Paolo de Matteis Paintings & Artwork for Sale | Paolo de Matteis Art Value Price Guide

Dec. 05, 2024
PAOLO DE MATTEIS (Attr.le), Scena biblica, Olio su tela
Est: €3,000 - €4,000
PAOLO DE MATTEIS (Attr.le) (Piano Vetrale 1662 – Napoli 1728) Scena biblica Olio su tela Cornice non coeva in legno intagliato e dorato Provenienza: Nobile famiglia siciliana. cm 84 x 115.
Benedetto Trionfante Auction House s.r.l
Nov. 30, 2024
Paolo de Matteis (Piano del Cilento 1662 - Neapel 1728). The Raising of Lazarus.
Est: -
Oil/canvas. 75 x 102,5 cm. Lo. ri. monogr. PM f. Small rest. - Italian history painter, one of the most important representatives of Neapolitan Baroque. M. was a pupil of Luca Giordano in Naples and Giovanni Maria Morandi in Rome. He was active in Rome and Naples, but also at the court of Louis XIV in Paris as well as in Austria, England and Spain. The vast majority of his works can be found in Italian churches. Mus.: Vienna (Kunsthist. Mus.), Neapel (Capodimonte), Oxford (Ashmolean Mus.), Dallas, Houston, Detroit.
Auktionshaus Stahl
Nov. 28, 2024
Paolo De Matteis (Piano del Cilento 1662-Napoli 1726) - Madonna praying
Est: €800 - €1,000
oil on unlined canvas 26 x 20.5 cm
Finarte
Nov. 27, 2024
PAOLO DE MATTEIS
Est: €15,000 - €25,000
(Piano Vetrale, 1662 - Napoli, 1728) La morte di Adone Olio su tela, cm 79X168 Provenienza: Collezione Beinecke New York, Christie's, 12 gennaio 1978, lotto 65 (come Paolo de Matteis) New York, Christie's, 10 ottobre 1990, lotto 96 (come Paolo de Matteis) Italia, collezione privata Paolo de Matteis fu uno degli artisti più celebrati della sua epoca, interprete tra i più raffinati e brillanti della pittura europea tra Arcadia e Rococò. Allievo di Luca Giordano, il pittore lavorò per le maggiori committenze reali del continente e durante il primo decennio del Settecento si staccò dalla iniziale formazione elaborando uno stile ricco di suggestioni. Questo rinnovamento riuscì a imporlo affrancandosi dal giordanismo di maniera e anticipando Francesco Solimena già a partire dall'ultimo decennio del Seicento, concependo un nuovo lessico estetico e formale. Il contatto a Roma con Antonio Balestra e l'Amigoni, i sentimenti maratteschi e la frequentazione di ambienti culturali impegnati al superamento dell'enfasi barocca, lo condussero a uno schiarimento delle stesure e una innovativa metrica narrativa, esprimendo, pertanto, un ideale etico e una lucidità razionale che, parafrasando Oreste Ferrari, 'possedevano un tratto sia pur acerbo di una visione illuministica dell'arte' (cfr. O. Ferrari, Le arti figurative, in Storia di Napoli, Napoli 1970, VI. 2, p. 1326). Tutto ciò si avverte chiaramente scorrendo le sue opere mitologiche a iniziare da quelle realizzate durante il soggiorno a Parigi avvenuto su invito del duca d'Estrées. A questo momento si collocano il bellissimo Apollo e Galatea del Museo di Pavlovsk sul quale è posta la scritta 'Paulus de Matthei 1703 à Paris' e il Giove e Danae per il Duca d'Orleans, mentre Alfeo e Aretusa e Salmace e Ermafrodito attestano lo studio delle favole ovidiane, lette in chiave erotica o legate all'affermazione della volontà femminile. Sarà seguendo questo filone illustrativo che durante gli anni successivi De Matteis concepisce la tela qui presentata, in cui la dea Venere ritrova Adone feritosi durante la battuta di caccia. Dal punto di vista stilistico, l'opera si può confrontare con il Giudizio di Re Mida che, datato dalla critica all'inizio del secondo decennio, esibisce una simile conduzione pittorica e interpretativa delle cromie, connotate da toni rischiarati, freddi e modellati con raffinatezza, attestando quelle soluzioni d'apertura tra Arcadia marattesca e Rococò, necessarie per competere con Giacomo del Pò e alla diffusione di temi mitologici nell'ambito della decorazione privata (cfr. N. Spinosa, Pittura napoletana del Settecento dal Barocco al Rococò, Napoli, 1986, pp. 129, 132, figg. 132, 133- Lotoro 2017). Bibliografia di riferimento: M. Santucci, Pittura napoletana del Settecento. Dal Barocco al Rococò, a cura di N. Spinosa, Napoli 1986, I, pp. 31-35, 129-138 N. Spinosa, Paolo De Matteis, Quaderni del Barocco, 10, 2010 Paolo de Matteis. Un cilentano in Europa, catalogo della mostra a cura di don Gianni Citro, Napoli 2013, ad vocem V. Lotoro, Le scelte del De Matteis in ambito profano e una considerazione iconografica in merito all'Apollo e Pan, in Ritorno al Cilento. Saggi di Storia dell'arte, a cura di F. Abbate, A. Ricco, Foggia 2017, pp. 98-103
Wannenes Art Auctions
Oct. 22, 2024
Paolo de Matteis
Est: €40,000 - €60,000
(Piano Vetrale 1662–1728 Naples) Leda and the Swan, oil on canvas, 126.5 x 179 cm, framed Provenance: sale, Sotheby’s, Monte-Carlo, 21–22 June 1991, lot 119 (as Paolo de Matteis); where acquired by the present owner Exhibited: Salerno, Fondazione Grande Lucania, Pennello d’oro: La grande scuola napoletana dal barocco al neoclassicismo, 3–5 August 2018, s. n. (as Paolo de Matteis) Literature: N. Spinosa, Paolo De Matteis ad Ariccia tra il sacro e il profano, in: Dipinti inediti del Barocco italiano da collezioni private. Quaderni del Barocco, no. 10, 2010, pp. 13–14, illustrated p. 11, fig. 11 (as Paolo de Matteis); F. Castiello, Il fascino del mito. Da Ovidio a Paolo de Matteis, Sarno 2019, illustrated on the cover, pp. 268–270, illustrated (as Paolo de Matteis) The story of Leda and the Swan is taken from Ovid’s Metamorphosis and was a popular subject-matter in Italian seventeenth- and eighteenth-century painting. In the present composition, Leda reclines on soft folds of bedding with the swan. Her softly modeled body is illuminated by a light source shining in from the lower left corner, while her face lies in shadow with her eyes half-closed in entrancement. The composition is set like a stage and the drapes flow illusionistically over the lower edge as if into the viewer’s space. Paolo de Matteis’ artistic career started within the workshop of Luca Giordano. In around 1682 he moved to Rome, tempering his Neapolitan training with the Classicism of Carlo Maratta and the artists active in the milieu of the French Academy. After his return to Naples, his artistic reputation was sealed with commissions from Emperor Joseph I, as well as Popes Innocent XIII and Benedict XIII.
