Antonio Carracci

Antonio Carracci (Venice 1583? - 1618 Rome) The Temptation of Saint Anthony, oil on copper, 51 x 37 cm, framed Inscribed on the reverse of the copper panel with an old inventory number 84. Provenance: possibly Mons. Giovan Battista Agucchi; Harari & Johns Ltd; European private collection Literature: S. Pepper, The School of Bologna, 1570–1730. Calvaert to Crespi, Bologna 1987, pp. 36–37, fig. 18 (as Antonio Carracci); E. Negro, Giovanni Lanfranco, in La Scuola dei Carracci. I seguaci di Annibale e Agostino, a cura di E. Negro -M. Pirondini, Modena 1995, pp.176, 180, fig. 228 (as Giovanni Lanfranco). The small copper has been attributed to Antonio Carracci by Stephen Pepper (Pepper 1987, pp. 36–37). The painting is related to the artist by the direct comparison with an oil on copper in London, the National Gallery previously attributed to Annibale Carracci by Donald Posner (Posner 1971, p. 46). The present painting on copper in fact depicts the same subject and almost the same dimensions as the London painting. “Not only is the design so close as to suggest a possible cartoon by Annibale in Antonio’’’’s possession, but similarities in the colouration indicate that Annibale’’’’s work was in front of him when he executed his copy.” Pepper affirms that the close connection between the two works can derive from the use of the same drawing as Antonio, Agostino’’’’s illegitimate son, often executed works on the basis of cartoons given to him by his uncle. Emilio Negro has suggested an alerternative attribution for the present painting (see literature) giving it to Lanfranco and he asserts that it is “non incongruamente attribuito ad Antonio Carracci, ma che potrebbe rientrare nei frequenti interludi di ortodossa produzione carraccesca del Lanfranco.” Annibale’’’’s work in the National Gallery has been dated around 1598, while for the present painting a date around 1612 has been suggested, when Antonio Carracci was in contact with Mons. Giovan Battista Agucchi. The National Gallery painting was once in Giovan Battista Agucchi’’’’s Collection, and, from 1650, was recorded in the Borghese Gallery (Posner 1971, p. 46). Antonio Carracci’’’’s Temptation of Saint Anthony might have replaced Annibale’’’’s copper from Mons. A gucchi’’’’s collection. Antonio was born in Venice in about 1583 according to his biographer Baglione or in 1589 according to Bellori. After his father’’’’s death, Antonio left Emilia for Rome to work with his uncle, Annibale. After Annibale’’’’s death in 1609 he came back to Bologna to join Ludovico and after one year he was again in Rome to assist Guido Reni in the decoration of Pauline Chapel in the Quirinale palace. He is one of the most important artists in the circle of the Carracci and was considered a major figure in his own day. Unfortunately his career was too short because of his early death in 1618. Specialist: Mark MacDonnell

Antonio Carracci (Venice? 1583-1618 Rome) The Baptism of Christ oil on copper 20½ x 15½ in. (52.1 x 39.4 cm.) PROPERTY FROM THE ESTATE OF THE LATE CHRISTINA FOYLE (lots 65 and 75) Provenance Major Eric A. Knight, Wolverly House, near Kidderminster; (+) Christie's, London, 1 December 1944, lot 18 (32 gns. to Boil). Lot Notes The least well known painter from the Carracci family, Antonio was the son of Agostino and a Venetian courtesan named Isabella. After his father's death in 1602 he joined the Roman household of his uncle Annibale for whom he may have worked with other studio assistants on the frescoes in the Galleria Farnese and the decoration of some rooms in the Palazzo Mattei di Gove, Rome. After a brief sojourn in Bologna, Antonio returned to Rome in 1610 to assist Guido Reni, by whom he was strongly influenced, in the decoration of the Pauline chapel in the Palazzo del Quirinale. The decoration of three chapels in S. Bartolomeo all'Isola, Rome, commissioned by Cardinal Michelangelo Tonti, (probably in 1611), constitute his major public work. The present picture can be added to a small group of easel paintings convincingly attributed to the artist, of which he best known is the Deluge of circa 1616 in the Louvre, Paris (inv. no. 230). In these pictures as well as in his public work, Antonio's style displays a personal blend of Emilian naturalism and Roman classicism. We are grateful to Sir Denis Mahon and Dr. Stephen Pepper for both independently confirming the attribution, having examined the painting in the original.