(Milan 1578–1630) Judith with the head of Holofernes, signed in red, on the seam of the sack lower left: FEDE GALITIA, oil on canvas, 127 x 95.5 cm, framed Old inventory number on the reverse: ‘No. 208’ Provenance: art market England, circa 1995; where acquired by the father of the present owner; Private European collection We are grateful to Francesco Maria Ferro for his help in cataloguing this lot. He dates the present painting to circa 1610–1615. Fede Galizia was born in Milan, the daughter of the Lombard miniature painter, Nunzio Galizia. She is noted as a pioneer in the treatment of still life painting and, increasingly, for her portraiture and religious paintings. She was trained and worked in the late Mannerist Milanese milieu defined by the work of Gian Paolo Lomazzo (1538–1592) and Ambrogio Figino (1553–1608). The present, previously unpublished, work depicting Judith with the head of Holofernes is a significant version of a subject the artist returned to several times during the course of her career. The biblical story is particularly pertinent in the discussion of the artist’s work as the subject alludes to the apotheosis of a woman’s struggle to impose herself in a male dominated world. An early version of the subject by Galizia was published by Ferro in 2019 (see F. M. Ferro, Un’inedita Giuditta e Oloferne di Fede Galizia, in: Arte Lombarda, no. 186/187, 2019, pp.145–48) and she returned to the same theme in 1596 in the painting now in the Ringling Museum, Sarasota. This is succeeded by similar versions in the Galleria Borghese in Rome, dated 1601 and by a further work now in the Palazzo Reale, Turin dated to circa 1605–10 (for all these works see Fede Galizia. Mirabile pittoressa, exhibition catalogue, ed. by G. Agosti, L. Giacomelli and J. Stoppa, Trento 2021, in particular pp. 133–53). In her earlier depictions of the subject of Judith and Holofernes, which are generally reproduced with minimal variation, the protagonist is depicted in sumptuous clothing and jewellery, and painted in a highly decorative and Mannerist style. Galizia reveals the influence of the painterly style of the Bolognese painter, Camillo Procaccini (1561–1629), who was active in Milan from 1587. Her decorative choices were probably also influenced by the activities of her father, Nunzio, who was responsible for the design of the clothing worn by the Duke of Mantua on the occasion of the wedding between Ferdinando de’ Medici and Christine of Lorraine in 1589, as well for the production of theatre costumes in Milan in the 1590s. The discovery of the present painting is significant as it represents a fundamental change in the oeuvre of Fede Galizia, opening up interesting new perspectives in the study of the mature phase of her artistic career. The painting presents an important innovation and development in the treatment of the subject. This composition presents a powerful and partially disrobed Judith. The fabric of her robes is simpler than in earlier versions of the subject and the use of jewellery is also markedly reduced when compared to the Sarasota Judith and its companions. The heroine’s face is carefully modelled with the use of chiaroscuro and her expression is no longer doll-like, but serene and determined. Judith is depicted in mid-movement: turning with a defiant gaze as she leaves Holofernes’ tent, she places his severed head into a sack held by her maid, Abra. In the present painting, the servant Abra is no longer the elderly woman of Galizia’s earlier renditions of the subject, but a young girl. In addition, Judith’s scimitar has been replaced by a sword – a powerful symbol of her strength – a potent sign of female strength in a male world. The subject of Judith and Holofernes enjoyed renewed popularity following the Council of Trent after which it was officially included in the new translation of the Bible commissioned by Pope Sixtus V and Pope Clement VIII in 1592. The second half of the 16th century also saw numerous plays by writers such as Cesare Sacchetti or Federico Della Valle recounting the tale of Judith, the heroine of Bethulia, who seduces and kills the Assyrian general, Holofernes, to save her city from slavery. The popularity of the subject continued into the early 17th century, appearing in the work of Caravaggio, for example in his painting commissioned by the Genoese banker, Ottavio Costa (Palazzo Barderini, Rome), and also in various interpretations by Artemisia Gentileschi, which have only been recently rediscovered. Ferro dates the present work to between 1610 and 1615. The artist’s signature is located on the edge of the