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Nicolo Dell Abate

(1509 -  1571 )
DELL ABATE NICOLO Portrait Présumé D'ercole Ii D'este

Christie's
Jun 23, 2010
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Variants on Artist's name :

Dell' Abate Nicolò

 

Along with Nicolo Dell Abate, our clients also searched for the following authors:
Master Of The Legend Of The Magdalene, Giorgio Vasari, Simone Veneziano Peterzano, Pieter I Coecke Van Aelst
Artworks in Arcadja
14

Some works of Nicolo Dell Abate

Extracted between 14 works in the catalog of Arcadja
Nicolo Dell Abate - Portrait Présumé D'ercole Ii D'este

Nicolo Dell Abate - Portrait Présumé D'ercole Ii D'este

Original
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Lot number: 36
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Description:
NICOLO DELL'ABATE (MODENE 1509-1571 FONTAINEBLEAU)
Portrait présumé d'Ercole II d'Este
huile sur toile
55,7 x 47,2 cm.
Provenance
Collection Gabriel Fodor, Paris; par descendance au propriétaireactuel.
Literature
S. Béguin, 'Nicolo dell'Abate en France' dans Art de France, no.2, 1962, p. 115, note 6.
S. Béguin, Mostra di Nicolo dell'Abate, cat. expo., 1969, pp.81-83, no. 27.
Exhibited
Bologne, Palazzo dell'Archiginnasio, Mostra di Nicolodell'Abate, 1 septembre-20 octobre 1969, no. 27.
Amboise, Hôtel de Ville, De l'Ordre de Saint-Michel à la légiond'Honneur, 7 juin-20 juillet 1970, no. 68.
Lot Notes
Nicolo dell'Abate décora avec succès plusieurs palais de saville natale avant de s'établir à Bologne (1547-1552). Appelé enFrance par Henri II en 1552, sans doute à l'instigation duPrimatice, Nicolo fut le principal assistant de ce dernier lors dela réalisation des importants cycles décoratifs peints au châteaude Fontainebleau. Primatice, qui était arrivé en 1532, y avaitalors succédé à Rosso, mort en 1540; il était désormais le premierpeintre du Roi. A son contact, les qualités picturales dedell'Abate purent s'épanouir et son art raffiné, principalement despaysages, fut très apprécié de sa clientèle privée. Pendant vingtans, Nicolo dell'Abate collabora à la Salle de Bal puis à laGalerie d'Ulysse au château de Fontainebleau, contribuant, aprèsPrimatice et Rosso, à définir la 'première école de Fontainebleau',inspirée de la Renaissance italienne, qui fut l'un des points dedépart de la peinture en France. Plus particulièrement, Nicolo futremarquable par son naturalisme et son colorisme différents de lafroide élégance florentine du Primatice et de l'expressivité deRosso. Après sa mort vers 1571, ses fils, qui étaient sescollaborateurs, difusèrent sa manière.
Dès ses premières oeuvres, peintures religieuses ou décorsprofanes, Nicolo dell'Abate fit preuve d'une grande maîtrisetechnique dans l'art du portrait. Mais c'est dans les années 1540que Nicolo réalisa ses plus beaux portraits, aujourd'hui considéréscomme des chefs-d'oeuvre et qui furent d'ailleurs souventattribués, jadis, aux plus grands artistes. Ainsi, le Portrait dejeune homme peint vers 1540-45 (Rome, Galleria Nazionale d'ArteAntica) fut un temps attribué à Giorgione. Le Portrait d'homme auperroquet (peint sans doute vers 1550, conservé auKunsthistorisches Museum de Vienne) fut quant à lui donné auParmesan dont il est proche stylistiquement. L'influence du Corrègeet du Parmesan, les principaux modèles de dell'Abate, s'était eneffet fait sentir chez lui dans les dernières années passées àModène. Elle se confirma lors de son séjour bolonais, durant lequelle peintre atteignit sa maturité artistique.
Le Portrait d'un homme portant l'Ordre de Saint-Michel a sans douteété peint en France, ce qui en fait une oeuvre originale dans lacarrière de l'artiste : aucun autre portrait n'est identifié aveccertitude dans cette période française. Une tradition ancienneaffirme pourtant que l'artiste avait portraituré le Roi et la Reineà son arrivée en France, en remerciement. Notre tableau fut jadisdonné à François Clouet avant d'être attribué à Nicolo par GiuseppeFiocco en 1947. Sylvie Béguin, lors de la première expositionmonographique sur Nicolo dell'Abate, Bologne en 1969 (op. cit.)soulignait une influence évidente des Clouet et de Corneille deLyon dans le fond neutre et la précision des traits du visage. Siles traits du modèle peuvent sembler français, la fourrure et lesrehauts d'or sur le costume semblent plutôt italiens: le personnagemystérieux pourrait-il être un italien présent à Paris au milieu dusiècle? C'est ce que confirmerait le collier de l'Ordre deSaint-Michel. Cet ordre avait été créé par Louis XI en réponse àl'Ordre de la Toison d'or institué par son rival Charles leTéméraire. François Ier enrichit le collier, remplaçant lescoquilles simples par des doubles comme on en voit sur le présenttableau. Mais les coquilles étaient superposées et non pasadossées. Le bijou porté ici est donc inexact : il pourrait s'agird'une reproduction infidèle, par un orfèvre étranger, d'un collierperdu, ce qui confirmerait l'hypothèse, émise par Sylvie Béguin,d'un modèle non français.