Dorotheum
Oct. 15, 2024
PAOLO DE MATTEIS (1662-1728) Cain and Abel, Circa 1690 Oil on canvas, 96 x 128cm Provenance: Earl of Erne, Crom Castle
Est: €4,000 - €6,000
PAOLO DE MATTEIS (1662-1728) Cain and Abel, Circa 1690 Oil on canvas, 96 x 128cm Provenance: Earl of Erne, Crom Castle
Adam's
Sep. 25, 2024
Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 – 1728). "Herminia's meeting". Oil on canvas. Preserve original canvas. Presents restorations.
Est: €7,000 - €8,000
Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728). "The Gathering of Herminia. Oil on canvas. Preserves original canvas. It presents restorations. Measurements: 182 x 142 cm. The disposition of the characters that make up this scene indicates that the work is possibly a fragment of a larger composition of which the replica is found. In the original painting, which is larger in size, there is a young woman being observed by the other figures. In terms of subject matter these would represent shepherds, and the lost figure Herminia, or erminia, a Saracen princess fleeing from battle and finally taking refuge in a shepherd's hut. The story in particular is inspired by one of the passages of the epic poem "The liberated Jerusalem", written by Torcuato Tasso in 1581. Aesthetically, the work is heir to tenebrism by playing with contrasts of light, creating an unreal and directed illumination. Furthermore, the way in which the shepherds are portrayed, one of advanced age and three young people whose representation recalls that of the putti, is realistic and in the case of the old man stark, as can be seen especially in the pictorial treatment of the torso. The scene is completed by the presence of several sheep and a herding dog, which adds great dynamism to the scene. Due to the type of composition and especially the chromatic range used, this piece belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples, and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
Setdart Auction House
Sep. 19, 2024
NO LOT
Est: -
NO LOT
Lucas Aste
Sep. 17, 2024
OIL PAINTING BY PAUL DE MATTEIS
Est: €10,000 - €15,000
PAOLO DE MATTEIS (Piano Vetrale 1662 - Napoli 1728) PELEO RAGGIUNGE TETI SULLA RIVA DEL MARE Olio su tela, cm. 94 x 92 PROVENIENZA Famiglia napoletana CONDITION REPORT Rintelo recente. Un punto di restauro sopra il vello in alto a destra, alcuni punti di restauro ossidati nella parte sinistra. Il dipinto è in buono stato di conservazione CORNICE Cornice in legno dorato intagliata a cartigli e motivi vegetali, del XVIII secolo (ridorature e cadute di doratura)
Casa d'Aste Babuino
Jun. 26, 2024
Madonna & Child 17/18th Ct Old Master Painting
Est: $1,500 - $2,000
Attributed to Paolo De Matteis, Italian (1662-1728). 17/18th C. old master oil on canvas portrait painting of madonna and child, mounted in gilt carved wood frame. Information in Italian written on verso. Measures 17 3/8"H x 16.25"W framed; 12.5"H x 11 1/8"W visual. Condition: craquelure, some chips to frame, please see all photos. Provenance: Order of descent on verso until acquired over 40 years ago by an Italian Collector living in Texas/Miami. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. This lot cannot be shipped in house. For an instant guaranteed third party shipping quote through Quality Packing and Shipping visit: https://www.qualitypackship.com/abington-copy-1 or contact our other third party shippers.
Abington Auction Gallery
Jun. 18, 2024
PAOLO DE MATTEIS
Est: €2,000 - €3,000
(Piano del Cilento, 1662 - Napoli, 1728) Bozzetto raffigurante la Madonna con il Bambino e le anime purganti, 1710 circa Olio su tela, cm 54,5X36,5 Provenienza: Roma, collezione privata Paolo de Matteis fu uno degli artisti napoletani più celebrati, rivelandosi tra gli interpreti più raffinati e brillanti della pittura tra Arcadia e Rococò. Allievo di Luca Giordano, il pittore lavorò per le maggiori committenze europee. Visse a Parigi durante il primo decennio del Settecento e si staccò dalla formazione iniziale elaborando uno stile ricco di suggestioni. Questo rinnovamento il nostro riuscì a imporlo affrancandosi dal giordanismo di maniera e anticipando Francesco Solimena già a partire dall'ultimo decennio del Seicento, concependo un rinnovato lessico estetico-formale. In questo momento si può riferire la tela in esame, la cui conduzione suggerisce di trovarci al cospetto di un modello destinato al compimento di una composizione di maggior dimensioni. A confronto viene in aiuto la pala firmata e datata 'Paulus De Matteis p. 1698' conservata a Nardò (fig. 1) e la pala firmata e datata 1710 custodita nella chiesa dello Spirito Santo a Ischia, in cui possiamo notare i medesimi colori trascoloranti senza il minimo accenno di ombre. Si può quindi affermare come l'autore, in questo caso, avvii quel processo evolutivo modulando l'enfasi barocca, schiarendo le stesure giordanesche cercando di giungere a quell'ideale estetico di maggior razionalità e, parafrasando Orazio Ferrari, ottenere un tratto sia pur acerbo di una visione illuministica dell'arte (cfr. O. Ferrari, Le arti figurative, in Storia di Napoli, Napoli 1970, VI. 2, p. 1326). Bibliografia di riferimento: N. Spinosa, Pittura napoletana del Settecento. Dal Barocco al Rococò, Napoli 1986, I, pp. 31-35, 129-138 C. Gelao, Confraternite arte e devozione in Puglia, dal Quattrocento al Settecento, Napoli 1994, p. 268 Paolo de Matteis un cilentano in Europa, catalogo della mostra a cura di G. Citro, Napoli 2013, ad vocem
Wannenes Art Auctions
May. 22, 2024
Apollo and Daphne
Est: $100,000 - $150,000
Property from a South American Private Collection Paolo de Matteis Piano Vetrale 1662 - 1728 Naples Apollo and Daphne oil on canvas canvas: 49 ¾ by 69 ⅜ in.; 126.4 by 176.2 cm. framed: 63 ⅜ by 83 ⅞ in.; 161.0 by 213.0 cm.
