Scuola napoletana (XVII) - Martirio di San Bartolomeo - XL format
03
days
03
hours
09
minutes
21
seconds
Current bid
€ 71
Reserve price not met
Expert
Selected by Giulia Santoro
Specialised in 17th century Old Master paintings and drawings with auction house experience.
Estimate € 2,000 - € 2,400
 | €71 | |
|---|---|---|
 | €68 | |
| €65 | |
Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 142734 reviews
Rated Excellent on Trustpilot.
Description from the seller
Napoletan School of the XVII Century
“ Martyrdom of Saint Bartholomew “
Period: 1650 / 1680
Oil on canvas
Proposed attribution: painter from the circle of Aniello Falcone and Salvator Rosa
Dimensions: 112 x 88.5 cm in a later frame
Canvas: 93 x 69 cm
Description
The work depicts a convulsive scene of martyrdom set within a vast wooded landscape, in line with a scenographic concept characteristic of Italian painting of the Seicento.
At the center of the composition stands the semi-nude figure of an elderly saint, with a long white beard, portrayed with the body stretched upward and the right arm theatrically raised. An executioner, dressed in a vivid blue jerkin and red hose, clasps him forcefully, while on the sides some armed soldiers with lances observe the episode and seem to issue orders.
The presence of dark marks on the martyr’s torso, together with the executioner’s action on his body, makes the identification of the subject with the Martyrdom of Saint Bartholomew plausible, the apostle traditionally depicted during the disembowelment ordeal. The identification, in the absence of other unmistakable iconographic attributes, should however be kept prudential.
Particularly significant is the setting. The painter does not focus his interest exclusively on the religious episode, but places it within a wide and highly evocative landscape: large trees with dark canopies, rocky outcrops and monumental ruins on the left build a natural stage within which the figures appear almost as protagonists of a theatrical drama.
The composition develops through a succession of diagonals and sudden openings of light. The central nucleus formed by the saint and the executioner constitutes the chromatic and narrative core of the painting, thanks especially to the juxtaposition of blue and red garments with the brown and olive-green tones of the landscape.
Attributive considerations
From a stylistic point of view the work seems linked to the Neapolitan painting culture of the Seicento, and in particular to that milieu in which the southern naturalistic tradition meets battle painting and fantastical landscape.
The soldiers’ figures, characterized by helmets, lances, agitated postures and quickly defined features, find significant points of comparison in the works of Aniello Falcone (1607-1656) and the painters around his workshop.
At the same time, the importance given to the landscape, the dark tree masses, the rocks and the ruins, the dramatic atmosphere and the relatively small scale of figures in relation to nature suggest familiarity with Salvator Rosa’s production (1615-1673).
Particularly interesting is the fusion of sacred scene, military episode and landscape, which brings the work closer to the Neapolitan figurative culture developed between the second and the third quarter of the XVII century.
In the absence of a legible signature, ancient documentation or diagnostic analysis, it seems correct to maintain a prudent attributive formulation:
School of Naples, XVII century, circle of Aniello Falcone and Salvator Rosa.
An approximate dating to the second half of the XVII century is presently compatible with the observable stylistic features.
Condition Report
The work presents in a decent general state of conservation, compatible with the period and with the conservation interventions undergone over time.
The canvas is lined/re-stretched, a historical restoration intervention likely performed to consolidate the original support. The canvas is stretched on a wooden frame with a central vertical crossbar.
Ideal for collecting and investment
- The present frame is included with the sale of the work as a courtesy. Any transport damage related solely to the frame cannot be the subject of refund or dispute.
Photographic note: Some images of the work were produced professionally using artificial lighting (studio spotlight) to highlight more clearly the painting’s characteristics, material, color, and conservation state. Color and brightness perception may therefore vary slightly compared with viewing the work under natural or ambient light.
With a legally valid certificate of authenticity - Expertise
Professional packing and insured shipping
Seller's Story
Magnolia Arte
Auctions · Works of Art · Expertise
Magnolia Arte was born from a passion for art and from the experience gained in study, selection and enhancement of works destined for collecting.
The auction house and gallery operates in the art market with particular attention to antique, modern and contemporary painting, offering carefully selected works for historical-artistic interest, quality and collectible value.
Each work is presented through a path of in-depth study that, where applicable, considers historical and stylistic context, attribution, condition, provenance and bibliographic and comparative references. For works that require it, studies, expertise and diagnostic deepening can also be prepared.
COLLECTING WITH DISCERNMENT
For Magnolia Arte, purchasing a work means entering into a relationship with a unique object, a witness of an era, of a culture and of the artist’s sensibility.
For this reason we accompany the collector not only in the choice, but also in the understanding and valorizations of the work, offering a direct, confidential and professional relationship.
