Attributed To Pietro Paolini (ITALY / LUCCA 1603 - 1681) Painting 1603 – 1681), 132cm x 94cmNARCISSUS AT THE SOURCE, an earlywork by Pietro Paolini in the manner of themaster, Carvaggio (Milan, 1571 – 1610),was painted in the period between 1633and 1645, but most likely prior to or verysoon after his return to Lucca in 1641.1Though it is not known who first ownedNARCISSUS AT THE SOURCE, anoverwhelmingly likely candidate is theSardini family, prominent Lucchesi noblesactive in local politics. One of theirdescendants, Conte Giacomo Sardini(1750-1811), later wrote authoritativelyabout Paolini’s paintings and technique,referencing examples from his family’scollection of the artist’s work, which alsoincluded prominent Lucchesi artists suchas Zacchia Il Vecchio, Pompeo Batone andPietro Testa.2Inclusion of the present work in the Sardinicollection is further supported by its lateracquisition by the Chelini family—mostlikely by Lucchesi author and historianAbate Jacopo Chelini (1759 – 1824), acontemporary and close friend of GiacomoSardini,3 who wrote Zibaldone Lucchesi, adefinitive history of the turbulent political events in Lucca between February and July 1800,during which members of the Sardini family played an active and central role.1 Expertise of Didier Bodart, Rome, November 22, 1995 (See Fig.)2 Indici degli Atti e delle Memorie della R. Academia Lucchese, Congrezzo Internazionale di Scienze Storicha tenutoen Roma, 19033 Such was the close personal relationship that Jacopo Chelin was cared for in his final days and died in ConteSardini’s house in 1824.4 Zibaldone Lucchesi by Abate Jacopo Chelini, Archivio di Stato di Lucca, 1800Chelini gifted the original manuscript to Conte Sardini, who in turn donated it to the Archiviod’Lucca, documenting precedence of the practice of gift-exchange between the two friends.5 Itis very likely that this is the means by whichthe Chelini family came into possession ofthe present work from the Sardinis.In 1974, proprietors Guido and LeonardoSimi of L. Simi and Figli, a Lucchesibookbinder and dealers in rare andantiquarian literature, represented ProfessorDora Chelini, the principal of the "IstitutoProfessionale Femminile Matteo Civitali" inLucca,6 in a sale of the present work for thesubstantial sum of L. 1,100,000 lira7 toColonel Giancarlo Manetti of the nobleManetti family of Siena and Florence.8The painting remained in Manetti’s collectionuntil it was acquired by Doctor Maffeis, representing a noble family of Conti Patrizi Marchesi ofBergamo, sometime prior to 1995 when he commissioned the Expertise of Professor DidierBodart who, after careful analysis and research, unequivocally attributed NARCISSUS AT THESOURCE to Pietro Paolini of Lucca.The painting was acquired in 2017 from Barzan Antiques (Cologne, IT) by its current owner, LosAngeles art collector, Ilaria Antoniazzi.THE ARTIST: PIETRO PAOLINIPietro Paolini, called il lucchese (June 3, 1603 – April 12, 1681), was an Italian painter ofthe Baroque period. Working in Rome, Venice and, finally, his native Lucca. Paolini founded anAcademy in his hometown, which formed the next generation of painters of Lucca.9Pietro Paolini was born in Lucca as the youngest son of Tommaso Paolini and Ginevra Raffaelli,a descendant of a prominent lucchese family.10When Paolini was 16 years old, his father sent him to Rome, enrolling him in the workshop ofAngelo Caroselli,11 a follower of Caravaggio who worked in an eclectic style. It was during hisdefining years at Caroselli's workshop that Paolini studied and was influenced by the prominentartists and schools of the period, later reflected in his trademark flexibility and facile mastery ofvarious techniques in his work.5 Indici degli Atti e delle Memorie della R. Academia Lucchese, Congrezzo Internazionale di Scienze Storicha tenutoen Roma, 1903, page 29 "Al Ministro della Pubblica Istruzione"6 Atti parlamentari seduta di Giovedi, 21 Marzo 1974 - presidenza del Presidente Pertini7 After conversion and adjustment for inflation, in excess of $800,000 USD.8 Receipt, L. Simi and Figli, April 13, 1974 (See Fig.)9 Mark MacDonnell, Pietro Paolini, Portrait of a Young Page catalogue at Dorotheum10 Memorie e documenti per servire alla storia di Lucca, Volume VIII, p. 136-14311 Renate Möller. "Caroselli, Angelo." