Salvator Rosa

Italy (Napoli 1615Roma 1673 ) - Artworks Wikipedia® - Salvator Rosa
ROSA Salvator A Battle Scene

Sotheby's /Dec 5, 2013
48,068.25 - 72,102.37
306,138.05

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Artworks in Arcadja
596

Some works of Salvator Rosa

Extracted between 596 works in the catalog of Arcadja
Salvator Rosa - Apollo And The Cumaean Sybil.

Salvator Rosa - Apollo And The Cumaean Sybil.

Original 1661
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Lot number: 190
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Description:
SALVATOR ROSA Apollo and the Cumaean Sybil. Etching and drypoint, circa 1661. 350x232 mm; 13 3/4x9 1/4 inches, small margins. Second state (of 3). A superb, early and richly-inked impression with burr. With--The Crucifixion of Polycrates, etching. Second state (of 2). Bartsch 17 and 10; Wallace 102 and 111. Estimate $1,000 - 1,500
Salvator Rosa - The Genius Of Salvator Rosa; Democritus In Meditation

Salvator Rosa - The Genius Of Salvator Rosa; Democritus In Meditation

Original 1662
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Lot number: 58
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Salvator Rosa (Italian, 1615-1673) The Genius of Salvator Rosa; Democritus in Meditation (Bartsch 24, 7; Wallace 113, 104) Two etchings with drypoint, 1662, the 'Genius of Rosa' the final third state with deep drypoint added to the contour of the face of the female figure on the right and light shading lines across the hole in the smoke just above the urn, 'Democritus' the final second state with burnishing on the upper right edge of the sarcophagus above his right knee and on the curved strokes in the sky above his right leg, on thick watermarked laid, with small margins, 456 x 276mm (18 x 10 7/8in)(PL) (2) (unframed)
Salvator Rosa - A Young Boy Holding A Skull In A Wooded Landscape

Salvator Rosa - A Young Boy Holding A Skull In A Wooded Landscape

Original
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Gross Price
Lot number: 10
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Description:
Lot Description Salvator Rosa (Arenella 1615-1673 Rome) A young boy holding a skull in a wooded landscape with inscription 'Qui fra noi sta il Sig Giovanni Ricciolini/***/quale so che potrebbe.../potrebbe...dopo pra...' (verso) pen and brown ink, grey wash 9 5/8 x 7 in. (24.5 x 17.7 cm.) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance M. Polakovits (L. 3561). Anonymous sale; Sotheby's, New York, 28 January 1998, lot 62, where acquired by the present owner. View Lot Notes >
Salvator Rosa - A Battle Scene

Salvator Rosa - A Battle Scene

Original
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Gross Price
Lot number: 180
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Provenance Possibly Jaques Courtois, il Borgognone (1621-1675); Thereafter recorded in the collection of Conte Franceso Maria Carpegna (1661-1749), Rome; John Spencer (1734-1783), 1 st Earl Spencer, Althorp, Northamptonshire, by 1750; By descent, until 1979, when acquired. Exhibited Northampton, Northants., Museum and Art Gallery, Italy and the Grand Tour in the XVII and XVIII Centuries, 14 March - 11 April 1959, no. 49; also cited in non-paginated introd. by G. Isham; London, Royal Academy of Arts, Italian Art and Britain, 2 January - 6 March 1990, no. 44; London, Hayward Gallery, Salvator Rosa, 17 October- 23 December 1973, no. 8; Naples, Museo di Capodimonte, Salvator Rosa: tra mito e magia, 18 April - 29 June 2008, no. 57. 180 Salvator Rosa ARENELLA, NAPLES 1615 - 1673 ROME A BATTLE SCENE oil on canvas 96.1 by 154.3 cm.; 37 7/8 by 60 3/4 in. Estimate 40,000 - 60,000 GBP Print The picture is lighter in tone and fresher in colour than the catalogue illusration would suggest. The canvas has been lined and the paint surface appears to be in very good condition if a little thin in the darker more fugitive pigments. There is no damage or loss of paint visible to the naked eye however there is localised surface dirt and a slightly motled varnish overall. Examination under ultraviolet reveals some minor scattered retouching throughout the sky which includes retouching to an old vertical surface scratch measuring approx. 1 in. in the centre left and some retouching to two vertical lines running down the canvas weave centre right, through the two figures to the right of the sword wielding horseman. Otherwise the picture seems to be in good overall condition. Offered in a smart gilt wood and plaster frame in good overall condition. .
Salvator Rosa - A Rocky Landscape