La comparaison du tableau avec un Portrait d'Ercole II d'Este, ducde Ferrare (Château d'Azay-le-Rideau, dépôt du Louvre) permetd'identifier le modèle avec une grande vraisemblance : les deuxvisages, barbus, au nez aquilin et au front dégagé, sont trèssimilaires; les deux personnages portent l'ordre de Saint Michel.Ercole II d'Este (1508-1559) fut un grand amateur d'art et mena unpolitique artistique ambitieuse. Il vint en France en 1554, et ilest plausible qu'il ait commandé un portrait d'apparat à soncompatriote Nicolo.
For an English version of this note, please visitwww.christies.com.
Although Nicolo dell'Abate is only known to have trained withsculptors - his father and Antonio Begarelli - it seems that he hadalways been active as a draughtsman and painter. In his hometown ofModena he successfully decorated in fresco several palaces andexecuted a few religious pictures before he moved to Bologna in1547. Nicolo travelled to Paris in 1552 at the invitation of HenryII, where he served for the next twenty years as Primaticcio's mainassistant in the workshops of the royal Château of Fontainebleau.Not only did Nicolo collaborate on the Salle de Bal and the Galeried'Ulysse, but he enjoyed considerable success with a refinedprivate clientele, for whom he executed mainly landscapes. WithRosso and Primaticcio, Nicolo dell'Abate was one of the founders ofthe first 'Ecole de Fontainebleau', which largely initiated anindependant tradition of French painting.
From his earliest works, Nicolo displayed a remarkable gift forcapturing a likeness, as can be seen in the figures of the donor inthe altarpiece of the Adoration of the Magi (painted in 1540 in theChurch of Santi Pietro e Polo in San Polo d'Ensza) or the highlyindividualized faces found in the Concert painted on the ceiling ofthe Camerino dell'Eneide of the Rocca Baiardo in Scandiano(executed circa 1540-45, transferred on canvas, Galleria Estense,Modena).
However, it was in the 1540s that Nicolo turned his attention toportraiture proper, and several of the portraits from this periodare today considered masterpieces: The Portrait of a young manpainted circa 1540-45 (Galleria Nazionale d'Arte Antica, Rome)which was once attributed to Giorgione, and the Portrait of a manwith a parrot (probably painted around 1550, KunsthistorischesMuseum, Vienna), long given to Parmigianino, are now recognized assignal works by dell'Abate.
The present portrait was probably painted in France, which wouldmake it the unique surviving portrait from Nicolo dell'Abate'sParis career. According to an old tradition, Nicol had painted theFrench king and queen, as an expression of gratitude when he firstarrived in France in 1552, but these pictures are lost, and noindependant portrait has been known with certainty to date from hisFrench sojourn. The portrait was once attributed to François Clouetbefore being given to Nicolo dell'Abate by Giuseppe Fiocco in 1947.Sylvie Beguin, in the catalogue of the first monographic exhibitionon the artist, underscored the influence on dell'Abate of theFrench Court portraitists, Jean and François Clouet and Corneillede Lyon, which is evident in the neutral background and thefinely-painted features of the gentleman in the present lot. If thefur and the gilded embroideries of the sitter's costume seem ratherItalian, the presence around his neck of the Order of Saint-Michel,which had been created in the previous century by Louis XI, mightsuggest that he was a French subject. However, inaccuracies inpresentation of the Order may indicate that the sitter is a foreign-- perhaps Italian -- subject who was living in France.
The present portrait is very close to a Portrait of Ercole IId'Este, duke of Ferrara (Château d'Azay-le-Rideau, lent by theLouvre). Both faces are similar, and the sitters both wear theOrder of Saint Michael. Ercole d'Este (1508-1559) was a greatPatron of the Arts, and he came to France in 1554. It is plausiblethat he commissioned his portrait from his compatriot Nicolo, whohad just arrived in France two years earlier.
Nicolo Dell Abate - Saint Anthony Abbot Kneeling, The Young St John The Baptist Besidehim

