributed), Portrait of a saint in devotion
Est: €6,000 - €8,000
Tenebroso Giovanni Battista Langetti Genoa 1635 - 1676 Venice (attributed) Portrait of a saint in devotion Oil on canvas, relined 92 x 71 cm The painting of the tenebroso / chiaroscuro, starting from Michelangelo da Caravaggio, reached Venice around 1620/30. In the lagoon city, in addition to G.B. Langetti, to whom we attribute this painting, Johann Carl Loth, gen. Carlotto, Antonio Zancchi or Francesco Russi were among the expressive representatives of this style in the painting of the emerging Baroque. The supporting colors of the backgrounds are dark in brown, olive and also gray tones and contrast with the bright, naturalistic, light-filled colors of the foreground. We are grateful Professor Dr. Dario Succi for the assessment of the painting to the Tenebrosi on the basis of a digital photograph.
Tiberius Auctions
May. 22, 2021
Giovanni Battista Langetti (1635–1676), Drunken Noah
Est: €8,000 - €10,000
Langetti came from Rome, first studied with Gioacchino Assereto (1600-1649) in Genoa, then with Pietro da Cortona (1596-1669) in Rome and with Giovanni Francesco Cassana (1611-1691) in Venice. He merged diverse influences in his work, but above all by Ribera and Caravaggio. Langetti often represented male nudes in his works, which are characterized by a mature or older age and an energetic life. He found his artistic specialization in depicting the aging of the body with expressive realism and in heroic or tragic characters. This is also shown by the painting with the drunkenness of Noah: Noah's son Ham discovers his drunken father bared and tells his brothers Sem and Japhet. These two cover his nakedness without looking at him. We see in the picture how Ham scolds his sleeping father with his index finger while the other two brothers solve the problem with decency. When Noah later found out about it, he cursed Ham's son and his descendants. Langetti has characterized the aged epidermis with virtuosity and a keen sense for the materiality of the color and how it stretches over the bones and tendons of the aged man. Giovanni Bellini first presented the topic in a dramatic close-up (Musée des Beaux-Arts et d’Archeologie de Besançon). Langetti also treated elongated male nudes in other paintings, The Good Samaritan (Padua, private collection) or Cain flee after the murder of Abel (Nîmes, Musée des Beaux-Arts). Mattia Vinco dated the painting around 1670. Expert opinion by doc. Mattia Vinco, 24 March 2018
Fine Antiques Prague s.r.o.
May. 15, 2021
DIPINTO
Est: €7,000 - €7,800
Giovanni Battista Langetti (1625/1676) olio su tela raff.filosofo sec.XVII Autentica Anna Orlando cm. 77x63
Casa d'aste Martini
Dec. 19, 2020
Oil painting on canvas depicting "The Return of the Prodigal Son", the seventeenth century,
Est: -
Oil painting on canvas depicting "The Return of the Prodigal Son", the seventeenth century, Allegedly by Giovan Battista Langetti (Genoa, 1635 - Venice, 22 October 1676), 93x100 cm. The work is Allegedly by Giovan Battista orally Langetti (Genoa, 1635 - Venice, 22 October 1676). Few and fragmentary news we hear about his first period of training, but it is conceivable a stay in Rome, during which the Langetti is active at the workshop of Pietro da Cortona. In the aftermath, it is likely its presence in Naples, where he remained deeply impressed by the vision of works by Jusepe de Ribera, thus enriching its store of knowledge, made up of reminiscences of the Genoese painters Joachim Asseretos and Giovanni Benedetto Castiglione, and those of Flemish Rubens and Van Dyck, which in Genoa aveveno stayed and performed several works in the first decades of the seventeenth century. By the mid-50s of the century will travel to Venice, where he lived for the rest of his life, spending an initial period at the workshop of Giovan Francesco Cassana, as he tells us the artist and writer Marco Boschini, which in 1660 published the navegar pitoresco Charter, the pictorial beauty of Venice. As evidence of the fame acquired by Langetti there are also some commissions arrived from outside Venice, such as those coming from Florence, by the Grand Duke Ferdinand II de 'Medici, and Padua, where he will be active in the Church of the Dominicans. The work in question is the return of the episode of the prodigal son, narrated in the parable of Jesus, from the Gospel according to Luke. The compositional cutting, the labeled use of shading, the clear reference to naturalism riberesco, therefore the painting traced back to the years and the atmosphere of the "of Gloomy" group, which had luck in Venice around the middle of '600. The same Luigi Lanzi coined for Langetti the title of Prince of Gloomy. The award, therefore, could be confirmed by comparing the painting under analysis with the works of certain Langetti as the representative of Apollo and Marsyas, where it seems clear citation of the character depicted back, placed on the far left of the painting, or that representing Diogenes and Alexander, Painting, 1650 and kept at the Fondazione Querini Stampalia in Venice.
