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Matteo Rosselli

(1578 -  1651 ) Wikipedia® : Matteo Rosselli
ROSSELLI Matteo The Archangel Michael

Sotheby's /Oct 27, 2015
7,590.13 - 10,120.18
9,487.50

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Artworks in Arcadja
80

Some works of Matteo Rosselli

Extracted between 80 works in the catalog of Arcadja
Matteo Rosselli - The Holy Family With The Annunciation To The Shepherds & In The Distance

Matteo Rosselli - The Holy Family With The Annunciation To The Shepherds & In The Distance

Original
Estimate:

Price:

Lot number: 261
Other WORKS AT AUCTION
Description:
Matteo Rosselli THE HOLY FAMILY WITH THE ANNUNCIATION TO THE SHEPHERDS IN THE DISTANCE FLORENCE 1578 - 1650 oil on canvas 119.7 x 105 cm.; 47 1/8  x 39 1/2  in. Provenance Riccardo Collins, London, 1914; With Galleria Caretto, Turin, 1986; Anonymous sale, Milan, Finarte, 13 May 1993, lot 126. Catalogue Note We are grateful to Dott.ssa Francesca Baldassari for endorsing the attribution to Rosselli on the basis of photographs. 
Matteo Rosselli - Rinaldo And The Mirror-shield

Matteo Rosselli - Rinaldo And The Mirror-shield

Original
Estimate:

Price:

Gross Price
Lot number: 311
Other WORKS AT AUCTION
Description:
Matteo Rosselli (Florence 1578–1650) Rinaldo and the Mirror-Shield, an episode from Torquato Tasso’’’’’’’’s Gerusalemme Liberata (Jerusalem Delivered), dated lower right: 1627, oil on canvas, 293 x 230 cm, unframed We are grateful to Sandro Bellesi for suggesting the attribution of the present painting on the basis of a high resolution digital photograph.
Matteo Rosselli - The Holy Family With John The Baptist

Matteo Rosselli - The Holy Family With John The Baptist

Original -
Estimate:
Starting price:

Price:

Net Price
Lot number: 1441
Other WORKS AT AUCTION
Description:
Lot 1441: Matteo Rosselli, The Holy Family with John the Baptist
Matteo Rosselli (1578-1650)
CertificateCarlo Volpe, Bologna (o.D.).The present work is an important early example of the work of the Florentine painter Matteo Rosselli. He uses the traditional Florentine cinquecento iconography to depict this scene: The Virgin faces the viewer, Saint Joseph stands in the background and the Christ Child turns to face the adoring John the Baptist.Rosselli was one of the leading painters in this city in the early 17th century. He received numerous important commissions and was employed by the Medici and Corsini families among others. Rosselli painted the frescoes in the Palazzo Pitti, the Villa di Poggio Imperiale and Casino Mediceo di San Marco and created numerous important altarpieces and decorative works for the abbey of Santissima Annunziata and many churches in Florence, Volterra and Pistoia. A great nephew of Michelangelo also entrusted him with the frescoes for the Casa Buonarroti, which show scenes from the life of the famous artist.Matteo Rosselli's many pupils included Baldassare Franceschini (il Volterrano), Lorenzo Lippi, Francesco Furini and Jacopo Vignali, testifying to the influence he had on the following generation of artists.
Notes:

VAT: Margin scheme
102 x 81.5 cm
Artist or Maker:

Matteo Rosselli
Literature:

Giuseppe Cantelli: Repertorio della pittura fiorentina del seicento, Fiesole 1983, p. 131, illus. 678. - Giuseppe Cantelli: Repertorio della pittura fiorentina del Seicento. Aggiornamenta, Pontedera 2009, p. 176, illus. LXIX. - Sandro Bellesi: Catalogo dei pittori fiorentini del '600 e '700. Biografie e opere, 3 vols., Florence 2009, vol. 1, p. 240, illus. 6. - Francesca Baldassari: La pittura del Seicento a Firenze. Indice degli artisti e delle loro opere, Milan 2009, p. 648.
Medium:

Oil on canvas (relined)
Matteo Rosselli - The Archangel Michael

Matteo Rosselli - The Archangel Michael

Original
Estimate:

Price:

Gross Price
Lot number: 423
Other WORKS AT AUCTION
Description:
Matteo Rosselli

FLORENCE 1578 - 1650

THE ARCHANGEL MICHAEL

oil on canvas

64.5 by 51.5 cm.; 25 3/8 by 20 1/4 in.