Sotheby's
Feb. 21, 2024
Paolo De Matteis (Piano del Cilento 1662 - Napoli 1728), Attribuito a, Neottòlemo uccide Polissena
Est: €11,800 - €15,000
Paolo De Matteis (Piano del Cilento 1662 - Napoli 1728), Attribuito a, Neottòlemo uccide Polissena olio su tela cm 146x205 Il ritiro o la spedizione avverrà dal luogo in cui si trova (Napoli)
Casa D'aste Guidoriccio
Feb. 07, 2024
OIL PAINTING BY PAOLO DE MATTEIS, follower of
Est: €2,000 - €2,500
PAOLO DE MATTEIS, seguace di (Piano Vetrale 1662 - Napoli 1728) TRIONFO DI GALATEA Olio su tela, cm. 44 x 67 PROVENIENZA Collezione privata napoletana CONDITION REPORT Rintelo novecentesco. Zone e linee di restauro in alto, un restauro a sinistra di Galatea, linea di restauro in basso CORNICE Cornice a guantiera in legno dorato con sezione interna rudentata, del XIX secolo
Casa d'Aste Babuino
Nov. 30, 2023
Paolo De Matteis 1662 Napoli-1728 Napoli Agar e l’angelo
Est: €20,000 - €25,000
Paolo de Matteis è senza dubbio uno degli esponenti più significativi della pittura barocca nell’Italia meridionale. In seguito al suo trasferimento a Napoli, ebbe modo sin dalla giovane età di entrare in contatto con i grandi artisti partenopei dell’epoca, come per esempio Luca Giordano, di cui divenne uno dei migliori allievi, e di entrare a corte al servizio del Viceré spagnolo.Pur mantenendo Napoli come città di riferimento per tutto il corso della sua vita, l’artista riscosse successo anche a livello internazionale, trascorrendo un proficuo soggiorno a Parigi durante il primo decennio del Settecento. In questa occasione, Paolo de Matteis ebbe modo di rinnovare il proprio linguaggio, distaccandosi dalla lezione giordanesca e concependo un personale lessico estetico e formale.Nella magnifica tela qui presentata, viene narrata dall’artista una vicenda tratta dal Vecchio Testamento e cioè l’episodio di Agar e il figlio Ismaele. Dopo essere stati esiliati da Abramo per volere di Sarah nel deserto di Beersheba con solo del pane e un poco di acqua, madre e figlio vennero salvati da morte certa dall’a miracolosa apparizione di un angelo, che rivelò loro la presenza di un pozzo nelle vicinanze al quale poterono dissetarsi.
Cambi Casa d'Aste
Nov. 29, 2023
Paolo De Matteis (Piano del Cilento 1662-Napoli 1726) - Samson and Delilah
Est: €3,000 - €6,000
oil on canvas 62.5 x 75 cm
Finarte
Oct. 04, 2023
Attributed to PAOLO di MATTEIS (Piano Vetrale, 1662 - Naples, 1728) "Syrinx and Pan"
Est: €9,000 - €10,000
Attributed to PAOLO di MATTEIS (Piano Vetrale, 1662 - Naples, 1728) "Syrinx and Pan" Over door panel Oil on canvas 57 x 126 cm 9.000 - 10.000 €
Bayeu Subastas
Sep. 19, 2023
Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 – 1728). "Herminia's meeting". Oil on canvas. Preserve original canvas. Presents restorations.
Est: €10,000 - €12,000
Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728). "The Gathering of Herminia. Oil on canvas. Preserves original canvas. It presents restorations. Measurements: 182 x 142 cm. The disposition of the characters that make up this scene indicates that the work is possibly a fragment of a larger composition of which the replica is found. In the original painting, which is larger in size, there is a young woman being observed by the other figures. In terms of subject matter these would represent shepherds, and the lost figure Herminia, or erminia, a Saracen princess fleeing from battle and finally taking refuge in a shepherd's hut. The story in particular is inspired by one of the passages of the epic poem "The liberated Jerusalem", written by Torcuato Tasso in 1581. Aesthetically, the work is heir to tenebrism by playing with contrasts of light, creating an unreal and directed illumination. Furthermore, the way in which the shepherds are portrayed, one of advanced age and three young people whose representation recalls that of the putti, is realistic and in the case of the old man stark, as can be seen especially in the pictorial treatment of the torso. The scene is completed by the presence of several sheep and a herding dog, which adds great dynamism to the scene. Due to the type of composition and especially the chromatic range used, this piece belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples, and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
Setdart Auction House
Jun. 15, 2023
DIPINTO
Est: €35,000 - €38,500
Paolo De Matteis 1662/1728 attribuito 'Allegoria dell'astronomia' olio su tela .Autentica del Prof.Nicola Spinosa cm. 118x108
Casa d'aste Martini
May. 25, 2023
PAOLO DE MATTEIS (attr. a)
Est: €1,000 - €2,000
(Napoli, 1662 - 1728) San Michele Arcangelo Olio su tela, cm 41X32 Il dipinto reca un'attribuzione collezionistica a Paolo De Matteis, artista tra i più celebrati della sua epoca, rivelandosi uno degli interpreti più raffinati e brillanti delle tendenze della pittura europea tra Arcadia e Rococò. Allievo di Luca Giordano a Napoli, il pittore lavorò per le maggiori committenze reali europee. Visse a Parigi durante il primo decennio del Settecento e si staccò dalla iniziale formazione elaborando uno stile ricco di suggestioni. Questo rinnovamento il nostro riuscì a imporlo affrancandosi dal giordanismo di maniera e anticipando Francesco Solimena già a partire dall'ultimo decennio del Seicento, concependo un rinnovato lessico estetico e formale. Il contatto a Roma con Antonio Balestra e l'Amigoni, i sentimenti maratteschi e la frequentazione di ambienti culturali impegnati al superamento dell'enfasi barocca, lo condussero a interpretare uno schiarimento delle stesure e una innovativa metrica narrativa, esprimendo pertanto un ideale etico e una lucidità razionale che parafrasando il Ferrari possedevano un tratto sia pur acerbo di una visione illuministica dell'arte. Bibliografia di riferimento: N. Spinosa, Pittura napoletana del Settecento, Napoli 1986-1987, v. I p. 139 n. 151 fig. 173
Wannenes Art Auctions
May. 03, 2023
Paolo de Matteis
Est: €100,000 - €150,000
