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Giovanni Battista Salvi

Italy (Sassoferrato 1609 -  Roma 1685 )
SALVI Giovanni Battista Juvenile Madonna Portrait With Face Framed By Brown Cloth

888auctions
Mar 28, 2019
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Variants on Artist's name :

Sassoferrato Giov. Batt. Salvi

Salvi Giovanni Battista Sassoferrato

Il Sassoferrato

 

Artworks in Arcadja
552

Some works of Giovanni Battista Salvi

Extracted between 552 works in the catalog of Arcadja
Giovanni Battista Salvi - Juvenile Madonna Portrait With Face Framed By Brown Cloth

Giovanni Battista Salvi - Juvenile Madonna Portrait With Face Framed By Brown Cloth

Original 17th Century
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Lot number: 75
Other WORKS AT AUCTION
Description:
Sassoferrato Italian 17th Century Bolognese OOC Oil on canvas, unframed. Featuring large-scale painting of the figure, juvenile Madonna portrait with face framed by brown cloth. Style of painting shows influence of the Roman School and colorfulness of the works of the Bolognese masters. 17th Century. Unsigned, Giovanni Battista (sassoferrato) Salvi. 69 x 55.5 cm (27.2 x 21.9 inches). PROVENANCE: Private European collection (Bayern, Germany)
Giovanni Battista Salvi - The Madonna Annunciate

Giovanni Battista Salvi - The Madonna Annunciate

Original
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Lot number: 179
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THE MADONNAANNUNCIATE Giovanni Battista Salvi, called Sassoferrato SASSOFERRATO 1609 - 1685 ROME oil on canvas 19 by 15 in.; 48.2 by 38 cm. Provenance Anonymous sale, London, Christie's, 1 February 1985, lot 11; There purchased by the present collector. Catalogue Note Giovanni Battista Salvi, more commonly known as 'Sassoferrato', after the town in which he was born, learned the rudiments of painting from his father Tarquino before embarking on a trip to Rome. There he studied the works of his contemporaries, including Reni, Domenichino, and the Carracci. His greatest influence, however, was Raphael and he is known to have directly copied the latter's compositions (see, for example, Sassoferato'sMadonna and Childin the Galleria Sabauda, Turin [inv. no. 482], which is directly based on Raphael'sMadonna of the Pinks[National Gallery, London, inv. no. NG6596]). Despite being an accomplished portraitist, Sassoferrato specialized in easel paintings of a devotional nature, usually representing the Madonna alone or with the Christ Child, of which the present composition is an outstanding example. The large number of autograph and studio replicas ofSassoferrato's compositions attest to the popularity they enjoyed within the artist's own lifetime. The present composition, showing the Madonna gazing upwards towards the heavens whilst in prayer, is derived from a largerAssumption of the Virgin(Tarbes, Musée Massey). Sassoferrato adjusted the composition to create an easel sized version (undoubtedly for the wider market), of which there are further versions, including one in the Accademia Albertina, Turin. We are grateful to François Macé de Lépinay for endorsing the attribution toSassoferrato, based on photographs.
Giovanni Battista Salvi - Madonna And Child, Before A Draped Curtain, A Landscape Beyond

Giovanni Battista Salvi - Madonna And Child, Before A Draped Curtain, A Landscape Beyond

Original
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Gross Price
Lot number: 24
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MADONNA AND CHILD, BEFORE A DRAPED CURTAIN, A LANDSCAPE BEYOND Giovanni Battista Salvi, called Sassoferrato SASSOFERRATO 1609 - 1685 ROME oil on canvas 75.4 x 61.6 cm.; 29 5/8 x 24 1/4 in. Provenance Count Alessandro Contini Bonacossi (1878–1955), Florence; Thence by descent to the present owner. The quiet elegance, effortlessly rigorous form, and brilliant colours of Sassoferrato\’s paintings are unmistakeable. Famed initially as a portrait painter, particularly of ecclesiastical clients, from around 1650 onwards Sassoferrato came to specialise in the devotional images, inspired by the Marian cult of the Counter-Reformation, for which he is still best known today. This beautiful, previously unpublished, painting of the Madonna and Child owes much to Sassoferrato\’s great Marchigian forbear, Raphael, though the motif of the book, the heavy, complex folds of the curtain behind the figures, and the Madonna\’s rich, sumptuous drapery are entirely Sassoferrato\’s own. The disposition of the Madonna and Child derives, albeit with numerous differences, from Raphael\’s so-called Mackintosh Madonna, the (much damaged) painting in the National Gallery, London,1 dating to the artist\’s Roman period, circa 1509–11, the conception of which is much more legible in the related drawing in the British Museum, London.2 The Christ Child clings to the Madonna\’s neck, while she delicately supports His foot, her gaze cast downwards. Sassoferrato replicated this composition almost exactly in paintings such as that in the Galleria Borghese, Rome.3 In the present work, however, although retaining the principal ideas of Raphael\’s design, the artist has shifted the position of the Child\’s legs so the Madonna holds His right foot, with His left on the cushion, and has of course added the book in the Madonna\’s outstretched hand. The luxuriantly draped curtain, almost abstract in the complexity of its folds, emphasises the lucid purity of the Madonna\’s peaceful expression and the figure of the Christ Child, and is pulled back to reveal the landscape vista beyond. Sassoferrato\’s innovative composition, combined with the clarity of sixteenth-century Roman classical revivalism, was clearly popular with the artist\’s ever-increasing clientele. Other notable versions of the present work include the painting at Burghley House, Stamford, since 1769,4and that in a private collection, formerly with Altomani & Sons, which is of larger dimensions and set against a green curtain.5Though the chronology of Sassoferrato\’s œuvre is notoriously difficult to construct, this latter work is dated by Massimo Pulini to the last years of Sassoferrato\’s life, on account of the elaborately decorative drapery. The master must, however, have originally conceived of the design since at least before 1643, as it appears in the background of one of his finest and most sophisticated portraits – that of Cardinal Rapaccioli, today in The John and Mable Ringling Museum of Art, Sarasota (fig. 1). This painting will be published by François Macé de Lépinay in his forthcoming monograph on Sassoferrato. NOTE ON PROVENANCE CountAlessandro Contini Bonacossi (1878–1955) was an art dealer, collector, politician and philatelist. He sold a number of works to Samuel H. Kress and Jules H. Bache and formed an important and substantial collection himself, comprising furniture, sculpture and ceramics, as well as paintings. Part of this magnificent array is today displayed in the Galeria degli Uffizi, Florence, including Sassetta's large polyptych, Pala dellaMadonna della neve, Giovanni Bellini's Saint Jerome, the Portrait of Giuseppe da Porto with his son by Paolo Veronese, anda significant early marble by Gian Lorenzo Bernini–The Martyrdom of San Lorenzo. 1 Inv. no. NG2069; see H. Chapman, inRaphael: From Urbino to Rome, exh. cat., London 2004, p. 270, under cat. no. 98, reproduced fig. 118. 2 Inv. no.1894,0721.1; see Chapman 2004, p. 270, cat. no. 98, reproduced p. 271. 3 Inv. no. 382; see K.H. Fiore,Guide to the Borghese Gallery, Rome 1997, reproduced in colour p. 104. 4 F. Macé de Lépinay (ed.),Il Sassoferrato. La devota bellezza, exh. cat., Milan 2017, pp. 64–65, reproduced in colour, p. 66, fig. 7. 5Macé de Lépinay 2017, pp. 210 and 268, cat. no. 43, reproduced in colour p. 211. Fig. 1
Giovanni Battista Salvi - The Holy Family With The Infant Saint John The Baptist