Nicolo Dell Abate - Saint Anthony Abbot Kneeling, The Young St John The Baptist Besidehim

Original
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Gross Price
Lot number: 13
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Description:
LOT 13
NICOLÒ DELL' ABATE
MODENA 1509/12 - 1571 FONTAINEBLEAU (?)
SAINT ANTHONY ABBOT KNEELING, THE YOUNG ST JOHN THE BAPTIST BESIDEHIM
25,000—35,000 USD
measurements
measurements note
7 by 8 in; 177 by 202 mm
Description
Red chalk. Indistinctly inscribed in red chalk at the top:Co...dela maria. Bears old attribution in pen and brown ink at thebottom of the old mount: De Nicholò del Abate.
PROVENANCE
Sale, London, Christie's, 26 November 1974, lot 7, reproducedpl. 3 (to Rudolf Joseph Monte);London, Private collection
CATALOGUE NOTE
The drawing bears an old attribution to Nicolò dell'Abate whichhas been endorsed by Sylvie Beguin. The subtle use of the orangechalk and the quickness of the lines are quite characteristic ofthe artist. The unusual iconography suggests that it might havebeen intended for a banner perhaps commissioned by a religiousorder.
Nicolo Dell Abate - The Taking Of Carthage: Hasdrubal's Wife Denouncing Her Husband Before Scipio

Nicolo Dell Abate - The Taking Of Carthage: Hasdrubal's Wife Denouncing Her Husband Before Scipio

Original
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Price:

Lot number: 25
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Description:
LOT 25

- NICOLÒ DELL' ABATE
MODENA 1509/12 - 1571 FONTAINEBLEAU (?)

THE TAKING OF CARTHAGE: HASDRUBAL'S WIFE DENOUNCING HER HUSBAND BEFORE SCIPIO

800,000—1,200,000 GBP

measurements note
197 by 212.7 cm.; 77 1/2 by 83 3/4 in.
oil on canvas

PROVENANCE
Sestieri collection, Rome, by 1952; With Wildenstein, New York; Private collection, United States.

