Jusepe de Ribera Paintings & Artwork for Sale | Jusepe de Ribera Art Value Price Guide

Nov. 14, 2024
Jusepe de Ribera Martyrdom of Saint Bartholomew
Est: €1,000 - €1,500
Etching and engraving, 312 x 237 mm. Bartsch XX.81.6; Brown 12. Fine impression on thin laid paper with watermark (Key). With missing parts on the lower margin, backed on the verso, and another small restoration in the center of the composition. The paper is slightly browned, but otherwise in good condition.
Bertolami Fine Art s.r.l.
Oct. 31, 2024
JOSÉ DE RIBERA (XÀTIVA, 1591 - NÁPOLES, 1652)
Est: €38,000 - €60,000
José de Ribera (Xàtiva, 1591 - Naples, 1652) ‘Ecce homo’ Oil on canvas. 88 x 66 cm. As Professor Spinosa indicates in his certificate, the painting representing Christ with the crown of thorns and ironically presented to the people of Jerusalem, as king of the Jews (Ecce Homo, e aquí el hombre), is a previously unknown painting in a good state of preservation by the artist José de Ribera. There is strong contrast of light and shade in the painting, intended to define form and volume, and particularly to give a life-like quality to the red cloak that covers the sides and chest. The lividity of Christ's skin due to his recent suffering, the somatic features and the gaze charged with a restrained sadness that humanises him, are all features that lead Professor Spinsosa to date this Ecce Homo to mid-1616, around the time of the young Ribera's final move to Naples. The painting, which retains evident Caravaggesque elements, is similar to the Ecce homo (97 x 81 cm), signed with the painter's initials (J.R.), which is in the Royal Academy of Fine Arts of San Fernando in Madrid (Spinosa 2008, p352, no. A83), but in this version the position is reversed and there are some variations in the hands tied by rope. Both paintings have a strong visual impact due to the drama and the very human expressiveness of the figure. Professor Nicola Spinosa's certificate dated 8 June 2019 comes with the painting. Reference bibliography: N.spinosa, Ribera. L'Opera completa, Nápoles 2003 p.267, nºA52. N.spinosa, Ribera. L'Opera completa, Nápoles 2006 p.283, nºA63. N.spinosa, Ribera. La obra completa, Madrid 2008 p.352, nºA83.
La Suite Subastas
Oct. 24, 2024
San Giacomo maggiore
Est: €70,000 - €100,000
Jusepe de Ribera (Xàtiva 1591-Napoli 1652) James the Great Oil on canvas cm. 76,5x64. Framed The present painting is accompanied by an expertise by Prof. Ferdinando Bologna. Private collection, Naples.
Bertolami Fine Art s.r.l.
Oct. 01, 2024
JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "The Martyrdom of St. Sebastian. Oil on canvas. Relined. Work exhibited at the Museum of Fine Arts of Murcia. Work reproduced in: Spinosa, N. Ribera. The complete work
Est: €70,000 - €90,000
JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "The Martyrdom of St. Sebastian. Oil on canvas. Relined. Work exhibited at the Museum of Fine Arts of Murcia. Work reproduced in: Spinosa, N. Ribera. The complete work. Foundation of Hispanic art. Madrid 2008 cat. C12; Pascual Chenel, A and in the catalog "Masters of the Spanish Baroque, Granados Collection, Unpublished Work. Museum of Fine Arts of Murcia. 2020-2021. p. 64. It presents restorations and damages caused by xylophages. It has a 19th century frame. Measurements: 172 x 135 cm; 204 x 166 cm (frame). A prolix painter, one of the constants in his production is the abundance of themes of saints, martyrs and hermits, among which San Sebastian occupies a prominent place. He repeated this theme on numerous occasions in different versions and compositions and even in autograph replicas of the same composition, as is the case here and a common practice in the Valencian painter. Thus, in Ribera's artistic production (both in painting and drawing) there is a large number of representations of the Roman martyr, either in his traditional iconography at the moment of the asaeteamiento or, as is the case, in the less frequent one that depicts the moment immediately after the torment. Ribera's style is framed within an intense and powerful naturalistic energy of Caravaggesque style, which will evolve throughout his career (the bibliography on Ribera is huge and it is not the case to relate it here; we mention only by way of example the catalog the important exhibition by Pérez Sánchez and Spinosa, 1992; Spinosa, 2008; Milícua and Portús, 2011; Finaldi, 2016; in these last two publications the previous bibliography and the latest research on the painter are collected). These aesthetic and plastic values can be appreciated in the canvas of the Granados Collection, of careful composition and studied foreshortening, with a masterful study of the nude of classicist style, but which serves the artist as an excellent means to convey feeling and pious emotion. Hence the careful illumination directed towards the main subject, and the cerulean tone that confers the contorted body of the saint, still tied to the tree, to indicate in this way the lividity of the body, also underlined by the very marked foreshortening of the cadaverous heaviness. Meanwhile, both Saint Irene and her maid appear submerged in shadow, from which their faces emerge, creating a subtle play of light. With all this he manages to create an effect of restrained drama. As is logical, this obvious one must be placed in direct connection with other autograph replicas of identical composition of which, in addition, numerous copies are known, as well as other versions of the same theme and even preparatory drawings. Among the former, it is obvious to mention the painting in the Museo de Bellas Artes of Valencia, of analogous quality to the one in the Granados Collection. Of this one, there are many scattered copies, such as the one in a private collection in Parma, the one in the church of Saints Severino and Sosio in Naples, and several others in various museums and private collections. The same iconography, although with a slightly different composition and treatment, can be seen, for example, in the canvases of the Hermitage Museum in St. Petersburg and the spectacular one in the Museum of Fine Arts in Bilbao. The San Sebastianes in their most common iconography are, as we have said, very abundant in Ribera's pictorial production. We will point out by way of example the masterful one for the Collegiate Church of Osuna, corresponding to his first stage, and the one in the Prado Museum, much later, in which we can see the stylistic evolution of the artist from the decade of the 30's. As for the preparatory drawings, there are several of this subject among his graphic production, but we must mention the fundamental one in San Sebastian seated and tied to a tree, of the William Lowe Bryan Memorial, Eskenazi Museum of Art, Indiana University, (fig.1), in which the saint's forced posture is very similar. Sebastian was of Gallic origin, born in Narbonne and, according to tradition, raised in Milan. He became a trusted man of the emperors Diocletian and Maximian who, unaware of his Christian faith, put him in charge of the first cohort of Rome, the Praetorian Guard, whose main mission was to escort the emperors. From his privileged position he was dedicated to exhort the arrested and persecuted Christians to strengthen their faith and prevent them from denying it. Such is the case of the twins Marcus and Marcellianus who were condemned to death for professing the Christian religion. When they were about to be beheaded, ready to assume the martyrdom with dignity, their parents and wives appeared and begged them to renounce Christianity to save their lives. At that moment, St. Sebastian, who was among those who witnessed the pathetic scene, and seeing that the strength of the brothers was beginning to waver, came out of the crowd and addressed to those present a speech with which he managed to restore their courage and desire to remain faithful to Christianity, assuming without fear the torments of their own martyrdom. After finishing the sermon, a miracle occurred whereby the jailer's wife, who was mute from birth, suddenly regained her speech, which led to her immediate conversion and the release of the brothers by the jailer. Such was the persuasive force of St. Sebastian's divinely inspired words that even the parents and wives of Marcus and Marcellianus, as well as many of those present, were also converted to Christianity; the miracle was worked again in the father of the twins who, as soon as he was baptized, was cured of a serious ailment that afflicted him. After a whole series of miracles, conversions and martyrdoms of other Christians, Sebastian was denounced to the emperor. Diocletian was very offended by the betrayal of his friend and ordered his own companions to take him to the field of Mars, tie him to a tree and roast him to death. The hagiographic tradition tells us that the soldiers were so furious with Sebastian that they shot him with so many arrows that they turned his body into a kind of hedgehog. Believing him already dead, they went away and left the saint badly wounded, but still alive. Once the soldiers had left, that same night Saint Irene untied him, took him home and cured his wounds assisted by her maid Lucina; a passage that is the one immortalized in the canvas. When he recovered, Sebastian returned to the imperial palace to reproach the emperor for his persecution of the Christians. Diocletian, enraged, ordered him to be imprisoned again and ordered him to be beaten until he was sure of his death and then his corpse was thrown into the Cloaca Maxima, so that the Christians could not recover his remains, thus preventing them from honoring him and worshiping his relics. This was done, but the saint appeared to Santa Lucia to indicate the exact location of his body, which was recovered and buried in the catacombs that bear his name on the Appian Way. Ribera was born in Xátiva in 1591, but nothing is known about his early Valencian education. Nor are the exact reasons why he left his hometown to travel to Rome at a very young age, where we know that he was already in 1606. The possibility has been raised that there were relatives in the Eternal City (Papi, 2011, pp. 31-59). The fact is that in 1612 he was already practicing as a painter on his own account in Rome and fully immersed in the social and artistic life of the city. Between 1610-1611 he is also known to have been in Parma where he received his first important commissions. In 1616 he moved to Naples where he developed a fruitful career, especially since the viceroy Osuna was amazed with his quality and commissioned him important works that would make him the most important artistic personality of the city. From that moment on, successive viceroys would become his clients and he would paint for them in abundance, as well as other diverse commissions both inside and outside Naples. Work exhibited at the Museum of Fine Arts of Murcia. Work reproduced in: Spinosa, N. Ribera. The complete work. Foundation of Hispanic art. Madrid 2008 cat. C12; Pascual Chenel, A and in the catalog "Masters of the Spanish Baroque, Granados Collection, Unpublished Work. Museum of Fine Arts of Murcia. 2020-2021. p. 64.
