Leonello Spada Sold at Auction Prices

Leonello Spada (1576-1622 ) - follower

Leonello Spada (1576-1622 ) - follower, Company making music and singing , oil on canvas, framed, on the bottom old label with dedication to Spada . 180 x 130 cm

Leonello Spada

(Bologna 1576–1622 Parma) A concert, oil on canvas, 89.5 x 149.5 cm, unframed Provenance: sale, Sotheby’s, New York, 27 January 2006, lot 315 (as Italian School, 17th Century, sold for $168,000); Private European collection; thence by descent to the present owner Literature: N. Roio, Bartolomeo Schedoni e Leonello Spada: alcune opere sconosciute di due ‘caravaggisti’ padani, in: Valori Tattili, 2013, no. 1, illustrated p. 57, fig. 12, pp. 61–62 (as Leonello Spada, whereabouts unknown); E. Negro, N. Roio, Caravaggio e i caraveggeschi in Emilia, Modena 2013, p. 237, fig. 191 (as Leonello Spada) We are grateful to Nicosetta Roio and Emilio Negro for reconfirming the attribution of the present painting. The present work is a significant example of Leonello Spada’s interpretation of Caravaggio’s stylistic innovations whilst remaining faithful to the Carraccesque influences of his native Bologna: In a stage-like setting before an indistinct dark background five music-making figures are depicted in a close-up view. A lute player on the far left is shown in profile, a woman with the sheets of music is depicted partially turned, the female figure behind her appears almost frontally, the flute player’s body is shown in profile, while her head is turned, and she looks directly at the viewer, while the figure on the far right is depicted in ‘profil perdu’. The various angles and viewing directions as well as the strongly contrasted colours create movement within the composition. Leonello Spada was trained in his native Bologna and was strongly influenced by the art of the Carracci with whose style he came in contact through the Accademia degli Incamminati. The biographer, Malvasia praised the artist’s naturalistic approach: ‘[…] uno de’ più bravi coloritori che mai si vedesse: parve che macinasse carne umana, e se ne servisse per colore, tanto non vive e sanguigne le sue figure’ (see C. C. Malvasia, Felsina Pittrice. Vite de’ Pittori Bolognesi, Bologna 1678). During Spada’s stay in Malta to fresco the Magistral Palace of the Order of Malta, he encountered Caravaggio’s paintings, which clearly left a strong impact. His mature style is characterised by the fusion of Carraccesque grazia with Caravaggesque chiaroscuro, which earned him the rather unflattening nickname scimmia del Caravaggio (Caravaggio’s ape). After his return to Bologna around 1610, Spada received prestigious commissions from Maffeo Barberini, Alessandro d’Este and Ranuccio Farnese. He moved to Parma in 1617 in order to decorate the newly founded Farnese Theatre and remained there until his death in 1622.

Lionello Spada (attr.)

Salome with the head of the Baptist oil on canvas, cm. 73x98

Leonello Spada, Bologna 1576 - 1622 Parma, attributed, Susanna bathing

Leonello Spada Bologna 1576 - 1622 Parma, attributed Susanna bathing Oil on canvas, relined 161 x 123 cm, with frame 177 x 140 cm Old exhibition label on the reverse Leonello Spada was an Italian painter from Bologna who established himself as a prominent successor to Caravaggio. Spada was initially trained by the Carracci brothers, who had a great influence on the Baroque movement. Spada's encounter with Caravaggio's revolutionary style during his time in Rome had a lasting impact on his artistic direction. Spada's works are often characterised by intense contrasts of light and shadow, dynamic compositions, and a pronounced sense of realism - features that are characteristic of Caravaggio's influence. The painting shows the important subject of Susanna bathing and depicts the biblical story of Susanna from the Book of Daniel. In this story, Susanna, a virtuous and beautiful woman, is bathing in her garden when she is approached by two elderly men who have hidden to watch her. When she rejects their advances, they falsely accuse her of adultery, which leads to her trial. However, the young prophet Daniel intervenes, proves her innocence, and condemns the elders. In Spada's depiction, Susanna is in the foreground, her naked figure partially turned away from the viewer in a gesture of shame and distress. Her dramatic gestures and expressive face convey her shock and fear as she tries to cover herself and escape from the men at the same time. The two older men in the upper left corner of the composition look down at her from behind a fence, their sinister intentions clear in their body language and facial expressions. The setting is a fenced-in garden, symbolising both Susanna's privacy and the invasion of that privacy by the intruding elders. A tree in the background adds depth to the composition and serves as a natural barrier, reinforcing the closed and intimate nature of the scene. The contrast between Susanna's innocence and purity and the depraved, predatory nature of the elders is clearly emphasised by Spada's skilful use of light and shadow, drawing the viewer's attention to the central figures and their interaction. Spada's mastery of Caravaggio's techniques is evident in the naturalism of the figures and the dramatic intensity of the scene. The emotional tension and moral themes of virtue and vice are powerfully conveyed, making this painting a compelling depiction of the biblical story and a testament to Spada's artistic skill.