EXHIBITED
Naples, Palazzo Reale, Fontainebleau e la maniera italiana
, 26 July - 12 October 1952, no. 37, reproduced plate 35, as Niccolò dell'Abbate; Amsterdam, Rijksmuseum, De Triomf van het Manierisme
, 1July - 16 October 1955, no. 9; New York, Wildenstein, The Painter as Historian
, 15 November -31 December 1962, no. 20, reproduced p. 47; Paris, L'Oeil Galerie d'Art, L'École de Fontainebleau
, December 1963 - February 1964, no. 2, reproduced p. 7; Modena, Foro Boario, Nicolò dell'Abate: storie dipinte nella pittura del cinquecento tra Modena e Fontainebleau
, 20 March - 19 June 2005, no. 214, (as by Nicolò dell'Abbate and workshop) reproduced p. 429.

LITERATURE AND REFERENCES
R. Rosenblum, \`\`\`\`The Paintings of Antoine Caron,' in Marsyas
, VI, 1950-1953, pp. 2-3 (as Niccolò dell'Abbate), reproduced plate I, fig 2; J. Ehrmann, Antoine Caron
, Geneva and Lille 1955, p. 46 (under rejected attributions to Caron, as by Dell'Abbate); S. Béguin, L'École de Fontainebleau
, Paris 1960, pp. 140, note 49, p. 142, note 78; A. Pieyre de Mandiargues, "L'École de Fontainebleau," in L'Oeil
, 108, December 1963, p. 10, reproduced p. 9; P. Ms., \`\`\`\`La Passion de Fontainebleau,' in Le Figaro Littéraire
, December 19-25, 1963, p. 20; The Connoisseur
, March 1964, reproduced p. 191; Paris, Petit Palais, Le XVIe siècle européen, peintures et dessins dans les collections publiques françaises
, 1965-1966, p. 5, cited under no. 7; M. Laskin, Jr., \`\`\`\`The Sixteenth Century in Paris' [review of Petit Palais exhibition], in Art Bulletin
, XLVIII, 2, June 1966, p. 254; C.L. Ragghianti, \`\`\`\`Pertinenze francesi nel cinquecento,' in Critica d'arte
, XIX, March-April 1972, p. 69, note 25, reproduced p. 65, fig. 41 (as the so-called "painter of Dijon"); D. Ewing, \`\`\`\`The Influence of Michelangelo's Bruges Madonna
,' in Revue Belge d'Archéologie et d'Histoire de l'Art
, XLVII, 1978, p. 100 and note 67, reproduced p. 101, fig. 17; S. Béguin, \`\`\`\`Abate (Abbate), Nicolò dell',' in Allgemeines Künstler-Lexikon. Die bildenden Künstler-Lexikon
, vol. I, Leipzig, 1983, p. 41 (as by Niccolò dell'Abbate and workshop); D. Cordellier, \`\`\`\`Toussaint Dubreuil, 'singulier en son art,' in Bulletin de la Société de l'Histoire de l'Art Français
, 1987, p. 29, note 45; V. Birke and J. Kertész, Die italienischen Zeichnungen der Albertina: Generalverzeichnis
, vol. II, Vienna, Cologne, and Weimar 1992, p. 1048, cited under inv. no. 1990 (as by Niccoló dell'Abate); S. Béguin, in S. Béguin & F. Piccinini, Nicolò dell'Abate: storie dipinte nella pittura del cinquecento tra Modena e Fontainebleau, exhibition catalogue, Modena 2005, pp. 429-30, no. 214, (as by Nicolò dell'Abbate), p. 453, under no. 245, reproduced in colour p. 429.