ArtLaRosa
Dec. 17, 2020
GIOVANNI BATTISTA LANGETTI (GENOA 1625-1676 VENICE) - Diogenes
Est: £15,000 - £25,000
GIOVANNI BATTISTA LANGETTI (GENOA 1625-1676 VENICE) Diogenes oil on canvas 48 1/2 x 39 1/2 in. (123.2 x 100.3 cm.)
Christie's
Oct. 20, 2020
GIOVANNI BATTISTA LANGETTI (GENOA 1635-1676 VENICE) ,
Est: $6,000 - $8,000
GIOVANNI BATTISTA LANGETTI (GENOA 1635-1676 VENICE) A fortune teller oil on canvas 43 1/4 x 31 3/4 in. (110.5 x 80.7 cm.) ,
Christie's
Oct. 07, 2020
GIOVANNI BATTISTA LANGETTI (GENOA 1635-1676 VENICE) - Samson
Est: £8,000 - £12,000
GIOVANNI BATTISTA LANGETTI (GENOA 1635-1676 VENICE) Samson oil on canvas 26 3/4 x 64 3/8 in. (68 x 163.5 cm.)
Christie's
Sep. 24, 2020
Giovanni Battista Langetti, 1625 – 1676
Est: €10,000 - €15,000
DIE TRUNKENHEIT DES NOAH Öl auf Leinwand. 117,5 x 167,5 cm. Beigegeben eine Expertise von Mattia Vinco, vom 24. 3.2018, mit mehreren Bildvergleichsangaben. Die im Bild thematisierte Begebenheit wird in Genesis 10,1 erzählt, wonach der Stammvater der Völker in Trunkenheit von seinen Söhnen aufgefunden wurde. Dabei hat einer der Söhne, Ham, die Blöße des Vaters aufgedeckt, was zum Fluch über ihn und dessen Sohn Kenaan führte. Die Legende hat zahlreiche Interpretationen erfahren. In der Malerei des 15. Jahrhunderts hat etwa Giovanni Bellini das Thema aufgegriffen und in seinem Gemälde Noch in ähnlicher Weise nach links liegend dargestellt, ebenfalls über ihn gebeugt seine Söhne. Diesem Kompositionsschema folgt auch Langetti in dem vorliegenden Gemälde. Stilgemäß weit bewegter ist nun der nur im Bereich der Scham bedeckte alte Vater dargestellt; er liegt auf einer Kline, sein rechtes Bein hängt über den Bettrand herab, sein Kopf auf seinem rechten Arm. Langetti lässt in künstlerischer Freiheit zwei der Söhne sich gegenseitig anblicken, die linke Gestalt, in rotem Kleid mit Hut, scheint dabei zu sein, sich dem Interesse an der Entblößung des Vaters hinzugeben. Sein Gesicht neugierig lächelnd gezeigt, den Zeigefinger wie vor der Tat erhoben. In hoher Malqualität wird hier der gealterte Körper des Vaters gezeigt, ein Motiv, das sich bei Langetti mehrmals wiederfindet und nahezu zu einer Spezialität des Malers geworden ist. Auch die bewegte Körperhaltung gehört zur Bildsprache des Malers, der in seiner Geburtsstadt, aber auch in Venedig und Rom wirkte. In Venedig wird er als Mitarbeiter des Gianfranco Cassana vermutet. Sein Stil zeigt eine deutliche Betonung der Hell-Dunkel-Malerei in der Stilrichtung der „tenebrosi“, die auch bei Carl Loth zu finden ist. A.R. Literatur: Luca Bortolotti: