Scuola napoletana (XVII) - Martirio di San Bartolomeo - XL format
04
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06
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Current bid
€ 2
Reserve price not met
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Selected by Caterina Maffeis
Master in early Renaissance Italian painting with internship at Sotheby’s and 15 years' experience.
Estimate € 2,000 - € 2,400
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 | €1 |
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“Martirio di San Bartolomeo - XL format” is an oil painting from the Neapolitan School, dated 1670, from Italy and sold with a frame.
AI-assisted summary
Description from the seller
Naples School of the 17th Century
“Martyrdom of Saint Bartholomew”
Period: 1650 / 1680
Oil on canvas
Proposed attribution: painter of the Aniello Falcone and Salvator Rosa circle
Dimensions: 112 x 88.5 cm in a later frame
Canvas: 93 x 69 cm
Description
The work depicts a tumultuous scene of martyrdom set within a vast wooded landscape, in keeping with a scenographic conception characteristic of Italian painting in the Seicento.
At the center of the composition rises the semi-nude figure of an old saint, with a long white beard, represented with the body stretched upward and the right arm theatrically raised. A torturer, dressed in a bright blue jacket and red breeches, restrains him forcefully, while on the sides some armed soldiers with spears witness the episode and seem to issue orders.
The presence of dark marks on the martyr’s torso, together with the torturer’s actions on his body, makes plausible the identification of the subject with the Martyrdom of Saint Bartholomew, the apostle traditionally depicted during the flaying torture. The identification, in the absence of other unequivocal iconographic attributes, should however be kept with prudence.
Particularly significant is the setting. The painter does not focus solely on the religious episode, but places it within a broad and highly evocative landscape: large trees with dark canopies, rocky spurts 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 torturer constitutes the chromatic and narrative fulcrum of the painting, especially thanks to the juxtaposition of blue and red in the garments with the brown and olive-green tones of the landscape.
Attributive considerations
Stylistically, the work seems to belong to the Neapolitan painting culture of the Seicento, and in particular to that milieu where the southern naturalistic tradition meets battle painting and fantastical landscape.
The figures of the soldiers, characterized by helmets, spears, agitated attitudes, and quickly defined physiognomies, find meaningful points of comparison in the works of Aniello Falcone (1607-1656) and the painters surrounding his workshop.
At the same time, the importance given to the landscape, the dark tree masses, the rocks and ruins, the dramatic atmosphere, and the relatively small relationship between figures and nature suggest knowledge of Salvator Rosa’s production (1615-1673).
Of particular interest 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 analyses, it therefore seems correct to maintain a prudent attributive formulation:
Naples School of the 17th Century, circle of Aniello Falcone and Salvator Rosa.
An approximate dating to the second half of the 17th century appears at present consistent with the stylistic features observed.
Condition Report
The work presents in a fair state of general preservation, compatible with its age and with the conservation interventions it has undergone over time.
The canvas is lined/re-stretched, a historical restoration undertaken presumably to consolidate the original support. The canvas is mounted on a wooden frame with a central vertical crossbar.
Ideal for collectors and investment
- The frame currently present 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 professionally taken with the aid of artificial lighting (studio spotlight) to more clearly highlight the painting’s characteristics, the material, the chroma, and the conservation state of the painting. Therefore, color perception and brightness may 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 TranslateNaples School of the 17th Century
“Martyrdom of Saint Bartholomew”
Period: 1650 / 1680
Oil on canvas
Proposed attribution: painter of the Aniello Falcone and Salvator Rosa circle
Dimensions: 112 x 88.5 cm in a later frame
Canvas: 93 x 69 cm
Description
The work depicts a tumultuous scene of martyrdom set within a vast wooded landscape, in keeping with a scenographic conception characteristic of Italian painting in the Seicento.
At the center of the composition rises the semi-nude figure of an old saint, with a long white beard, represented with the body stretched upward and the right arm theatrically raised. A torturer, dressed in a bright blue jacket and red breeches, restrains him forcefully, while on the sides some armed soldiers with spears witness the episode and seem to issue orders.
The presence of dark marks on the martyr’s torso, together with the torturer’s actions on his body, makes plausible the identification of the subject with the Martyrdom of Saint Bartholomew, the apostle traditionally depicted during the flaying torture. The identification, in the absence of other unequivocal iconographic attributes, should however be kept with prudence.
Particularly significant is the setting. The painter does not focus solely on the religious episode, but places it within a broad and highly evocative landscape: large trees with dark canopies, rocky spurts 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 torturer constitutes the chromatic and narrative fulcrum of the painting, especially thanks to the juxtaposition of blue and red in the garments with the brown and olive-green tones of the landscape.
Attributive considerations
Stylistically, the work seems to belong to the Neapolitan painting culture of the Seicento, and in particular to that milieu where the southern naturalistic tradition meets battle painting and fantastical landscape.
The figures of the soldiers, characterized by helmets, spears, agitated attitudes, and quickly defined physiognomies, find meaningful points of comparison in the works of Aniello Falcone (1607-1656) and the painters surrounding his workshop.
At the same time, the importance given to the landscape, the dark tree masses, the rocks and ruins, the dramatic atmosphere, and the relatively small relationship between figures and nature suggest knowledge of Salvator Rosa’s production (1615-1673).
Of particular interest 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 analyses, it therefore seems correct to maintain a prudent attributive formulation:
Naples School of the 17th Century, circle of Aniello Falcone and Salvator Rosa.
An approximate dating to the second half of the 17th century appears at present consistent with the stylistic features observed.
Condition Report
The work presents in a fair state of general preservation, compatible with its age and with the conservation interventions it has undergone over time.
The canvas is lined/re-stretched, a historical restoration undertaken presumably to consolidate the original support. The canvas is mounted on a wooden frame with a central vertical crossbar.
Ideal for collectors and investment
- The frame currently present 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 professionally taken with the aid of artificial lighting (studio spotlight) to more clearly highlight the painting’s characteristics, the material, the chroma, and the conservation state of the painting. Therefore, color perception and brightness may 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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