Setdart Auction House
Oct. 01, 2024
Attributed to JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "Saint Onofre. Oil on canvas. Relined. Bibliography: Passion for art. Cáceres, 2012.
Est: €20,000 - €30,000
Attributed to JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "Saint Onofre. Oil on canvas. Relined. Bibliography: Passion for art. Cáceres, 2012. It presents restorations on the pictorial surface. It has an important frame of the seventeenth century carved and gilded wood. Measurements: 117x 92 cm; 136 x 117cm (frame). San Onofre was immortalized by the master Ribera on several occasions, in fact the Prado Museum in Madrid, houses in its collection a copy of Ribera of a San Onofre, thus demonstrating the popularity that reached this subject at the hands of the Valencian artist. The piece reveals the technical quality of José Ribera at the service of the devotional intensity associated with the saint. In the present painting, the iconographic austerity, the effective illumination and the use of a thick impasto, which provides a tactile quality favoring the impression of monumental three-dimensionality of the protagonist, isolate the viewer from the mundane reality. It is a work that reveals the hand of a mature and experienced Ribera. One of the most popular themes of the Baroque period, exalted by one of the best painters of the time, who decided to exalt the figure of this saint not only instigated by official commissions, but by the message and the values represented by the martyr. José de Ribera was a key painter of the Baroque, belonging to the generation of the great masters of the Golden Age, trained in Italy in a self-taught manner. His first contact with naturalism took place with his arrival in Rome in 1615, where he came into contact with the Nordic caravaggists, from whom he adopted the smooth and hurried technique, the feísmo and the rigorous drawing, characteristics that shaped his style in his Roman period. However, in 1616 he went to Naples and settled there permanently. In this city Ribera will become the head of the group of Neapolitan naturalists, and around him an important circle of painters will be created. In spite of being in Italy, Ribera will send numerous works to Spain, so that his language will be key for the formation of the baroque in our country. His work will bring the tenebrism and, later, the full baroque, long before it will arrive directly to Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting would be characterized by a very loose brushstroke, with Venetian influence, which would also mark the work of his followers. Thus, the school of Ribera developed a style of dramatic and contrasting lighting, clearly tenebrist, nuanced however by a Venetian brushstroke, impastoed and fluid. Thus, here we see an artificial and directed spotlight that penetrates the scene through the upper left corner and directly illuminates the face and torso of the philosopher, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models leaning on the light, that touch of doughy and expressive brush directly from the school of Ribera.
Setdart Auction House
Sep. 27, 2024
Ribera, Jusepe de
Est: €340 - €500
(um 1590 Jatiba - Neapel 1652). Der Hl. Hieronymus hört die Posaune des Jüngsten Gerichts, von einem Engel ob. re. geblasen. Radierung auf Bütten mit WZ "Lilie im Kreis", um 1621. 31,1 x 23,1 cm. Mit d. Monogr. in d. Platte. Bartsch u. Nagler 4. - Kl. Randeinr. oben rechts unterlegt, Muntierreste verso an den Ecken u. Rändern, kl. Wurmloch unten. D
Kiefer Buch- und Kunstauktionen
Sep. 26, 2024
JUSEPE DE RIBERA, 1588/91 – 1652, KREIS DES
Est: €18,000 - €22,000
ECCE HOMO Öl auf Leinwand. Doubliert. 55 x 45 cm. In dekorativem Rahmen. Wir danken Prof. Nicola Spinosa für freundliche Hinweise bezüglich der Katalogisierung. Vor braunem Hintergrund Christus im Halbbildnis, gezeigt mit Dornenkrone auf dem Haupt und einem langen Rohrstock in seiner rechten Hand, als Spottzeichen der Königswürde, sowie mit einem roten Mantel über seiner rechten Schulter herabhängend. Er hat ein helles Inkarnat, den Kopf nach oben gerichtet, ebenso seinen Blick mit seinen glänzenden dunklen Augen, dabei den Mund leicht geöffnet, als ob er spricht. Auf seiner Brust zudem mehrere rote Blutstropfen. Qualitätvolle Malerei mit betonter Hell-Dunkel-Akzentuierung. Die Entstehungszeit des Gemäldes ist nach 1630 anzusetzen. Anmerkung: Ecce Homo-Darstellungen waren bei vielen Künstlern seiner Zeit ein beliebtes Thema, so zu finden bei Guido Reni (1575-1642), Caravaggio (1571-1610) und bei Bartolomé Esteban Murillo (1618-1682). Ein vergleichbares Werk, Ribera zugeschrieben befindet sich im Museo de Cádiz aus der Sammlung von Frau Alejandrina Gessler de la Croix (Madame Anselma). Literatur: Vgl. Nicola Spinosa, Ribera Opera completa, 2006, S. 148 sowie S. 343 für weitere Ecce Homo-Darstellungen des Künstlers. (1410901) Jusepe de Ribera, 1588/91 – 1652, circle of ECCE HOMO Oil on canvas. Relined. 55 x 45 cm. We would like to thank Professor Nicola Spinosa for kind advices regarding the cataloguing. The painting is thought to have been painted after 1630. Notes: A comparable work attributed to Ribera can be found in the Museo de Cádiz in the collection of Mrs Alejandrina Gessler de la Croix (Madame Anselma). Literature: Cf. Nicola Spinosa, Ribera Opera completa, 2006, p. 148 and p. 343 for further Ecce Homo depictions by the artist.
Hampel Fine Art Auctions
Sep. 17, 2024
OIL PAINTING BY JUSEPE DE RIBERA, scope of
Est: €3,000 - €4,000
JUSEPE DE RIBERA, ambito di (Xativa 1591 - Napoli 1652) SANT'ANTONIO ABATE Olio su tela, cm. 80 x 63 Cornice dorata PROVENIENZA Famiglia romana Il dipinto è riferibile ad un pittore napoletano della prima metà del XVII appartenente alla stretta cerchia di Jusepe de Ribera, come mostra il confronto, anche iconografico con opere di medesimo soggetto, in particolare il Sant’Antonio abate della collezione De Vito a Milano, cui questa tela si ispira. Una copia è segnalata in collezione privata a Bergamo (N. Spinosa, Ribera. L’opera completa, Napoli 2003, p. 252, n. A13, p. 308, n. A188) CONDITION REPORT Rintelo novecentesco. Un restauro sull'occhio in primo piano, punti di restauro ossidati nella parte bassa del dipinto
Casa d'Aste Babuino
Jul. 05, 2024
Ribera, Jusepe de
Est: €100 - €150
(um 1590 Jatiba - Neapel 1652). Die Buße des hl. Petrus. Radierung auf Bütten 1621. Blgr. 32 x 24,3 cm. Mit dem Monogr. "SHP ABR" u. dem spiegelverkehrten Datum i.d. Platte. Tls. auf Einfassung beschnitten, meist mit schmalem Rand um dies. Illustr. B. 7. Um welchen Zustand es sich handelt kann leider aufgrund des fehlenden unt. Randes nicht festgestellt werden. - Etw. gebr. u. fleckig, tls. unterl. Randeinrisse,, Eckabriss unt. re. laienhaft ergänzt. R
Kiefer Buch- und Kunstauktionen
Jun. 15, 2024
Ribera, Jusepe de (1588 - 1656) Circle/Succession,
Est: -
Ribera, Jusepe de (1588 - 1656) Circle/Succession, "Saint Hieronimus",(1588 - 1656) Circle/Succession, "Saint Hieronimus", Oil on canvas, relined, 136 x 172.5 cm, colour flaking, tears in the canvas and creasing due to doubling Ribera, Jusepe de (1588 - 1656) Umkreis/Nachfolge, "Heiliger Hieronimus", Öl auf Leinwand doubliert, 136 x 172.5 cm, Farbabplatzungen, Risse in der Leinwand und Faltenwurf durch Doublierung
Auktionshaus Plückbaum
Jun. 07, 2024
Ribera, Jusepe de, genannt Spagnoletto, (Játiva, Valencia 1588/91-1652 Neapel),
Est: €140 - €200
Der trunkene Silen. Radierung. In der Platte sign. und dat. 1628, bei G. G. Rossi in Rom, dat. 1640. 26,8 x 34,6 cm. - Auf Trägerpapier aufgezogen, auf Trägerpapier mont. - Bartsch XX, 49, 13. Brown 14, III. - Mit radierter Widmung von G. Orlandi.