Langetti, Giovan Battista, in: Mario Caravale (Hrsg.), Dizionario Biografico degli Italiani (DBI). Bd 63: Labroca-Laterza. Istituto della Enciclopedia Italiana, Rom 2004. R. Pallucchini, La pittura veneziane del Seicento, I, Milano 1981, S. 243-250. M. Stefani Mantovanelli, Giovanni Barrista Langetti. Il principe dei tenebrosi. Soncino/Cremona 2011. (1241754) (11) Giovanni Battista Langetti, 1625 – 1676 THE DRUNKENNESS OF NOAH Oil on canvas. 117.5 x 167.5 cm. Accompanied by an expert’s report by Mattia Vinco, dated 24 March 2018, with several examples of paintings for comparison. Literature: L. Bortolotti, Giovan Battista Langetti, in: Mario Caravale (ed.), Dizionario Biografico degli Italiani (DBI), vol 63: Labroca-Laterza. Istituto della Enciclopedia Italiana, Rome 2004. R. Pallucchini, La pittura veneziane del Seicento, I, Milan 1981, pp. 243-250. M. Stefani Mantovanelli, Giovanni Barrista Langetti. Il principe dei tenebrosi, Soncino/Cremona 2011.
Hampel Fine Art Auctions
Aug. 01, 2020
Giovanni Battista Langetti (1635–1676) Drunken Noah
Est: €15,000 - €20,000
Langetti came from Rome, first studied with Gioacchino Assereto (1600-1649) in Genoa, then with Pietro da Cortona (1596-1669) in Rome and with Giovanni Francesco Cassana (1611-1691) in Venice. He merged diverse influences in his work, but above all by Ribera and Caravaggio. Langetti often represented male nudes in his works, which are characterized by a mature or older age and an energetic life. He found his artistic specialization in depicting the aging of the body with expressive realism and in heroic or tragic characters. This is also shown by the painting with the drunkenness of Noah: Noah's son Ham discovers his drunken father bared and tells his brothers Sem and Japhet. These two cover his nakedness without looking at him. We see in the picture how Ham scolds his sleeping father with his index finger while the other two brothers solve the problem with decency. When Noah later found out about it, he cursed Ham's son and his descendants. Langetti has characterized the aged epidermis with virtuosity and a keen sense for the materiality of the color and how it stretches over the bones and tendons of the aged man. Giovanni Bellini first presented the topic in a dramatic close-up (Musée des Beaux-Arts et d’Archeologie de Besançon). Langetti also treated elongated male nudes in other paintings, The Good Samaritan (Padua, private collection) or Cain flee after the murder of Abel (Nîmes, Musée des Beaux-Arts). Mattia Vinco dated the painting around 1670.
Fine Antiques Prague s.r.o.
