Daniele Crespi

Daniele Crespi BUSTO ARSIZIO CIRCA 1597 - 1630 MILAN THE FLAGELLATION OF CHRIST oil on canvas 48 by 33 in.; 122 by 84 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice This Flagellation of Christ is one of two known versions, the other is the Prado, Madrid (inv. no. P120). 1 There are numerous variations between the two pictures; the most important is the change in position of the executioner on the left. In our version, his arm is raised to strike whereas in the picture in Spain, he leans forward to tie Christ’’s hands. Daniele Crespi often treated the subject of the suffering Christ. The earliest version is probably an Ecce Homo in a private collection; a Flagellation in Warsaw is also thought to date from the early 1620s. 2 Yet another Flagellation, now in Austin, is somewhat later, and the picture in Madrid is dated around 1625 by Giulio Bora, Andrea Spiriti and Alessandro Morandotti, whereas Neilson proposed a date towards 1627-29. 3 A date for this composition in the second half of the 1620s is surely correct. Both versions of the Flagellation are clearly part of Daniele’’s move from the stylistic exaggerations of the early 1620s, under the influence of his masters, Giovanni Battista Crespi, called Cerano and Giulio Cesare Procaccini, to the more classical, balanced modes of the Bolognese, even Rubensian, Seicento. We should note that the features of Christ in the present Flagellation are more refined than those in the Spanish version. As such, they reflect the handling in the altarpiece Christ in Glory with Nine Saints of 1628 in the Certosa at Pavia or the figure of the Resurrected Christ at Garegnano, a fresco finished in 1629. This might suggest a date towards the end of the 1620s. 4 Nancy Ward Neilson 1. N.W. Neilson, Daniele Crespi, Soncino 1996, pp. 30-31, cat. no. 12, reproduced fig. 28B (oil on panel, 120 x 100 cm.). 2. Ibid., pp. 60-61, cat. no. 58, reproduced fig. 5B and p. 59, cat. no. 54, reproduced fig. 5C. 3. G. Bora, in Capolavori della Suida-Manninig Collection, exhibition catalogue, Cremona 2001, p. 54, cat. no. I.8, reproduced; Andrea Spiriti, “Daniele Crespi: la conquista del classicismo”, in Daniele Crespi. Un grande pittore del Seicento lombardo, exhibition catalogue, Busto Arsizio 2006, p. 44; Alessandro Morandotti, in Milano-Genova. Andata/ritorno. Percorsi della pittura tra Manierismo e Barocco, exhibition catalogue, Milan 2012, p. 36. 4. N.W. Neilson, op. cit, pp. 52-53, cat. no. 47, reproduced fig. 33 and pp. 31-35, reproduced fig. 47.

Daniele Crespi BUSTO ARSIZIO CIRCA 1597 - 1630 MILAN THE HEAD OF SAINT JOHN THE BAPTIST oil on poplar panel 39 by 53.5 cm.; 15 3/8 by 21 1/8 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Catalogue Note The Baptist's physiognomy, with its sculpted cheek bones and smooth handling, unmistakably point to the hand of Daniele Crespi. A similar head appears in the signed Salomé with the head of the Baptist in a private collection. 1 We are grateful to Profesor Francesco Frangi and Dottoressa Nancy Ward Neilson for independently endorsing the attribution on the basis of images. 1. See N. Ward Neilson, Daniele Crespi, Soncino 1996, p. 63, cat. no. 69, reproduced p. 132, fig. 5A. See More See Less

LOT 281 DANIELE CRESPI BUSTO ARSIZIO CIRCA 1597 - 1630 MILAN ST. CATHERINE OF SIENA RECEIVING COMMUNION FROM CHRIST Pen and brown ink and wash heightened with white over black chalk, squared in red chalk; bears pencil attribution on the mount, not in Skippe's hand: Francesco Curradi 229 by 163 mm

LOT 11 DANIELE CRESPI BUSTO ARSIZIO CIRCA 1597 - 1630 MILAN RECTO: DESIGN FOR A SPANDREL WITH SEVERAL PUTTI VERSO: TWO ANGELS Red chalk and point of the brush and grey wash (recto and verso); bears old attribution in pen and brown ink top right: del Cambiagio; some old accounts in pen and brown ink (verso) 301 by 242 mm

LOT 542 DANIELE CRESPI BUSTO ARSIZIO CIRCA 1597 - 1630 MILAN SAINT CATHERINE OF ALEXANDRIA DISPUTING WITH THE PHILOSOPHERS,EMPEROR MAXENTIUS ENTHRONED BEHIND Pen and black ink over red chalk; inscribed in pen and black ink: Pompeo and ottavio 7,000—9,000 USD measurements 152 by 230 mm; 6 by 9 in Description Pen and black ink over red chalk;inscribed in pen and black ink: Pompeo and ottavio CATALOGUE NOTE The drawing cannot be connected to a known work, butstylistically it is close to Crespi's study of The Death of RaymondDiocrès, which is preparatory for a fresco in the Certosa ofGaregnano.1 Crespi completed the decoration of thisimportant Certosa in 1629. Characteristic are the agitated penstrokes, the faces, and the figure to the right seen frombehind. We are grateful to Dr Paul Taylor for his help in identifyingthe subject. 1. Milan, Biblioteca Ambrosiana; see N. Ward Neilson, DanieleCrespi, Soncino 1996, p. 33; p. 82, no. D14, reproduced p. 213,fig. 71 CATALOGUE NOTE The drawing cannot be connected to a known work, butstylistically it is close to Crespi's study of The Death of RaymondDiocrès, which is preparatory for a fresco in the Certosa ofGaregnano.1 Crespi completed the decoration of thisimportant Certosa in 1629. Characteristic are the agitated penstrokes, the faces, and the figure to the right seen frombehind. We are grateful to Dr Paul Taylor for his help in identifyingthe subject. 1. Milan, Biblioteca Ambrosiana; see N. Ward Neilson, DanieleCrespi, Soncino 1996, p. 33; p. 82, no. D14, reproduced p. 213,fig. 71