Zisska & Lacher
Jun. 07, 2024
Ribera, Jusepe de, genannt Spagnoletto, (Játiva, Valencia 1588/91-1652 Neapel),
Est: €100 - €150
Hl. Hieronymus in der Wildnis mit einem Engel. Radierung. In der Platte monogr., nicht dat., (um 1640). 31,3 x 23,3 cm. - Auf Trägerpapier mont. - Bartsch XX, 47, 4.
Zisska & Lacher
May. 30, 2024
Old Prophet
Est: €3,500 - €4,000
Oil painting on canvas, 17th-century Spanish school, depicting an Old Prophet. Attributed to Jusepe De Ribera (1591 - 1652) Dimensions: 113x92 cm By an anonymous artist. The painting is in good condition, relined in the 20th century.
De Francesco Casa D'Aste e Galleria
May. 29, 2024
Neapolitan school of the 17th century. Following models by JOSÉ DE RIBERA (Játiva, 1591-Naples,1652). "The View". Oil on canvas. Relined in the 19th century. It presents repainting.
Est: €4,000 - €5,000
Neapolitan school of the 17th century. Following models by JOSÉ DE RIBERA (Játiva, 1591-Naples,1652) . "The View". Oil on canvas. Re-coloured in the 19th century. It presents repainting. Measurements: 110,5 x 88,5 cm; 126,5 x 104 cm (frame). In the Neapolitan school, the influence of José Ribera was remarkable. His vehement and vigorous naturalism, filtered by Flemish influences, beats strongly in the Neapolitan painting contemporary to the Sevillian painter. Here we have a clear example of this influence. The author has faithfully reproduced the painting "The View" which Ribera painted during his stay in Rome (now in the Franz Mayer Museum). It was part of a series on the five senses. In this version, the dual ancestry of Ribera and Caravaggio can be seen in the violent, tenebrist light that bursts through in a slanting manner. It should also be noted that Ribera moved away from the iconographic complexity of the visions of the Five Senses produced in the Low Countries, along the lines of Brueghel. The Valencian artist, who takes up the present version, focuses on a character taken from everyday life. The man holds a spyglass in his hands that allows him to contemplate the universe through the window. Glasses and a mirror complete the representation of sight. The figure is placed in an interior and receives the strong impact of the light on his head and hands, his body being chiselled in each and every detail. The dark tones are used to focus the viewer's attention on the face, which is charged with emotional intensity.
Setdart Auction House
May. 29, 2024
JOSÉ DE RIBERA (Xátiva, Valencia, 1591 – Naples, 1652). “Ecce homo”. Oil on canvas. Relined. Attach report by Nicola Spinosa. Presents restorations. It has an adapted frame from the 17th century of ebonized wood.
Est: €60,000 - €70,000
JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "Ecce homo". Oil on canvas. Relined. Attached report by Nicola Spinosa. It presents restorations. It has a frame adapted from the XVII century in ebonised wood. Measurements: 88 x 65 cm; 111 x 89 cm (frame). This work shows the figure of Christ crowned with thorns and ironically presented to the people of Jerusalem as king of the Jews (Ecce Homo, Behold the man). The work has been attributed to Ribera by the expert Nicola Spinosa, curator of the Polo Museale Napoletano and director of the Museo Nazionale di Capodimonte, due to technical characteristics such as the strong contrast of light and shade intended to define forms and volumes, particularly expressive in the treatment of the red cloak that covers his hips and thorax, and in the skin already bruised by his final sufferings and the somatic characteristics in the gaze marked by a restrained and very human sadness. This Ecce Homo can be dated a few years after the young Ribera's final move to Naples in mid-1616. The painting in question, with stylistic results still evident and markedly Caravaggesque in origin, continues, with the composition inverted and with some variations in the arrangement of the hands tied with a rope, from the Ecce Homo by the artist which is kept in the Royal Academy of Fine Arts of San Fernando in Madrid, coming from the Casa de la Compañía de Jesús in Toledo, where it was seen by Ponz in the mid-18th century, dated by modern and contemporary critics on a stylistic basis immediately after 1620 and before 1624. From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the figure of José de Ribera, a key painter belonging to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would be key to the formation of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushwork that the artist learned directly from Ribera's work.
Setdart Auction House
May. 29, 2024
Ribera, Jusepe de: Der trunkene Silen
Est: €800 - €1,200
Der trunkene Silen mit Satyrgefolge. Radierung. 26,8 x 34,5 cm. 1628. B. 13, Brown 14 II (von III). Vor der Adresse Rossis. Ausgezeichneter, toniger, wenngleich wie üblich für den Zustand vor allem links minimal trockener Abzug, an bzw. partiell knapp in die Einfassung geschnitten. Minimal angestaubt, vor allem verso leicht angeschmutzt und schwach knitterspurig, ebenda geglättete Vertikalfalte, kaum merkliche Randausbesserungen mit gelegentlichen dezenten Federretuschen, die linke obere Eckenspitze und eine kleine Fehlstelle unter dem signierten Stein ergänzt und sorgsam retuschiert, weitere geringe Handhabungsspuren, sonst in guter Erhaltung. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
May. 29, 2024
Ribera, Jusepe de: Der hl. Hieronymus und der Engel
Est: €900 - €1,200
Der hl. Hieronymus und der Engel (Der hl. Hieronymus hört die Trompete des Jüngsten Gerichts). Radierung. 31,2 x 23,2 cm Um 1621. B. 4, Brown 5 I (von V). Wz. Lilie im Kreis. Vor der Adresse bzw. den Initialen von Frans van Wyngaerde und mit den für spätere Abzüge des ersten Zustandes vermerkten vertikalen Wischkritzeln im Himmel und im Engel. Ganz ausgezeichneter, atmophärischer Frühdruck mit sehr feinem Rändchen um die Einfassungslinie. Etwas angestaubt und recto wie verso mit einzelnen zarten Spuren von Rötel, verso schwach geglättete Mittelfalte sowie eine geglättete Diagonalspur, in den oberen Ecken kleine Knitterspuren sowie insgesamt geringfügige Gebrauchsspuren, sonst sehr gut erhaltenes Exemplar. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
May. 17, 2024
Ribera, José de (±1590-1652). The lamentation.