Jul. 07, 2020
DRUNKEN LOT
Est: -
Langetti worked initially in Genoa, later in Rome, Naples and finally in Venice. In Rome and Naples, he was influenced by the work of the followers of Michelangelo Carravaggio and Giuseppe Ribera. In agreement with these authors, he often chose dramatic, strongly expressive themes with full use of the contrasts of darkness. With distinct naturalism, he painted repeatedly muscular men, whose faces reflected the suffering or other extreme situations. One of his favorite topics was the Old Testament incident of Lot and his daughters, who left the punished city of Sodoma. Girls left with their father, found a shelter in a cave in the mountains with him, got drunk there, and slept with him in an effort to preserve the family line. His muscular body fills the entire area of the image, his massive chest and belly are markedly modeled, and his muscles are emphasized on his arms and legs. The head of the sleeping old man is slightly inclined to his shoulder, his gray-white hair framing his face. The face is covered with somewhat roughly painted wrinkles. Lot touches a wine bowl with one hand, holding a bunch of wine in the other. Both the naturalistic concept and the painting itself are close to Langetti's paintings on this subject, but there are also some details that differ from this artist in their elaboration. It is most likely the work of a close follower. Artwork consulted with PhDr. Hana Seifertová. Technique: Oil on canvas, Signed: Unsigned
Arthouse Hejtmánek
Mar. 05, 2020
GIOVAN BATTISTA LANGETTI
Est: €4,000 - €7,000
(Genova, 1635 ? - Venezia, 1676) San Girolamo e l'angelo Olio su tela, cm 75X60 Provenienza: Londra, mercato antiquario Genova, Collezione Rubinacci Genova, Collezione Zerbone Genova, Collezione privata Bibliografia: La Pittura del '600 a Genova, a cura di P. Pagano e M. C. Galassi, Milano 1988, n. 385 M. Stefani Mantovanelli, Giovanni Battista Langetti, in Saggi e Memorie di storia dell'arte, vol. 17 (1990), p. 76, fig. 99 M. Stefani Mantovanelli, in Genova nell'Età Barocca, catalogo della mostra a cura di E. Gavazza e G. Rotondi Terminiello, Bologna 1992, p. 206, n. 108 M. Stefani Mantovanelli, Giovanni Battista Langetti. Il Principe dei tenebrosi, Soncino 2011, p. 221, n. 131, tav. LVIII La tela è da sempre considerata dalla critica quale splendido bozzetto definitivo per la pala firmata oggi custodita al Museum of Art di Cleveland (Fig. 1- olio su tela, cm 200X149- Cfr. Mantovanelli 2011, pp. 218 220, n. 129). Possiamo infatti osservare le strette analogie cromatiche e compositive tra le due opere, con lo studio preparatorio che riassume con dovizia gli esiti finali. Tale aspetto del procedimento creativo del pittore documenta come eseguisse con massima attenzione le opere di maggiore impegno e con quale serietà offrisse al committente l'anticipazione in piccolo delle sue idee creative. L'immagine descrive con intenso spirito tenebroso il Padre della Chiesa nei panni d'emaciato anacoreta, insistendo con crudo realismo nel dipingere la figura, riconoscente del migliore caravaggismo napoletano. Al contempo, possiamo osservare come il Langetti anticipi nel corso della maturità l'evolversi settecentesco dell'arte veneziana, sorprendendo persino il Fragonard che dalla tela di Cleveland trasse più di un disegno (cfr. J. C. Richard Abbé de Saint Non, J. H. FRagonar, Panopticon Italiano. Un diario di viaggio ritrovato 1759 - 1761, a cura di P. Rosemberg e J. Brejon De Lavergnée, Roma 1986, p. 393). Bibliografia di riferimento: A. Moir, The Italian Followers of Caravaggio Cambridge 1967, vol I, p. 289, n. 52- vol. II- p. 82, fig. 398 R. Pallucchini, La pittura veneziana del Seicento, Venezia 1981, vol. I, p. 248- vol. II p. 738, fig. 796 The Cleveland Museum of Art. The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries, Cleveland, OH: The Cleveland Museum of Art, 1982, p. 356- pp. 364-366 A. Orlando, Genova e il collezionismo nel Novecento. studi nel centenario di Angelo Costa. Torino 2000, fig. 242
Wannenes Art Auctions
Nov. 29, 2018
PITTORE VENETO DEL XVII - XVIII SECOLO
Est: €3,000 - €5,000