Salvator Rosa - A Rocky Landscape

Original
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Gross Price
Lot number: 551
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Salvator Rosa (Naples 1615–1673 Rome) A rocky landscape with the penitent Saint Jerome, oil on canvas, 121 x 167 cm, framed Provenance: Ferdinand IV of Bourbon, King of Naples (1751-1825) collection, Naples; Henri Eugène Philippe Louis d’’’’Orléans, Duke of Aumale (January 16, 1822 – May 7, 1897), fifth son of King Louis-Philippe and Marie Amalie of Bourbon-Sicilies (by 1851) Twickenham; possibly sold in England in 1857; European private collection Exhibited: Rome, Dipinti, disegni e incisioni di Salvator Rosa raccolti ed esposti da Mario Barsanti in via Margutta, 23rd February- 18th March 1957, no. 8 Literature: Gustav Friedrich Waagen, Treasures of Art in Great Britain, London 1857, vol. IV, p. 262; Dipinti, disegni e incisioni di Salvator Rosa raccolti ed esposti da Mario Barsanti in via Margutta, Rome 23rd February- 18th March 1957, no. 8; L. Salerno, Salvator Rosa, l’’’’opera completa, Milan 1975, no. 135 We are grateful to Professor Caterina Volpi for confirming the attribution of the present painting after examination in the original (written communication). This important landscape with Saint Jerome comes from the collection of the Duke of Aumale, son of Louis-Philippe d’’’’Orleans, Prince of Salerno. Upon his father´s death in 1851, the Duke, exiled in Britain, acquired his entire collection of paintings for a sum of 100,000 ducats - an impressive anthology which comprised hundreds of paintings acquired during the first years of the 1800s in Rome by Ferdinand IV, King of Naples (1751–1825). The works were transferred to Twickenham in England in 1854. In the following years, the Duke decided to keep only a part of his inheritance and put seventy paintings on sale in 1857, the same year that Gustav Friedrich Waagen - then Director of the Berlin museums - described the collection (op. cit. Waagen, 1857, vol. IV, p. 262). The works conserved by the duke came to the Museé Condé in Chantilly, while the others were sold. Given that the present painting, which with its pendant, the Landscape with three figures today in the collection of the Banco di Sicilia, did not come from the French museum, it is reasonable to suppose that it was among the paintings sold in England during the 1800s. The scenic and majestic river landscape frames the small silhouette of Saint Jerome and is painted with Rosa´s characteristic and expressive quick strokes which depict the figure like a philosopher in contemplation of the Crucifixion. The figure of the saint suggests the typical rigorous energy of the artist, while the landscape, although composed according to a constant syntax of Rosa´s, shows a clear, calm classicism, which is characteristic of only a very short period of his artistic production. From at least 1656, the year in which Rosa delivered the two landscapes to the Marquis Guadagni in Florence (Paesaggio con San Giovanni Battista and Paesaggio con il Battesimo nel Giordano, (see op. cit. Salerno, 1975, nos. 120-121) the style of the landscape represented by Salvator became more composed and classical, similar to certain works of Nicolas Poussin and Claude Lorrain, to culminate in the Landscape with Apollo and the Cumaean Sybil, today in the Wallace Collection in London (see Salerno, ibid., no. 128). From this date, for a further five or six years, Salvator Rosa experimented with an unrestrained classicism, which coincides with his beginnings in engraving. The present picture can therefore be placed in the last years of the 1650s, alongside the Landscape with Apollo and the Cumaean Sybil, and represents Salvator´s most sincere homage to his French colleague Dughet, who lived near his home at Trinità dei Monti in Rome. The two artists would continue to refer to each other with curiosity, even in the 1660s to 1670s when the Poussino was engaged for the cycle of landscapes for the Palazzo Colonna, however the solemn balance of the works dating from the middle of the century would gradually disappear, to finally vanish altogether into a more dramatic vision of nature - a vision which was destined to have great success in the 18th century. Salvator Rosa pursued his artistic training during the 1630s at the workshop of Aniello Falcone and Jusepe de Ribera in his home city of Naples, and had already made himself well-known during his youth for his great mastery of landscape painting - a quality that led to his acquaintance with Giovanni Lanfranco, and subsequently his involvement in the series of paintings for the Buen Retiro Palace between 1635 and 1639. Celebrated for his Salvatoriello marine landscapes, he moved from Naples to Rome in 1639 when he was called to work for the House of Este, and subsequently to Florence in 1640 after being called by the Medici. His years in Florence, from 1640 to 1649, saw Rosa´s rapid introduction first into the court of the Grand Duke and then into the intellectual and academic cosmos of Florence and Pisa. Salvator profoundly changed the nature of his painting during these years, and his landscapes -which the artist would continue to produce throughout his life - evolved under the examples of Filippo Napoletano and the Roman paintings of Claude Lorrain and Agostino Tassi. Rosa would come to full maturity in the 1650s, in contact with the great Roman Baroque period, when his fame reached its pinnacle. In this period, important commissioners and patrons approached him, including the Milanese Cardinal Luigi Alessandro Omodei (1608-1685), who called upon Rosa, Pier Francesco Mola and Gaspar Dughet to decorate the family chapel in Santa Maria della Vittoria in Milan. For the altarpiece, Rosa painted the Annunciation, today in Paris (St. Thomas Aquinas), while for one of the wings, he painted Saint Anthony Abbot, the hermit in a forest landscape (Milan, Pinacoteca Ambrosiana). Salvator Rosa made his debut in Rome with a painting of highly original subject and form: Democritus in Meditation (Copenhagen, Statens Museum for Kunst), which depicts the Greek philosopher sitting in a forest nightscape, lit only by a pale moon. The wild wood recalls - in this painting as in its counterpart, the Diogenes (Copenhagen, Statens Museum for Kunst) - the untamed landscape of the Tuscan countryside and mountains, often visited by Rosa during stays with friends in Pisa and Volterra. It is a haunting landscape, rich in historical reference and bizarre anthropology— a motive that would appear again in other paintings from the 1650s, such as Brera´s aforementioned Saint Anthony. The present painting will be included in the forthcoming catalogue raisonné of the paintings of Salvator Rosa by Professor Caterina Volpi. We are grateful to Professor Caterina Volpi for her assistance in cataloguing this lot.
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