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Michaela Scharnreithner

This painting portrays Saint Anthony of Egypt, the founder of Christian monasticism, seated in a contemplative pose. A tau cross is prominently displayed on his robe, symbolizing his faith and devotion, while his tau staff, a distinctive element of his iconography, rests firmly in his grasp, emphasizing his role as a spiritual protector. Below him, a pig is depicted—a symbolic companion often associated with Saint Anthony, representing his ability to ward off evil and heal the sick. In the lower right, flames rise, referencing Saint Anthony’s Fire (ergotism), a condition historically treated by the saint’s devotees. The flames evoke suffering while underlining Saint Anthony’s association with healing and spiritual guidance.

In the upper right, Saint Francis of Assisi is shown receiving the stigmata, bathed in divine light amidst celestial clouds. This pairing of the two saints creates a compelling spiritual narrative of ascetic devotion and divine intervention.

The painting’s chiaroscuro techniques, with dramatic contrasts between light and shadow, reflect the influence of Caravaggio (1571–1610) and his revolutionary style. The realistic depiction of human expressions, textures, and the interplay of light lends the work an emotive, theatrical quality consistent with Caravaggio’s innovations and the legacy carried forward by his circle.

Reverse and Markings

The reverse of the painting features a circular stamp, identified as the brand of the Antwerp Joiners’ Guild, which depicts a pair of hands above a castle. This mark was instituted by the guild from 1617 onwards to guarantee the authenticity and quality of the wooden panels. Notably, the same stamp appears on the reverse of Pieter Brueghel II’s The Outdoor Wedding Dance, highlighting its significance in attributing early 17th-century works to panels sourced from Antwerp.

The presence of this stamp raises the possibility that prominent Italian painters, including those influenced by Caravaggio, sought high-quality Netherlandish panels for their works, leveraging the superior craftsmanship and durability of Antwerp-sourced materials.

Additionally, the reverse bears a German label with a descriptive inventory number, pointing to a prior inclusion in a cataloged collection, possibly linked to a monastic or noble institution.

Provenance
Possibly originating from the Stift Klosterneuburg, Austria, known for its extensive collection of religious artworks.

Dimensions
119.5 x 86 cm (without frame)
150 x 119 cm (with frame)

Oil on canvas, covered by panel (not glued)

Same mark can be seen at Christie’s
Mark References
1.	Christie’s: What to Look for on the Back of a Painting – chapter 2

https://www.christies.com/en/stories/what-to-look-for-on-the-back-of-a-painting-821e1638846944fb9a2b05aad53854fe

2.	Sotheby’s Auction Records: 

https://www.sothebys.com/en/auctions/ecatalogue/2004/old-master-paintings-part-1-l04031/lot.28.html

https://www.sothebys.com/en/auctions/ecatalogue/2007/old-master-paintings-evening-sale-l07033/lot.1.html

( the reverse stamped with the mark of the Antwerp Guild and the coppersmith's mark )


This painting stands out for its stylistic alignment with the Caravaggesque tradition, characterized by dramatic chiaroscuro and intense realism. The Antwerp Guild stamp links the panel to a period when Italian artists, influenced by Caravaggio, may have imported Netherlandish panels for their masterpieces. Its narrative, craftsmanship, and connection to Caravaggio’s stylistic legacy position it as a valuable acquisition for collectors of Italian Baroque art.

Oil on canvas - Artist stamp, Authenticity stamp, Not signed - 1617

Emilian School (XVII) - Saint Anthony from Egypt, with Saint Francis of Assisi receiving the Stigmata

Classical Art & Impressionism

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Emilian School (XVII) - Saint Anthony from Egypt, with Saint Francis of Assisi receiving the Stigmata

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