Coriolano Olio su tela, cm 100X134 Antonio Zanchi esprime al meglio il naturalismo chiaroscurale della pittura veneta seicentesca, appreso osservando non solo gli esempi di Giovanni Battista Langetti (Genova, 1625 - Venezia 1676) e di Francesco Ruschi (Roma, 1610 circa - Treviso, 1661), ma specialmente le esuberanti composizioni di Luca Giordano (Napoli, 1632 - 1705) visibili nella città lagunare. Le sue creazioni sono contraddistinte da vigorosi impasti cromatici e scorci audaci, aspetti che l'autore manifesta sin dalle prime opere, misurandosi altresì con gli aulici esempi di Jacopo Tintoretto. Magistrale a questo proposito è il suo intervento presso la Scuola di San Rocco del 1666, in cui giunge a esiti eccelsi rappresentando i tristi effetti della peste. Dell'anno successivo è la grandiosa scena con 'Cristo che scaccia i mercanti dal tempio' della Scuola di San Fantin, manifestando la piena adesione al gusto napoletano come ben evidenziò il Pallucchini nel 1981. Il dipinto in esame si colloca quindi attorno al alla fine del sesto decennio o subito dopo, in analogia con la tela raffigurante la Clemenza di Alessandro. Bibliografia di riferimento: P. Zampetti, 'Antonio Zanchi', in 'I pittori bergamaschi dal XIII al XIX secolo. Il Seicento', IV, Bergamo 1987, pp. 419 - 707
Wannenes Art Auctions
Nov. 18, 2018
GIOVANNI BATTISTA LANGETTI (1625–1676) - The Drunkenness of Noah
Est: Kč375,000 - Kč450,000
Oil on canvas. Around 1670. 117 x 167 cm. Langhetti worked in his native Genoa, then in Rome, and finally spent a longer period in Venice. He studied, for example, with Pietro da Cortona, but from the 1750s he worked in a more Caravaggian style.
Arcimboldo Auctions
Jul. 23, 2018
Attributed to Giovanni Battista Langetti (Italian, 1625 - 1676), "St. Jerome" (or possibly St. Paul), oil on canvas, depicts an elde...
Est: $15,000 - $25,000
Attributed to Giovanni Battista Langetti (Italian, 1625 - 1676), "St. Jerome" (or possibly St. Paul), oil on canvas, depicts an elderly bearded man partially clad in flowing red robes in three quarter profile looking up to the upper right, dark background, on 19th C. stretcher and in c. 1860 American gilt cove frame, 1936 Wadsworth Atheneum label verso, wear consistent with age and use including damages to frame, heavy varnish, craquelure, minor scattered losses near edge, frame size: canvas size: 29" h. x 25" w. [ATTRIBUTION: Attribution by Anna Orlando, an expert of Genoese Painting of the XVI-XVII centuries, who notes the painting is "quite typical {of} the way he paints mains (and nails), the quantity of paint he uses, his taste for nude and so on…][PROVENANCE: Acquired by the Hartford Art Society , who in turn loaned it to the Wadsworth Atheneum on June 16th 1936 and then given label stating artist as "Ribera" and title of "St. Jerome", the painting was displayed for years among the museum's own collections on the second-floor galleries of the Morgan building before being returned to HAS on December 15th , 1941 and stored in archives until being consigned for auction at Winter Associates in 2018.]
Winter Associates, Inc.
Apr. 29, 2018
Giovanni Battista LANGETTI (Gènes 1625-Venise 1676)
Est: €20,000 - €30,000
Giovanni Battista LANGETTI (Gènes 1625-Venise 1676) Joseph interprétant les songes du panetier du roi d’Egypte Toile 124 x 173,5 cm Gênois par sa naissance, mais vénitien d’adoption, Langetti occupe une place importante dans l’évolution de la peinture italienne du XVIIe siècle, faisant le pont entre le ténébrisme et le baroque de Sebastiano Ricci et Piazetta. Dans sa ville natale, il acquiert un goût pour la couleur et un certain naturalisme auprès de Gioacchino Asseretto. Il a été marqué par Ribera et plus encore par l’interprétation du ribérisme que donne Luca Giordano, notamment les oeuvres que ce dernier a laissées à Venise, vers 1650. Langetti s’installe définitivement dans la Lagune vers 1658/60, où il découvre les toiles de Bernardo Strozzi, l’influence de Rembrandt à travers Bernardo Keil, restant aussi imprégné toute sa vie par les effets luministes dramatiques de Tintoret. Sa peinture aborde des sujets mythologiques et sacrés, marqués par la présence de personnages barbus, et à la musculature herculéenne. Dans les tableaux de la maturité, les ombres contrastent avec des effets lumineux, jouant sur des drapés peints par grandes touches vibrantes. Près de 150 tableaux de sa main nous sont parvenus, au réalisme pathétique et parfois brutal. C’est ici un épisode de l’Ancien Testament qui est illustré : Joseph, après avoir interprété le songe de l’échanson du roi d’Egypte, interprète celui du panetier du roi d’Egypte, tous deux emprisonnés pour avoir offensé leur maître. Trois jours plus tard, les prédictions de Joseph se réalisent: l’échanson est réhabilité et le panetier pendu. On rapprochera notre tableau de celui de même sujet passé en vente à New York le 27.01.2011 (Christie’s) n° 325 (98.500$).