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 28 May2016Fig. 1. Paolini’s THE CONCERTWhereas in the past, the relationship between Caroselli and Paolini was regarded as that of atraditional master and apprentice. It is now known that Caroselli was absent from Rome fromJune 1616 until February 1623, so it would have been impossible for Caroselli to be Paolini'smaster. Recently discovered materials point to a far more complex and possibly personalrelationship, manifested by their aesthetic collaboration and sharing of thematic elements. Inany case, Paolini’s documented presence in Lucca in 1626 for the period June–October furtherlimits the period of their brief but intense interaction.12During his developmental years in Rome, from 1616 through 1629, Paolini was exposed to theinfluence of the second generation of naturalist painters in the Caravaggesque tradition whoseprincipal representative was Bartolomeo Manfredi and also included Cecco delCaravaggio and Bartolomeo Cavarozzi.13From c. 1629-1631, Paolini resided and studied in Venice, where he was likely exposed to theworks of Paolo Veronese and Tintoretto. His subsequent work featured a fundamentalcharacteristic emphasizing muscletone as typical in Mannerist paintingand present in NARCISSUS AT THESOURCE.Paolini plied his trade in the regionfor the next decade, receivingcommissions from the church of SanGiovanni Evangelista in ReggioEmilia, the church of Saints Giovanniand Reparata in Lucca and SaintPaul’s Basilica outside the Romanwalls.14 It was most likely sometimeduring this period that he completedNARCISSUS AT THE SOURCE.Though much of Paolini’s later work centered on prosaic subjects and figures in contemporarysettings, his early paintings often featured mythological figures and tableaus. Notable examplesare many, and would include the prominent and playful inclusion of Cupid into THE CONCERT(c. 1625-1630, J. Paul Getty Museum, Malibu) (See Fig. 1.) and ACHILLES AMONG THEDAUGHTERS OF LYCOMEDES (c. 1620-1630, J. Paul Getty Museum, Malibu) (See Fig. 2.) .Though it is impossible to ascertain the exact date he painted NARCISSUS AT THE SOURCE,it is reasonable to conclude that it was completed early in his career, prior to his return to Luccain 1641. Likewise, Carvaggio’s influence on the young Paolini is clearly evidenced in the deeplymolded chiaroscuro and the signature elements of scarlet fabric, as seen in all three paintings.12 Patrizia Giusti Maccari, Pietro Paolini, Pandora catalogue at Dorotheum13 Pietro Paolini, 1603 Lucca - 1681, zug., Musikantenpaar, catalogue at Hampel Fine Art Auctions Munich14 Expertise of Didier Bodart, Rome, November 22, 1995 (attached)Fig. 2. Paolini’s ACHILLES AMONG THE DAUGHTERS OF LYCOMEDESPaolini’s NARCISSUS AT THE SOURCE was likelyan homage to Carvaggio’s NARCISSUS (See Fig.3). Though the figures, their postures and dress inpaintings are dissimilar, with Carvaggio’s morenatural depiction of a youth in contemporarywardrobe versus Paolini’s classical, semi-nuderepresentation of the subject, both are neverthelessidentical in their thematic condemnation of the folly ofobsessive self-love, as evidenced by their depictionsof the subjects’ faces; pitilessly rendered with vapidexpressions of insipid stupefaction. Thisparticular dichotomy of the real and the ideal,incidentally, is especially characteristic of Paolini'smale portraiture.15NARCISSUS AT THE SOURCE is characteristic ofPaolini’s work from his early days, which oftenreflected direct inspiration from Caravaggio'scompositions, as seen in his THE CONCERT and asecond musically themed painting, BACCHICCONCERT (c. 1625-30, Dallas Museum of Art).Both paintings pay conspicuous homage toCaravaggio's THE MUSICIANS (Collection ofCardinal del Monte).Pietro Paolini returned to Lucca around 1641. By then, his parents had passed away, andthough his mother was of a renowned family, her survivors were not landed or wealthy. Paoliniconsequently became the sole provider of support for his many siblings.16 