Est: €400 - €600
Ribera, José de (±1590-1652). The lamentation. Etching, 19,8x25,5 cm. (platemark), monogrammed (in reverse) in the plate. - Closed tear in left margin, ±2,5 cm. within the image; extended modern margins; trimmed a few mm outside the platemark; sl. soiled. = Bartsch 79; Brown 17 II (Rejected Attributions),
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
May. 15, 2024
Jusepe de Ribera (1591 - 1652) , da Giacobbe con il gregge di Labano, 1640-1660
Est: -
Jusepe de Ribera (1591 - 1652) , da Giacobbe con il gregge di Labano, 1640-1660 Olio su tela 160 x 210 cm Provenienza: Christie’s Londra, 1972 (?); W. Apolloni, Roma (1973); collezione privata, Roma Bibliografia: Alfonso E. Pérez Sánchez e Nicola Spinosa, a cura di, Jusepe de Ribera (1591-1652), 18 settembre-29 novembre 1992, The Metropolitan Museum of Art, New York, catalogo della mostra, scheda 28, pp. 99-102 (in particolare p. 102) Certificati: Fabrizio Apolloni (come “Scuola Napoletana della prima metà del XVII secolo, Bartolomeo Passante, 1614-1656, attr. a”), 10 marzo 1973 Stato di conservazione. Supporto: 85% (rifodero, telaio sostituito) Stato di conservazione. Superficie: 90% (cadute di colore riprese, ridipinture) La tela in esame deriva da un dipinto di Jusepe de Ribera, conservato almeno dal 1681 al Monastero di San Lorenzo a El Escorial, nella provincia di Madrid, e datato 1632 (174x219 cm), come ci segnalano Keith Sciberras (comunicazione del 23 giugno 2023) e Nicola Spinosa (comunicazione del 30 maggio 2023). Tale composizione - messa in relazione in letteratura con l’incontro di Ribera con le novità della pittura di Velázquez e Grechetto e straordinariamente bilanciata nella opposizione spaziale, di vuoto e pieno, e cromatica, di chiaro e scuro - ebbe immediata e grande fortuna. Ne sono testimonianza sia la rielaborazione offerta dallo stesso Ribera, con notevoli cambiamenti, nel 1638 in una tela oggi alla National Gallery di Londra (inv. NG244), sia le numerose copie realizzate nel corso del Seicento e nella prima metà del Settecento, molte conservate in ambito museale (per esempio, Knowsley Hall, Liverpool; Museo de San Carlos, Città del Messico; Palazzo del Gran Maestro, La Valletta) ed almeno due apparse nel mercato d’asta, entrambe a Christie’s Londra, una il 9 dicembre 2011 (asta 3475, l. 143: https://www.christies.com/en/lot/lot-5522937) e l'altra, con cui è identificabile il quadro in esame, nel 1972 (cfr. Pérez Sánchez-Spinosa 1992, p.102). In linea generale, la tela in esame presenta, rispetto al modello, dimensioni analoghe (salvo la riduzione superiore derivante forse da resezione della tela in fase di restauro), la precisa riproposizione delle forme e la ricercata semplificazione dei dettagli di contro ad una compressione cromatica e della profondità (quest'ultima dovuta, tuttavia, anche al naturale scurimento dei marroni). L’osservazione attenta mostra una considerevole differenza di qualità tra l’esecuzione del volto e delle mani di Labano ed il resto (si confrontino, per esempio, i piedi, appena abbozzati), indicando probabilmente la collaborazione di più mani, e l'impronta generale suggerisce una datazione precoce e molto vicina all'originale riberesco, tra il 1640 e il 1660, quando il Maestro era ancora vivo o poco dopo la sua morte. Una prima ricerca inventariale negli archivi delle maggiori collezioni napoletane della seconda metà dei Seicento e del Settecento, condotta ipotizzando una migrazione della tela in Inghilterra nella seconda metà del XVIII secolo, mostra le seguenti occorrenze: - Legato di Gaspare Sangiovanni Toffetti, I-244, p. 6, n. 75 (1 febbraio 1651, Napoli, f.419 “Un Quadro de palmi 9 in circa cornice indorata, con Giacob, che pasceva le sue pecore, copia del Spagnuolo“; 9 palmi = circa 237 cm, probabilmente con cornice) - Legato di Gagliano Pompilio, I-242, p. 10, n. 0050 (10 ottobre 1699, Napoli: “ Un Giacobbe con alcune pecore, mano di Gioseppe di Ribera di palmi 6”; 6 palmi = circa 158 cm, verosimilmente con riguardo all’altezza) - Legato di Gaetano de Blasio, I-722, p. 18, n. 0007 (17 agosto 1737, Napoli, f.I allegato “Cinque Quadri di 6 ed 8. Uno di Giuseppe ribera detto Lo Spagnoletto con Giacobbe, che guarda le pecore. (...) con cornice di varie maniere indorate” 6 e 8 palmi = circa 158x210 cm) - Legato di Giuseppe Maria della Leonessa, Principe di Supino, I-254, p. 12, n. 0105 (30 marzo 1772, Napoli, “f.10 Un Giobbe di lunghezza palmi 7 1/2, altezza palmi 6 autore Giuseppe di Ribera detto lo Spagnoletto”; 7 1/2 palmi = circa 195 cm). Ringraziamo i Professori Nicola Spinosa e Keith Sciberras, per il supporto dato nella catalogazione dell'opera.
Bonino
May. 14, 2024
Jusepe (de) Ribera, Sileno ebbro. 1628.
Est: €600 - €1,200
Acquaforte e bulino. mm 267x342. Bartsch, XX, 13. Brown, 14. Con la firma e la data in lastra sulla pietra a destra. In basso al centro la dedica "Al Molto Ill[ust]re Sr Don Gioseppe Balsamo Barone di Cattasi, Giorato dell Ill.mo / Senato della nobile Citta di Messina / Giovanni Orlandi Romano. D. D.". Ottima impressione nel II stato di 3 con l'indirizzo di Giovanni Orlandi in basso, con il nome della città di nascita dell'autore e la città dove l'incisione è stata eseguita sulla pietra contenente la data. Carta vergellata sottile con filigrana "stemma con lettera F su tre monti" (simile a Woodward, 332 e 333). (1)
Gonnelli Casa d'Aste
May. 14, 2024
Jusepe (de) Ribera, Martirio di San Bartolomeo. 1624.
Est: €340 - €680
Acquaforte e bulino. mm 320x242. Foglio: mm 327x250. Bartsch, XX, 6. Brown, 12. Al margine inferiore la dedica e la data "Dedico mis obras y esta estampa al Serenis[i]mo Principe Philiberto mi Señor / en Napoles año 1624." e più in basso la firma. Buona prova nello stato definitivo impressa con lieve tonalità su carta vergellata con filigrana "piccolo fiore di giglio su tre monti entro cerchio singolo". (1)
Gonnelli Casa d'Aste
May. 07, 2024
OIL PAINTING BY JUSEPE DE RIBERA
Est: €40,000 - €60,000
JUSEPE DE RIBERA (Xativa 1591 - Napoli 1652) ARONNE Olio su tela cm. 130 x 95. PROVENIENZA Collezione privata italiana La tela in esame, recentemente pubblicata da Nicola Spinosa sul volume dedicato ad Aniello Falcone e i pittori della sua cerchia, raffigura Aronne, giovane fratello di Mosè e sommo sacerdote, dipinto a mezza figura con nella mano sinistra un serpente ed un turibolo. L'opera viene assegnata, dallo studioso napoletano, alla produzione romana del giovane Ribera e datata pertanto intorno al 1615, nel periodo immediatamente precedente al definitivo trasferimento a Napoli dello spagnolo, avvenuto sul finire del 1616. Molte infatti, nel dipinto in esame, le assonanze stilistiche con i dipinti a mezza figura di santi, apostoli e profeti, che il giovane Ribera realizzò a Roma, in chiave naturalista sugli esempi delle opere locali di Caravaggio, tra il 1615 ed il 1616, per vari noti committenti italiani e spagnoli PUBBLICAZIONI N. Spinosa. Aniello Falcone e i pittori della sua cerchia (1625-1656). Silvana editoriale, Milano 2023 CONDITION REPORT Rintelo novecentesco. Punti di restauro sparsi sulla superficie pittorica, gli incarnati presentano integrazioni sulle mani e sul volto in corrispondenza dell'occhio sinistro, del naso e della barba CORNICE Cornice in legno argentato e lacca a finto legno, con bordi a ghirlanda, baccelli e palmette, del XVII secolo BIBLIOGRAFIA N. Spinosa, Ribera. L'opera completa. Napoli 2006, ed. italiana, Madrid 2008 ed. spagnola El Joven Ribera, catalogo mostra a cura di J. Milicua e J. Portùs Pérez, con schede critiche di G. Papi e N, Spinosa, Madrid, Museo del Prado, Madrid aprile/agosto 2011 Ribera tra Parma, Roma e Napoli (1608-1624), catalogo mostra a cura di J. Miliuca e J. Portùs Pérez, Museo di Capodimonte, settembre 2011/gennaio 2012. Napoli 2011 L'opera è accompagnata da comunicazione scritta del Prof. Nicola Spinosa, in data 22/05/2023 Il dipinto è corredato da attestato di libera circolazione del Ministero della Cultura, in data 21/09/2023
Casa d'Aste Babuino
Apr. 29, 2024
Old Prophet
Est: €3,500 - €4,000
Oil painting on canvas, 17th-century Spanish school, depicting an Old Prophet. Attributed to Jusepe De Ribera (1591 - 1652) Dimensions: 113x92 cm By an anonymous artist. The painting is in good condition, relined in the 20th century.