HVMC - Hôtel des Ventes de Monte-Carlo
Feb. 13, 2018
Giovan Battista Langetti
Est: €5,000 - €7,000
Giovan Battista Langetti (Genova 1635 - Venezia 1676) LA MORTE DI CATONE UTICENSE olio su tela, cm 89x72 Giovan Battista Langetti (Genova 1635 - Venezia 1676) death of Catone oil on canvas, cm 89x72
Pandolfini Casa d'Aste
Dec. 19, 2017
Giovanni Battista LANGETTI (Gênes 1625-Venise 1676) Lamentation sur le corps du Christ
Est: €30,000 - €50,000
Giovanni Battista LANGETTI (Gênes 1625-Venise 1676) Lamentation sur le corps du Christ Toile Restaurations anciennes Dans un cadre ancien du XVIIe siècle The lamentation over the dead Christ, canvas, in a 17th century ancient frame 131 x 167cm - 51 5/8 X 65 3/4 IN. € 30,000-50,000 Provenance Vente anonyme, Londres, 15décembre 1976 (Sotheby's), n°34 Bibliographie Maria Stefani Mantovanelli, Giovanni Battista Langetti Il principe dei Tenebrosi, 2011, p.173, n°61, repr. p.272, fig.44 (dimensions erronées). Maria Stefani Mantonavelli considère notre tableau comme une œuvre-clef de la maturité de Langetti, et le date peu après la Crucifixion de la Ca’Rezzonico à Venise (op. cit, p.175), voire des années 1664-1665. L’absence de la Vierge est inhabituelle dans ce sujet, un choix qui pourrait être interprété comme dérivant de la volonté de l’artiste de se focaliser sur l’humanité physique du Christ, dont le corps occupe presque la toute la longueur de la toile (on retrouve la même iconographie dans la peinture de Lubin Baugin à Orléans). Génois par sa naissance, mais vénitien d'adoption, Langetti occupe une place importante dans l'évolution de la peinture italienne du XVIIesiècle, faisant le pont entre le ténébrisme et le baroque de Sebastiano Ricci et Giambattista Piazzetta. Dans sa ville natale, il acquiert un goût pour la couleur et un certain naturalisme auprès de Gioacchino Asseretto. Il a été marqué par Ribera et plus encore par l'interprétation du ribérisme que donne Luca Giordano, notamment les œuvres que ce dernier a laissées à Venise, vers 1650. Langetti s'installe définitivement dans la Lagune vers 1658/60, où il découvre les toiles de Bernardo Strozzi, mais aussi subit l'influence de Rembrandt à travers les œuvres de Bernardo Keil, restant aussi imprégné toute sa vie par les effets luministes dramatiques de Tintoret.