Translated by Google TranslateNapoletan School of the XVII Century
“ Martyrdom of Saint Bartholomew “
Period: 1650 / 1680
Oil on canvas
Proposed attribution: painter from the circle of Aniello Falcone and Salvator Rosa
Dimensions: 112 x 88.5 cm in a later frame
Canvas: 93 x 69 cm
Description
The work depicts a convulsive scene of martyrdom set within a vast wooded landscape, in line with a scenographic concept characteristic of Italian painting of the Seicento.
At the center of the composition stands the semi-nude figure of an elderly saint, with a long white beard, portrayed with the body stretched upward and the right arm theatrically raised. An executioner, dressed in a vivid blue jerkin and red hose, clasps him forcefully, while on the sides some armed soldiers with lances observe the episode and seem to issue orders.
The presence of dark marks on the martyr’s torso, together with the executioner’s action on his body, makes the identification of the subject with the Martyrdom of Saint Bartholomew plausible, the apostle traditionally depicted during the disembowelment ordeal. The identification, in the absence of other unmistakable iconographic attributes, should however be kept prudential.
Particularly significant is the setting. The painter does not focus his interest exclusively on the religious episode, but places it within a wide and highly evocative landscape: large trees with dark canopies, rocky outcrops and monumental ruins on the left build a natural stage within which the figures appear almost as protagonists of a theatrical drama.
The composition develops through a succession of diagonals and sudden openings of light. The central nucleus formed by the saint and the executioner constitutes the chromatic and narrative core of the painting, thanks especially to the juxtaposition of blue and red garments with the brown and olive-green tones of the landscape.
Attributive considerations
From a stylistic point of view the work seems linked to the Neapolitan painting culture of the Seicento, and in particular to that milieu in which the southern naturalistic tradition meets battle painting and fantastical landscape.
The soldiers’ figures, characterized by helmets, lances, agitated postures and quickly defined features, find significant points of comparison in the works of Aniello Falcone (1607-1656) and the painters around his workshop.
At the same time, the importance given to the landscape, the dark tree masses, the rocks and the ruins, the dramatic atmosphere and the relatively small scale of figures in relation to nature suggest familiarity with Salvator Rosa’s production (1615-1673).
Particularly interesting is the fusion of sacred scene, military episode and landscape, which brings the work closer to the Neapolitan figurative culture developed between the second and the third quarter of the XVII century.
In the absence of a legible signature, ancient documentation or diagnostic analysis, it seems correct to maintain a prudent attributive formulation:
School of Naples, XVII century, circle of Aniello Falcone and Salvator Rosa.
An approximate dating to the second half of the XVII century is presently compatible with the observable stylistic features.
Condition Report
The work presents in a decent general state of conservation, compatible with the period and with the conservation interventions undergone over time.
The canvas is lined/re-stretched, a historical restoration intervention likely performed to consolidate the original support. The canvas is stretched on a wooden frame with a central vertical crossbar.
Ideal for collecting and investment
- The present frame is included with the sale of the work as a courtesy. Any transport damage related solely to the frame cannot be the subject of refund or dispute.
Photographic note: Some images of the work were produced professionally using artificial lighting (studio spotlight) to highlight more clearly the painting’s characteristics, material, color, and conservation state. Color and brightness perception may therefore vary slightly compared with viewing the work under natural or ambient light.
With a legally valid certificate of authenticity - Expertise
Professional packing and insured shipping
Seller's Story
Magnolia Arte
Auctions · Works of Art · Expertise
Magnolia Arte was born from a passion for art and from the experience gained in study, selection and enhancement of works destined for collecting.
The auction house and gallery operates in the art market with particular attention to antique, modern and contemporary painting, offering carefully selected works for historical-artistic interest, quality and collectible value.
Each work is presented through a path of in-depth study that, where applicable, considers historical and stylistic context, attribution, condition, provenance and bibliographic and comparative references. For works that require it, studies, expertise and diagnostic deepening can also be prepared.
COLLECTING WITH DISCERNMENT
For Magnolia Arte, purchasing a work means entering into a relationship with a unique object, a witness of an era, of a culture and of the artist’s sensibility.
For this reason we accompany the collector not only in the choice, but also in the understanding and valorizations of the work, offering a direct, confidential and professional relationship.
Translated by Google TranslateDetails
Artist
Scuola napoletana (XVII)
Sold with frame
Yes
Sold by
Gallery
Title of artwork
Martirio di San Bartolomeo - XL format
Technique
Oil painting
Signature
Not signed
Country of origin
Italy
Year
1670
Condition
Good condition
Height
88.5 cm
Width
112 cm
Period
17th century
Sold by