(Piano Vetrale 1662–1728 Naples) The Triumph of Galatea, oil on canvas, 148.5 x 198.2 cm, framed Provenance: Private European collection We are grateful to Riccardo Lattuada for suggesting the attribution of the present painting on the basis of a photograph. We are also grateful to Giuseppe Napoletano for independently endorsing the attribution. He dates this painting to circa 1710–1715. This large mythological scene relates to a signed work by Paolo de Matteis, dated 1700 of the same subject conserved in the collection of the Banca d’Italia. Despite the compositional differences, some recurring elements can be found in both compositions, such as the physiognomies of the faces, the colour scheme and the graceful poses of the figures; the two dolphins on the left are repeated identically in both compositions. Having started at an early age in Luca Giordano’s workshop, Paolo de Matteis moved to Rome around 1682, tempering his Neapolitan training with the classicism of Carlo Maratta and the artists active in the milieu of the French Academy. The subject of the sea nymph Galatea being carried in triumph by inhabitants of the sea and flying cupids enjoyed great popularity in seventeenth and eighteenth century painting: Giordano depicted the subject in the monumental canvas now in the Uffizi, Florence, and de Matteis himself returned to the subject several times, as in the aforementioned painting and in the work now conserved in the Brera, Milan but originally in the convent of Santa Giustina in Padua; another version was executed by the artist for the castle of Pommersfelden. Two sketches depicting the Triumph of Galatea are recorded among the artist’s possessions at the time of his death (see Getty Provenance Index database, Archival Inventory I-398, p. 6, no. 0029 and p. 26, no. 0390), another painting with the same subject is documented in 1718 in Naples in the collections of Domenico di Capua (see Getty Provenance Index database, Archival Inventory I-70, p. 8, no. 0035). A double-sided sketch by Paolo de Matteis for the figure of Galatea (Metropolitan Museum, New York, acc. no. 68.172.11899, p.), previously linked by art historians to the canvas now in the Brera, may, in fact, relate to the present painting.
Dorotheum
Apr. 27, 2023
PAOLO DE MATTEIS (Piano Vetrale, 1662 - Neaples, 1728)
Est: €13,000 - €18,000
The banishment of Adam and Eve from Paradise Oil on canvas, cm 104x74. Framed LITERATURE: V. Pacelli in "Paolo de Matteis un cilentano in Europa", cat. of exhibition, Vallo della Lucania, Museo Diocesano, 2013, n. 12, pp. 58-59.
Bertolami Fine Art s.r.l.
Mar. 22, 2023
Paolo de MATTEIS Piano-Vetrale, 1662 - Naples, 1728 La Sainte Famille Huile sur cuivre, de forme ovale
Est: €6,000 - €8,000
Paolo de MATTEIS Piano-Vetrale, 1662 - Naples, 1728 La Sainte Famille Huile sur cuivre, de forme ovale The Holy Family, oil on copper, by P. de Matteis h: 26 w: 19 cm Estimation 6 000 - 8 000 €
Artcurial
Feb. 21, 2023
Paolo De Matteis (Piano Vetrale 1662 - Napoli 1728) attribuito
Est: €2,800 - €3,500
Paolo De Matteis (Piano Vetrale 1662 - Napoli 1728) attribuito Madonna con Gesù Bambino Olio su tela 47 x 36 cm Il primo maestro di Paolo De Matteis fu Francesco Di Maria. Successivamente frequentò la bottega di Luca Giordano, e quando si recò a Roma nel 1682 fu guidato da Giovanni Maria Morandi. Pittore girovago, operò in Puglia, Austria, Spagna, Inghilterra e Francia. Tra i suoi tanti allievi citiamo Domenico Guarino, Nicola De Filippis, Vincenzo Fato, Giuseppe Mastroleo e i fratelli Sarnelli. Paolo De Matteis (Piano Vetrale 1662 - Napoles 1728) attributed Madonna and Child Oil on canvas 47 x 36 cm
Lucas Aste
Jan. 25, 2023
PAOLO DE MATTEIS (SALERNO 1662-1728 NAPLES) Journey of Rebecca
Est: $150,000 - $250,000
PAOLO DE MATTEIS (SALERNO 1662-1728 NAPLES) Journey of Rebecca oil on canvas 49 x 70 in. (120.5 x 177.7 cm.) Read more
Christie's
Dec. 12, 2022
Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 – 1728). "Herminia's meeting". Oil on canvas. Preserve original canvas. Presents restorations.
Est: €11,000 - €12,000
Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728). "The Gathering of Herminia. Oil on canvas. Preserves original canvas. It presents restorations. Measurements: 182 x 142 cm. The disposition of the characters that make up this scene indicates that the work is possibly a fragment of a larger composition of which the replica is found. In the original painting, which is larger in size, there is a young woman being observed by the other figures. In terms of subject matter these would represent shepherds, and the lost figure Herminia, or erminia, a Saracen princess fleeing from battle and finally taking refuge in a shepherd's hut. The story in particular is inspired by one of the passages of the epic poem "The liberated Jerusalem", written by Torcuato Tasso in 1581. Aesthetically, the work is heir to tenebrism by playing with contrasts of light, creating an unreal and directed illumination. Furthermore, the way in which the shepherds are portrayed, one of advanced age and three young people whose representation recalls that of the putti, is realistic and in the case of the old man stark, as can be seen especially in the pictorial treatment of the torso. The scene is completed by the presence of several sheep and a herding dog, which adds great dynamism to the scene. Due to the type of composition and especially the chromatic range used, this piece belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples, and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
Setdart Auction House
Nov. 29, 2022
PAOLO DE MATTEIS (PIANO VETRALE 1662 - NAPOLI 1728)
Est: €3,000 - €5,000
Paolo De Matteis (Piano Vetrale 1662 - Napoli 1728) Natività Olio su tela 64,5 x 48 cm Si ringrazia il professor Michele Danieli per aver fornito l'attribuzione dell'opera. Paolo De Matteis venne iniziato alla pittura prima da Francesco Di Maria e poi da Luca Giordano. Nel 1682 fu a Roma con Giovanni Maria Morandi, grazie al quale venne introdotto negli ambienti dell'Accademia di San Luca. Fu un pittore mobile a livello europeo: dal 1703 al 1705 lavorò a Parigi sotto la protezione di Luigi XIV, e dopo essere tornato in Italia operò in Calabria e a Genova. Rientrato a Napoli, qualche anno più tardi si spostò a Roma, dove operò per Papa Innocenzo XIII e dove ricevette un'importante serie di commissioni. Ebbe una prestigiosa bottega da cui uscirono Inácio de Oliveira, Francesco Peresi, Francesco, Gennaro, Giovanni, e Antonio Sarnelli, Giuseppe Mastroleo, Vincenzo Fato, Nicola de Filippis, Domenico Guarino e la figlia Mariangiola De Matteis. Paolo De Matteis (Piano Vetrale 1662 - Naples 1728) Nativity Oil on canvas 64,5 x 48 cm We have to thank Professor Michele Danieli for providing the attribution of the artwork.