De Francesco Casa D'Aste e Galleria
Apr. 24, 2024
Jusepe de Ribera, called lo Spagnoletto
Est: €600,000 - €800,000
(Xátiva 1591–1652 Naples) Saint Francis in prayer, signed and dated on the right: Jusepe de/Ribera/español/F./1648, oil on canvas, 81.5 x 64.5 cm, framed Provenance: Collection of Cesáreo Aragón y Barroeta-Aldámar and his wife Blanca Carrillo de Albornoz y Elío, VI Marquesa de Casa Torres, XVII Vizcondesa de Baiguer, Madrid; by descent to their daughter, Marquesa de Casa Riera; by descent to their daughter, Duquesa de Medina de las Torres; thence by descent; where acquired by the present owner We are grateful to Nicola Spinosa for endorsing the attribution of the present painting. The image of the penitent Saint Francis, dressed in a rough and worn habit, was widespread in the Counter-Reformation era, iconographically reflecting the spirit of the age (see S. Valenti Rodinò [ed.], L’immagine di San Francesco nell’età della Controriforma, exhibition catalogue, Rome 1983). This present, unpublished, painting by Jusepe de Ribera relates to the Saint Francis in Meditation dated 1643, conserved in Palazzo Pitti in Florence (inv. 1912 no. 73), but it presents some significant variations. In the Florentine Saint Francis the protagonist holds a skull in his hand, an object of meditation on man’s mortality, while in the present painting, the saint is shown with his right hand to his chest in an expression of penitence – and holds a small crucifix in his left hand. A native of Játiva in Spain, as a youth Jusepe de Ribera may have initially trained in the studio of Francisco Ribalta, an important figure in the transition from Mannerism to a more naturalistic style. Recent studies have clarified that Ribera arrived in Italy from Valencia in 1606 to complete his artistic training; the painter settled in Rome, where he remained for ten years (see G. Porzio, A. D’Alessandro, Ribera between Rome and Naples: new documentary evidence, in: The Burlington Magazine, 157, 2015, pp. 682–683). In 1616, the artist moved to Naples in the entourage of Don Francisco Ruiz de Castro, who had served as Philip III’s Ambassador to the Holy See since 1609 and took up the post of Viceroy of Sicily in the summer of 1616. Ribera quickly became the most important painter in the city, running a thriving workshop and leaving a lasting impression on the entire generation of new Neapolitan artists, such as Giovanni Ricca, Francesco Guarino or the so-called Master of the Annunciation to the Shepherds. The recent cleaning of the present canvas has revealed the signature and the date 1648. The work is therefore placed at the height of Ribera’s career, shortly after the artist had delivered the large copper panel of San Gennaro Emerging Unharmed from the Furnace to the Cappella del Tesoro di San Gennaro, which he had begun in 1641, and finished in 1647. Ribera also painted The Holy Family with Saints Anne and Catherine of Alexandria (New York, Metropolitan Museum of Art, inv. no. 34.73) and the Equestrian portrait of Don Juan of Austria with its backdrop of the Gulf of Naples (Madrid, Royal Palace) during the same year, 1648. These paintings are executed using light and luminous colours and reflect the influence of Giovanni Lanfranco’s work in Naples at that time. During these same years, however, Ribera was also creating darker and more dramatic images, such as the Head of the Baptist in the Museo Filangieri in Naples (inv. no. 1455), the Saint Simeon with the Infant Jesus from a private collection dated 1647 (see N. Spinosa, Ribera. L’opera completa, Naples 2003, p. 373, no. A317), and the present Saint Francis in Prayer, which may be the last painting of this subject by the artist. This painting has long belonged to the collection of the Marquises of Casa Torres and their descendants, as evidenced by inventories of the Casa Torres picture gallery (see J. Lacoste [ed.], Referencias Fotográficas de las obras de arte en España, Madrid 1914, no. 12169).
Dorotheum
Apr. 20, 2024
OLD MASTER DRAWING "THE PENITENCE OF SAINT PETERS"
Est: $200 - $400
OLD MASTER DRAWING "THE PENITENCE OF SAINT PETERS" Continental, 19th century, The Penitence of Saint Peter after Jose (Giuseppe) Ribera, (Spanish-1591-1652).
Selkirk Auctioneers & Appraisers
Apr. 18, 2024
JUSEPE DE RIBERA The Martyrdom of St. Bartholomew.
Est: $1,200 - $1,800
JUSEPE DE RIBERA The Martyrdom of St. Bartholomew. Etching, 1624. 326x242 mm; 12⅞x9⅝ inches. First state (of 2). Small fleur-de-lys in a circle watermark. With thread margins or trimmed on the plate mark. A good, evenly-printed impression. Bartsch 6; Brown 12.
Swann Auction Galleries
Apr. 18, 2024
Jusepe de Ribera (cerchia di) The Head of John the Baptist
Est: €4,000 - €7,000
Oil on canvas Canvas cm. 56,5x42
Bertolami Fine Art s.r.l.
Apr. 17, 2024
STUDIO OF JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO (JÀTIVA, VALENCIA 1591-1
Est: $30,000 - $50,000
STUDIO OF JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO (JÀTIVA, VALENCIA 1591-1652 The Penitent Saint Peter oil on canvas 49 ½ x 39 1⁄8 in (125.7 x 99.4 cm)
Christie's
Mar. 05, 2024
GIUSEPPE RIBERA
Est: €40,000 - €70,000
(Xàtiva, 1591 - Napoli, 1652) San Girolamo Olio su tela, cm 103,2X149,2 Provenienza: Portogallo, Don Pedro Enrique de Bragança e Ligne Sousa Tavares Mascarenhas da Silva, primo duca di Lafes, marchese di Arronches e settimo conte di Miranda do Corvo (1718-1761) Londra, Trafalgar Gallery (1970) Collezione privata, 1971 Londra, Christie's, 6 luglio 2006, lotto 49 (come Giuseppe Ribera) Bibliografia: B. Nicolson, The International caravaggesque movement, Oxford 1979, p. 19 (come cerchia di Baburen) B. Nicolson, revised by L. Vertova, Caravaggism in Europe, Torino 1990, I, p. 102, III, fig. 990, (come Crabeth) M. Maccherini, Caravaggio e caravaggeschi nell'epistolario di Giulio Mancini, Doctoral thesis, Università La Sapienza, 1994, p. 279 M. Gallo, Ulteriori dati sulla chiesa dei SS. Luca e Martina e sugli esordi di Jusepe de Ribera. Lo Spagnoletto, Reni, Borgianni, Gentileschi, Pedro Nuñez portoghese, Alessandro Fortuna ed altri artisti in nuovi documenti dell'Accademia di San Luca, in Storia dell'Arte, 93-93, 1998, pp. 312-336 N. Spinosa, Ribera. L'opera completa, Napoli 2003, p. 249, n. A3 G. Papi, Ancora su Ribera a Roma, in Cahiers d'Historie de l'Art, 1, 2003, pp. 63-74 G. Papi, in Caravaggio e l'Europa, da Caravaggio a Mattia Preti, Catalogo della mostra a cura di V. Sgarbi, Milano 2005, pp. 252-253, n. III.2 N. Spinosa, in Josè de Ribera. Bajo el signo de Caravaggio (1613-1633), catalogo della mostra, Salamanca 2005, pp. 82-83, n. 21 G. Papi, in Caravaggio e l'Europa, catalogo della mostra a cura di L. Spezzaferro, Milano 2006, pp. 252-253, n. III. 2 N. Spinosa, Ribera. L'opera completa, Napoli 2006, p. 257, n. A4 G. Papi, Ribera a Roma, Soncino 2007, p. 75, pp. 137-138, n. 11, tav. XV N. Spinosa, Ribera. La obra completa, Madrid 2008, Edizione Fundación Arte Hispánico, pp. 308-309, n. A11 Il giovane Ribera tra Roma, Parma e Napoli 1608-1624, catalogo della mostra a cura di M. e J. Portùs, edizione italia a cura di N. Spinosa, Napoli, Museo di Capodimonte, Napoli 2011, p. 221 A. Scarpa, M. Lupo, Fondazione Famiglia Terruzzi. Villa Regina Margherita, Milano 2011, p. 116, fig. 45 Riferito alla cerchia di Baburen e successivamente a Wouter Crabeth da Benedict Nicolson, il dipinto è stato indipendentemente attribuito e pubblicato nel 2003 da Gianni Papi e Nicola Spinosa quale rilevante e precoce opera di Giuseppe Ribera, realizzata quando l'artista era appena giunto a Roma e influenzato dai seguaci francesi e fiamminghi di Caravaggio. Gli studiosi hanno indicato chiare affinità stilistiche tra questo dipinto e il San Girolamo firmato ora in collezione privata a Toronto (Cfr. G. Papi 2002; Spinosa, 20003, n. A2) evidenziando l'alta qualità delle stesure e i segni evidenti delle pennellate su cui l'artista ha tornito le forme con lumeggiature. Un altro utile confronto è con il Mendicante appartenente alla Galleria Borghese, la cui datazione al 