Caravaggist 18th/19th Century

Caravaggist 18th/19th Century, elegant company making music with string instruments and notes on a table, oil on canvas, in a later gilded frame, 130 x 175 cm, an old attribution to Lionello Spada, Ecole Italien, (1576-1622) - on the frame label.

Lionello Spada, 1576 Bologna – 1622 Parma, zugeschrieben

ALLEGORIE DER MUSIK Öl auf Leinwand. Doubliert. 87 x 104 cm. In reliefbeschnitztem Rahmen. Ein schlaglichtartig beleuchteter Hintergrund, dessen Lichtquelle links oben liegt und somit die musikalische Szene in einen Innenraum situiert, dient als Folie für drei Halbfiguren, die im Musizieren begriffen sind. Eine blau-weiß gekleidet junge Frau ganz links, ist durch einen Perlohrring zusätzlich hervorgehoben und spielt eine Mandoline, von der es seit dem 17. Jahrhundert zwei Bauformen gibt. Neben ihr steht ein rotgewandeter junger Mann mit Violine, zwischen ihnen ein Kind, das ebenfalls ein Instrument zu halten scheint. Anmerkung: Spada hat verschiedentlich Bilder von Konzerten gemalt. So wird ihm auch ein Gemälde zugeschrieben, das im Fogg Art Museum in Cambridge verwahrt wird und auch eines in der Galleria Borghese in Rom – jedoch mit tieferer Bildstaffelung. Auch ein Gemälde, das bei der Fondazione Zeri mit der Nummer 55214 verzeichnet wird, zeigt ein Konzert, das dem vorliegenden Gemälde noch näherkommt, was den kompositorischen Aufbau und die Gesichter angeht. (13908120) (13) Lionello Spada, 1576 Bologna – 1622 Parma, attributed ALLEGORY OF MUSIC Oil on canvas. Relined. 87 x 104 cm. Notes: Spada painted various concerts. A painting held at the Fogg Art Museum in Cambridge and another at the Galleria Borghese in Rome are also attributed to him, however, these show a greater image depth through overlapping and layering. A painting listed at Fondazione Zeri under no. 55214 depicts a concert which is even more like the present painting with regards to its composition and rendition of the faces.

Leonello Spada 1576 Bologna-1622 Parma Madonna con Bambino

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Lionello Spada

(Bologna 1576–1622 Parma) The Madonna teaching the Christ Child to read, oil on canvas, 116.5 x 104 cm, framed Provenance: Private European Collection We are grateful to Emilio Negro and Nicosetta Roio for endorsing the attribution on the basis of a photograph and for their help in cataloguing this lot. This work relates to a composition that Spada used in two other instances for the Holy Family with the Madonna teaching the Christ Child to read, one in the Koelliker Collection (see N. Roio, Bartolomeo Schedoni e Leonello Spada: alcune opere sconosciute di due ‘caravaggisti’ padani, in: Valori Tattili, 1, 2013, pp. 56–57, 64, note 20, p. 60, fig.16G; G. Papi [ed.], La ‘Schola’ del Caravaggio. Dipinti della Collezione Koelliker, Milan 2006, p. 190, cat. no. 54); and the other in a private collection, formerly with Dorotheum (sale 30 April 2019, lot 398). There is also a derivation of the present composition in a reduced size in the Museo Civico di Modena (inv. no. 216). The presence of various autograph versions of this subject, in the present instance omitting Saint Joseph, reveals the success of this composition, depicting the theme of the Virgin teaching the young Christ Child, no longer an infant, to read. The present painting represents the sacred scene in an unadorned domestic atmosphere, thereby ensuring that the narrative centre is created by the Madonna and Child who tenderly looks up at his mother as she reads, resting her book on a ledge on which the infant is seated. This painting, together with the two other versions, belongs to the artist’s maturity, when he was in Parma. In the works that belong to this phase of Lionello Spada’s production certain characteristics prevail: the ample form of the figures, a warm palette and a particularly personal way of rendering drapery folds, with strong contrasts of light and shade, set against a neutral background. Works of the same period with which the present painting can be compared include the Salome with the head of Saint John the Baptist in a private collection and the Deposition formerly in the Palazzo Chigi, Rome (see Roio, op. cit., figs. 15, 17). Lionello Spada came from modest origins, however owing to his skill he was able to attain the status of an independent painter, working under the protection of patrons of the highest rank, including Cardinals Maffeo Barberini and Alessandro d’Este. During his final years he lived in Parma working in the service of Duke Ranuccio Farnese. His mature works, especially those of the middle-years, are suggested by the distinctive influence of Caravaggio and his followers, Giovanni Baglione and Bartolomeo Manfredi, together with the stylistic traits he acquired in his youth, influenced by the artistic developments of Bologna, especially in the studio of the Carracci.

