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Matthias Stomer

(1649 -  1702 ) Wikipedia® : Matthias Stomer
STOMER Matthias The Mocking Of Christ

Sotheby's
Jul 8, 2015
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Variants on Artist's name :

Stom Mattheo Ii

Stohom Matthias

Stomma Matthias

 

Artworks in Arcadja
71

Some works of Matthias Stomer

Extracted between 71 works in the catalog of Arcadja
Matthias Stomer - The Judgement Of Solomon

Matthias Stomer - The Judgement Of Solomon

Original
Estimate:

Price:

Gross Price
Lot number: 35
Other WORKS AT AUCTION
Description:
PROPERTY FROM THE COLLECTION OF J.E. SAFRA Matthias Stomer THE JUDGEMENT OF SOLOMON AMERSFOORT NEAR UTRECHT CIRCA 1600 - AFTER 1652 (?) SICILY OR NORTHERN ITALY oil on canvas 157 x 222 cm.; 62 x 87 1/2 in. Possibly Don Giuseppe Branciforte, Principe di Butera, Mazzarino, Sicily; Anonymous sale ('The Property of a European Collector'), London, Sotheby\\\\’s, 11 December 1991, lot 68; Where acquired by the present collector. R. Verdi, 'Nicolson's Stom brought up-to-date', in R. Verdi, Matthias Stom. Isaac blessing Jacob, Birmingham 1999, p. 65.
Matthias Stomer - The Judgement Of Solomon

Matthias Stomer - The Judgement Of Solomon

Original
Estimate:

Price:

Lot number: 17
Other WORKS AT AUCTION
Description:
Lot Description

Matthias Stomer (Amersfoort c. 1600-after 1652 ?Sicily or northern Italy)

The Judgement of Solomon

oil on canvas

61 ¾ x 87 ½ in. (157 x 222 cm.)

Special Notice



Provenance

(Possibly) Don Giuseppe Branciforte, Principe di Butera, Mazzarino, Sicily.

Anonymous sale [The Property of a European Collector]; Sotheby\\’\\’\\’\\’\\’\\’\\’\\’s, London, 11 December 1991, lot 68, where acquired by the present owner.

Pre-Lot Text

PROPERTY FROM THE COLLECTION OF J.E. SAFRA

Literature

R. Verdi, Matthias Stom. Isaac blessing Jacob, Birmingham, 1999, p. 65.
View Lot Notes >
Matthias Stomer - Christ Disputing With The Doctors

Matthias Stomer - Christ Disputing With The Doctors

Original
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Gross Price
Lot number: 30
Other WORKS AT AUCTION
Description:
Matthias Stomer

AMERSFOORT NEAR UTRECHT CIRCA 1600 - AFTER 1652 (?) SICILY OR NORTHERN ITALY

CHRIST DISPUTING WITH THE DOCTORS

Oil on canvas

53 1/2 by 71 1/4 in.; 136 by 181 cm

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Saleroom Notice

Provenance

Prince Caracciolo, Naples

Prince Carafa, Naples (by marriage and inheritance from the above)

Anonymous sale: Sotheby's, London, July 5, 1989, lot 7

Acquired at the above sale by A. Alfred Taubman

Exhibited

Utrecht, Central Museum and Braunschweig, Herzog Anton Ulrich-Museum, Holländische Malerei in neuem Licht, 1987, no. 77

Detroit Institute of Arts, 1990-2015 (on loan)

Birmingham, UK, Barber Institute of Fine Arts, Matthias Stom: Isaac Blessing Jacob (exhibition catalogue), October 1999 - January 2000, no. 2

Literature

Holländische Malerei in neuem Licht (exhibition catalogue), Utrecht 1987, no. 77, p. 340, illustrated p. 341

Benedict Nicolson, Luisa Vertova, ed., Caravaggism in Europe, Turin, 1989, vol. I, p. 182

Richard Verdi, Matthias Stom: Isaac Blessing Jacob (exhibition catalogue), Birmingham, UK, 1999, no. 2, pp. 38-39, illustrated p. 11, fig. 2, and a detail on the front cover

Leonard J. Slatkes, "Birmingham, Mathias Stom," The Burlington Magazine, March 2000, vol. 142, no. 1164, discussed p. 182

Giuseppe Porzio, La scuola di Ribera, Naples, 2014, no. 37, p. 105, illustrated p. 142, fig. 71

This striking work by Stomer should be counted among the artist's masterpieces. Painted in Naples during the latter part of the 1630s, the painting and its companion, Isaac Blessing Jacob (fig.1), in the Barber Institute of Fine Arts, Birmingham, UK, are testament to Stomer's mastery of the theatricality of the Caravaggesque idiom. That a Flemish artist should have painted the works in Naples highlights to what extent the Caravaggesque movement dominated European art in the first half of the 17th century.

The well-known story of a precocious young Christ astounding the scribes in the Temple with his deep understanding of the Scriptures is taken from Luke's Gospel, and was popular with Caravaggio's followers. Stomer's cinematographic treatment of the subject is a characteristic example of Caravaggism, as is the chiaroscuro and the careful composition. Christ's hand is raised and occupies the center of the composition: its presence reminds the viewer that His arrival will put an end to the old way, symbolized by the books of the Law held by the Doctors, and embodies the New Covenant. The clean hand is also a reminder that one day it will be bloodied and nailed to the Cross, marking mankind's redemption through His death. The neat semicircular disposition of the background figures adds to the feeling of confrontation between Jesus and the men, but in no way affects His determination and confidence.