Giovanni Battista Salvi - The Holy Family With The Infant Saint John The Baptist

Original
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Gross Price
Lot number: 97
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Giovanni Battista Salvi, called il Sassoferrato (Sassoferrato 1609–1685 Rome) The Holy Family with the Infant Saint John the Baptist, oil on copper, 25x34.3cm, framed Provenance: Collection of Thomas Baring (1799–1873), London, acquired from Mr Bentley in 1845; by inheritance to Thomas George Baring, 1st Earl of Northbrook (1826–1904), London; thence by descent to his wife Florence Anita, Countess of Northbrook (1861–1946), London; her sale, Christie\’s, London, 11 June 1937, lot 17; sale, Christie\’s, London, 27 July 1945, lot 128; sale, Christie\’s, London, 4 November 1960, lot 63; Private collection, Rome Literature: J. P. Richter,A descriptive catalogue of the collection of pictures belonging to the Earl of Northbrook, London 1889, p. 158, no. 212 We are grateful to François Macé de Lépinay for confirming the attribution of the present painting on the basis of a high resolution digital photograph. The present painting on copper belonged to the prestigious nineteenth-century collection formed by Sir Thomas Baring, a member of one of the most important banking families of Britain, and a member of Parliament from 1844. According to Richter (see literature) Baring\’s interest in collecting had been passed on to him by his grandfather, Francis, who had formed a collection of primarily Dutch paintings, and by his father, Thomas, who was principally an enthusiast of Italian painting. On Thomas Baring\’s death in 1873, his collection, which now included works from all of the principal schools of European painting, passed by inheritance to his nephew, Thomas George Baring, a political figure who held several important posts in India. The present painting represents the Madonna positioned centrally, dressed in rose and wearing a blue mantle, while gently raising the white cloth upon which the Christ Child lies asleep. Saint Joseph observes the scene from the right, while the baby Saint John the Baptist is present on the left, his hands closed together in prayer. The background opens out onto a luminous landscape and is closed to the left by trees and flowering shrubs. The clear light, the polished surface of the painting and the peaceful tone of its composition constitute typical qualities of Sassoferrato\’s work. A preparatory drawing for the present painting, of similar dimensions is conserved in the Metropolitan Museum of Art, New York (see J. Bean, 17th century Italian drawings in the Metropolitan Museum of Art, New York 1979, pp. 264-265, no. 349, see fig. 1). Sassoferrato, named after his birthplace in the Marches, trained in Rome with Domenichino. This brought him into contact with classicalism and introduced him to the great masters of the past, and most especially Raphael. Indeed, Sassoferrato\’s pictorial output specifically refer to the Renaissance tradition through the application of intentionally archaising compositions. The artist was primarily celebrated for his easel paintings of devotional subjects, characterised by a refined intimacy, as is apparent in the present painting. Specialist: Mark Mac Donnell
Giovanni Battista Salvi - Studiomater Dolorosa

Giovanni Battista Salvi - Studiomater Dolorosa

Original
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Lot number: 72
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Giovanni Battista Salvi, called il Sassoferrato (Sassoferrato 1609-1685 Rome), and Studio Mater Dolorosa oil on canvas 48.8 x 37.3cm (19 3/16 x 14 11/16in). Footnotes Provenance Probably, Rev. Sir Cavendish H. Foster, Bt. (1817-1890), Co. Louth, Ireland, before 1873 Acquired by the present owner's mother in Bournemouth in 1974 and thence by family descent Exhibited Probably, Dublin, Industrial Exhibition Palace, Loan Museum of Art Treasures, 1873, cat. no. 319 (as 'Carlo Dolci (old copy)', according to a label on the reverse) We are grateful to Francois Mace de Lepinay for confirming the attribution upon inspection of colour photographs.
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