Leonello Spada, 1576 Bologna – 1622 Parma, zugeschrieben

DIE ENTHAUPTUNG JOHANNES DES TÄUFERS Öl auf Leinwand. Doubliert. 154 x 155 cm. In mit Goldornamenten dekoriertem profiliertem Rahmen. Johannes der Täufer wird in dem vorliegenden Gemälde caravaggesk beleuchtet und von vier Figuren hinterfangen. Herodias hält eine Schüssel, in der das Johanneshaupt ruhen wird, derart, dass sie momentan wie ein Nimbus wirkt. Links oben das Schwert, dass soeben im Schwingen begriffen ist, um das Haupt von dem Korpus zu trennen. Anmerkung: Die Todesumstände des Johannes des Täufers werden einerseits durch die synoptische Evangelien überliefert, aber auch außerbiblische Quellen äußern sich zu seinem Ableben (Die Jüdischen Altertümer des Flavius Josephus). Das Lukasevangelium erwähnt, dass Johannes von Herodes ins Gefängnis geworfen (Lk 3,20) und von ihm enthauptet wurde (Lk 9,7-9 ). Bei anderen Synoptikern lesen wir eine durchaus reichhaltigere Perspektive der Ereignisse. Markus erwähnt (Mk 6,14-29) Herodes Antipas habe Johannes festnehmen lassen, weil dieser sehr offenkundig Kritik an seiner Lebensweise geäußert hatte. Herodes nämlich hatte die Frau seines Bruders Philippos, Herodias geheiratet, was in den Augen des Täufers gesetzwidrig war. Antipas hatte also seine Schwägerin zur Frau genommen, für Johannes den Täufer ein Unding. Die Schuld trifft bei Markus vor allem Herodias und ihre Tochter, während Herodes Antipas selbst vor Furcht gegenüber Johannes erfüllt gewesen sei, da dieser ein gerechter und heiliger Mann war (Mk 6,20.). Herodias musste also Herodes austricksen, indem sie ihre Tochter Herodes betören ließ, bis dieser ihr versprach zu geben, was sie wünsche, dies war der Kopf des Täufers Johannes, sodass Herodes Johannes köpfen ließ. Matthäus berichtet ähnliches und fügt noch hinzu, dass Matthäus wegen der Erfüllung seines Eides traurig gewesen sei (Mt 14,9). (1360556) (13) Leonello Spada, 1576 Bologna – 1622 Parma, attributed THE BEHEADING OF SAINT JOHN THE BAPTIST Oil on canvas. Relined. 154 x 155 cm. (†)

Leonello Spada, 1576 Bologna – 1622 Parma, zugeschrieben

DIE ENTHAUPTUNG JOHANNES DES TÄUFERS Öl auf Leinwand. Doubliert. 154 x 155 cm. In mit Goldornamenten dekoriertem profiliertem Rahmen. Johannes der Täufer wird in dem vorliegenden Gemälde caravaggesk beleuchtet und von vier Figuren hinterfangen. Herodias hält eine Schüssel, in der das Johanneshaupt ruhen wird, derart, dass sie momentan wie ein Nimbus wirkt. Links oben das Schwert, dass soeben im Schwingen begriffen ist, um das Haupt von dem Korpus zu trennen. Anmerkung: Die Todesumstände des Johannes des Täufers werden einerseits durch die synoptische Evangelien überliefert, aber auch außerbiblische Quellen äußern sich zu seinem Ableben (Die Jüdischen Altertümer des Flavius Josephus). Das Lukasevangelium erwähnt, dass Johannes von Herodes ins Gefängnis geworfen (Lk 3,20) und von ihm enthauptet wurde (Lk 9,7-9 ). Bei anderen Synoptikern lesen wir eine durchaus reichhaltigere Perspektive der Ereignisse. Markus erwähnt (Mk 6,14-29) Herodes Antipas habe Johannes festnehmen lassen, weil dieser sehr offenkundig Kritik an seiner Lebensweise geäußert hatte. Herodes nämlich hatte die Frau seines Bruders Philippos, Herodias geheiratet, was in den Augen des Täufers gesetzwidrig war. Antipas hatte also seine Schwägerin zur Frau genommen, für Johannes den Täufer ein Unding. Die Schuld trifft bei Markus vor allem Herodias und ihre Tochter, während Herodes Antipas selbst vor Furcht gegenüber Johannes erfüllt gewesen sei, da dieser ein gerechter und heiliger Mann war (Mk 6,20.). Herodias musste also Herodes austricksen, indem sie ihre Tochter Herodes betören ließ, bis dieser ihr versprach zu geben, was sie wünsche, dies war er Kopf des Täufers Johannes, sodass Herodes Johannes köpfen ließ. Matthäus berichtet ähnliches und fügt noch hinzu, dass Matthäus wegen der Erfüllung seines Eides traurig gewesen sei (Mt 14,9). (1360556) (13) Leonello Spada, 1576 Bologna – 1622 Parma, attributed THE BEHEADING OF SAINT JOHN THE BAPTIST Oil on canvas. Relined. 154 x 155 cm. (†)

