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Jacopo, Giacomo Ligozzi

Italy (1547 -  1626 )
LIGOZZI Jacopo, Giacomo Ocnus An Allegory Of The Futility Of Labour

Christie's
Jul 5, 2016
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Artworks in Arcadja
65

Some works of Jacopo, Giacomo Ligozzi

Extracted between 65 works in the catalog of Arcadja
Jacopo, Giacomo Ligozzi - A Knight, Half Length,wearing Armour And An Elaborate Plumed Helmet

Jacopo, Giacomo Ligozzi - A Knight, Half Length,wearing Armour And An Elaborate Plumed Helmet

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Lot number: 1
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A KNIGHT, HALF LENGTH,WEARING ARMOUR AND AN ELABORATE PLUMED HELMET Jacopo Ligozzi VERONA 1547 - 1627 FLORENCE Pen and brown ink, heightened with whiteover black chalk; bears inscriptions on the backing sheet in black chalk: Jak. Ligozzi/Reiter mit Federbusch (in the hand of Arthur Feldmann)and Della Bella, and numbering in red chalk:153 288 by 203mm Provenance Eugène Rodrigues (1853-1928), Paris (L.897); Dr. Arthur Feldmann (1877-1941), Brno; looted by the Gestapo during the Nazi occupation of Czechoslovakia; on deposit at the State Czechoslovak Bank, Prague; accessioned by the National Gallery, Prague, in 1956, inv. no. DK 4613 (bears their mark,verso:NGGS/PRAHA, not in Lugt); restituted to the heirs of Arthur Feldmann in 2015 Exhibited Prague, Waldstein Riding School Gallery, Olomouc Museum of Arts and Cheb, Gallery of Fine Arts,The Florentines, Art from the Time of the Medici Grand Dukes,2002-3, no. 86 (entry by Milan Togner) Literature M. Zlatohlávek, 'On the threshold of the baroque in Tuscany (Florence, Pisa, Siena) - 1574-1606: drawings from Czech public collections',Uměni, vol. 53, no. 3 (2005), p. 240 Catalogue Note This handsome study of a young man, half-length, wearing armour and a fanciful helmet decorated with ostrich feathers,is closely associated with two other drawings by Ligozzi, both full length studies of knights in elaborate armour and fantastical helmets, one in the Ecole des Beaux-Arts, Paris, the other in Munich.1 It was Gianvittorio Dillon who first recognised that the drawings in Paris and Munich were made in connection with an important tournament that took place in Pisa on 10 February 1603, to celebrate the wedding of Cosimo, the nephew of the duke Alessandro de\’Medici, to Lucrezia Catani.2In a detailed manuscript description of this event, written by Francesco Maria Gualterotti3, we read that Cosimo de\’Medici was lavishly dressed in white silk, and wore gilded armour with a fanciful helmet that resembled the tail of a displaying peacock(\‘era vestito riccamente d\’oro, e di seta bianca con armadura dorata tutta, e con cimiro molto vago, il quale a poco a poco aprendosi era molto somigliante a la ruota del ochiuto pavone\’). The description of the helmet corresponds closely to the drawing in Munich, and in 1987 Mario Scaliniobservedthat he knew of no other helmets with similar decorations, and that the drawings must therefore be linked to the same commission and tournament.4 The present drawing was unknown to Dillon, but as Martin Zlatohlávek has more recently noted (see Literature), it can without doubt be added to the two in Paris in Munich, as a further record of this extraordinary event. The drawing is an excellent example of Ligozzi\’s ability to describe with accuracy and great attention the world around him. While the armour is only summarily indicated in subtle and delicate washes applied with the point of the brush, the much more detailed rendering, in pen and ink as well as wash, of the helmet and of the facial features of the young knight suggests that this captivating study could well have been executed from life. A further addition to this small group of drawings was suggested by Françoise Viatte, who proposed that a drawing in the Musée des beaux-arts d\’Orléans,which also depicts a very similar, elaborate helmet decorated with ostrich and peacock feathers, could be a study for the helmet worn by Cosimo de'Medici in the tournament held in Pisa in 1603.5 When compared with the other three drawings, the Orléans sheet is, however, slightly different (and rather dryer) in execution, focussing solely on the description of the helmet, and would seem in fact to be a subsequent record of a helmet of this type, rather than a drawing actually made in connection with the festivities. The present sheet, in contrast, is very sensitively drawn, capturing not only the lavish luxury of this event in the description of the fanciful helmet, but also, and equally accurately, the features and expression of the young knight, ready to participate in the magnificence of this great courtly event. Ligozzi arrived in Florence in 1577, at the invitation of Francesco I de\’Medici, and worked at the court not only as an official painter, but also as a designer of jewellery, glass, furniture and tapestries. His miniaturist precision and the accuracy of his graphic style were very much appreciated in the Medici entourage, and he was also very active as a scientific draughtsman, making studies of plants and animals that demonstrate a talent worthy of the best miniaturist. As an artist closely associated with so many aspects of the artistic life of the Medici court, it is comes as no surprise that Ligozzi should have been involved in the designs for the great 1603 marriage celebrations in Pisa. The drawing belonged tothe illustrious Czech collector Dr. Arthur Feldmann, whosecollection was extensively looted during World War II. A significant group of restituted Feldmann drawings was sold at Sotheby's in London on 6 July 2005; fora full account of thecollection and its fate, see the introduction preceding lot 11 in that sale catalogue. 1. Paris, Ecole Nationale Supérieure des Beaux-Arts, inv. no. M. 2712; Munich, Graphische Sammlung, inv. no. 2300 2. See E. Brugerolles, Disegni Veneti dell\’Ecole des beaux-arts di Parigi,exhib. cat., Venice, San Giorgio Maggiore,1988, p. 39, no. 24, reproduced fig. 24 3. \’Torneo a Piedi Mantenuto in Pisa Dall\’Illustriss.et Eccellentiss.Sig. D. Cosimo Medici Gran Principe di Toscana. Raccolto, et descritto dal Sig. Francesco Maria Gualterotti....\’. 4.See exhib. cat., op. cit., Venice 1988, p. 39 5.Orléans, Musée des beaux-arts d\’Orléans, inv. no. 1518;Dessins italiens de Venice à Palerme du musée des beaux-arts d\’Orléans XVe-XVIIIesiècle,exhib. cat., Orléans, Musée des beaux-arts d\’Orléans, 2003-4, pp. 50-51, no. 24, reproduced
Jacopo, Giacomo Ligozzi - Ecce Homo

