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Salvator Rosa

Italy (Napoli 1615 -  Roma 1673 ) Wikipedia® : Salvator Rosa
ROSA Salvator Tobias And The Angel

Palais Dorotheum /Oct 18, 2016
15,000.00 - 20,000.00
18,750.00

Find artworks, auction results, sale prices and pictures of Salvator Rosa at auctions worldwide.
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Artworks in Arcadja
759

Some works of Salvator Rosa

Extracted between 759 works in the catalog of Arcadja
Salvator Rosa - The Fall Of The Giants

Salvator Rosa - The Fall Of The Giants

Original 1663
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Lot number: 211
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Description:
SALVATOR ROSA (1615-1673) The Fall of the Giants etching with drypoint, 1663, on laid paper, watermark Figure holding a Cross in a Shield (similar to Briquet 1354), a very good impression of the second, final state, printing with a light plate tone in the sky, with margins, the usual horizontal central fold with an associated printer's crease, in very good condition, framed Plate 720 x 475 mm., Sheet 740 x 486 mm. Pre-Lot Text Property from a Private American Collection Literature Bartsch 21; Rotili 106; Wallace, Theodoli 115 Salvator Rosa (Naples 1615-1673 Rome) A woman looking at an infant held by a man
Salvator Rosa - An Animal Nursing A Child While A Second Child

Salvator Rosa - An Animal Nursing A Child While A Second Child

Original
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Lot number: 21
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Salvator Rosa AN ANIMAL NURSING A CHILD WHILE A SECOND CHILD AND A SEATED MAN LOOK ON, POSSIBLY A SCENE FROM THE LIVES OF ROMULUS AND REMUS ARENELLA, NAPLES 1615 - 1673 ROME Red chalk, within traces of black chalk framing lines 223 by 333mm; 8¾ by 13¼ in Provenance Probably Queen Christina; thence by inheritance to Decio Cardinal Azzolini and Marchese Pompeo Azzolini; Prince Livio Odescalchi; thence by descent to Prince Ladislao Odescalchi; with Galerie Gerda Bassenge, Berlin 1974 Literature M. Mahoney, The Drawings of Salvator Rosa, New York and London 1977, vol. I, p. 674, cat. no. 79.6, reproduced vol. II Catalogue Note Mahoney places the present work within a relatively late group of compositional studies for subjects including Romulus and Remus, Milo of Crotona, Jonah and the Whale and Jacob watering Laban's flock.1 Dating this group to circa 1666, Mahoney tentatively suggests the subject portrayed in the present work as being that of Romulus and Remus, though he also points out that Sir Anthony Blunt suggested it might possibly relate to the Nursing of Cyrus.2 1. Mahoney, op. cit., vol. I, pp. 671-681 2. Ibid., pp. 672-673
Salvator Rosa - A Woman Looking At An Infant Held By A Man

Salvator Rosa - A Woman Looking At An Infant Held By A Man

Original
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Lot number: 42
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Description:
Salvator Rosa (Naples 1615-1673 Rome) A woman looking at an infant held by a man black chalk, pen and brown ink, brown wash 5¼ x 4 in. (13.5 x 10 cm.) Provenance J. Richardson Jr. (L. 2170), his mount with attribution ' Salvator Rosa'. Professor J. Isaacs; Sotheby’’’’’’’’s, London, 12 March 1963, lot 140b. Anonymous sale; Christie’’’’’’’’s, London, 19 April 1988, lot 56, where acquired by the late owner. Pre-Lot Text PROPERTY FROM THE COLLECTION OF DR. JEROME D. OREMLAND Literature M. Mahoney, The drawings of Salvator Rosa, New York, 1977, no. 17.3.
Salvator Rosa - Tobias And The Angel