Lucas Aste
Nov. 29, 2022
PAOLO DE MATTEIS
Est: €3,000 - €5,000
(Piano Vetrale, 1662 - Napoli, 1728) Sansone e Dalila Olio su tela, cm 62X75 Paolo de Matteis fu uno degli artisti più celebrati della sua epoca, rivelandosi tra gli interpreti più raffinati e brillanti delle tendenze pittoriche europee tra Arcadia e Rococò. Allievo di Luca Giordano, il pittore lavorò per le maggiori committenze reali europee e durante il primo decennio del Settecento grazie al soggiorno parigino, si staccò dall'iniziale formazione elaborando uno stile ricco di suggestioni. Questo rinnovamento lo condusse ad affrancarsi dal giordanismo anticipando Francesco Solimena già a partire dall'ultimo decennio del Seicento, concependo un lessico estetico e formale raffinatissimo. Il contatto a Roma con Antonio Balestra e l'Amigoni, i sentimenti maratteschi e la frequentazione di ambienti culturali impegnati al superamento dell'enfasi barocca, lo condussero ad interpretare uno schiarimento delle stesure e una innovativa metrica narrativa, esprimendo pertanto un ideale etico e una lucidità razionale che parafrasando il Ferrari possedevano un tratto sia pur acerbo di una visione illuministica dell'arte (cfr. O. Ferrari, Le arti figurative, in Storia di Napoli, Napoli 1970, VI. 2, p. 1326). Tutto ciò si avverte chiaramente scorrendo le opere mitologiche del pittore e in modo particolare quelle realizzate a Parigi avvenuto su invito del duca d'Estrées. A questo momento si collocano a esempio il bellissimo Apollo e Galatea del Museo di Pavlovsk sul quale è posta la scritta Paulus de Matthei 1703 à Paris e il Giove e Danae per il Duca d'Orleans, mentre Alfeo e Aretusa e Salmace e Ermafrodito attestano lo studio delle favole ovidiane, lette in chiave erotica o legate all'affermazione della volontà femminile. Ed è seguendo questo filone interpretativo che De Matteis concepisce la tela in esame, che non a caso fu già riferita al Trevisani per la sua evidente eleganza Rocaille e classicista in chiave neoveneta, dimostrandoci come durante il primo decennio la sua produzione toccò esiti altissimi e che obbligano a una revisione critica della sua personalità, troppo spesso considerata marginale. Bibliografia di riferimento: A. Brejon de Lavergnée, Plaidoyer pour un peintre 'de pratique': le sèjour de Paolo de Matteis en France (1702-1805), Revue de l'art, 1990, 88, pp. 70-78 M. A. Pavone, Linee metodologiche di intervento e note sulla fortuna del tema mitologico in ambito napoletano, in Metamorfosi del Mito. Pittura barocca tra Napoli, Genova e Venezia, catalogo della mostra a cura di M. A. Pavone, Milano 2003, pp. 15 ; 29, fig. p. 27 M. Santucci, in Ritorno al barocco. Da Caravaggio a Vanvitelli, catalogo della mostra, a cura di N. Spinosa, Napoli 2009, I, pp. 291-292, n. 1.158 3 Paolo de Matteis un cilentano in Europa, catalogo della mostra a cura di G. Citro, Napoli 2013, ad vocem
Wannenes Art Auctions
Nov. 29, 2022
PAOLO DE MATTEIS (attr. a)
Est: €4,000 - €7,000
(Napoli, 1662 - 1728) Maria Vergine San Giuseppe Olio su tela, cm 59X46,5 (2) Paolo de Matteis fu uno tra gli interpreti più raffinati e brillanti della pittura europea tra Arcadia e Rococò e in vita fu straordinariamente celebrato. Allievo di Luca Giordano, il pittore sin dalla prima maturità lavorò per le maggiori committenze reali europee. Visse a Parigi durante il primo decennio del Settecento e si staccò dalla iniziale formazione elaborando uno stile ricco di suggestioni grazie al soggiorno romano, dove è attestato nel 1682. Questo rinnovamento il nostro riuscì a imporlo affrancandosi dal giordanismo di maniera e anticipando Francesco Solimena già a partire dall'ultimo decennio del Seicento, concependo un rinnovato lessico estetico-formale intriso di un elegante classicismo. Ma se ben nota è la produzione matura, ancora incerto è il catalogo inerente alla giovinezza, quando la sua arte poggia sulla cultura tenebrosa meridionale arricchita dal colorismo di Luca Giordano. A questo momento si possono datare le tele in esame, che mostrano una sintesi significativa della cultura pittorica napoletana di fine Seicento, esprimendo una peculiare interpretazione delle stesure, offrendoci immagini di una straordinaria vitalità.