Spada, L. (1576-1622) (attrib.). (Studies of an adolescent man).

Spada, L. (1576-1622) (attrib.). (Studies of an adolescent man). Drawing, pen and brown ink, 18,5x24 cm., doubled. - Several closed tears (mainly) in left margin; sl. wormholed; lacks part of image in lower right corner; lower part waterst. = Provenance: the collection of J. and C. Ulmann. Three unidentifed collector's marks on recto. With attribution in lower right corner and on paper mount.

OIL PAINTING BY LIONELLO SPADA

LIONELLO SPADA (Bologna 1576 - Parma 1622) SAN SEBASTIANO TRAFITTO DALLE FRECCE Olio su tela, cm. 115 x 91,5 PROVENIENZA Famiglia romana CONDIZIONI DEL DIPINTO Rintelo recente. Alcuni restauri ossidati sparsi, due zone di restauro in basso a destra ed in alto a destra CORNICE Cornice in legno dorato a bordi modanati, del XVII secolo Il dipinto è accompagnato da perizia del Prof. Ferdinando Bologna, in data 10 Marzo 1971

Leonello Spada, 1576 Bologna – 1622 Parma, zugeschrieben

ALLEGORIE DER MUSIKÖl auf Leinwand. 87 x 104 cm. In breitem Zierrahmen. Vor einem schlaglichtartig beleuchteten Hintergrund, dessen Lichtquelle links oben liegt und somit die musikalische Szene in einen Innenraum situiert, dient als Folie für drei Halbfiguren, die im Musizieren begriffen sind. Eine junge Frau ganz links, blau weiß gekleidet, ist durch einen Perlohrring zusätzlich hervorgehoben und spielt eine Mandoline, von der es seit dem 17. Jahrhundert zwei Bauformen gibt. Neben ihr steht ein rotgewandeter junger Mann mit Violine, zwischen ihnen ein Kind, das ebenfalls ein Instrument zu halten scheint. Anmerkung: Spada hat verschiedentliche Bilder von Konzerten gemalt. So wird ihm auch ein Gemälde zugeschrieben, das im Fogg Art Museum in Cambridge verwahrt wird und auch eines in der Galleria Borghese in Rom – jedoch mit tieferer Bildstaffelung. Auch ein Gemälde, das bei der Fondazione Zeri mit der Nummer 55214 verzeichnet wird, zeigt ein Konzert, das unserem Gemälde noch näherkommt, was den kompositorischen Aufbau und die Gesichter angeht. (1320133) Leonello Spada, 1576 Bologna – 1622 Parma, attributed ALLEGORY OF MUSICOil on canvas. 87 x 104 cm.

After Lionello Spada, 17th Century The Holy Family with the Madonna teaching the Christ Child to read

After Lionello Spada, 17th Century The Holy Family with the Madonna teaching the Christ Child to read oil on canvas 94.4 x 143cm (37 3/16 x 56 5/16in). For further information on this lot please visit the Bonhams website

OIL PAINTING BY LIONELLO SPADA, att. to

LIONELLO SPADA, att. a (Bologna 1576 - Parma 1622) SALOMÈ CON LA TESTA DEL BATTISTA Olio su tela, cm. 73 x 98 PROVENIENZA Famiglia romana CONDIZIONI DEL DIPINTO Rintelo ottocentesco. Punti di restauro sul volto dello sgherro a destra della scena CORNICE Cornice modanata in legno dorato, del XIX secolo

Attribuito a Lionello SPADA (1576-1622)

Attribuito a Lionello SPADA (1576-1622) Kneeling young man, seen from behind Black stone Attribué à Lionello SPADA (1576-1622) Jeune homme agenouillé, vu de dos Pierre noire H_31 cm L_21 cm Inscription on mounting and verso / Annoté sur le montage et au verso : "Lionello Spada" Provenance : Auction 7 July 1999, London, Sotheby's, No. 102, ripr. p. 85. Giovane inginocchiato, visto di schiena Pietra nera Attribué à Lionello SPADA (1576-1622) Jeune homme agenouillé, vu de dos Pierre noire H_31 cm L_21 cm Iscrizione sul montaggio e al verso / Annoté sur le montage et au verso : «Lionello Spada» Provenienza : Asta 7 luglio 1999, Londra, Sotheby's, n° 102, ripr. p. 85

The music lesson

Oil on canvas

Leonello (Lionello) Spada (1576 Bologna - 1622 Parma), follower of - The return of the prodigal son

Oil on canvas. 124 x 96.5 cm. Relined. Restored. Framed.

