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Paolo De Matteis

Italy (Salerno 1662 -  Naples 1728 ) Wikipedia® : Paolo De Matteis
de MATTEIS Paolo S. Benedetto Riconosce Rigo Sotte Le Spoglie Di Totila

Palais Dorotheum
Apr 4, 2017
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Variants on Artist's name :

Dematteis Paolo

 

Artworks in Arcadja
232

Some works of Paolo De Matteis

Extracted between 232 works in the catalog of Arcadja
Paolo De Matteis - The Holy Family With The Infant Saint John The Baptist And Attendant Putti

Paolo De Matteis - The Holy Family With The Infant Saint John The Baptist And Attendant Putti

Original
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Lot number: 51
Other WORKS AT AUCTION
Description:
Paolo de Matteis (Cilento 1662-1728 Naples) The Holy Family with the Infant Saint John the Baptist and attendant putti oil on canvas 152.1 x 174.6cm (59 7/8 x 68 3/4in). unframed Footnotes Provenance Sale, Ansorena, Madrid, 18 December 1997, lot 210 (as Sebastiano Conca) Private Collection, Madrid Sale, Christie's, London, 8 July 2005, lot 75 Literature J. Urrea Fernandez, La pintura italiana del siglo XVIII en España, Valladolid, 1977, p. 260, pl.LXXI, fig. 2, as Sebastiano Conca We are grateful to Prof. Nicola Spinosa for confirming the attribution to de Matteis upon inspection of a colour photograph and for suggesting a date of circa 1710 for the work.
Paolo De Matteis -  Charity Of Saint Vincent De Paul

Paolo De Matteis - Charity Of Saint Vincent De Paul

Original 18th century
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Gross Price
Lot number: 272
Other WORKS AT AUCTION
Description:
Paolo de Matteis (Piano del Cilento 1662–1728 Naples) Charity of Saint Vincent de Paul, oil on canvas, 75x53.5cm, framed Provenance: with Heim Gallery, London (1971); Private collection, Rome Exhibited: London, Heim Gallery, Faces and figures of The Baroque, 9 November – 24 December 1971, no. 12 Literature: Faces and figures of The Baroque, exhibition catalogue, London 1971, p. 9, no. 12; E. Schleier, Opere di Paolo de Matteis in Germania, in: P. L. de Castris (ed.), Scritti di storia dell\’arte in onore di Raffaello Causa, Naples 1988, pp. 308 and 310, fig. 9 We are grateful to Riccardo Lattuada for confirming the attribution after examination of the present painting in the original and for his help in cataloguing this lot. We are also grateful to Giuseppe Napoletano for his help in cataloguing the present painting. The present painting relates to a preparatory drawing in the Hessisches Landesmuseum of Darmstadt. Due to its small dimensions, Schleier suggested that the painting could be a model for a bigger pala (see literature). Stylistically the present painting can be dated to the second decade of the 18th century. The beatification of Saint Vincent de Paul (1581–1660) began in Paris in 1705 and ended in Rome in 1729. Specialist: Mark Mac Donnell
Paolo De Matteis - The Caught Thief

Paolo De Matteis - The Caught Thief

Original
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Lot number: 139
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Paolo de Matteis (Piano del Cilento 1662-1728 Naples) The caught thief, pen and brown ink, on laid paper, with watermark "Shield with orb", 25,7 x 15,5 cm, browned, stained, mounted, unframed, (Sch) Provenance: Collection Wilhelm König (1888-1955), Vienna, (Lugt 2653b); anonymous mark "Wolf", not with Lugt; private collection, Austria. The attribution to Paolo de Matteis was confirmed by Prof. Giuseppe Scavizzi on the basis of a digital photograph. Specialist: Mag. Astrid-Christina Schierz
Paolo De Matteis - S. Benedetto Riconosce Rigo Sotte Le Spoglie Di Totila