Salvator Rosa - Tobias And The Angel

Original
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Lot number: 297
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Salvator Rosa (Naples 1615–1673 Rome) Tobias and the Angel, oil on canvas, 48.3 x 36.3 cm, framed Provenance: Collection of Philip Stanhope, 4th Earl of Chesterfield; Private European Collection We are grateful to Caterina Volpi for confirming the attribution after examining the present painting in the original. Salvator Rosa repeatedly returned to the subject of Tobias and the Angel, beginning in 1644 with the frescoes at Palazzo Pitti, Florence, and then in other paintings over the course of his career. He may have chosen this biblical story because it allowed for the depiction of a river landscape setting, which was a speciality of the painter’’’’’’’’s early years in Naples, and then in Tuscany. After his journey to Venice in 1662 Rosa painted the Tobias and the Angel conserved in the Musée des Beux Arts at Strasburg (see: C. Volpi, Salvator Rosa (1615-1673) “pittore famoso”, Rome 2014, p.577, n. 298). In subsequent years, he became increasingly disaffected with landscape painting and, as recorded by his many letters to his friend Riccardi, his health deteriorated until he abandoned landscape painting, and gradually reduced the format of his history pictures, limiting himself to few figures, often no more than two, set against a dark ground with a summarily described setting. This gradual process of exhaustion is clearly visible if we compare the series of works representing Tobias and the Angel, beginning with the Strasbourg masterpiece, followed by the painting in a French private collection (see: C. Volpi ibid., p. 559, n. 265); the small and delicate painting in the Louvre (see: C. Volpi ibid., 2014, p. 569, n.285) and finally the present work. This small painting demonstrates an extremely economical approach, such as is to be found in his works of the 1660s such as the David and Goliath in a private collection (see: C.Volpi ibid., 2014, p. 576, n.297). Here the figure of Tobias also recalls the image of Achilles in the painting Achilles and the Centaur Chiron of 1666, which was still in the artist’’’’’’’’s house at the time of his death (see: C.Volpi ibid., 2014, p. 582, n.306). The present painting was engraved in 1767 by R. Earlom and G. Smith for J. Boydell, the publisher of the celebrated A Collection of Prints, Engraved after the Most Capital Paintings in England (issued in 9 volumes from 1769 to 1792) and A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty the Emperess of Russia Lately in the Possession of the Earl of Orford at Houghton in Norfolk (issued between 1773 and 1788). At this time the painting belonged to the collection of Philip Stanhope, 4th Earl of Chesterfield as reported in the engraving’’’’’’’’s inscription: Honorable the Earl of Chesterfield/ Sal. Rosa pinxit/ R. Earlom delin./ Gabl. Smith sculpsit/ John Boydel excudit, London 1767/ 17 inc. x 14 inc. Philip Stanhope, 4th Earl of Chesterfield (1694-1773), was a man of letters and of state, an orator and a politician, whose career was for many years bound to that of his friend Sir Robert Walpole. As a youth, the 4th Earl of Chesterfield undertook a formative journey through Europe. He was successful throughout his courtly, diplomatic and political career (see: B. Heltzel, Chesterfield and the Tradition of the Ideal Gentleman, Chicago 1925; S. Shellabager Lord Chesterfield and His World, New York 1971; A. Quondam, Tre inglesi, l’’’’’’’’Italia, il Rinascimento: sondaggi sulla tradizione di un rapporto culturale e affettivo, Naples 2006). Lord Chesterfield communicated to posterity the aesthetic and moral essence of these formative years in his highly successful epistolary volume of Letters to His Son, published in 1774, which greatly contributed to the popularity of the Grand Tour in Great Britain. While Chesterfield House was being built in Mayfair between 1747 and 1752, Chesterfield gathered a collection of paintings over the course of his numerous journeys to Italy, France and Holland. This demonstrates the great refinement of his cultural formation, also seen in the literary contacts he maintained, including Voltaire and Horace Walpole. It was probably through his close contact with the assiduous collector and connoisseur Robert Walpole that Lord Chesterfield developed his artistic taste and curated his collection, which, in addition to the great portraitists of the era, included Peter Paul Rubens, Claude Lorrain and Salvator Rosa. The latter was especially well represented in the Walpole collection by a series of paintings today preserved in the Hermitage, Saint Petersburg. The Chesterfield collection contained no landscapes by Rosa, but no less than three works of religious subjects: Saint Peter Liberated from Prison (see: C.Volpi ibid., 2014, p. 568, n. 282); Saint John the Baptist Preaching (see: C. Volpi ibid., 2014, p. 523, n.219) and the Tobias and the Angel. All three of these paintings belong to the artist’’’’’’’’s late period. It is partially thanks to the diffusion of Boydell’’’’’’’’s prints, that Salvator Rosa’’’’’’’’s reputation as a figure painter was significantly established in Great Britain during the latter 18th and early 19th centuries. The painting represents an episode from the book of Tobias (VI:2-9): it tells how Tobias, son of the pious Tobi, was sent by his blind and aging father to their relation Gabael in Media to collect ten gold talents given him on loan. On his journey the archangel Raphael accompanies and protects Tobias. Raphael leads him across the river Tigris, advising him there to catch the fish whose bile would cure his father upon his return home.
Salvator Rosa - The Rescue Of The Infant Oedipus

Salvator Rosa - The Rescue Of The Infant Oedipus

Original 1663
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Lot number: 197
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Description:
Salvator Rosa (1615-1673) The Rescue of the Infant Oedipus etching with drypoint, 1663, on laid paper, watermark Fleur-de-Lys in a double Circle with Initial W, a good impression of this large print, second, final state, with margins, with a horizontal central fold, a skilfully repaired tear at the right sheet edge, otherwise in good condition, framed P. 720 x 472 mm., S. 763 x 524 mm. Provenance With Wynne Jewdwine, London. Sotheby's, London, 25 March 1976, lot 98. Literature Bartsch 8; Wallace 116; Rotili 107
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