Leonello Spada: Samson and Delilah

SPADA, LEONELLO 1576 Bologna - 1622 Parma Title: Samson and Delilah. Technique: Oil on canvas. Mounting: Edges relined. Measurement: 152 x 193cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. The present painting comes from a private collection in Germany, where it has been kept for about a century with the attribution to the Italian school. The correct attribution to the Bolognese painter Lionello Spada was suggested by Davide Dossi in the course of cataloguing the painting and confirmed by Daniele Benati. The large-format painting depicts an Old Testament narrative from the Book of Judges about Samson, a hero with tremendous strength bestowed upon him directly by God. Delilah, who is in love with the hero, learns that Samson's strength lies in his hair, whereupon - in agreement with the Philistines, who had promised her a great, tempting reward - she makes Samson fall asleep on her knees and cuts off his hair. After losing his strength, Samson is blinded by the Philistines, captured and taken to Gaza, where he is put in chains to turn the millstone in a prison. The scene depicted in the painting shows the moment when Samson is sleeping on the lap of Delilah, who in turn is handed a pair of scissors by an old woman in the background - without taking her eyes off the sleeping Samson. Two Philistines on the left observe the scene, but the undisputed protagonists are Delilah and Samson, whose bodies take up most of the picture space. This depiction was particularly popular in the first decades of the 17th century: almost every artist tried his hand at this subject, which could be understood as both a moral warning and a gallant scene. It can be assumed that the present work, whose patron and provenance are as yet unknown before about 1900, was painted in the second decade of the 17th century. After a stay in Malta between 1609 and 1610, where Lionello Spada was commissioned to fresco three rooms of the Grand Master's Palace, and a stay of about five years in Rome, Spada returned to Bologna around 1614. The painting with Delilah and Samson was probably created during his second creative period in Bologna, due to the obvious stylistic affinities with other works. These stand out in particular in the skill and inclination for perspective decoration learned in his early youth (which the artist used again several decades later), the ornamental richness and the neo-Mannerist colours. All these are elements that added up to a renewed classicist manner, enlivened by the art of Domenichino and Annibale Carracci in Rome and Naples. A particularly interesting comparison can be made with the work "The Concert" in the Louvre, which Spada painted around 1615. Here, too, the stylistic features mentioned above can be seen, which inextricably link the two paintings. We are grateful to Daniele Benati, Bologna, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph.