1612-1613 offre un utile appiglio cronologico per il dipinto qui esaminato. La vicenda dell'attività romana di Ribera è, quindi, un fatto recente e prende l'avvio nel 2002 grazie a Gianni Papi che assegnò al giovane Ribera le opere fino ad allora riferite all'anonimo Maestro del Giudizio di Salomone, traendo spunto dal soggetto di una tela conservata alla Galleria Borghese che nel 1952 Roberto Longhi interpretò di un artista probabilmente di origini francesi e attivo a Roma nel secondo decennio del Seicento. Come sappiamo la presenza a Roma del pittore si attesta tra il 1612 e 1616, poi documentato a Napoli, in questi anni Ribera acquisì al meglio la cultura caravaggesca. Tornando alla datazione Papi presume che sia antecedente al San Girolamo canadese e alla tela di Langres, ponendola verosimilmente al 1612. Bibliografia di riferimento: R. Longhi, Ultimi studi sul Caravaggio e la sua cerchia, in Proporzioni, I, 1943, p. 58 B. Nicolson, Shorter Notices. A postscript to Baburen, in The Burlington Magazine, cIV, 1962, p. 540 e nota 12 L.J. Slatkes, Dirck van Baburen, Utrecht 1965, p. 163. A. Brejon de Lavergnée, J. P. Cuzin, in I caravaggeschi francesi, catalogo della mostra (Roma, Académie de France, 1973-1974), a cura di A. Brejon de Lavergnée, Roma 1973, p. 52. B. Nicolson, The International Caravaggesque Movement. Lists of pictures by Caravaggio and his followers throughout Europe from 1590 to 1650, Oxford 1979, p. 46. B. Nicolson, Caravaggism in Europe, Torino 1990, I, p. 103. N. Spinosa, Ribera a Napoli, in Jusepe de Ribera (1591-1652), catalogo della mostra a cura di A. E. Peréz Sánchez e N. Spinosa, Napoli 1992, p. 55. G. Papi, Jusepe de Ribera a Roma e il Maestro del Giudizio di Salomone, in Paragone. Arte, LIII, III, 44 (629), 2002, pp. 21-43 G. Papi, Ribera a Roma: La rivelazione del genio, in Il giovane Ribera tra Roma, Parma e Napoli, 1608-1624, catalogo della mostra a cura di J. Milicua, J. portús, Madrid 2011, ed. italiana Il giovane Ribera tra Roma, Parma e Napoli, 1608-1624, a cura di N. Spinosa, G. Finaldi, Napoli 2011, pp. 31-59
Wannenes Art Auctions
Feb. 29, 2024
Jusepe de Ribera (1591 - 1652) , da Giacobbe con il gregge di Labano, 1640-1660
Est: -
Jusepe de Ribera (1591 - 1652) , da Giacobbe con il gregge di Labano, 1640-1660 Olio su tela 160 x 210 cm Provenienza: Christie’s Londra, 1972 (?); W. Apolloni, Roma (1973); collezione privata, Roma Bibliografia: Alfonso E. Pérez Sánchez e Nicola Spinosa, a cura di, Jusepe de Ribera (1591-1652), 18 settembre-29 novembre 1992, The Metropolitan Museum of Art, New York, catalogo della mostra, scheda 28, pp. 99-102 (in particolare p. 102) Certificati: Fabrizio Apolloni (come “Scuola Napoletana della prima metà del XVII secolo, Bartolomeo Passante, 1614-1656, attr. a”), 10 marzo 1973 Stato di conservazione. Supporto: 85% (rifodero, telaio sostituito) Stato di conservazione. Superficie: 90% (cadute di colore riprese, ridipinture) La tela in esame deriva da un dipinto di Jusepe de Ribera, conservato almeno dal 1681 al Monastero di San Lorenzo a El Escorial, nella provincia di Madrid, e datato 1632 (174x219 cm), come ci segnalano Keith Sciberras (comunicazione del 23 giugno 2023) e Nicola Spinosa (comunicazione del 30 maggio 2023). Tale composizione - messa in relazione in letteratura con l’incontro di Ribera con le novità della pittura di Velázquez e Grechetto e straordinariamente bilanciata nella opposizione spaziale, di vuoto e pieno, e cromatica, di chiaro e scuro - ebbe immediata e grande fortuna. Ne sono testimonianza sia la rielaborazione offerta dallo stesso Ribera, con notevoli cambiamenti, nel 1638 in una tela oggi alla National Gallery di Londra (inv. NG244), sia le numerose copie realizzate nel corso del Seicento e nella prima metà del Settecento, molte conservate in ambito museale (per esempio, Knowsley Hall, Liverpool; Museo de San Carlos, Città del Messico; Palazzo del Gran Maestro, La Valletta) ed almeno due apparse nel mercato d’asta, entrambe a Christie’s Londra, una il 9 dicembre 2011 (asta 3475, l. 143: https://www.christies.com/en/lot/lot-5522937) e l'altra, con cui è identificabile il quadro in esame, nel 1972 (cfr. Pérez Sánchez-Spinosa 1992, p.102). In linea generale, la tela in esame presenta, rispetto al modello, dimensioni analoghe (salvo la riduzione superiore derivante forse da resezione della tela in fase di restauro), la precisa riproposizione delle forme e la ricercata semplificazione dei dettagli di contro ad una compressione cromatica e della profondità (quest'ultima dovuta, tuttavia, anche al naturale scurimento dei marroni). L’osservazione attenta mostra una considerevole differenza di qualità tra l’esecuzione del volto e delle mani di Labano ed il resto (si confrontino, per esempio, i piedi, appena abbozzati), indicando probabilmente la collaborazione di più mani, e l'impronta generale suggerisce una datazione precoce e molto vicina all'originale riberesco, tra il 1640 e il 1660, quando il Maestro era ancora vivo o poco dopo la sua morte. Una prima ricerca inventariale negli archivi delle maggiori collezioni napoletane della seconda metà dei Seicento e del Settecento, condotta ipotizzando una migrazione della tela in Inghilterra nella seconda metà del XVIII secolo, mostra le seguenti occorrenze: - Legato di Gaspare Sangiovanni Toffetti, I-244, p. 6, n. 75 (1 febbraio 1651, Napoli, f.419 “Un Quadro de palmi 9 in circa cornice indorata, con Giacob, che pasceva le sue pecore, copia del Spagnuolo“; 9 palmi = circa 237 cm, probabilmente con cornice) - Legato di Gagliano Pompilio, I-242, p. 10, n. 0050 (10 ottobre 1699, Napoli: “ Un Giacobbe con alcune pecore, mano di Gioseppe di Ribera di palmi 6”; 6 palmi = circa 158 cm, verosimilmente con riguardo all’altezza) - Legato di Gaetano de Blasio, I-722, p. 18, n. 0007 (17 agosto 1737, Napoli, f.I allegato “Cinque Quadri di 6 ed 8. Uno di Giuseppe ribera detto Lo Spagnoletto con Giacobbe, che guarda le pecore. (...) con cornice di varie maniere indorate” 6 e 8 palmi = circa 158x210 cm) - Legato di Giuseppe Maria della Leonessa, Principe di Supino, I-254, p. 12, n. 0105 (30 marzo 1772, Napoli, “f.10 Un Giobbe di lunghezza palmi 7 1/2, altezza palmi 6 autore Giuseppe di Ribera detto lo Spagnoletto”; 7 1/2 palmi = circa 195 cm). Ringraziamo i Professori Nicola Spinosa e Keith Sciberras, per il supporto dato nella catalogazione dell'opera.
Bonino
Feb. 07, 2024
OIL PAINTING BY JUSEPE DE RIBERA, circle of
Est: €4,000 - €5,000
JUSEPE DE RIBERA, ambito di (Xativa 1591 - Napoli 1652) SANT'ANTONIO ABATE Olio su tela, cm. 80 x 63 Cornice dorata PROVENIENZA Famiglia romana Il dipinto è riferibile ad un pittore napoletano della prima metà del XVII appartenente alla stretta cerchia di Jusepe de Ribera, come mostra il confronto, anche iconografico con opere di medesimo soggetto, in particolare il Sant’Antonio abate della collezione De Vito a Milano, cui questa tela si ispira. Una copia è segnalata in collezione privata a Bergamo (N. Spinosa, Ribera. L’opera completa, Napoli 2003, p. 252, n. A13, p. 308, n. A188) CONDITION REPORT Rintelo novecentesco. Un restauro sull'occhio in primo piano, punti di restauro ossidati nella parte bassa del dipinto
Casa d'Aste Babuino
Dec. 19, 2023
Jusepe de Ribera (ambito di) (Xàtiva, 1591 - Napoli, 1652) San Francesco di Paola olio su tela cm 67x58; con cornice cm 92x84
Est: -
Jusepe de Ribera (ambito di) (Xàtiva, 1591 - Napoli, 1652) San Francesco di Paola olio su tela cm 67x58; con cornice cm 92x84 Il santo è ritratto nell'iconografia classica con in mano la "canna miracolosa" per richiamare l'episodio agiografico, quando San Francesco salvò un convento dall'assalto dei Turchi Ottomani, sbarrando la porta con l'esile strumento. Cornice a cassetta in legno dorato con doppio ordine di modanature e 4 roselline agli angoli.
Gliubich Casa d'Aste
Dec. 13, 2023
Follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652), ca. 1840. "St. Joseph with Child". Oil on canvas. Relined. Signed and dedicated in the lower right corner. Period frame. Presents faults.