Wannenes Art Auctions
Nov. 10, 2022
Pan and Syrinx | Pan et Syrinx
Est: €12,000 - €18,000
Attributed to Paolo di Matteis Piano Vetrale 1662 - 1728 Naples Pan and Syrinx Oil on canvas, shaped Largest: 56,8 x 126,5 cm ; 22 ⅜ by 49 ¾ in. ____________________________________________ Attribué à Paolo di Matteis Piano Vetrale 1662 - 1728 Naples Pan et Syrinx Huile sur toile, chantournée Au plus grand : 56,8 x 126,5 cm ; 22 ⅜ by 49 ¾ in. Bid on Sotheby's
Sotheby's
Nov. 08, 2022
Paolo de Matteis: Solomon and the Queen of Sheba
Est: €15,000 - €30,000
Paolo de Matteis Solomon and the Queen of Sheba c. 1710/15 oil on canvas 64.7 x 126 cm Christie's London, 13. Dezember 1991, lot 251 (partly deviating dimensions); collection Erna Weidinger (1923–2021) 1993/1994 Vienna and Naples, Kunstforum der Bank Austria and Castel Sant'Elmo, "Barock in Neapel", no. 11b Silvia Cassani (ed.), Barock in Neapel. Kunst zur Zeit the österreichischen Vizekönige, exhibition catalogue Kunstforum der Bank Austria Vienna and Castel Sant' Elmo Naples, Naples 1993, p. 154, N. 11b, p. 155 colour ill. (partly deviating dimensions) In 1713-17, Paolo de Matteis was entrusted with the dome fresco in the Neapolitan Jesuit church Gesù Nuovo. In 1776, however, the already dilapidated dome was demolished and De Matteis' fresco cycle was lost. The painting "Triumph and Glory of Maria Immaculata" in the Museo Duca di Martina in Naples (inv. no. 84373) is considered to be a first partial draft by the artist for the dome decoration. In another bozzetto by De Matteis in the Berlin Gemäldegalerie (inv. no. 1/69), the heavenly event of Mary's reception in the lower zone is juxtaposed with the earthly encounter of the Sabaean queen with Solomon. The Berlin depiction can be regarded as the final version submitted for the work on the dome, which was preceded by several preliminary studies (cf. Nicola Spinosa, Pittura napoletana del Settecento. dal Barocco al Rococò, Naples 1999, p. 136, no. 135; Winfried Baer, Ein Bozzetto des Paolo de Matteis für die Kuppel der Jesuitenkirche Gesù Nuovo in Neapel, in: Jahrbuch der Berliner Museen, vol. 14, Berlin 1972, p. 194). Regarding the treatment of the Old Testament pictorial theme, slight deviations from the Berlin version can be seen in the present work. Due to the bright colours, warmer lighting and dramatic rendering of the figures in the painting offered here, there is closer affinity with the Naples sketch. Even though the physiognomies of the main protagonists are similar, the emotional content of the subject matter is reduced in the Berlin painting. Our painting still dispenses with some accompanying figures, but focuses on the gestures and facial expressions of the protagonists all the more. The stage-like palace scene with splendid draperies and costumes is already prepared here. It therefore stands to reason that the present painting "Solomon and the Queen of Sheba" was also produced as an early preparatory study for the dome fresco.
Im Kinsky
Sep. 23, 2022
PAOLO DE MATTEIS
Est: CHF10,000 - CHF15,000
PAOLO DE MATTEIS (Cilento 1662–1728 Neapel) Pair of works: Lion hunt and Swan hunt. Oil on panel. 56.5 × 57 cm each. Provenance: European private collection. --------------- PAOLO DE MATTEIS (Cilento 1662–1728 Neapel) Gegenstücke: Löwenjagd und Schwanenjagd. Öl auf Holz. Je 56,5 × 57 cm. Provenienz: Europäische Privatsammlung. ---------------
Koller Auctions
Sep. 22, 2022
Paolo de Matteis, 1662 Piana de Cilento – 1728 Neapel, zugeschrieben
Est: €40,000 - €60,000
ALLEGORIE DER ASTRONOMIE Öl auf Leinen. Doubliert. 118 x 108 cm. Die allegorische weibliche Gestalt hier in Dreiviertelfigur nach rechts neben einem Steinsockel gezeigt, auf dem ein Himmelsglobus liegt. Die Figur in schräger Körperhaltung wiedergegeben, das Gesicht nach rechts oben gerichtet, am Rücken große Engelsflügel, die Kleidung im antik-griechischen Stil, das helle Peplosoberkleid an der Schulter gebauscht. In der rechten Hand hält sie einen Zirkel, der Rock und Überhang in Form eines mit goldenen Sternen übersäten blauen Tuches. Gemäß der griechischen Mythologie war die allegorische Gestalt der Astronomie Urania, die Tochter von Zeus und Mnemosyne. Die Zuschreibung an Paolo de Matteis erfolgte aus Vergleichen mit Werken des Malers, der ein Schüler von Luca Giordano (1632/34-1705) war, sich in seinem späteren Werk allerdings bereits dem Klassizismus von Carlo Maratti (1625-1713) genähert hat. Möglicherweise gehörte das Gemälde – im Zusammenhang einer Ausgestaltung eines Palazzo – zu einer Reihe weiterer allegorischer Darstellungen. (1330348) (2) Paolo de Matteis, 1662 Piana de Cilento - 1728 Naples, attributed ALLEGORY OF ASTRONOMY Oil on canvas. Relined. 118 x 108 cm.
Hampel Fine Art Auctions
Sep. 20, 2022
Paolo De Matteis (Piano Vetrale 1662 - Napoli 1728)
Est: €4,000 - €6,000
Paolo De Matteis (Piano Vetrale 1662 - Napoli 1728) Natività Olio su tela 64,5 x 48 cm Si ringrazia il professor Michele Danieli per l'attribuzione dell'opera. Iniziato alla pittura prima da Francesco Di Maria e poi da Luca Giordano. Nel 1682 fu a Roma con Giovanni Maria Morandi, grazie allo stesso fu introdotto agli ambienti dell'Accademia di San Luca. Fu un pittore molto mobile a livello europeo: dal 1703 al 1705 lavorò a Parigi sotto la protezione di Luigi XIV, dopo essere tornato in Italia operò in Calabria e a Genova. Dopo il rientro a Napoli, qualche anno più tardi si spostò a Roma dove, tra le molte importanti commissioni, operò per Papa Innocenzo XIII. Ebbe un'importante bottega da cui uscirono valenti artisti: Inácio de Oliveira, Francesco Peresi, Francesco, Gennaro, Giovanni, e Antonio Sarnelli, Giuseppe Mastroleo, Vincenzo Fato, Nicola de Filippis e Domenico Guarino e la figlia Mariangiola De Matteis. Paolo De Matteis (Piano Vetrale 1662 - Naples 1728) Nativity Oil on canvas 64,5 x 48 cm We have to thank the Professor Michele Danieli for the attribution of the artwork.
Lucas Aste
Sep. 14, 2022
Circle of Paolo de Matteis (Cilento 1662-1728 Naples) Amphitrite unframed
Est: £1,500 - £2,000
Circle of Paolo de Matteis (Cilento 1662-1728 Naples) Amphitrite oil on canvas 51.8 x 66cm (20 3/8 x 26in). unframed For further information on this lot please visit the Bonhams website
Bonhams
Sep. 10, 2022
PAOLO DE MATTEIS ODER MICHELE ROCCA POLYPHEM UND GALATEA
Est: €1,800 - €3,600
PAOLO DE MATTEIS ODER MICHELE ROCCA 1662 Piana del Cilento - 1728 in Neapel - 1671 Parma 1751 Ibid POLYPHEMUS AND GALATEA Oil on canvas (old relined). 85 x 107 cm (F. 100,5 x 123 cm). Damaged, old rest., old retouching. Frame. Provenance: Old Cologne private collection.Zeichen(10)PAOLO DE MATTEIS ODER MICHELE ROCCA 1662 Piana del Cilento - 1728 in Neapel - 1671 Parma 1751 Ebenda POLYPHEM UND GALATEA Öl auf Leinwand (altdoubl.). 85 x 107 cm (R. 100,5 x 123 cm). Besch., altrest. Altretuschen. Rahmen. Provenienz: Alte Kölner Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Jul. 28, 2022
Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 – 1728). "Herminia's meeting". Oil on canvas. Preserve original canvas. Presents restorations.