sack and is drawn as if with drops of blood dripping from the severed head, an apparent quotation from the Beheading of John the Baptist which was painted in Malta in 1608 by Caravaggio, whose influence is especially evident in this work. Further research is still necessary on the work and inventory of Fede Galizia as became evident in the recent monograph exhibition dedicated to Galizia at the Castello del Buonconsiglio in Trento in 2021. For example, a painting of the importance of the Sarasota Judith has no provenance recorded before 1969, while the provenance of the version in the Galleria Borghese as being from the collection of Cardinal Antonio Maria Salviati is plausible, but not certain. The inventories of the court in Turin, for which Fede Galizia worked, include several paintings depicting Judith with the head of Holofernes listed as being from the Lombardy. One of them can be identified with the painting by Fede Galizia, now conserved in the Palazzo Reale, Turin (inv. no. 5478). The presence on the back of the painting, which is unlined, of an inventory number traced in red paint (‘No 208.’) may eventually provide more information about this painting’s earlier history. Technical entry by Gianluca Poldi: The painting is still on its original canvas, unlined, with an evident craquelure and substantially well conserved, with some retouches visible under UV light. The brown, earth-based preparation exceeds the front surface of the work, and traces of paint can be seen along the left and right edges turned up on the stretcher, suggesting that the original format may have been slightly wider. The signature “FEDE GALITIA” is painted along the edge of the sack with the same vermillion red as the blood and is entirely consistent with the painting. The composition must first have been carefully studied and drawn on the canvas, since neither in IR reflectography, nor in transmitted IR, are any major changes noticeable, only minor adjustments, such as in the upper contour of Judith’s left arm, in the oval of the young maid’s face and at the top of the heroine's yellow mantle, which is slightly reduced by the white curtain. The horizontal bar of the sword hilt was longer and then shortened by the painter. The underdrawing is subtle, apparently limited to contours and quite difficult to detect despite multiband IR imaging. No incision made in the fresh paint is evident. The painting technique used here by Fede Galizia, as in her other works of this high quality, maintains a velvety brushstroke for the flesh tones. She generally blended the brushstrokes and used a freer and more textural manner in other areas, such as the garments. This is apparent in the yellow mass of Judith’s cloak, which rises behind the figure´s shoulders in an unnatural way. It serves to counterbalance the dark mass of the skirt, which is painted with azurite and in the lower part (at the height of the left knee) yellow brushstrokes are applied in an unusual and sensitive way to create luminosity.
Natura morta con fichi e prugne Olio su tela, cm 36,8X47 Questa natura morta esprime una cultura pittorica arcaica, ancora di gusto cinquecentesco e inequivocabili caratteri lombardi che, oltre al Figino, evocano il nome di Fede Galizia (Milano, 1578-1630). Si ricorda a questo proposito la Natura morta con prugne, pere e una rosa, e l'Alzata con frutti pubblicate da Ada Magnani nella recente mostra dedicata alla Natura morta lombarda e possiamo aggiungere altre opere rese note da Flavio Caroli. Nel caso del dipinto qui illustrato proprio per la sua migliore collocazione cronologica al XVII secolo, si devono altresì citare gli esiti di Panfilo Nuvolone, specialmente se prendiamo in considerazione la Natura morta con pesche e gelsomini già di collezione Sterling a New York pubblicate dal Morandotti nel volume La Natura morta in Italia, Milano 1988, pp. 226-229. Bibliografia di riferimento: Natura morta lombarda, catalogo della mostra a cura di F. Caroli, e A. Veca, Milano 1999, pp. 76; 95 F. Caroli, Fede Galizia, Torino 1989, ad vocem
Artist: Fede Galizia, Italian (1578 - 1630) Title: Peaches in a Pierced White Faience Basket Year: 1983 Medium: Poster on foamcore Image Size: Size: 27.5 x 19 in. (69.85 x 48.26 cm)
