Scuola napoletana (XVII) - Martirio di San Bartolomeo - XL format
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€ 320
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Selected by Giulia Santoro
Specialised in 17th century Old Master paintings and drawings with auction house experience.
Estimate € 2,000 - € 2,400
 | €320 | |
|---|---|---|
 | €300 |
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Martirio di San Bartolomeo, a 17th‑century Neapolitan oil on canvas from Italy, attributed to the milieu of Aniello Falcone and Salvator Rosa, measuring 112 by 88.5 cm in a later frame, unsigned and sold by Galleria.
AI-assisted summary
Description from the seller
Neapolitan School of the 17th Century
“Martyrdom of Saint Bartholomew”
Period: 1650 / 1680
Oil on canvas
Proposed attribution: painter active in the circle of Aniello Falcone and Salvator Rosa
Measurements: 112 x 88.5 cm in a later frame
Canvas: 93 x 69 cm
Description
The work depicts a turbulent scene of martyrdom set within a wide wooded landscape, in keeping with a scenographic concept characteristic of Italian painting in the Seicento.
At the center of the composition stands the seminudish figure of an elderly saint, with a long white beard, shown with the body stretched upward and the right arm theatrically raised. A torturer, dressed in a vivid blue jacket and red trousers, holds him tightly, while at the sides some soldiers armed with lances observe the episode and seem to be giving orders.
The presence of dark marks on the martyr’s torso, together with the torturer’s manipulation of his body, makes plausible the identification of the subject with the Martyrdom of Saint Bartholomew, traditionally depicted during the stoning of his skinning. The identification, in the absence of other unmistakable iconographic attributes, should nevertheless be kept cautiously.
Particularly significant is the setting. The painter does not concentrate interest solely on the religious episode, but places it within a broad and strongly evocative landscape: large trees with dark canopies, rocky spurs, and monumental ruins on the left build a natural stage within which the figures appear almost as protagonists of a theatrical drama.
The composition unfolds through a succession of diagonals and sudden light openings. The central nucleus formed by the saint and the torturer constitutes the chromatic and narrative hub of the painting, above all thanks to the contrast of blue and red of the garments with the brown and olive-green hues of the landscape.
Attribution considerations
Stylistically, the work appears to belong to the Neapolitan painting culture of the Seicento, and in particular to the milieu where the southern naturalistic tradition meets battlefield painting and fantastic landscape.
The figures of the soldiers, characterized by helmets, lances, agitated postures, and quickly defined physiognomies, find significant points of comparison in the work of Aniello Falcone (1607-1656) and the painters around his workshop.
At the same time, the importance given to landscape, dark tree masses, rocks and ruins, the dramatic atmosphere, and the relatively small relationship between figures and nature suggest familiarity with Salvator Rosa’s output (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 quarters of the 17th century.
In the absence of a legible signature, ancient documentation, or diagnostic analysis, it seems appropriate to maintain a prudent attribution formulation:
School of the Neapolitan School of the 17th century, in the circle of Aniello Falcone and Salvator Rosa.
An approximate dating to the second half of the 17th century is presently compatible with the observed stylistic features.
Condition Report
The work presents in a fair overall state of conservation, compatible with its age and with the conservation treatments undergone over time.
The canvas is lined/re-stretched, a historical restoration intervention undertaken apparently to consolidate the original support. The canvas is mounted on a wooden frame with a central vertical crosspiece.
Ideal for collectors and investment
- The frame currently present is included with the sale as a courtesy. Any transport damage related solely to the frame cannot be subject to refund or dispute.
Photographic note: Some images of the work were taken professionally with the aid of artificial lighting (studio spotlight) to highlight more clearly the painting's characteristics, material, color, and conservation status of the painting. Color and light perception may therefore vary slightly compared with viewing the work under natural or ambient light.
With a legally compliant 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 TranslateNeapolitan School of the 17th Century
“Martyrdom of Saint Bartholomew”
Period: 1650 / 1680
Oil on canvas
Proposed attribution: painter active in the circle of Aniello Falcone and Salvator Rosa
Measurements: 112 x 88.5 cm in a later frame
Canvas: 93 x 69 cm
Description
The work depicts a turbulent scene of martyrdom set within a wide wooded landscape, in keeping with a scenographic concept characteristic of Italian painting in the Seicento.
At the center of the composition stands the seminudish figure of an elderly saint, with a long white beard, shown with the body stretched upward and the right arm theatrically raised. A torturer, dressed in a vivid blue jacket and red trousers, holds him tightly, while at the sides some soldiers armed with lances observe the episode and seem to be giving orders.
The presence of dark marks on the martyr’s torso, together with the torturer’s manipulation of his body, makes plausible the identification of the subject with the Martyrdom of Saint Bartholomew, traditionally depicted during the stoning of his skinning. The identification, in the absence of other unmistakable iconographic attributes, should nevertheless be kept cautiously.
Particularly significant is the setting. The painter does not concentrate interest solely on the religious episode, but places it within a broad and strongly evocative landscape: large trees with dark canopies, rocky spurs, and monumental ruins on the left build a natural stage within which the figures appear almost as protagonists of a theatrical drama.
The composition unfolds through a succession of diagonals and sudden light openings. The central nucleus formed by the saint and the torturer constitutes the chromatic and narrative hub of the painting, above all thanks to the contrast of blue and red of the garments with the brown and olive-green hues of the landscape.
Attribution considerations
Stylistically, the work appears to belong to the Neapolitan painting culture of the Seicento, and in particular to the milieu where the southern naturalistic tradition meets battlefield painting and fantastic landscape.
The figures of the soldiers, characterized by helmets, lances, agitated postures, and quickly defined physiognomies, find significant points of comparison in the work of Aniello Falcone (1607-1656) and the painters around his workshop.
At the same time, the importance given to landscape, dark tree masses, rocks and ruins, the dramatic atmosphere, and the relatively small relationship between figures and nature suggest familiarity with Salvator Rosa’s output (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 quarters of the 17th century.
In the absence of a legible signature, ancient documentation, or diagnostic analysis, it seems appropriate to maintain a prudent attribution formulation:
School of the Neapolitan School of the 17th century, in the circle of Aniello Falcone and Salvator Rosa.
An approximate dating to the second half of the 17th century is presently compatible with the observed stylistic features.
Condition Report
The work presents in a fair overall state of conservation, compatible with its age and with the conservation treatments undergone over time.
The canvas is lined/re-stretched, a historical restoration intervention undertaken apparently to consolidate the original support. The canvas is mounted on a wooden frame with a central vertical crosspiece.
Ideal for collectors and investment
- The frame currently present is included with the sale as a courtesy. Any transport damage related solely to the frame cannot be subject to refund or dispute.
Photographic note: Some images of the work were taken professionally with the aid of artificial lighting (studio spotlight) to highlight more clearly the painting's characteristics, material, color, and conservation status of the painting. Color and light perception may therefore vary slightly compared with viewing the work under natural or ambient light.
With a legally compliant 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
Sold with frame
Yes
Sold by
Gallery
Artist
Scuola napoletana (XVII)
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
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