He quicklyestablished a successful studio, introducing lucchese collectors to the genre of cabinet picturesfeaturing allegorical or musical subjects and still lifes. The work proved popular, and he soonreceived multiple commissions from local religious institutions as well as prominent citizens andnoble families in the city.17 In 1651 Paolini married Maria Forisportam Angela di GirolamoMassei who bore him two sons: Andrea, who became custodian of the Public Archives, andGiovanni Tommaso.18In 1653, Paolini founded the Lucca Academy of Painting and Design, invigorating the artisticatmosphere of 17th century Lucca. The Academy was the vibrant center of lively artisticenvironment in Lucca in the latter half of the 17th century, traning numerous artists of noteincluding Girolamo Scaglia, Simone del Tintore,, Antonio Franchi and Pietro Testa.19Toward the end of his life, Paolini almost entirely abandoned painting to devote the full measureof his efforts into teaching until his death in 1681.2015 Pietro Paolini, A YOUNG LADY HOLDING A COMPASS catalogue at Sotheby's16 Pietro Paolini, THE CARDSHARPS Catalogue at Jean Luc Baroni Ltd17 Pietro Paolini, Pittore caravaggesco a Lucca Catalogue at Finestre sull'Arte18 Elisabetta Giffi, PAOLINI, Pietro at Dizionario Biografico19 Rudolf Wittkower, Art and Architecture in Italy: 1600 to 1750,The Pelican History of Art, New York, Viking,197320 Elisabetta Giffi, PAOLINI, Pietro at Dizionario Biografico. see paperwork. Measures 52 1/2 INCHES HIGH X 37 1/2 INCHES WIDE. TOTAL FRAMED MEASURES 61X48
Pietro Paolini Lucca 1603 - 1681 Young man playing a lute by candlelight signed on neck of the lute: P L P oil on canvas canvas: 29 ½ by 39 ½ in.; 74.9 by 100.3 cm. framed: 37 by 46 ⅜ in.; 94.0 by 117.8 cm.
PIETRO PAOLINI (LUCCA 1603-1681) Lute players and an angel signed with the artist's monogram 'PPL' (center, on the lute) oil on canvas 39 1/2 x 52 1/2 in. (100.3 x 133.4 cm.) Read more
The canvas represents Saint Jerome in his study, with glasses on his nose, reading a book. It is a canvas with an intense naturalism that has strong references to Caravaggio. This canvas is perfectly inserted in the catalog of Pietro Paolini, a wonderful painter from Lucca who is strongly attracted by the first generation of Merisi's followers; in particular, Bartolomeo Manfredi and Valentin de Boulogne. The canvas is one of the most interesting compositions of his maturity, painted in the fourth decade of the seventeenth century. The biblical scene is shown theatrically in the present painting in a strong light-dark contrast with bright red, white and dark brown-grey. Meditating and reading with his skull as a memento mori close at hand, he spends his days in absolute solitude. His red cardinal's hat hanging on a stump on the right and his red robe, which is loosely wrapped around his shoulder and enveloping his body, refer to his time as a cardinal. The dynamic, and at the same time soft material treatment of the composition as a night piece, is reminiscent of other individual figures of old men (as in works of Honthort). However, the more dramatic conception and the stronger light contrast, which is decreasing the Neapolitan influences, move the Hieronymus painting into the immediate vicinity of Matthias Stomer and Pietro Paolini.
Junger Gitarrenspieler Öl auf Leinwand. 73 x 60 cm. In ebonisiertem Holzrahmen. Beigegeben ein Gutachten von Prof. Patrizia Giusti Maccari, in Kopie. Das vorliegende Werk ist zudem bei der Fondazione Zeri unter Nummer 55820 mit Abbildung dokumentiert als Pietro Paolini 1928 wurde das angebotene Gemälde von Adolfo Venturi noch Caravaggio zugeschrieben. Vor unbestimmtem Hintergrund das Hüftportrait eines leicht nach links gewandten jungen Mannes eine Gitarre spielend, die er in geschickter optischer Verkürzung in den Betrachterraum hält. Wenngleich das Gemälde noch 1928 als Werk Caravaggios galt, erkannte Federico Zeri es jedoch als eigenhändiges Werk des lucchesischen Malers Pietro Paolini an. Giusti Maccari datiert das Gemälde in ihrem mehrseitigen Gutachten auf ca. 1625 – 1630. Ein Hauptaugenmerk seines Schaffens lag auf allegorischen