The quality of the brushwork is equally remarkable. The range of textures are beautifully observed, from the folds in the garments of the turbaned man to the left, particularly his sleeves, the wrinkles in the fleshtones and the still-life elements of the scriptural texts in the foreground. A wide array of facial expressions transmits the intensity of the seated figure to the left as well as the amazement of the face directly above that of the Christ Child.

The Taubman painting, the aforementioned work in the Barber and a Tobias healing his father's blindness by Hendrick De Somer (fig. 2), in a Neapolitan private collection, are first recorded in the collection of Prince Caracciolo in Naples and later passed to that of Prince Carafa in the 18th century (for De Somer's painting, see Porzio, op. cit., no. 37, p. 105, illustrated p. 231, plate 23). Since the subjects of the three pictures are taken respectively from the New Testament, the Old Testament and the Apocrypha, it is not immediately clear why they should have been commissioned to hang as a series. The running thread in the series is, in fact, the confrontation of youth and old age, an encounter that in each case sees youth coming out more favorably. While the two pictures by Stomer are of the same size, the Van Somer is a little smaller, measuring 120 by 160 cm. This could either be because the picture was cut down or trimmed along the edges, or else because it was in fact painted at a different moment to complete the set. The design of De Somer's Tobias follows that of Stomer's Isaac Blessing Jacob, perhaps in an attempt to fit into the cycle.

Fig. 1

Matthias Stomer,
Isaac Blessing Jacob
, The Barber Institute of Fine Arts, University of Birmingham

Fig. 2

Hendrick de Somer,
Tobias Healing His Father\’\’\’\’s Blindness
, Archivio dell\’\’\’\’Arte/Luciano e Marco Pedicini fotografi
Matthias Stomer - The Mocking Of Christ

Matthias Stomer - The Mocking Of Christ

Original
Estimate:

Price:

Lot number: 10
Other WORKS AT AUCTION
Description:
Matthias Stomer

AMERSFOORT NEAR UTRECHT CIRCA 1600 - AFTER 1652 (?) SICILY OR NORTHERN ITALY

THE MOCKING OF CHRIST

oil on canvas

98 by 148.6 cm.; 38 1/2 by 58 1/2 in.

Provenance

Property of a religious congregation 'Le Convent de la Présentation de Marie', Bourg Saint Andéol, Ardèche, France.

Catalogue Note

Only recently discovered and so far unpublished, this is an exceptional example of Stomer’’s early maturity. It was painted either at the very end of his Utrecht period or soon after his arrival in Rome, where he is documented from 1630.

In it, Stomer manifests his debt to his elder and fellow ‘Utrecht caravaggisti’’, both in its mise-en-scène and its dependence on heavy chiaroscuro. It bears further evidence to the unproven though likely notion that Stomer had some contact with the academy in Utrecht of Gerrit van Honthorst, and other artists such as Dirck van Baburen, before his departure for Rome. Certainly, the figures at the right strongly recall both artists. Works from Stomer’’s pre-Roman or early-Roman period come to the market only very occasionally, such that we see here an uncommon glimpse of the young artist. Stomer was in Rome only until about 1633 whereupon he moved to Naples. There he was strongly influenced by Ribera’’s style and substituted his Utrecht-palette for the earthier tones adopted by his Neapolitan contemporaries. Stomer painted several versions of this subject.
1
The present version pre-empts them all, though bears the closest resemblance to the slightly larger canvas in the Hôpital Saint-Jean, Brussels, and another in the Norton Simon collection, Pasadena.
2
In the former, as here, we see Christ isolated against a plain background in the left half of the picture plane, and three tormentors in a similarly triangular construction, to the right. In the latter the positions are reversed, and Christ is joined by a figure torturing him from behind. Both the other versions are illuminated by a Honthorst-ian candlelight from the centre of the composition, whereas here the source of light is undetermined, though clearly it emanates from outside of the picture to the left.
3

1 For a list see B. Nicolson (rev. L. Vertova), Caravaggism in Europe, 2
nd
ed., Turin 1989–90, vol. I, p. 183. See also B. Nicolson, ‘Stomer brought up to date’’, in Burlington Magazine, vol. CXIX, no. 889, April 1977, p. 241, no. 46, reproduced fig. 3. 2 Respectively, Nicolson, op. cit., 1989–90, vol. I, p. 183, reproduced vol. III, plate 1477. And Nicolson, op. cit. 1977, p. 241, no. 46, reproduced fig. 3. 3 Honthorst’’s version of the subject from about 1619, now at LACMA, may well represent a source of inspiration for Stomer. See J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk 1996, pp. 351–52, reproduced plates V and 418.

Matthias Stomer - An Old Woman Holding A Purse By Candlelight

Matthias Stomer - An Old Woman Holding A Purse By Candlelight

Original
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Price:

Gross Price
Lot number: 43
Other WORKS AT AUCTION
Description:
Matthias Stomer

AMERSFOORT NEAR UTRECHT CIRCA 1600 - AFTER 1652 (?) SICILY OR NORTHERN ITALY

AN OLD WOMAN HOLDING A PURSE BY CANDLELIGHT

oil on canvas

24 1/2 by 19 in.; 62.2 by 48.3 cm.

Catalogue Note

Stomer's candle-lit half length depictions of old women are among the most recognizable and distinctive images to emerge from the northern Caravaggesque movement. Stomer treated the subject on a number of different occasions, though in nearly every instance imbues each image with individuality by adjusting the sitter's pose, gaze and subtle yet dramatic lighting effects. The present example comes closest to an Old Woman Shading a Candle in the Dresden Gemäldegalerie (see B. Nicolson, Caravaggism in Europe, Turin 1989, vol. I, p. 187, cat. no. 1520; reproduced vol. III, fig. 1520).

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