Tajan
Dec. 04, 2017
OGGETTISTICA
Est: €6,000 - €6,700
Placca di forma ovale in rame finemente sbalzato e dorato raffigurante la fuga in Egitto cornice coeva in legno ebanizzato e dorato a più ordini Venezia fine sec.XVII inizi XVIII mis.tot.cm.48x38
Aste Boetto SRL
Apr. 27, 2016
Giovanni Battista Langetti (c.1635-1676), Sorrow, Oil, 1663
Est: €40,000 - €52,000
Oil on canvas, relined Italy, 1663 Giovanni Battista Langetti (c. 1635-1676) – Italian Baroque painter Dimensions: 131 x 169 cm Gilt stucco frame: 141 x 192,5 cm Literature: M. Stefani Mantovanelli, Giovanni Battista Langetti: Il Principe dei Tenebrosi, Soncino 2011 Object is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. The painting 'Compianto per il Cristo morto' of the Baroque painter shows the dead body of Christ with crown of thorns and white cloth arranged in full size of the painting and illuminated by an unknown source of light, while the angels are in deep mourning. Condition: Craquelé can be seen overall on the canvas. There are scattered scratches close to the lower angel and a hole is in the belly of Christ. Loss of color and small tears are on the right of the lower angel. The painting had been restored. Restoration can be seen in the following parts: at the head of the left angel, on the right of the lower angel and at the right edge. There a small retouched spots along the edges. The craquelé had been partially retouched. Some of the retouched spots can be seen with the naked eye. The overall impressionof the painting is good apart from this. The frame shows traces of usage and obvious rubbed areas, knocked spots and small losses of material. The dimensions are 131 x 169 cm and the frame measures 141 x 192,5 cm. Giovanni Battista Langetti (c.1635-1676) The Genoa-born Giovanni Battista Langetti was a popular Italian Baroque painter in his time. He lived and worked in Rome, Venice and Florence. He was a pupil of Pietro da Cortona and later he learned from G. F. Cassana in Florence, were he stayed for a longer time. The artist belongs to the most important artists of the naturalistic tendency of the Baroque of the 17th century. Langetti mainly painted religious and mythological subjects such as apostles, saints, eremites as well as philosophers characterize his oeuvre. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Auctionata Paddle8 AG
Apr. 29, 2015
GIOVANNI BATTISTA LANGETTI | Joseph interprets the baker's dreams in prison
Est: £20,000 - £30,000
oil on canvas
Sotheby's
Dec. 17, 2014
Giovanni Battista Langetti (attr.) 1635-1676
Est: €25,000 - €30,000
Giovanni Battista Langetti (attr.) 1635-1676 Episodio tratto dalle storie di Diogene olio su tela 107x133,7cm
Bertolami Fine Art s.r.l.
Nov. 15, 2014
Giovanni Battista Langetti, attributed to, Tantalus
Est: €20,000 - €25,000
"I also saw Tantalus, tormented by the direst agonies. He stood amidst a pool, his chin lapped by the waves, and though he gasped with thirst, still he could not drink. For as the old man knelt down to taste the cool waters, in that moment they would seep away, leaving only black sand around his feet, dried out by a hostile demon. Around him grew trees so heavy with sweet pears, pomegranates, figs and green olives that their branches were weighed down and hung around his head. But as the old man reached up to pick the fruit, in that moment they were swept away by a sudden storm and carried up into the gathering clouds." Thus Homer described the fate of Tantalus in his Odyssey (from the German, book 11, 582-592), and the myth is illustrated in this form by the present work.Tantalus, who is usually said to be the son of Zeus and the Nymph Plouto, was a rich and powerful Lydian (or Phrygian) King. He was invited to dine at the God's table, but stole nectar and ambrosia from them. When the Gods later attended one of Tantalus' banquets - the second time such an event had occurred - he killed and cooked his youngest son Pelops and fed him to the Gods without their knowing. However, the Gods noticed this atrocity and punished him with the eternal torment of withheld nourishment.The style of this work is particularly reminiscent of the work of Giovanni Battista Langetti, an Italian late Baroque painter and main proponent of Tenebrism. He was first active in Genoa together with Gioacchino Assereto, and later in Rome and Venice. Langetti favoured dramatic scenes with both mythological and religious heroes, who are usually depicted in the foreground under stark lighting. Comparative works include "Cato" (Eremitage, St. Petersburg), "The Good Samaritan" (Holbourne Museum, Bath) and "Joseph Interpreting the Pharaoh's Dream", which is known in various versions. This composition shows strong stylistic references to Genoan conventions, and illustrates the same myth in a similar arrangement and style as a painting by Assereto (made ca. 1630/40, now kept in the Auckland Art Gallery, New Zealand), with whose work Langetti could have been familiar.
Kunsthaus Lempertz KG