CATALOGUE NOTE
The subject of this work is a rarely depicted episode from the taking of Carthage, 146 BC, during the third Punic War. As Appian recorded in his Libyca, VIII, 131, when the city of Carthage was besieged by the Roman general Scipio Africanus, the rebel general Hasdrubal hid himself with his family and his troops of Roman deserters in the Temple of Aesculapius. He left surreptitiously however and threw himself at the feet of Scipio, pleading for leniency. Outraged at this ignoble act of cowardice, Hasdrubal's wife appeared with her children and denounced him before Scipio, whom she calls the rightful conqueror and a just instrument of vengeance of the Carthaginian gods. She then set fire to the temple, slew her children and with them plunged into the flames. Here we see them in the right distance, in the flames of the Temple, while the figures in the middle-ground have come bearing olive wreaths to beg Scipio to spare the lives of those citizens who wish to flee the city. In the foreground Hasdrubal cowers beneath Scipio's throne, while his wife, accompanied by two of her children, points disdainfully at him.
After a successful career as a painter of large-scale decorative schemes (and portraits) in his native Modena and in Bologna, Dell'Abate was summoned to France in 1552 to assist Francesco Primaticcio at the Court of Henri II. There he worked extensively at Fontainebleau, and much of the rest of his life was taken up with large decorative schemes there and at other chateaux. Apart from a number of very beautiful drawings, remarkably little painted work survives from Dell'Abate's French period, and the present work, first recognised as Dell'Abate by Federico Zeri, is thus something of a rarity. It was probably made in connection with a larger decorative scheme, not only because of its size, but also because its subject is more likely to have been seen in conjunction with other pictures from the life of Scipio or the Punic Wars than in isolation. In this regard it inevitably invites comparison his Continence of Scipio of circa 1555 in the Louvre, which was also exhibited at Modena in 2005.1 It has been observed that the Louvre picture reflects to the influence of the Florentine Francesco Salviati, who was in France at the time, and the present work too has something of the elegance of forms and the softness of treatment that are characteristic of Salviati.2 In both works however the principal figure are seen as if on a single plane and the figures display a reticulated elegance so characteristic of the School of Fontainebleau, and already at quite a remove from Dell'Abate's Italian roots. Although it is tempting to speculate if both canvases belong to the same decorative scheme, the scale of the figures in the Louvre canvas is much larger (notwithstanding the fact that it has been cut down), and they are seen without any setting whatsoever, in stark contrast to the architectural and landscape setting of the present picture which is filled with subsidiary figures, and it is hard to imagine them as part of a homogeneous whole.
A drawing of the present rare subject by Dell'Abate in Vienna, Albertina, was recognised by F. Bologna as a preparatory drawing for this painting (see fig. 1).3 The Vienna drawing also includes to the right an additional crowd of fleeing Carthaginians (nearer the viewer than the ones emerging from the archway), omitted by Dell'Abate in the present picture, perhaps to avoid over-crowding the composition.
The figure of Scipio, and several members of his entourage, as well as the three foremost soldiers in the left foreground, recur in a painting in Beauvais depicting The Massacre of the Triumvirs in Beauvais
, which like the present picture has in the past been attributed to Antoine Caron, but is now thought to be by another pupil of Dell'Abate: his own son Giulio Camillo dell'Abate.4 although compared with the present work by Béguin, the Beauvais painting is entirely different in character, being composed solely of many tiny figures in a formal perspectival architectural setting.

A note on spelling
Although his first name has more usually been spelt Niccolò in the past, and his surname Dell'Abbate, the spelling used here is now universally used. 1. See Béguin, 2005, pp. 428-9, no. 213, reproduced. 2. See D. Caldwell, in J. Turner (ed.), The Dictionary of Art
, London 1996, vol. 1, p. 19. 3. Pen and brown ink heightened with white over black chalk on brown paper, 363 by 446 mm
.; see Birke & Kertész, 1992, p. 1048, no. 1990, reproduced p. 1049. Notwithstanding the differences, Sylvie Béguin described the drawing as more likely to be una bella copia; see Béguin, 2005, p. 430. 4. Beauvais, Musée Départemental de l'Oise, inv. No. 45-6 ; see Béguin, 2005, pp. 452-3, no. 245, reproduced in colour p. 429. the subject commemorates a lamentable moment – that of April 1561 - in the French wars of religion.
Nicolo Dell Abate - Concerto

Nicolo Dell Abate - Concerto

Original
Estimate:

Price: Not disclosed
Lot number: 658
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