Leonello Spada, 1576 Bologna - 1622 Parma

BEWEINUNG CHRISTI Öl auf Leinwand. 126 x 161 cm. Die Darstellung in betont großem Format, wodurch die nahezu lebensgroß wirkenden Gestalten dem Bildbetrachter wirklichkeitsnah vor Augen geführt werden, mit dem künstlerischen Ziel, ihn am Geschehen teilhaben zu lassen. Spada hat das Thema in zwei Versionen geschaffen, mit nur wenigen Abänderungen. Es geht auf den neutestamentlichen Bibeltext aus Matthäus 27 bzw. Markus 15 zurück und zeigt die dem Gekreuzigten nahen Personen, wie die trauernden Marien, im Hintergrund Johannes sowie seitlich Josef von Arimatäa und Nikodemus. Die Trauer wird emphatisch wiedergegeben, mit Tränen aber auch einem Gesicht, das durch ein Tuch völlig verhüllt wird. Die nach vorne offene Hand Mariens verweist auf die Endgültigkeit der Tragik. Das in einigen Bereichen dazu variierende Gemälde befindet sich in der Galleria Nazionale in Rom (Inventarnummer 2218). Der auffallendste Unterschied liegt in der verschiedenen Art, wie die trauernde Maria Magdalena in den beiden Bildern dargestellt wird. In unserem Bild blickt sie himmelwärts, in der zweiten Version nach links. Bemerkenswert ist, dass sich in vorliegenden Bild bei technischen Untersuchungen Pentimenti haben feststellen lassen, Ergebnisse, die den Zusammenhang ehemaligen Verbleibes des Bildes im Palazzo Chigi in Rom dokumentieren, was sich jedoch nur noch auf den technischen Aufnahmen erkennen lässt. Jedenfalls ist verbürgt, dass sich ein Gemälde „Christo morto“ ehemals in der Capella del Legato im Palazzo Pubblico in Bologna befand, wie aus einem Katalog von Pirondini über die verschollenen Werke, speziell dieser Thematik, hervorgeht. Sämtliche kunstwissenschaftlichen Ergebnisse stimmen einhellig für die Autorschaft Spadas für das Gemälde. Spada stand zunächst in Verbindung mit den Malern Cesare Baglioni (um 1550-1615) und dann Girolamo Curti (1575-1632). Auch der Flame Denis Calvaert (1540-1619) mag auf Spada eingewirkt haben. Der Stileinfluss Caravaggios (1570/71-1610) ist jedoch unverkennbar. So zählt Spada auch zu den Nachfolgern dieses Malers. Der Biograph Malvasia berichtet gar über eine enge Beziehung der beiden Künstler. Danach befand sich Spada vermutlich in Rom, als Caravaggio 1608 nach Malta floh, wohin Spada ihm wahrscheinlich folgte. 1617 jedenfalls hielt er sich in Parma auf, um für die Familie Farnese tätig zu sein. Werke seiner Hand finden sich in mehreren Kirchen und bedeutenden öffentlichen Sammlungen, wie im Louvre, in der Eremitage in Sankt Petersburg, in der Galleria Borghese, Rom, oder in der Sammlung Strozzi Sacrati, Florenz. A.R. Provenienz: Ehemals im Besitz einer alten Bologneser Familie, in der das Gemälde seit jeher als Werk Spadas bekannt war. Sammlung Vignini, Imola. Literatur: Das Gemälde ist ausführlich besprochen und abgebildet in: Massimo Pirondini, Leonello Spada, Merigo Art Books, Reggio Emilia 2002, S. 121 f. Weiterführende Literatur: Rudolf Wittkower, Jennifer Montagu, Joseph Connors, Art and Architecture in Italy 1600-1750, Vol. 1: Early Baroque ,Yale University Press Pelican History of Art, 1993, S. 92, 94 und 95. (1260622) (11) Leonello Spada, 1576 Bologna - 1622 Parma THE LAMENTATION OF CHRIST Oil on canvas. 126 x 161 cm. The depiction is deliberately shown in a large format, visualizing the almost life-size figures realistically to the viewer with the artistic intention for them to join in. Spada created this subject in two versions with only few variations. It is based on the New Testament Bible text by Matthew 27 or Mark 15. His works can be found in several churches and important public collections such as the Louvre, the State Hermitage in St. Petersburg, the Galleria Borghese or the Strozzi Sacrati Collection, Florence. Provenance: Formerly in the estate of an old family from Bologna, where the painting has always been known as a work by Spada. Vignini collection, Imola. Literature: The painting is discussed at length and illustrated in: M. Pirondini, Leonello Spada, Merigo Art Books, Reggio Emilia 2002, pp. 121. Further literature: R. Wittkower, J. Montagu, J. Connors, Art and Architecture in Italy 1600-1750, Vol. I: Early Baroque, Yale University Press Pelican History of Art, 1993, pp. 92, 94-95.

Old Master painting, Leonello Spada (1576 - 1622), Christ on the Column

Leonello Spada was a Caravaggist painter, active in Rome and his hometown of Bologna. His benefactors included, for example, Cardinal Maffeo Barberini and Alessandro d’ Este. His first canvases reflect the Mannerist style of the Flemish artist Denis Calvaert and later the work of the painting studios of the Carracci family, where he assisted. Spada used a warm color palette, working with strong contrasts of light and shadow on a neutral background and focused on detailed depiction of drapery. The scene depicts Christ chained to the column, where he will soon be whipped. Since the Middle Ages, this subject is depicted as part of the Passion cycle.

Lionello Spada (Bologna 1576-1622 Parma) Saint Jerome

Lionello Spada (Bologna 1576-1622 Parma) Saint Jeromeoil on canvas413⁄8 x 641⁄4 in. (105 x 163 cm.)

Leonello Spada (1576 - 1622) - Christ on the Column

The scene depicts Christ chained to the column, where he will soon be whipped. Since the Middle Ages, this subject is depicted as part of the Passion cycle.

Leonello Spada (1576-1622)-attributed

Leonello Spada (1576-1622)-attributed, Portrait of a couple and a young smiling boy in front of dark background. Oil on Canvas, framed

Leonello Spada (1576 - 1622) - Christ on the Column

Oil on canvas. Caravaggista Leonello Spada was active in Rome and his hometown of Bologna. His benefactors included, for example, Cardinal Maffeo Barberini and Alessandro d’ Este. His first canvases reflect the Mannerist style of the Flemish artist Denis Calvaert and later the work of the painting studios of the Carracci family, where he assisted. Spada used a warm color palette, working with strong contrasts of light and shadow on a neutral background and focused on detailed depiction of drapery. The scene depicts Christ chained to the column, where he will soon be whipped. Since the Middle Ages, this subject is depicted as part of the Passion cycle.