Est: €700 - €800
Follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652), ca. 1840. "St. Joseph with Child". Oil on canvas. Relined. Signed and dedicated in the lower right corner. Period frame. Presents faults. Measurements: 91 x 72 cm; 116 x 96 x 6 cm (frame). In this painting, of Spanish nineteenth-century school, has been faithfully reproduced the homonymous oil painting of the Baroque master José de Ribera, preserved in the Prado Museum. It is a tenebrist composition, endowed with an energetic and expressive chiaroscuro. St. Joseph holds a lily rod, his main attribute, and is accompanied by the Child Jesus, who shows him a basket overflowing with carpenter's tools. It is an intimate painting, which offers a domestic image of the child helping his father in carpentry work (Joseph's trade), but at the same time carries a Christian message. Saint Joseph, a saint who had always been relegated with respect to the iconographic protagonism of the Virgin, was especially favored by the Council of Trent and the counter-reformist doctrine that was imposed in the time of José De Ribera. José de Ribera, called the Españoleto, was a key master of the Spanish Baroque, and in general of the history of art at European level. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings. He worked for viceroys and high officials of Spanish origin settled in Naples, so many of his works soon reached Spain. He was in fact famous in his native country, and in fact Velázquez himself visited him in 1630. Today, works by Ribera are kept in the Prado Museum, the Louvre, the Capodimonte Museum, the Fine Arts Museum in Budapest, the Hermitage in St. Petersburg, the Kunsthistorisches and Liechtenstein Museums in Vienna, the J. Paul Getty Museum in Los Angeles, the Art Institute in Chicago, the Metropolitan Museum in New York, the National Gallery and the Royal Collection in London, the Borghese Gallery in Rome and other important art galleries in Europe, America and Asia.
Setdart Auction House
Dec. 11, 2023
GIUSEPPE RIBERA (bottega di)
Est: €2,000 - €3,000
(XÃ tiva, 1591 ; Napoli, 1652) San Giovanni nel deserto Olio su tela, cm 129X106 Il dipinto riflette iconograficamente il San Giovanni Battista pubblicato da Nicola Spinosa e datato intorno al 1640. Bibliografia di riferimento: N. Spinosa, Ribera. L'opera completa, Napoli 2006, p. 388, n. B21
Wannenes Art Auctions
Dec. 07, 2023
Jusepe de Ribera, auch genannt „lo Spagnoletto“, 1588/91 – 1652
Est: €80,000 - €100,000
HEILIGER PETRUS Öl auf Leinwand. Doubliert. 126,5 x 99 cm. In breitem ornamental verzierten Rahmen. Beigegeben eine Expertise von Prof. Nicola Spinosa, in Kopie. Das Bildthema geht auf die Stelle des Neuen Testaments zurück, wonach der Heilige Petrus in schuldhafter Reue seines Verrats an Jesus gedenkt. Diese Bibelstelle wurde von mehreren bedeutenden Malern aufgegriffen. Der Blick ist, wie auch hier, zumeist nach oben gerichtet. Hier sitzt der Heilige an einem Tisch, den Kopf auf seinen linken Arm gestützt. Die Qualität der Bildoberfläche im Bereich des Heiligen lässt keinen Zweifel an der vollen eigenständigen Schaffung des Gemäldes durch Ribera, in dem die charakteristische Rauheit der Hände und die Falten der Stirn, die verwelkte Haut und die Rötung um die Augen, verursacht durch Weinen und Alter, deutlich wahrnehmbar sind. Das Motiv finden wir auch in Darstellungen des Guido Reni oder Diego Velasquez. Für das Gemälde gibt es einige Vergleichsbeispiele, wie etwa ein Werk in einer Londoner Privatsammlung, signiert „Jusepe R“ (Spinosa, 2003, S. 272, Nr. A. 67), ebenfalls dargestellt in einem intimen und bußfertigen Gespräch mit der Gottheit, sowie die halbfigurige Interpretation desselben Modells, dargestellt in der identischen physiognomischen Haltung, aufbewahrt in der Eremitage von Sankt Petersburg (Spinosa, 2003, S. 276, Nr. A80). Auch im Giustiniani-Inventar von 1638 von Spagnoletto wird ein Gemälde erwähnt, das dem hier angebotenen Werk nahe steht (Danesi Squarzina, 2003, S. 325). Ebenso ist ein Gemälde, das im Art Institute of Chicago (Inv. Nr. 1993:60) verwahrt wird, thematisch vergleichbar. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen. Provenienz: Christie‘s, 8. Dezember 2017, Lot 165 als aus der Werkstatt Riberas stammend. Literatur: Vgl. Nicola Spinosa, L‘opera completa di Ribera, Mailand 1979. Vgl. Silvia Danesi Squarzina, La collezione Giustiniani, 3 Bde., Turin 2003. Vgl. James Hall, Dizionario dei soggetti e dei simboli nell‘arte, Mailand 2003. Vgl. Nicola Spinosa, Ribera, L‘opera completa, Neapel 2003. Vgl. Nicola Spinosa, Ribera. La obra completa, Madrid 2008, S. 501. (1381871) (13) Jusepe de Ribera, also known as "Io Spagnoletto", 1588/91 Xàtiva/ Valencia – 1652 Naples SAINT PETER Oil on canvas. Relined. 126.5 x 99 cm. Accompanied by an expert’s report by Prof Nicola Spinosa, in copy. Provenance: Christie’s, 8 December 2017, lot 165 as a work by the workshop of Ribera. According to the consignor Professor Nicolas Spinosa confirmed its authenticity. (†)
Hampel Fine Art Auctions
Nov. 29, 2023
Ribera, Jusepe de: Der trunkene Silen
Est: €1,500 - €1,800
Der trunkene Silen mit Satyrgefolge. Radierung. 26,8 x 34,5 cm. 1628. B. 13, Brown 14 II (von III). -- -- Vor der Adresse Rossis. Ausgezeichneter, toniger, wenngleich wie üblich für den Zustand vor allem links minimal trockener Abzug, an bzw. partiell knapp in die Einfassung geschnitten. Minimal angestaubt, vor allem verso leicht angeschmutzt und schwach knitterspurig, ebenda geglättete Vertikalfalte, kaum merkliche Randausbesserungen mit gelegentlichen dezenten Federretuschen, die linke obere Eckenspitze und eine kleine Fehlstelle unter dem signierten Stein ergänzt und sorgsam retuschiert, weitere geringe Handhabungsspuren, sonst in guter Erhaltung. -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Nov. 21, 2023
D’APRÈS JOSÉ DE RIBERA DIT LO SPAGNOLETTO (XÀTIVA 1591-1652 MERGELLINA) Têt
Est: €400 - €600
D’APRÈS JOSÉ DE RIBERA DIT LO SPAGNOLETTO (XÀTIVA 1591-1652 MERGELLINA) Tête d'homme de profil, dit Petite tête grotesque au goître plume et encre brune 10,6 x 8,5 cm. (4 1⁄8 x 3 3⁄8 in.)
Christie's
Oct. 17, 2023
JOSÉ DE RIBERA ´S WORKSHOP (Xátiva, Valencia, 1591 – Naples, 1652). "The sense of smell". Oil on canvas. Relined.
Est: €14,000 - €15,000
JOSÉ DE RIBERA´S WORKSHOP (Xátiva, Valencia, 1591 - Naples, 1652). "The Smell". Oil on canvas. Relined. Size: 112 x 89,5 cm; 126,5 x 104 cm (frame). In this work the artist has captured the image in a naturalistic style inspired by the one who takes the violent tenebrist illumination and the humble figures. The piece faithfully follows the work "El Olfato", which was made between 1613 and 1616 by José Ribera during his stay in Rome, following the style inspired by Caravaggio and Flemish painting. The piece currently belongs to the private collection of Abelló. In the piece we can see how the influence of Caravaggio is combined with aesthetic characteristics typical of Flemish art, of which the artist was aware thanks to his close relationship with his neighbours on Via Margutta. The iconography of the image has undergone a major shift away from the elegant and complex visions of the Five Senses painted in the Low Countries, which are among the most famous. The Valencian master depicts a beggar with an onion in his hands that makes him cry. On the table we find another onion and a head of garlic, the bad smell of which contrasts with the orange branch next to them. The intense, direct lighting accentuates the contrasts of light and shadow and creates an accentuated diagonal on the wall, similar to that used by Caravaggio in The Vocation of Saint Matthew for Saint Louis of the French. The naturalism with which he treats the figure almost borders on the grotesque, demonstrating Ribera's ability to depict all kinds of characters. It is curious to compare this image with the works of the Five Senses painted by Brueghel, with Ribera replacing Flemish elegance with a new vision that is closer to the viewer. José de Ribera, known as the Españoleto, was a key master of the Spanish Baroque and of European art history in general. Although no documentary sources or evidence of his youth survive, it is thought that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he became acquainted at first hand with the classicists and the tenebrism of the Dutch who settled there. He finally settled in Naples, where he arrived in 1616. This was the beginning of his period of maturity and splendour; Ribera enjoyed fame and a large studio, and his works were disseminated throughout Europe through engravings. He worked for viceroys and high-ranking officials of Spanish origin in Naples, and many of his works soon reached Spain. He was in fact famous in his native country, and in fact Velázquez himself visited him in 1630. Works by Ribera are now held in the Prado, the Louvre, Capodimonte, the Fine Arts Museum in Budapest, the Hermitage in St Petersburg, the Kunsthistorisches and Liechtenstein Museums in Vienna, the J. Paul Getty in Los Angeles, the Art Institute in Chicago, the Metropolitan in New York, the National Gallery and the Royal Collection in London, the Borghese Gallery in Rome and other leading art galleries in Europe, America and Asia.