Est: €12,000 - €18,000
Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728). "The Gathering of Herminia. Oil on canvas. Preserves original canvas. It presents restorations. Measurements: 182 x 142 cm. The disposition of the characters that make up this scene indicates that the work is possibly a fragment of a larger composition of which the replica is found. In the original painting, which is larger in size, there is a young woman being observed by the other figures. In terms of subject matter these would represent shepherds, and the lost figure Herminia, or erminia, a Saracen princess fleeing from battle and finally taking refuge in a shepherd's hut. The story in particular is inspired by one of the passages of the epic poem "The liberated Jerusalem", written by Torcuato Tasso in 1581. Aesthetically, the work is heir to tenebrism by playing with contrasts of light, creating an unreal and directed illumination. Furthermore, the way in which the shepherds are portrayed, one of advanced age and three young people whose representation recalls that of the putti, is realistic and in the case of the old man stark, as can be seen especially in the pictorial treatment of the torso. The scene is completed by the presence of several sheep and a herding dog, which adds great dynamism to the scene. Due to the type of composition and especially the chromatic range used, this piece belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples, and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
Setdart Auction House
Apr. 27, 2022
PAOLO DE MATTEIS (Salerno, Naples, 1662 – 1728). "The Abduction of Persephone", c. 1705-1710. Oil on canvas. Relined. Authorship confirmed by Nicola Espinosa.
Est: €10,000 - €12,000
PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728). "The Rape of Persephone", c. 1705-1710. Oil on canvas. Relined. Authorship confirmed by Nicola Espinosa. Size: 45 x 58,5 cm; 52 x 72 cm (frame). The work puts in scene one of the most popular stories of the classical mythology: The abduction of Persephone. The abduction or abduction of Persephone by Hades is briefly mentioned in Hesiod's Theogony, and is recounted in considerable detail in the Homeric Hymn to Demeter. Zeus, it is said, allowed Hades, who was in love with the beautiful Persephone, to abduct her, since it was unlikely that her mother, Demeter, would allow her daughter to descend into Hades. Persephone was gathering flowers with the Oceanides along with Artemis and Pallas, daughter of Triton, as the Homeric Hymn says, in a field when Hades came to abduct her, bursting through a cleft in the earth. Demeter, when she discovered that her daughter was missing, searched the earth for her with the torches of Hecate. In most versions, she forbids the earth to produce, or neglects it and, in the depths of her despair, causes nothing to grow. Helios, the all-seeing sun, finally told Demeter what had happened and revealed to her the place of his abode. Finally, Zeus, pressured by the cries of the starving people and by the other deities who also heard their anguish, forced Hades to return Persephone. Hades complies, but first he tricks Persephone, giving her some pomegranate seeds to eat. Hermes is sent to fetch her, but, because she had tasted the food of the underworld, she was forced to spend a third of each there. This piece reflects to a large extent the aridity in the landscape, which the abduction of Persephone entails. The artist has drawn on the classical texts in an attempt to be faithful in his pictorial conception of the myth. Despite the aforementioned sobriety of the landscape, the work retains a great deal of dynamism and expressiveness that comes from the distinctly Baroque cross-shaped composition of the two main figures. Due to the type of composition and in particular the chromatic range used, this work belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
Setdart Auction House
Apr. 12, 2022
Circle of Paolo de Matteis (Cilento 1662-1728 Naples) Saint Francis of Assisi with an Angel and putti unframed
Est: £3,000 - £5,000
Circle of Paolo de Matteis (Cilento 1662-1728 Naples) Saint Francis of Assisi with an Angel and putti oil on canvas, oval, corners made up 132 x 98cm (51 15/16 x 38 9/16in). unframed For further information on this lot please visit the Bonhams website
Bonhams
Apr. 12, 2022
Circle of Paolo de Matteis (Cilento 1662-1728 Naples) Amphitrite unframed
Est: £2,000 - £3,000
Circle of Paolo de Matteis (Cilento 1662-1728 Naples) Amphitrite oil on canvas 51.8 x 66cm (20 3/8 x 26in). unframed For further information on this lot please visit the Bonhams website
Bonhams
Apr. 05, 2022
OIL PAINTING OF ST ANNE WITH MARY ATT. TO PAOLO DE MATTEIS
Est: €800 - €1,200
PAOLO DE MATTEIS, att. a (Piano Vetrale 1662 - Napoli 1728) SANT'ANNA CON MARIA Olio su rame, cm. 28 x 23 PROVENIENZA Famiglia romana CONDIZIONI DEL DIPINTO Alcuni punti di restauro sul volto e sulla veste di Sant'Anna CORNICE Cornice napoletana in legno dorato incisa a foglie su fondo puntinato, del XIX secolo
Casa d'Aste Babuino
Mar. 09, 2022
PAOLO DE MATTEIS (Salerno, Naples, 1662 – 1728). "The Abduction of Persephone", c. 1705-1710. Oil on canvas. Relined. Authorship confirmed by Nicola Espinosa.