Coppia di alzate con frutta Olio su tela, cm 39,5X50 (2) Questa coppia di nature morte esprime una cultura pittorica arcaica, ancora di gusto cinquecentesco e inequivocabili caratteri stilistici lombardi, che oltre al Figino, evocano il nome di Fede Galizia (Milano 1578 - 1630). Ricordiamo a questo proposito la Natura morta con prugne, pere e una rosa, e l'Alzata con frutti pubblicate da Ada Magnani nella recente mostra dedicata alla natura morta lombarda, e possiamo aggiungere altre opere analoghe rese note da Flavio Caroli, autore dell'unico studio monografico dedicato alla pittrice. Nel nostro caso, inoltre, le tele proprio per la loro migliore collocazione cronologica al XVII secolo, ci inducono a escludere l'idea attributiva di Arisi e rendere l'ipotesi Galiziana più precisa dal punto di vista filologico, senza escludere gli esiti di poco posteriori del Nuvolone. Bibliografia di riferimento: Natura morta lombarda, catalogo della mostra a cura di Flavio Caroli, e Alberto Veca, Milano, 1999, pp. 76-95 F. Caroli, Fede Galizia, Torino 1989, ad vocem
Artist: Fede Galizia, Italian (1578 - 1630) Title: Peaches in a Pierced White Faience Basket Year: 1983 Medium: Poster on foamcore Image Size: Size: 27.5 x 19 in. (69.85 x 48.26 cm)
Natura morta Olio su tela, cm 61,5X76 Il dipinto induce a indagare gli aspetti più arcaici e pioneristici della natura morta italiana, i cui inizi si riscontrano nella Lombardia d'età borromaica. Giovanni Ambrogio Figino (Milano 1553 - 1608), Fede Galizia (Milano 1578 - 1630) sono i primi interpreti di questa peculiare rivoluzione illustrativa, che vedrà nella canestra di frutta caravaggesca il suo esito naturalistico più noto ed efficace. La tela dell'Ambrosiana, infatti, si affranca dal rigore tecnico e raffinatamente manierista del Figino e vede l'appropriarsi di una visione dal vero in cui i diversi elementi descritti si distaccano dal gusto miniaturistico cinquecentesco. Il desiderio di mantenere l'eleganza della tradizione aulica con l'indubbia fascinazione nordica e una maggior presa della realtà, sarà raggiunta da Panfilo Nuvolone (Cremona, 1581 - Milano, 1651), che da esordi strettamente galiziani offre una interpretazione squisitamente pittorica della natura in posa. Alla sua mano per le analogie di stile si confronta l'opera in esame, che con l'alzata metallica modellata da colpi di luce e la disposizione dei frutti, spoglia l'iconicità dell'immagine con elegantissima sprezzatura. Altresì importante è la regia luministica, che non delinea solo le forme, ma descrive l'aspetto serico dei frutti evocandone la succosità della polpa e misura lo spazio scenico in cui gli oggetti sono disposti. Bibliografia di riferimento: F. Porzio, Panfilo Nuvolone, in La Natura Morta in Italia, Milano 1989, vol. I, p. 226 Natura morta lombarda, catalogo della mostra a cura di Flavio Caroli, e Alberto Veca, Milano 1999, pp. 76 ; 95 A. Morandotti, Icone lombarde: la natura morta dalle origini all'età della riforma settecentesca, in La Natura Morta nell'Italia settentrionale dal XVI al XVIII secolo, catalogo della mostra a cura di Giovanni Godi, Milano 2000, pp. 39 ; 51; pp. 138 ; 142
FEDE GALIZIA (1578 Milan 1630) Still life of fruits with grapes in a white ceramic bowl, with pomegranate and pears on a stone plinth. Oil on panel. 28 × 38.3 cm. Provenance: Swiss private collection. Our thanks to Prof. Mauro Natale and Prof. Alessandro Morandotti who have confirmed the authenticity of this painting, having examined it in the original. --------------- FEDE GALIZIA (1578 Mailand 1630) Früchtestillleben mit Trauben in einer weissen Keramikschale, einem Granatapfel und Birnen auf einer Steinplinthe. Öl auf Holz. 28 × 38,3 cm. Provenienz: Schweizer Privatbesitz. Dieses kürzlich in einer Schweizer Privatsammlung entdeckte Früchtestillleben ist ein qualitätsvolles Werk der Mailänder Künstlerin Fede Galizia. Die Aufmerksamkeit, die sie für jedes Detail aufwendet, und ihre innovative kompositorische Gestaltung sind charakteristische Merkmale dieser Ausnahmekünstlerin und werden hier exemplarisch zur Schau gestellt. Fede Galizia trug mit ihren naturalistischen, reduzierten Kompositionen mit Früchten und Blumen wesentlich zur Etablierung des Stilllebengenres in Italien zu Beginn des 17. Jahrhunderts bei. Nur etwa zwanzig Stillleben von ihr sind heute bekannt, sodass ihre Frucht- und Blumenstücke Raritäten und bedeutende Meilensteine der Kunstgeschichte darstellen. Galizia wurde bei ihrem Vater, dem Miniaturmaler Nunzio Galizia (1539–1621) in Mailand ausgebildet und fand bereits im Alter von zwölf Jahren Erwähnung. Der Kunstkritiker Gian Paolo Lomazzo (1538–1592) berichtete, dass Fede die grossen Meister ihrer Zeit studierte und nachahmte. Obwohl weibliche Künstlerinnen ihrer Zeit selten Aufträge für Historiengemälde erhielten, war Galizia zu Lebzeiten vor allem für Andachtsbilder und Porträts bekannt. Während sich die meisten Maler des 17. Jahrhunderts auf ein einziges Genre spezialisierten, scheint Galizia den Hindernissen