Giulio Carpioni

Giulio Carpioni (Venice 1613–1678) The Adoration of the Magi, oil on canvas, 73.5 x 94.5 cm, framed Provenance: European private collection Literature: La pittura del Veneto: Il Seicento, edited by M. Lucco, Milan 2000– 2001, vol. 1, p. 279-280, fig. 343 An etching of the same subject is possibly linked to the present composition (see P. Zani, Enciclopedia metodica critico- ragionata delle belle Arti, Parma 1819-1824, vol. III, p. 293; IV, pp. 345-346). The crowded composition displaying all the figures on the foreground was much used in the genre scenes of the naturalistic post-caravagesque tradition. Figures and costumes are described with analytical attention to details, as in the realistic definition of the old king’’’’s face at the centre, as well as in the accurate description of the elaborates blankets and their ornaments, possibly a legacy of the influence of the Caravaggesque Venetian works of Saraceni and Le Clerc on the painter. The highly refined manner of execution, with fluent brushstrokes, is consistent with the artist’’’’s manner. The unexpected rich bright colour, as the glowing blue of the Virgin’’’’s mantle, the golden yellow of the king kneeling in the foreground and the red-orange garment of Moor Gasparre, can be found in the production of Carpioni, as for example in the Allegory of Human Fragility (Musei Civici, Vicenza). For the use of these tones and the typology of the figure of the Virgin, similar to the Madonna in the altarpiece (Galleria dell’’’’Accademia, Venice) and to the Charity in Bergamo (Steffanoni collection), the present painting can be dated around 1648-1651, between the Martyrdom of Saint Catherine (church of Saint Catherine, Vicenza) and the “telero” with the Allegoria Grimani in the sanctuary of Monte Berico (see Lucco, op. cit. 2000). A pupil of Alessandro Varotari, called Il Padovanino, Carpioni was influenced by the group of Veronese painters active in Rome that included Turchi, Ottino, and Basetti. Around 1631 he made a brief visit to Bergamo with Padovanino, where he came into contact with Lombard painting. On his return to Venice he became acquainted with Pietro della Vecchia; the etchings of Simone Cantarini and Odoardo Fialetti as well as Nicolas Poussin’’’’s bacchic scenes were further influences. In 1638 he settled in Vicenza and executed most of his work there, under the influence Maffei’’’’s work. After Maffei’’’’s departure to Padua in 1657 Carpioni entered the most productive phase of his career.

Giulio Carpioni (Venice 1613-1678) The Worship of Venus oil on canvas 29 3/8 x 37 5/8 in. (74.6 x 95.5 cm) in an Italian 17th Century carved giltwood frame Cefyn Bryntalch Hall, Llandyssil, Montgomeryshire, c. 1946, and by descent to the present owner. PROPERTY FROM A PRIVATE COLLECTION This hitherto unrecorded Worship of Venus is an important addition to the corpus of mythological pictures by the highly idiosyncratic Venetian artist, Giulio Carpioni. A pupil of Alessandro Varotari, known as Il Padovanino, Carpioni is thought to have travelled to Rome at an early stage in his career. It was here that he must have seen Titian's rediscovered Bacchanals, painted for the studiolo of Alfonso d'Este between 1476-1534, and bequeathed by Lucrezia d'Este to Cardinal Aldobrandini. Carpioni developed an original and instantly recognisable style that assimilated influences from the Caravaggesque Venetian works of Saraceni and Le Clerc, and the group of Veronese painters active in Rome that included Turchi, Ottino, and Basetti. This Worship of Venus is a fine example of the small mythological pictures, largely inspired by the Bacchanals of Titian, Pietro Testa and Poussin; scenes which he interpreted with wit and a melancholic charm. Orlandi described them as 'perfect conceptions, such as dreams, sacrifices, bacchanals, triumphs, dances of putti, the most attractive caprices and fantasies that a painter, inclined to work on a small scale, has ever conceived' (P.A. Orlandi, Abecedario pittorico, Bologna, 1704, p. 311). The highly linear manner of execution, and strong contrast between the areas of palpably cold light and dark are characteristic of Carpioni's bacchanals painted towards the end of his career. The present picture can be compared with the Offerta a Venere, of similar dimenisions, in a private collection in Genoa, which Pilo dates to the mid-1660s (see G.M. Pilo, Carpioni, Venice, 1961, p. 98, fig. 124). The subject is taken from Ovid (Fasti, IV, 133-50) which describes a rite of worship dedicated to Venus that took place on 1 April in the Roman calendar. Women would make offerings of incense to a statue of Venus in order to cleanse 'every blemish on their bodies'. Cefyn Bryntalch Hall, where this picture hung for many years, was built by G.F. Bodley and Philip Webb in 1869, is regarded as marking the beginning of the Georgian revival of the 1870s; it was later the home of the Anglo-Welsh composer and critic, Peter Warlock, born Philip Arnold Heseltine (1894-1930).

GIULIO CARPIONI Three etchings. Christ on the Mount of Olives , circa 1640. First state (of 3) * A Bacchanal with a Satyr andPutti . Second state (of 2), with the addressof Bolzetta. Fleur-de-lys in a circle watermark * St. Jerome , circa 1640. Second state (of 2), with the address ofBolzetta. The letter G in a double circle with a crosswatermark. Inscription in ink, lower margin. Various sizes and conditions. Bartsch 2, 19and 12. Estimate $1,000-1,500

LOT 209 GIULIO CARPIONI VENICE 1613 - 1678 THE SACRIFICE OF POLYXENA; HYPNOS AND IRIS a pair, both oil on canvas, unlined Quantity: 2 15,000—20,000 GBP each: 48 by 32 cm.; 18 7/8 by 12 5/8 in. The attribution is due to Professor Giuseppe Maria Pilo, a copyof whose certificate accompanies the present lot.

Lot 42A Giulio Carpioni Italian, 1613-1679 Nessus and Deianira Oil on canvas 23 1/2 x 34 7/8 inches (59.7 x 88.6 cm) Estimate $6,000-8,000 Glue relined. Scattered inpainting throughout. Any condition statement is given as a courtesy to aclient, is only an opinion and should not be treated as a statementof fact. Doyle New York shall have no responsibility for any erroror omission. The absence of a condition statement does not implythat the lot is in perfect condition or completely free from wearand tear, imperfections or the effects ofaging.