Jacopo, Giacomo Ligozzi - Ecce Homo

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Lot number: 185
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Studio of Jacopo Ligozzi (Verona 1547-1627 Florence) Ecce Homo oil on canvas 123.3 x 98.4cm (48 9/16 x 38 3/4in). Footnotes A studio variant of a missing painting by Jacopo Ligozzi, the present work differs from the numerous copies of this composition which appear to follow Sadelaer's engraving of 1598 after Ligozzi's original.
Jacopo, Giacomo Ligozzi - Ocnus An Allegory Of The Futility Of Labour

Jacopo, Giacomo Ligozzi - Ocnus An Allegory Of The Futility Of Labour

Original
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Lot number: 10
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Lot Description

Jacopo Ligozzi (Verona circa 1547-circa 1627 Florence)

Ocnus: An allegory of the Futility of Labour

with inscription 'Giorgio Vasari' (erased)

black chalk, pen and brown ink, brown wash, heightened with white, on blue paper, the outlines partially indented for transfer and the verso reddened for transfer

7 7/8 x 6 in. (19.8 x 15 cm.)

Provenance

M.-G.-T. de Villenave (L. 2598); possibly Alliance des Arts, Paris, 1-6 December 1842, [lot number unknown].

L.Valentin (L. 2498, on the old mount).

Francesco Dubini, Milan.

Ulrico Hoëpli, Milan.

Anonymous sale; Finarte, Milan, 21-22 April 1975, lot 43.

with Margot Gordon, New York, 1987.

with Jean-Luc Baroni at P. & D. Colnaghi, London, 1992, no. 17, ill.

Private collection, Connecticut.

with Stephen Ongpin Fine Art, An exhibition of Master Drawings, New York, 2010, no. 6.

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Jacopo, Giacomo Ligozzi - The Abduction Of The Sabine Women

Jacopo, Giacomo Ligozzi - The Abduction Of The Sabine Women

Original
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Lot number: 21
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Description:
Jacopo Ligozzi

VERONA 1547 - 1627 FLORENCE

THE ABDUCTION OF THE SABINE WOMEN

Signed and indistinctly dated IACOPO LIGOZZI / FA [CE]VA...96 (lower center, beneath the dog)

Oil on canvas

52 1/8 by 73 3/8 in.; 132.3 by 186.4 cm

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Saleroom Notice

Provenance

Bardi collection, Rome, before 1946 (almost certainly Pietro Maria Bardi, who moved that year to Brazil)

Private Collection, Sao Paulo, Brazil, thence by descent

Anonymous sale: Sotheby's, New York, January 11, 1990, lot 71

Acquired at the above sale by A. Alfred Taubman

Exhibited

Detroit Institute of Arts, 1990-2015 (on loan)

The Art Institute of Chicago & Detroit Institute of Arts, The Medici, Michelangelo, and The Art of Late Renaissance Florence, November 9, 2002 - June 8, 2003, no. 25

Literature

Enciclopedia della Pittura Italiana, 1951, pp. 1349-1351, illustrated p. 1351

Mina Bacci, "Jacopo Ligozzi e la sua posizione nella pittura Fiorentina," Proporzioni, vol. IV, 1963, p. 71 passim