Setdart Auction House
Oct. 03, 2023
JOSÉ DE RIBERA (EL ''SPAGNOLETTO") Játiva, Valencia (1591) / Naples, Italy (1652) "Saint Jerome in prayer"
Est: €90,000 - €120,000
Oil on canvas. The work was attributed to José de Ribera by Professor Nicola Spinosa in October 2013 by certificate (attached) and recently corroborated by email. In his report Professor Spinosa relates this work to the "Saint Jerome" which was in the Crivelli Messmer Collection in Milan and is now in the Museo Civico d'Arte Antica del Castello Sforzesco, also in Milan (178 x 125 cm; see: Spinosa, N., "Jusepe de Ribera. La obra It also indicates that the present "Saint Jerome in Prayer" was probably conceived as a smaller replica of the Catillo Sforzaesco rather than as a preparatory model. Measurements: 45,1 x 34,6 cmcompleta", Madrid 2008, p. 477, n. A .356). The Milan work is of larger dimensions, can be dated around 1650 and is similarly practiced, although with some slight variations.
Ansorena
Sep. 18, 2023
RIBERA, JUSEPE DE
Est: CHF1,000 - CHF1,500
(Jativa 1591–1652 Neapel) in der Art Der heilige Hieronymus. Öl auf Leinwand. 70x50 cm. Gerahmt.
Schuler Auktionen
Jul. 12, 2023
Neapolitan school of the 17th century. Following models by JOSÉ DE RIBERA (Játiva, 1591-Naples,1652). "The View". Oil on canvas. Relined in the 19th century. It presents repainting.
Est: €4,000 - €5,000
Neapolitan school of the 17th century. Following models by JOSÉ DE RIBERA (Játiva, 1591-Naples,1652) . "The View". Oil on canvas. Re-coloured in the 19th century. It presents repainting. Measurements: 110,5 x 88,5 cm; 126,5 x 104 cm (frame). In the Neapolitan school, the influence of José Ribera was remarkable. His vehement and vigorous naturalism, filtered by Flemish influences, beats strongly in the Neapolitan painting contemporary to the Sevillian painter. Here we have a clear example of this influence. The author has faithfully reproduced the painting "The View" which Ribera painted during his stay in Rome (now in the Franz Mayer Museum). It was part of a series on the five senses. In this version, the dual ancestry of Ribera and Caravaggio can be seen in the violent, tenebrist light that bursts through in a slanting manner. It should also be noted that Ribera moved away from the iconographic complexity of the visions of the Five Senses produced in the Low Countries, along the lines of Brueghel. The Valencian artist, who takes up the present version, focuses on a character taken from everyday life. The man holds a spyglass in his hands that allows him to contemplate the universe through the window. Glasses and a mirror complete the representation of sight. The figure is placed in an interior and receives the strong impact of the light on his head and hands, his body being chiselled in each and every detail. The dark tones are used to focus the viewer's attention on the face, which is charged with emotional intensity.
Setdart Auction House
Jul. 07, 2023
STUDIO OF JUSEPE DI RIBERA, LO SPAGNOLETTO (XÀTIVA 1591-1652 NAPLES) Saint
Est: £15,000 - £20,000
STUDIO OF JUSEPE DI RIBERA, LO SPAGNOLETTO (XÀTIVA 1591-1652 NAPLES) Saint Paul the Hermit oil on canvas 44 1/8 x 36 7/8 in. (112 x 93.8 cm.)
Christie's
Jul. 05, 2023
The Holy Family
Est: £4,000 - £6,000
Jusepe de Ribera, called Spagnoletto Játiva, Valencia 1591 - 1652 Naples The Holy Family Pen and red ink and wash; some squaring with a stylus and some indentation in the head of St. Joseph; top corners cut; bears old numbering in pen and ink, lower left, on the backing sheet: 31 86 by 120mm
Sotheby's
Jul. 04, 2023
Ensemble 8 gravures de Ribera (1), Delaune (6), Corot (1).
Est: €1,500 - €2,000
[Gravure] ─ Étienne Delaune ─ Jusepe de Ribera ─ Jean-Baptiste-Camille Corot Ensemble 8 gravures. Ribera, Jusepe de (1591-1652). Le Satyre fouetté. Gravure, vers 1625-1650. Feuille : 324 x 450 mm ; sujet : 166 x 206 mm. Delaune, Étienne (1518-1583). Combats et triomphes. Gravure, vers 1550. Feuilles : 474 x 310 mm et 478 x 310 mm ; sujets : 650 x 220 mm. Six planches de cette suite sur 2 feuillets. Corot, Jean-Baptiste-Camille. Souvenir du Lac Majeur. Cliché-verre, 1871. Feuille : 326 x 498 mm ; sujet : 168 x 206 mm. Tirage de Robaut à 30 épreuves.
Sotheby's
Jun. 20, 2023
JOSÉ DE RIBERA School (Xátiva, Valencia, 1591 – Naples, 1652). "Adoration of the Shepherds". Oil on canvas. Relined. It presents faults and restorations.
Est: €22,000 - €25,000
JOSÉ DE RIBERA School (Xátiva, Valencia, 1591 - Naples, 1652). "Adoration of the Shepherds". Oil on canvas. Re-drawn. It presents faults and restorations. Size: 159 x 254 cm; 175 x 258 cm (frame). This canvas represents a classic theme in the History of Art, that of the shepherds adoring the newborn Baby Jesus in the Bethlehem's portal. It is a scene that lends itself to being interpreted as a large composition with numerous characters, worked in a costumbrista style. The scene is approached from a naturalistic point of view, emphasising the humble setting that welcomes the birth of the Child Jesus, full of eloquent gestures but without the triumphalist character of the more official Baroque, a view that seeks to make the faithful identify with the scene, to be moved by what they see. Thus we see the Child in a simple straw manger, protected by his mother and surrounded by the humble figures of the shepherds who kneel before him, characters taken from popular models, in no way idealised, in keeping with the aesthetics of naturalism. The painting is full of secondary objects that add to the realism of the scene, with the intention above all of recreating the religious scenes realistically, in order to present the events as they happened. From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the figure of José de Ribera, a key painter belonging to the generation of the great masters of the Golden Age. Ribera was no stranger to this subject, as can be seen both in a painting in the Louvre and in his work in the co-cathedral of Maria Santissima Assunta and San Catelo in Castellammare di Stabia (Italy). Self-taught in Italy. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, feisism and rigorous drawing that characterised his style during his Roman phase. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would be key to the formation of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before it arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also influenced the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushstroke that the artist learned directly from Ribera's work.
Setdart Auction House
Jun. 15, 2023
JOSÉ DE RIBERA DIT LO SPAGNOLETTO (XÀTIVA 1591-1652 MERGELLINA) Saint Jérôm
Est: €500,000 - €800,000
JOSÉ DE RIBERA DIT LO SPAGNOLETTO (XÀTIVA 1591-1652 MERGELLINA) Saint Jérôme huile sur toile 85,4 x 76,5 cm. (33 5/8 x 30 1/8 in.)
Christie's
May. 25, 2023
Jusepe de Ribera (1591 Játiva - Neapel 1652) – Der Dichter (The poet)
Est: €1,800 - €2,200
Etching on laid paper with watermark "tower". (Around 1620/21).
Karl & Faber
May. 23, 2023
Jusepe (de) Ribera, San Gerolamo in ascolto della tromba del giudizio finale. 1621.
Est: €480 - €960
Jusepe (de) Ribera, San Gerolamo in ascolto della tromba del giudizio finale. 1621. Acquaforte, bulino e puntasecca. mm 320x240. Bartsch, XX, 5. Brown, 4. In basso a sinistra sulla lastra la data e i monogrammi a lettere interlacciate "1621 HSP RA". Bellissima impressione ottimamente inchiostrata su carta vergellata sottile con filigrana "fiore di giglio in cerchio singolo sormontato da corona bassa" simile a Woodward, 106 (Napoli/Roma, 1592). (1)
Gonnelli Casa d'Aste