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Saleroom Notice

Provenance

With Gallo Antiquariato, Milan;

Private collection.

Literature

F. Baldassari, Dipinti fiorentini del Seicento e del Settecento, Padua 2007, pp. 14-17, cat. no. 3, reproduced in colour;

S. Bellesi, Pittori fiorentini del '600 e '700, biografie e opere, Florence 2009, vol. I, p. 242 (as attributed to Rosselli);

F. Baldassari, La pittura del Seicento a Firenze, indice degli artisti e delle loro opere, Turin 2009, p. 653.
Matteo Rosselli - Judith And Holofernes

Matteo Rosselli - Judith And Holofernes

Original
Estimate:

Price:

Lot number: 192
Other WORKS AT AUCTION
Description:
Matteo Rosselli

FLORENCE 1578 - 1650

JUDITH AND HOLOFERNES

oil on canvas

189.2 by 139.8 cm.; 74 1/2 by 55 in.

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Saleroom Notice

Provenance

Private collection, Germany;

With Piacenti Art Gallery, London;

Anonymous sale, London, Christie's, 17 December 1999, lot 55;

There purchased by the present collector.

Literature

F. Baldassari, La Pittura Del Seicento a Firenze: Indice degli artisti e delle loro opere, Milan 2009, p. 653;

S. Bellesi, Catalogo dei Pittori Fiorentini del '600 e '700, Florence 2009, vol. I, p. 241, reproduced vol. III, p. 269, fig. 1413.

Catalogue Note

This work was executed by Matteo Rosselli during the early stages of his career and continues a long-standing Florentine tradition in the depiction of the subject matter. Throughout the seventeenth century, the story of Judith and Holofernes, which tells of the Jewish widow who decapitated an Assyrian general after stealing into his camp, seducing, and intoxicating him, served as an often repeated subject amongst Florentine artists. Its popularity was possibly rooted in a connection between the subject and Florentine civic pride, which may possibly have stemmed from Donatello's sculpture of 1460, a masterpiece of the same subject. Donatello's work, which stood outside the Palazzo Vecchio, was inscribed on its pedestal: "Kingdoms fall through luxury [sin], cities rise through virtues. Behold the neck of pride severed by the hand of humility." From this moment, the image of Judith was used as a metaphor for the protectors of Florence, the Medici, and subsequently for the civic power and pride of Florence. It was also obviously seen as a symbol of the heroism of women, evidenced by the self-portraits of Lavinia Fontana and Artemesia Gentileschi as Judith.

This is a representative example of Rosselli's early style, during which time he excelled in the depiction of richly coloured, and sumptuously detailed fabrics, as can be seen here in Judith's luxurious robe. A very similar fabric design can be seen in Rosselli's Adoration of the Magi (offered New York, Christie's, 15 May 1996, lot 127). When last sold, Francesca Baldassari dated the present picture to circa 1600, a moment when Rosselli was still influenced by his teachers Jacopo Ligozzi (1546-1627) and Gregorio Pagani (1558-1605). By 1608, Rosselli had become one of the major artists working in Florence, and was even commissioned to work for the Medici. It was at this point that his influence within Florence was at its height, and several painters who would later prove to be successful in their own right were working under him, including Jacopo Vignali and Lorenzo Lippi. One can see in these latter artists' work the influence of Rosselli, as depicted here in Judith's elongated face, heavy eyelids, and pensive expression.

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