Lionello Spada (1576-1622), attribuito a, Cattura di Cristo

olio su tela, cm 78x85

LEONELLO SPADA - Salomè with the head of the Baptist

LEONELLO SPADA (Bologna 1579-Parma 1622) Salomè with the head of the Baptist Oil on canvas, cm 72.1 x 58.3 The work of art can be ascribed to Leonello Spada with a wide margin of certainty. He was a maestro from Bologna and probably one of the first followers to experience an actual relationship with maestro Merisi. Some sources, recalled by Emilio Negro, confirm that the twenty-year-old Lionello was among the models who posed for the Vocation of Saint Matthew in the church Saint Louis of the French. Actually, the acquaintanceship between the two is not historically declared and, even though dates might confirm it, we all know that Caravaggio did not have any direct apprentices, he had only followers especially post mortem (after his death). Between 1610 and 1617 Spada travelled a lot, he visited Naples, Malta and probably Rome, but he spent the last phase of his short career in Parma where he created several works of art chracterised by a clear Caravaggism for the court Ranuccio Farnese. Salome's scathing and thin features surely belong to this phase, where a widespread and golden light of Flemish cut is opposed to a chromatic range that fluctuates between red and ochre of Salome's figure that stands out of the black background, merely Caravaggio's origin. Cogent comparisons are with the Good Fortune residing at Estense Gallery in Modena or with the thorn coronation residing at Condè Museum in Chantilly, while we can find the protype of Salome's face in Judith with Oloferne's head residing at the National Gallery in Bologna (inv. N. 69 cm 112.5x138; on the topic: Emilio Negro. Lionello Spada. Manerba/Reggio Emilia 2002, page 125, record 57, table XIX). Evaluation by Emilio Negro

LIONELLO SPADA Att.a "Musicians" 1615 ca.

LIONELLO SPADA Att.to. Bologna 1576 - Parma 1622 Musicians 1615 ca. Oil on canvas cm 117 x 150 Fair conditions re lined beginning XX century

LIONELLO SPADA Salome with the head of the Baptist

LIONELLO SPADA Salome with the head of the Baptist Oil on canvas The work of art can be ascribed to Lionello Spada with a wide margin of certainty. He was a maestro from Bologna and probably one of the first followers to experience an actual relationship with maestro Merisi. Some sources, recalled by Emilio Negro, confirm that the twenty-year-old Lionello was among the models who posed for the Vocation of Saint Matthew in the church Saint Louis of the French. Actually, the acquaintanceship between the two is not historically declared and, even though dates might confirm it, we all know that Caravaggio did not have any direct apprentices, he had only followers especially post mortem (after his death). Between 1610 and 1617 Spada travelled a lot, he visited Naples, Malta and probably Rome, but he spent the last phase of his short career in Parma where he created several works of art chracterised by a clear Caravaggism for the court Ranuccio Farnese. Salome's scathing and thin features surely belong to this phase, where a widespread and golden light of Flemish cut is opposed to a chromatic range that fluctuates between red and ochre of Salome's figure that stands out of the black background, merely Caravaggio's origin. Cogent comparisons are with the Good Fortune residing at Estense Gallery in Modena or with the thorn coronation residing at Condè Museum in Chantilly, while we can find the protype of Salome's face in Judith with Oloferne's head residing at the National Gallery in Bologna (inv. N. 69 cm 112.5x138; on the topic: Emilio Negro. Lionello Spada. Manerba/Reggio Emilia 2002, page 125, record 57, table XIX). cm 72.1 x 58.3

Lionello Spada (attr.) 1579-1622

Lionello Spada (attr.) 1579-1622 Salomè con la testa del Battista olio su tela 72,1x58,3cm Perizia autografa di Emilio Negro

ATTRIBUTED TO LIONELLO SPADA, (Italian, 1576-1622), OLD MASTER DRAWING, pencil on paper;, 8 1/2 x 6 1/2 in. (23 x 21 in.)

ATTRIBUTED TO LIONELLO SPADA (Italian, 1576-1622) OLD MASTER DRAWING pencil on paper; inscribed in ink beneath drawing Colection de Solimene - Leonello Spada - ni. Bologna 1576 + Parma 1622; 8 1/2 x 6 1/2 in. (23 x 21 in.)

Attribué à Lionello SPADA (Bologne 1576 - Parme 1622) Tête de guerrier casqué Plume et encre brune sur traits de crayon noir ...

Attribué à Lionello SPADA (Bologne 1576 - Parme 1622) Tête de guerrier casqué Plume et encre brune sur traits de crayon noir 15 x 10 cm de forme irrégulière (Tache)

Lionello Spada (Bologna 1576-1622 Parma)

Lionello Spada (Bologna 1576-1622 Parma) The Rest on the Flight into Egypt oil on canvas 37½ x 30¼ in. (95 x 77 cm.)

