物品 "Dorotheum"

Giovanni Battista Paggi

(Genoa 1554–1627) The Mystical Marriage of Saint Catherine, oil on canvas, 153 x 126 cm, framed Provenance: with Piero Pagano, Genoa; Aldo Zerbone collection, Genoa, until 2017; art market; where acquired by the present owner Literature: P. Pagano, Dipinti genovesi del XVII e XVIII secolo, Genoa 1973, pp. 2-3, no. 1; P. Pagano/M. C. Galassi (eds.), La pittura del ‘600 a Genova, Milan 1988, no. 449 We are grateful to Anna Orlando for confirming the attribution after inspection of the original and for her help in cataloguing the present painting (written communication). This exceptional mature work by Giovanni Battista Paggi has been known to scholars since 1973, when it was exhibited and published by Piero Pagano (see P. Pagano, Dipinti genovesi del XVII e XVIII secolo, Genoa 1973, cat. 1, pp. 2-3). Pagano published the painting again in the volume he co-authored with the art historian Maria Clelia Galassi in 1988 (see P. Pagano, M. C: Galassi, La Pittura del ‘600 a Genova, Milan 1988, n. 449). During the early 1980s the present painting entered the collection of Aldo Zerbone with whom it remained until 2017-18. His collection began to gain renown during the 1990s owing to Zerbone’s numerous loans to exhibitions (including the exhibition of Grechetto in 1990 and Genova nell’Età Barocca in 1992 for example): his collection was undoubtedly the most important grouping of Genoese baroque art assembled during the final years of the twentieth, and the early twenty first centuries. Compared to other paintings by Giovanni Battista Paggi the present painting is distinguished by its great compositional complexity, the brilliance of the subject’s clothing and the extraordinary wealth of materials represented. It is a magisterial work among the artist’s masterpieces: here with great skill and a sense of balance the Genoese master unifies all the varied components of his art. Born into a noble family involved in commerce, Giovanni Battista Paggi pursued a career in painting against the wishes of his father, who would have preferred him to become a merchant like himself. The artist’s first biographer, Raffaele Soprani, recorded in 1674 that the artist’s earliest training was schooling in letters, mathematics and business, he began studying painting for his own pleasure. According to tradition it was thanks to his meeting with Luca Cambiaso, and the encouragements he received from this master, that Paggi turned to pursue a career in art. Accused of premeditated murder in 1581, Paggi was forced to flee Genoa. He found refuge in Florence where he was received by the Medici court and remained there until 1599. The numerous altarpieces he supplied to the churches of Florence, Lucca, Pistoia, Pisa and other minor towns document Paggi’s activity in Tuscany. His first certainly dated paintings belong to the 1590s. If his public works reveal a certain repetitive conventionality of composition, it is in his easel paintings for private clients that Paggi demonstrated the full breadth and refinement of his talents. The complexity of his compositional arrangements built on multiple planes and centred on a convergence of diagonals, enabled him to depict his figures with a sense of dynamism in their gestures and a play of reciprocal looks, while also attaining poses of great naturalness. The expression given to his subject’s features attains a grace and sweetness that recall the example of Cambiaso (see for example the Ester before Ahasuerus from the Suida Manning Collection in Austin), as well as the influence of the refined painters he encountered in Florence. In the present painting, the dynamic Paggi achieves between the Madonna and her Son, and in turn between Christ and Saint Catherine is especially notable: a symphony of affection which is framed both compositionally and sentimentally by the youth who at lower left holds a segment of the Catherine wheel, alluding to the means of the Saint’s martyrdom, and the angels in the upper right who spill onto the scene with great naturalness. They emerge from a cloud with a near ironic smile which attenuates their serious role as bearers of the Queen of Alexandria’s symbols of martyrdom and glory. She kneels before the Christ child, her gaze downturned in humility, as if to underline the contrast with her great status, indicated by the richness of her robes. The painter unsheathes his many talents in the truthful depiction of her dress: he is attentive to its fabrics – velvet, satin and silk – enriched with the gems, pearls, silver and gold that adorn it. This display is not unusual for Paggi: on the one hand it can be justified thanks to his noble origins, and on the other, it clarifies and explains the tremendous success he attained in his day amongst his private clients, to the extent that later his collectors would come from well beyond the borders of Liguria and Tuscany.閱讀更多

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博客文關於 "Dorotheum"

席勒|馬諦斯|拉斯尼格|基彭貝爾格 – 歐洲重要當代藝術家
蔬果拼湊的季節和人像 – 就在維也納Dorotheum
當創立於1707年的維也納Dorotheum宣佈拍賣週即將開始,藝術藏家或鑑賞家們都知道重要的藝術大作即將展世。 從4月25日至27日,亮點之一是世界上最美麗的皇后「奧匈帝國伊麗莎白皇后」的畫像即將走進四月的拍賣槌下。此外,古典大師們眼中的威尼斯距今變化有多大?

成交價 "Dorotheum "

Karl Brandstätter *
(Lautz bei Villach 1946 geb.) "Hügel", signiert Brandstätter datiert 88, Farbradierung, die Nr.39/50, 50 x 65 cm, ohne Rahmen Dorotheum
Klassizistische Kommodenuhr
, 1. Drittel 19. Jhdt., 1/4 Stunden Federzug Rechenschlagwerk auf Tonfeder, weißes Emaillezifferblatt mit arabischen Stundenziffern und arabischen Ziffern für die Datumanzeige, Fichtenholzgehäuse, nuss furniert, mit Ahorn marketiert Metallapplikationen, seitlich zwei Sichtfenster, Höhe 43 cm, Gehäuse mit starken Holz-und Furnierschäden, Applikationsteile beschädigt, fehlen tlw., der Deckel für die Werkabdeckung fehlt, unpassend ergänzt, Zifferblatt beschädigt, der Hebel für die Schlagwerkabstellung ergänzt, 1 Pendel, 2 Schlüssel, 1 Glas gesprungen, Bekrönung fehlt, reparatur- bzw. restaurierungsbedürftig, Pendel und Schlüssel mit Zinnlötstellen\n Experte: Christian Tschuk Dorotheum
Wilhelm Kuhnert
(Oppeln 1865-1926 Flims) Vier Tafeln, alle rückseitig betitelt und bezeichnet, Tafel VIII - Kohlmeise, Beutelmeise, Blaumeise, signiert W. Kuhnert, Tafel X - Felsentaube, Ringeltaube, Turteltaube, Kropftaube, Tafel XII - Haubentaucher, Lachmöwe sowie Strauss, signiert W. Kuhnert, Öl auf Leinwand auf Karton, je ca. 30 x 19 cm, ohne Rahmen(4), (Rei)\n Expertin: Mag. Dimitra Reimüller Dorotheum

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