Carlo Francesco Nuvolone

LOT 258 SOLD BY THE J. PAUL GETTY MUSEUM TO BENEFIT FUTURE PAINTINGACQUISITIONS CARLO FRANCESCO NUVOLONE MILAN 1609 - 1662 SILVIO, DORINDA AND LINCO oil on canvas 80,000—120,000 USD 68 by 68 1/2 in.; 172.7 by 174 cm. PROVENANCE Possibly the Dukes of Parma, before 1708 (see note);Private Collection, London, circa 1927;Mr. Frederick H.B. Ehrenreich, Pasadena, California, inherited fromhis late mother, 1960;With Curtis Art Gallery, Pasadena, 1961;From whom acquired by Constantine Cherkas, Santa Monica,California;By whom sold to The J. Paul Getty Museum, Malibu, 1969. EXHIBITED Northridge, CA, Fine Arts Gallery of California State Universityat Northridge, Baroque Masters from The J. Paul Getty Museum, 26February - 30 March 1973, no. 31. LITERATURE AND REFERENCES "Recent Acquisitions of American and Canadian Museums," in TheArt Quarterly, vol. XXXIV (Winter 1971) p. 498;B. Fredericksen, Catalogue of the Paintings in The J. Paul GettyMuseum, Malibu 1972, p. 50, no. 52;F.M. Ferro, "Carlo Francesco Nuvolone e la ferita d'amore," inStudi di Storia dell'Arte in onore di Mina Gregori, Milan 1994, pp.201-202, reproduced in detail, p. 202, fig. 11 (as incorrectly in aGerman collection);D. Jaffé, Summary Catalogue of European Paintings in The J. PaulGetty Museum, Los Angeles 1997, p. 93, reproduced;F.M. Ferro, "Seicento. Carlo Francesco Nuvolone," in Museo d'ArteAntica del Castello Sforzesco. Pinacoteca, vol. III, Milan 1999, p.204;F.M. Ferro, Nuvolone: una famiglia di pittori nella Milano del'600, Soncino 2003, pp. 206-207, no. cf 135, reproduced p. 359,fig. 41. CATALOGUE NOTE The present painting is thought to represent a scene from IlPastor fido, an epic poem by Giovanni Battista Guarini that wasfirst published in Venice in 1590, and which enjoyed greatpopularity during the first decades of the 17th century. A modernadaptation of the myth of Cephalus and Procis, Il Pastor fido tellsthe story of Silvio, the proud hunter who spurns the love of theshepherdess Dorinda. Only too late does he recognize his love forDorinda when he accidentally kills her with an arrow, havingmistaken her for a wolf. She dies in the arms of Silvio and herfather Linco, the elderly shepherd who supports her in the presentcomposition.Carlo Francesco Nuvolone painted many versions of the scene ofSilvio, Dorinda and Linco, and also returned to the same theme oflove and death in images of Cephalus and Procis.1 Thepresent canvas, however, is the largest and most dramatic. The mostobvious difference between the present work and other versions ofthe scene is the shift in the placement of Linco's right arm: whilein the present work, his arm is underneath Dorinda, supporting her,in the other versions, it comes over her, as if he is dragging orlifting her. Additionally, here the figural group is pushed to theforefront of the picture plane and dominates almost three-quartersof the canvas. The turbulent, stormy landscape that is depicted inbold, slashing strokes of paint is emotive and poetic.In his 2003 study of the Nuvolone, Filippo Maria Ferro suggeststhat this painting may be the one mentioned in the 1708 inventoryof the Duke of Parma, given to Carlo Francesco's father, PanfiloNuvolone: "Quadro senza cornice alto br. 2 on. 9, largo br. 2 no.[sic] 3. Una donna con seno nudo e ferita al petto, protesta con lasinistra in alto, e con la destra s'appoggia, vestita di rosso emanto turchino e bianco, due figure che la compiangono, in atto disollevarla..."2 Giambattista Zaist in his Notizieistoriche de'Pittori, Scultori ed Architetti cremonesi of 1774mentions the painting in his Vita of Panfilo, and notes that it hadas a pendant a painting of Susanna at her Bath.3It has also been suggested t

Carlo Francesco Nuvolone (Milan 1609-1662) The Death of Dido, Queen of Carthage oil on canvas 56 7/8 x 47 3/8 in. (144.4 x 120.3 cm.) VAT rate of 5% is payable on hammer price and at 17.5% on thebuyer's premium. Anonymous sale; Sotheby's, Monaco, 17 June 1988, lot 828. Anonymous sale; Sotheby's, New York, 5 April 1990, lot 273, whenacquired by with Galerie Alain Tarica, Paris, where acquired by Yves-Saint Laurent and Pierre Bergé in 1999; Christie's, Paris,23-25 February 2009, lot 74, when acquired by the presentowner.

LOT 47 CARLO FRANCESCO NUVOLONE MILAN 1609 - 1662 THE LAMENTATION 12,000—18,000 GBP DESCRIPTION with the maker's mark ADC (in compendium) on the reverse of the panel oil on panel CATALOGUE NOTE We are grateful to Prof. Filippo Maria Ferro for endorsing the attribution to Nuvolone on the basis of photographs, and for suggesting a date of execution circa 1635. Having first studied with his father, the painter Panfilo Nuvolone, Carlo Francesco attended the Accademia Ambrosiana in Milan where he became a pupil of Giovanni Battista Crespi, called il Cerano. It was there that he also came into contact with Daniele Crespi and Giulio Cesare Procaccini, all of whose styles clearly influenced this work.

CARLO FRANCESCO NUOVOLONE (CREMONE 1608-1662 MILAN) La mort de Didon, reine de Carthage huile sur toile 145 x 120 cm. (57 x 47¼ in.) Provenance Vente anonyme; Sotheby's Monaco, 17 juin 1988, lot 828, Vente anonyme; Sotheby's New York, 5 avril 1990, lot 273, où acquis par Galerie Alain Tarica, Paris; d'où acquis en 1999 par Yves Saint Laurent et Pierre Bergé. Post-Lot Text THE DEATH OF DIDO BY CARLO FRANCESCO NUOVOLONE p>

CARLO FRANCESCO NUVOLONE MILAN 1609 - 1662 HEAD OF A WOMAN 20,000—30,000 USD 12 1/2 by 10 7/8 in.; 31.7 by 27.6 cm. signed or inscribed on the reverse Panfilo Vechio oil on panel, unframed This freely and rapidly painted bust portrait of a woman relates to another, larger panel of a Saint Catherine (or Allegory of Philosphy) by Carlo Francesco Nuvolone in a private collection, Milan (see F.M. Ferro, Nuvolone una famiglia di pittori nella Milano del '600, Soncino 2003, p. 221, cat. no. cf 188, illus., fig. 48). That painting is octagonal in format and shows the same head of a woman, wistfully looking downwards and with the same distinctive diadem on her head, but also includes her hand holding a book and the figure of a young angel in the background to the right. The soft applicaton of the paint and flickering brushwork, particularly evident in the hair of the figure, are typical of the work of Carlo Francesco Nuvolone. The panel is inscribed on the reverse in an old hand "Panfilo Vechio [sic]" which suggests that the picture was in the past attributed to the artist's father Panfilo Nuvolone, better known as a painter of still lifes. We are grateful to Dr. Filippo Maria Ferro for confirming the attribution of the present painting to Carlo Francesco Nuvolone based on photographs. He states that the artist favored the use of similarly sized panels for oil studies and notes the recent reappearance of two such works of almost the same size as the present painting with studies of the heads of female saints.