Circle of Leonello Spada (1576-1622) Christ and attendants seated at a table, 16.5 x 12.5in.

Circle of Leonello Spada (1576-1622) pen and ink, Christ and attendants seated at a table, 16.5 x 12.5in.

Studio of Lionello Spada (Bologna 1576-1622 Parma)

A young boy in a red feathered hat oil on canvas, a fragment 45.5 x 38cm (17 15/16 x 14 15/16in).

Circle of Leonello Spada, Italian 1576-1622,

Circle of Leonello Spada, Italian 1576-1622, 17th/18th century- A saint healing the plague stricken; pen, ink and wash, bears signature, 31x20.6cm

Circle of Leonello Spada, Italian 1576-1622,

Circle of Leonello Spada, Italian 1576-1622, 17th/18th century- A saint healing the plague stricken; pen, ink and wash, bears signature, 31x20.6cm

LEONELLO SPADA

LEONELLO SPADA BOLOGNA 1576-1622 PARMA CRISTO DAVANTI A PILATO olio su tela 120 x 174.5 cm

LEONELLO SPADA

LEONELLO SPADA BOLOGNA 1576-1622 PARMA DAVIDE E GOLIA due ceralacche sul telaio olio su tela 108 x 85 cm

Attributed to Lionello Spada (Bologna 1576-1622 Parma)

Attributed to Lionello Spada (Bologna 1576-1622 Parma) The Death of Cleopatra oil on canvas 32 x 48¼ in. (81.5 x 122.5 cm.)

- LEONELLO SPADA Italien 1576-1622, tillskriven

- LEONELLO SPADA Italien 1576-1622, tillskriven Salome med Johannes Döparens huvud inför Herodes Olja på duk, 120 x 163 cm. Attributed to. Oil on canvas. EXPERTIS: Cabinet Turquin, Stéphane Pinta, Paris Läs mer

LEONELLO SPADA Italien 1576-1622, tillskriven

LEONELLO SPADA Italien 1576-1622, tillskriven Salome med Johannes Döparens huvud inför Herodes Olja på duk, 120 x 163 cm. Attributed to. Oil on canvas. EXPERTIS: Cabinet Turquin, Stéphane Pinta, Paris

w - Leonello Spada Bologna 1576-1622 Parma , Holy family with the Madonna teaching the Christ child to read oil on canvas

Leonello Spada Bologna 1576 - 1622 Parma),

Leonello Spada Bologna 1576 - 1622 Parma), attributed to / attribuito Christ Carrying the Cross / Andata al Calvario, oil on canvas, 94 x 130 cm, framed, (Wo) This painting must have been executed after the painter's return from Malta in 1614, where his style evolved in the direction of the Caravaggisti, and before he went to Parma (c. 1616), where he worked for Ranuccio Farnese and was influenced by Correggio and Lanfranco. The figures and the composition can be compared with his Christ Crowned with Thorns in Chantilly, Musee Condée, as well as with the Arrest of Christ in the Galleria Nazionale in Parma. Di impatto certamente caravaggesco nei tagli di luce quasi cinematografici, questo dipinto raffigurante l'Andata al Calvario mostra contemporaneamente le radici di una cultura bolognese, nutrita di suggestioni carraccesce nei volumi costruiti con forte plasticità e nel taglio cosi ravvicinato della composizione. Esso sembra potersi riferire al bolognese Lionello Spada di cui si ritrova nel dipinto anche un certo bagliore dell'alunnato giovanile presso il Baglione, nonchè echi delle assonanze con l'altro bolognese coevo Alessandro Tiarini che condivise con lui in certo gusto per il gigantismo delle figure. Il dipinto deve essere stato realizzato dopo il ritorno del pittore da Malta (1614 ca.) viaggio che gli valse una progressione in senso caravaggesco e prima del trasferimento a Parma (1616 ca.), dove al servizio di Ranuccio Farnese subi gli influssi del Correggio e del Lanfranco. Le fisionomie e le soluzioni compositive possono essere accostate ad opere come l'Incoronazione di Spine di Chantilly, Musée Condé, e la Cattura di Gesù della Galleria Nazionale di Parma.

Attribuito a Lionello Spada (Bologna 1576-1622 Parma)

Ecce Homo olio su tela 137 x 99.5 cm.

[ Art Work ] Lionello Spada (Bologna 1576- 1622 Parma) Estimate:ÿE30 000-50.000 EURO

[ Art Work ] Lionello Spada (Bologna 1576- 1622 Parma) Estimate:ÿE30 000-50.000 EURO