einer männlich dominierten Kunstwelt getrotzt zu haben und ein vielfältiges Werk geschaffen zu haben. Während ihre Stillleben bis ins 20. Jahrhundert praktisch unbekannt waren, zeigt sich nun, dass Fede Galizia, wie Clara Peeters (um 1589–1657) in den Niederlanden, eine entscheidende Rolle bei der Entstehung des relativ neuen Genres des Stilllebens spielen sollte. Das in der Kunstgeschichte früheste bekannte Beispiel eines Früchtestillleben ist die schlichte Komposition mit einem Fruchtkorb von Caravaggio (1571–1610), die sich in der Pinacoteca Ambrosiana in Mailand befindet und zwischen 1595 und 1596 datiert wird. Im frühen 17. Jahrhundert befand sich Caravaggios Gemälde in der Sammlung des Kardinals Federico Borromeo in Mailand, zusammen mit einer Reihe von Werken von Jan Brueghel d. Ä. (1568–1625), und es ist möglich, dass Fede Galizia sich vom intensiven Realismus dieser Werke inspirieren liess. Die Werke Galizias legen jedoch eine einzigartig ruhige Atmosphäre an den Tag, die durch die Einfachheit der einzelnen Elemente und die Art und Weise, wie die Früchte und Blumen auf kleinstem Raum eine monumentale Präsenz annehmen, geprägt wird. Fede Galizias präzise Beobachtung der Natur erweckt jedes einzelne Element dieses Stilllebens zum Leben. Modulationen von Licht und Schatten deuten die Krümmung der Weinblätter und die Reife der Trauben an, rafinierte Lasurschichten vermitteln glaubhaft die Textur der Früchte im Gegensatz zur kühleren Festigkeit der weissen Keramikschale. Die Schönheit und der Realismus ihrer Komposition ermutigen den Betrachter, sich an den winzigen Details und der Finesse ihrer Ausfühung zu erfreuen. Der ausgezeichnete Zustand dieser kleinen Tafel lässt sie zudem ganz besonders als meisterhafte Arbeit im Oeuvre Galizias glänzen. Die jüngste Forschung erweiterte die Gruppe der Fruchtstillleben Galizias, was zu einem Wiederaufleben ihrer Popularität und zu einer Neubewertung ihrer Bedeutung in der italienischen Barockkunst geführt hat. So wurde beispielsweise eine vorher nicht publizierte, mit dem hier angebotenen Gemälde vergleichbare Komposition mit Trauben in einer weissen Keramikschale, Birnen und einem Granatapfel vor wenigen Jahren zusammen mit einem Gegenstück in New York versteigert (Sotheby's, New York, 1.2.2018, Los 20). Flavio Caroli datiert ein vergleichbares Stilllebenpaar in seiner Monographie über die Künstlerin in das Spätwerk Galizias (siehe Flavio Caroli: Fede Galizia, Turin 1989, S. 88, Kat.-Nr. 34 und 35). Caroli erwähnt zudem ein beinahe identisches Fruchtstillleben mit Trauben in einer weissen Keramikschale, Birnen und einem Granatafpel in einer Mailänder Privatsammlung (siehe Flavio Caroli: Fede Galizia, Turin 1989, S. 94, Kat.-Nr. 62). Die Authentizität des hier angebotenen Gemäldes, welches Caroli 1989 nicht bekannt war, wurde kürzlich von Prof. Mauro Natale und von Prof. Alessandro Morandotti nach Prüfung des Originals bestätigt, wofür wir ihnen danken.
Artist: Fede Galizia, Italian (1578 - 1630) Title: Peaches in a Pierced White Faience Basket Portfolio: Year: 1983 Medium: Poster on foamcore Edition: Image Size: Size: 27.5 x 19 in. (69.85 x 48.26 cm) Frame Size: Printer: Publisher: Reference:
Artist: Fede Galizia (1578 - 1630) Title: Peaches in a Pierced White Faience Basket Year: 1983 Medium: Poster on foamcore Size: 27.5 x 19 in. (69.85 x 48.26 cm)
(Milano, 1578? - 1630) Natura morta Olio su tela, cm 30X40 La tela è certamente ispirata dalle opere di Fede Galizia. La pittrice si può annoverare tra le figure principali di sviluppo della Natura morta in Italia e, secondo il biografo Giovanni Paolo Lomazzo, intraprese la carriera in giovane età. Le sue prime opere contemplano scene religiose e ritratti- famoso è quello dedicato a Federico Zuccari. Ma fu nel genere della natura morta ad eccellere, seguendo gli esempi del Figino, degli artisti nordici collezionati dal Borromeo e indubbiamente dalla Canestra caravaggesca. Il suo descrivere gli oggetti e gli elementi della natura evidenziano un temperamento scientifico ed una inaspettata monumentalità considerando che i suoi lavori sono quasi sempre di piccola scala ma affrontati con uno spirito di osservazione notevole, giungendo ad esiti straordinari. Bibliografia di riferimento: F. Caroli, 'Fede Galizia', Torino, 1991, ad vocem
Galizia, Fede Mailand 1573/74 - nach 1630 - Nachfolge Stillleben mit einer Schale Pfirsiche. Unten rechts: M.C. Öl auf Leinwand. Doubliert. 39,5 x 50cm. Rahmen.
Van Ham Kunstauktionen
Apr. 15, 2013
Est: -
FEDE GALIZIA (MILAN 1578-1630) Pêches dans une coupe en verre, pommes et fleurs de jasmin huile sur panneau 30 x 42,5 cm.