Paolo De Matteis - S. Benedetto Riconosce Rigo Sotte Le Spoglie Di Totila

Original
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Gross Price
Lot number: 100
Other WORKS AT AUCTION
Description:
Paolo de Matteis (1662-1728) attributed to, Study after the former ceiling fresco "S. Benedetto riconosce Rigo sotte le spoglie di Totila" in Monte Cassino abbey, after Luca Giordano, pen and brown ink, grey wash on laid paper, a fragment of a female figure study in red chalk on the reverse, 40,2 x 26,7 cm, inscribed "Luca Giordano" by another hand on the reverse, numbered "No.13", mounted, unframed, (Sch)
Paolo De Matteis - Rinaldo And Armida

Paolo De Matteis - Rinaldo And Armida

Original
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Gross Price
Lot number: 96
Other WORKS AT AUCTION
Description:
Paolo de Matteis (Piano del Cilento 1662–1728 Naples) Rinaldo and Armida, oil on panel, 140.4 x 192.5 cm, framed

Provenance: with Pardo Gallery, Paris; Private collection, Milan Literature: A. Della Ragione, Paolo de Matteis. Opera Completa, Naples 2015, pp. 22, 42, 64, fig. 64; L. Pestilli, Paolo de Matteis, Neapolitan Painting and Cultural History in Baroque europe, Farnham 2013, p. 349 (mistakenly as oil on canvas) The chivalric achievements of Rinaldo, lord of Montalbano, are rooted in the ancient French chanson de geste, but it is in the Gerusalemme Liberata that Tasso narrates the story of the hero\’\’\’\’\’\’\’\’s infatuation with the beautiful Saracen magician, Armida. The events unfold on the shores of the river Orontes, the Arabic Nahr el \‘Asì, which runs from Lebanon through Syria and Turkey to enter the Eastern Mediterranean Sea. The bold Christian paladin is lured in by the enchantments of Armida: \‘qual cauta cacciatrice … aspetta Rinaldo al varco\’\’\’\’\’\’\’\’ [\‘that careful huntress … who awaits Rinaldo at the gate\’\’\’\’\’\’\’\’] (see: T. Tasso, Gerusalemme Liberata, XIII, p. 57). However, before losing the last of his vigour in the arms of his beloved, and thereby eliminating his strength in the crusades, the young hero is saved by his faithful companions, Carlo and Ubaldo. Here they are seen hidden, spying on the romantic idyll from among the bushes, ready to advance. The present painting large is related to a compostion of the same subject and on the same support, but in a smaller format, which appeared at auction in Sotheby\’\’\’\’\’\’\’\’s; New York 7th June 2002, lot 136: oil on panel, 51.1 x 59.1 cm (see: A. Della Ragione, Paolo de Matteis. Opera Completa, Naples 2015, p. 113, pl. 157). Compared to the easel painting, the present large format work preserves the arrangement of the figures in the foreground but the landscape background is changed. In the smaller work, the palace of Armida is seen in the distance, its form recalling the Castel Sant\’\’\’\’\’\’\’\’Angelo in Rome. In the present work however, De Matteis situates the amorous couple on the edge of a wood, thereby creating space for the arrival of Rinaldo\’\’\’\’\’\’\’\’s companions, who can be seen ready at arms to the left. The present work has been dated to the early 18th century, during the brief years when the Neapolitan painter attended to numerous commissions away from home. Notable among these are his participation in the cycle of canvases decorating the Galleria dell\’\’\’\’\’\’\’\’Eneide of Palazzo Buonaccorsi in Macerata, to which he contributed a Venus presenting arms to Eneas documented to 1712, which is today conserved in the Galleria Nazionale delle Marche, Urbino; this shares a similar range of colours with as the present painting (see: G. Barucca/A. Sfrappini, Tutta per ordine dipinta\’\’\’\’\’\’\’\’ La Galleria dell\’\’\’\’\’\’\’\’Eneide di Palazzo Buonaccorsi a Macerata, in: Quaderni della Soprintendenza di Urbino 6, Urbino 2001, pp. 79-81, no. 11).
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