The Medici, Michelangelo and The Art of Late Renaissance Florence, L'ombra del genio: Michelangelo e l'arte a Firenze, 1537-1631 (exhibition catalogue), Milan, 2002, no. 25, p. 160, illustrated in color p. 161

Sandro Bellesi, Catalogo dei pittori fiorentini del '600 e '700, Florence, 2009, vol. I, p. 178, illustrated vol. III, p. 41, fig. 898

This remarkable work was painted in 1596 by Jacopo Ligozzi who, despite originating from Verona, spent most of his life at the service of the court of the Medici Grandukes in Florence. His talents were extraordinary and his production included scientific and botanical drawings, designs to be rendered in pietradura, frescoes, miniatures, and both allegorical and religious paintings. The present work stands out from his corpus as it depicts the abduction of the Sabine women, and is thus possibly Ligozzi's only treatment of a classical history subject.

While Ligozzi's religious altarpieces can at times appear a little austere and, to a modern audience, too adherent to the ethos of the Counter-Reformation, his small-scale works, particularly those on copper or those depicting macabre or vanitas subjects, display a remarkable modernity. In all his works, however, what stands out is a concern for detail, which is probably due to the artist's miniaturist training. It is particularly in evidence in the present work in the gold embroidery of the red garments in the central figure, as well as in the tail of the horse at left.

Ligozzi was clearly responsive to the artistic influences around him. Throughout his career, the artist reveals a debt to Paolo Veronese's art in his treatment of large-scale paintings, as can be seen in the present work. From the two historical works from 1591 in Florence's Palazzo Vecchio, which were his first public commissions, the Coronation of Cosimo I and Pope Boniface receiving the Florentine Ambassadors (figs 1 and 2), to his late work from 1623 in the cathedral of Livorno, the Apotheosis of Saint Giulia, the echoes of Veronese's classical settings, architecture and mise-en-scène can be detected. Moreover, in the figures there is also a clear reference to Giambologna's bronze bas-relief of the same subject in the Loggia dei Lanzi in Florence.

The ancient historians Livy and Plutarch famously recounted the Roman abduction of the Sabine women. In the first book of his colossal history of Rome, Ab Urbe Condita, Livy wrote that the Romans, not long after Romulus had founded the city, risked dying out within a single generation due to a dearth of fertile women. Desperate for a solution to this potential population crisis, Romulus sent envoys to the neighboring tribes, including the Oscan-speaking Sabines, to request intermarriage with their daughters. The Romans, however, were spurned at every turn. Upon hearing the news Romulus concealed his injured pride and organized a spectacle to honor the god Neptune, to which he invited the neighboring communities. Once the festivities commenced, Romulus gave an agreed-upon signal and the Roman men began running off with the Sabine maidens, in a gross violation of ancient laws of hospitality. The Sabines later declared war on the Romans, but their daughters, by that point married contentedly to Roman men, famously lunged themselves into the midst of the fighting and beseeched their husbands and fathers to lay down their arms. This intervention represents a dramatic reversal in the role of the Sabine women; through marriage, Livy implied, the powerless Sabine maidens transformed themselves into active agents of peace between the two peoples.

Fig. 1

Jacopo Ligozzi,
Boniface VIII Receives the Ambassadors of Various States and Notes That They Are All Florentines
, Florence, Palazzo Vecchio (Salone dei Cinquecento). © 2015. Photo Scala, Florence

Fig. 2

Jacopo Ligozzi,
Cosimo Receives the Insignia of Grand Duke from Pius V
, Florence, Palazzo Vecchio (Salone dei Cinquecento). © 2015. Photo Scala, Florence
Jacopo, Giacomo Ligozzi - Christ Carrying The Cross

Jacopo, Giacomo Ligozzi - Christ Carrying The Cross

Original
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Lot number: 167
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Description:
Jacopo Ligozzi (Verona 1547-1627 Florence) Christ carrying the cross indistinctly signed in monogram and dated 'IL / 1604', surmounted by a cross ('IL' linked, lower left) oil on canvas 53 ½ x 40 3/8 in. (135.9 x 102.5 cm.)
Provenance
A.L. Nicholson; Christie\\’\\’\\’\\’s, London, 3 March 1924, lot 75, as \\‘Sebastiano\\’\\’\\’\\’ (3 gns. to Tass). Anonymous sale; Christie\\’\\’\\’\\’s, New York, 14 January 1993, lot 89, as \\‘Attributed to Jacopo Ligozzi\\’\\’\\’\\’ . with Matthiessen Fine Art Ltd., London, 1993, where acquired by the present owner.
Saleroom Notice
Please note that the height of the canvas in centimetres is 135.9 cm and not as stated in the printed catalogue.
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