Est: €13,000 - €15,000
PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728). "The Rape of Persephone", c. 1705-1710. Oil on canvas. Relined. Authorship confirmed by Nicola Espinosa. Size: 45 x 58,5 cm; 52 x 72 cm (frame). The work puts in scene one of the most popular stories of the classical mythology: The abduction of Persephone. The abduction or abduction of Persephone by Hades is briefly mentioned in Hesiod's Theogony, and is recounted in considerable detail in the Homeric Hymn to Demeter. Zeus, it is said, allowed Hades, who was in love with the beautiful Persephone, to abduct her, since it was unlikely that her mother, Demeter, would allow her daughter to descend into Hades. Persephone was gathering flowers with the Oceanides along with Artemis and Pallas, daughter of Triton, as the Homeric Hymn says, in a field when Hades came to abduct her, bursting through a cleft in the earth. Demeter, when she discovered that her daughter was missing, searched the earth for her with the torches of Hecate. In most versions, she forbids the earth to produce, or neglects it and, in the depths of her despair, causes nothing to grow. Helios, the all-seeing sun, finally told Demeter what had happened and revealed to her the place of his abode. Finally, Zeus, pressured by the cries of the starving people and by the other deities who also heard their anguish, forced Hades to return Persephone. Hades complies, but first he tricks Persephone, giving her some pomegranate seeds to eat. Hermes is sent to fetch her, but, because she had tasted the food of the underworld, she was forced to spend a third of each there. This piece reflects to a large extent the aridity in the landscape, which the abduction of Persephone entails. The artist has drawn on the classical texts in an attempt to be faithful in his pictorial conception of the myth. Despite the aforementioned sobriety of the landscape, the work retains a great deal of dynamism and expressiveness that comes from the distinctly Baroque cross-shaped composition of the two main figures. Due to the type of composition and in particular the chromatic range used, this work belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
Setdart Auction House
Feb. 23, 2022
Italian school of the 17th century. Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728). "Noli me tangere". Oil on copper.
Est: €4,500 - €5,000
Italian school of the 17th century. Attributed to PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728). "Noli me Tangere. Oil on copper. Size: 35 x 26,5 cm; 40 x 31,5 cm (frame). Oil on copper in which the author has collected the biblical moment known as "Noli me tangere", literally "do not touch me", words that Jesus Christ said to Mary Magdalene after the resurrection. The quotation is from John 20:17. The original Greek expression suggests an action that continues in time, so perhaps a better translation would be: "do not hold me back". Mary Magdalene is a main character in the Passion and death of Jesus Christ, who stands at the foot of the cross at his Crucifixion, and who is in fact the person who precedes Peter and John in going to the tomb on Easter morning, and the first to whom Jesus appears risen. Mary goes to the tomb and sees it open, so she believes the body has been stolen, adding to her grief at the loss of the body which she believes has been desecrated. The Gospel tells us that she bends down to the tomb and sees two angels sitting inside, asking her why she is weeping; when she turns around, she finds herself facing Jesus, but her tears prevent her from seeing him, until he calls her by name. Then Jesus said to her, "Do not touch me, for I have not yet ascended to the Father. But go to my brothers and say to them: I am ascending to my Father and your Father, to my God and your God. At first sight this is a puzzling sentence but, as we have already indicated, to understand it we must turn to the Greek, the language in which the Gospel was written. Thus, the sentence should be interpreted as "Do not hold me back, for I have not yet ascended with the Father, and you must hasten to announce my resurrection to the apostles". In art, this episode known as "Noli me tangere" is one of the most widespread since the Renaissance. The subject is usually depicted in an orchard, in a wood or in the Garden of Eden, as in this particular case, where the two protagonists can be seen in the centre of the composition, immersed in a rich garden. It is worth noting the presence of a small jar or perfume pot in the lower left-hand corner, an iconographic element that defines Mary Magdalene. It is worth mentioning Due to the type of composition and especially the chromatic range used, this piece belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
Setdart Auction House
Feb. 15, 2022
PAIR OF OIL PAINTINGS BY PAOLO DE MATTEIS, workshop of
Est: €800 - €1,200
PAOLO DE MATTEIS, bottega di (Piano Vetrale 1662 - Napoli 1728) APOLLO E DAFNE DIANA ED ENDIMIONE Coppia di dipinti ad olio su rame ovale, cm. 13 x 10,3 PROVENIENZA Collezione privata romana CORNICI Cornici in legno dorato con bordo perlato e intaglia a foglie ritorte, della fine del XVIII secolo
Casa d'Aste Babuino
Nov. 26, 2021
PAOLO DE MATTEIS (PIANO VETRALE, 1662 - NAPLES, 1728): HOLY FAMILY
Est: €5,000 - €7,000
Oil on canvas, cm. 72,5x102,5. Framed
Bertolami Fine Art s.r.l.
Nov. 26, 2021
PAOLO DE MATTEIS (attr. a)
Est: €200 - €500
(Piano del Cilento, 1662 - Napoli, 1728) Maria Vergine Olio su tela, cm 63X48 Lo stile indica che il dipinto è da riferire alla maturità dell'artista, quando il substrato giordanesco è oramai filtrato dall'estetica classicista di matrice romana. La disciplina formale documenta il punto di arrivo di un'evoluzione che disciplina la licenza barocca. Il fine è il raggiungimento di un'aulica perfezione, ricca di grazia e affrancata dall'estetica seicentesca. E' indubbio che gli artisti napoletani del XVIII secolo saranno obbligati a misurarsi con il classicismo di Paolo de Matteis, cercando di coniugare il suo insegnamento con gli esempi di Francesco Solimena sino alle soglie della modernità. La tela in esame documenta bene questa peculiare evoluzione, sia pur mostrando come al successo si contrapponga anche una incoerenza delle qualità formali, ma anch'esse testimoniano di come il concetto estetico predomini sugli esiti. Bibliografia di riferimento: N. Spinosa, Pittura napoletana del Settecento. Dal Barocco al Rococò, Napoli 1986, I, pp. 31-35, 129-138 Paolo de Matteis. Un cilentano in Europa, catalogo della mostra a cura di Don G. Citro, Napoli 2013, ad vocem
Wannenes Art Auctions
Oct. 20, 2021
Paolo De Matteis (1662 Napoli-1728 Napoli), Maria Maddalena in contemplazione
Est: €2,000 - €3,000
in cornice dorata, olio su tela, W. 62 - H. 78 cm, Prof. Maurizio Marini, "Il bel dipinto in esame è un tipico quadro 'da stanza', come all'epoca venivano chiamate le opere da collezione, che riveste di moralità un tema sensuale come quello in oggetto, in cui s'individua nella cortigiana convertitasi al Cristo la 'Venere cristiana'. (...) Anche nel caso in esame il de Matteis assume il tono sensuale che lo connette all'estetica giordanesca (suo maestro), ma la soluzione tecnica esprime la vaporosità tipicamente 'rocaille', leggibile nell'incarnato, nel bindo dei capelli e nella maliziosa fettuccia di seta celeste che passa tra i seni. (...)"
Cambi Casa d'Aste
Oct. 20, 2021
Paolo De Matteis (1662 Napoli-1728 Napoli), Amore con arco e frecce e Amore deriso
Est: €8,000 - €12,000
coppia di dipinti, in cornici intagliate e dorate, olio su tela, W. 83 - H. 66 cm, Galleria Pasti Bencini, Firenze
Cambi Casa d'Aste