Gemälden und auf Portraits- und vermutlich haben wir es hier mit einer Kombination beider Typoi zu tun, so weißt die Nase auf portraithafte Züge hin, während die Gitarre auch als Allegorie des Gehörs verstanden werden kann. Im Walters Art Museum wird etwa die Allegorie der Fünf Sinne verwahrt, in der freilich der allgegenwärtige Caravaggismus der Zeit mit seinen Chiaro-Scuro Effekten mitschwingt. Überhaupt scheint Musik eines seiner Lieblingsthemen zu sein, so wird das 1620-1630 entstandene Gemälde „Konzert“ im Dallas Museum of Art aufbewahrt, welches ebenso wie das hier angebotene Gemälde in die Anfangsjahre seiner Römischen Tätigkeit fällt. Provenienz: Laut Fondazione Zeri Römische Privatsammlung. Anmerkung: Paolini wurde bereits sechzehnjährig nach Rom geschickt um unter der Anleitung von Angelo Caroselli zu arbeiten und sich die verschiedensten Malerschulen der Bologneser und Florentiner zu eigen machen zu können. Dabei ist sein Stil stark vom Caravaggismus beeinflusst worden. 1628 in Venedig, kehrt er bereits 1631 in seine Heimatstadt Lucca zurück, wo er 1640 seine eigene Akademie zur Ausbildung lokaler Künstler gegründet hat. Von Giacomo Sardini (1751-1811) wurde er erstmals in großem Stile als einer der strahlensten Maler der Luccesischen Schule gewürdigt. Der Einfluss aus dem Kreis von Bartolomeo Manfredi ist unverkennbar.(1330522) (13) Pietro Paolini, 1603 Lucca – 1681 ibid. YOUNG GUITAR PLAYER Oil on canvas. 73 x 60 cm. Acompanied by an expert’s report by Professor Patrizia Giusti Maccari. The present painting is also listed with an illustration at Fondazione Zeri under n. 55820 and described as by Pietro Paolini. When the painting was offered for sale by Adolfo Venturi in 1928 it was attributed to Caravaggio. Although the painting was still considered a work by Caravaggio in 1928, Federico Zeri recognized it as an original work by the Lucca painter Pietro Paolini. Giusti Maccari dates the painting in her multi-page report to around 1625-1630. In his multi-page report Giusti Maccari dates the painting to ca. 1625 – 1630. The Walters Art Museum, for example, holds The Allegory of the Five Senses, which resonates with the omnipresent Caravaggism and its chiaroscuro typical for the time. Music seems to have been one of his favourite subjects generally, like the painting Concert (1620-1630) held at the Dallas Museum of Art for example, which dates to his early years in Rome like the painting offered for sale here. Provenance: According to Fondazione Zeri held in private collection, Rome.
Guitar player Oil on canvas, cm. 84,5x60. Framed The painting is accompanied by the Expertise of Prof. Patrizia Giusti Maccari and will be published by Pacini Fazzi of Lucca, in a book currently being printed, dedicated to Pietro Paolini and edited by Prof. Patrizia Giusti Maccari. The work is published as an autograph by Pietro Paolini in the photo library of the Federico Zeri Foundation (no. 55820). The painting is accompanied by Export Licence.
DER HEILIGE HIERONYMUS BEI SEINEN STUDIEN Öl auf Leinwand. Doubliert. 98 x 72 cm. Ungerahmt. In einem dunklen Innenraum das Halbbildnis des Kirchenvaters nach links, in leuchtend roter Kardinalskleidung und dunklem Untergewand, mit seiner linken Hand ein aufgeschlagenes Buch haltend, das auf einem liegenden Schädel abgestützt ist. Hinter ihm rechts hängend sein leuchtend roter Kardinalshut. Er hat ein faltenreiches Gesicht, einen langen grauen Bart, einen Zwicker auf seiner Nase, durch den er mit leicht gesenkten Augen in das Buch blickt und bei leicht geöffnetem Mund voller Aufmerksamkeit zu lesen scheint. Malerei mit starken Kontrasten, bei besonderer Hervorhebung des charakterisierenden Gesichtes. Wenige Retuschen. Anmerkung: Das Motiv des studierenden Kirchenvaters ist mehrfach auf Gemälden in der Kunstgeschichte zu finden; erstmals wurde es, wohl auch in Abhängigkeit von Albrecht Dürer (1471-1528), von Joos van Cleve (um 1485-um 1540) vorgetragen und von Schülern und Nachfolgern in diversen Variationen wiederholt. (1301751) (18) Pietro Paolini, 1603 Lucca – 1681, attributed SAINT JEROME IN HIS STUDYOil on canvas. Relined. 98 x 72 cm.
JUNGER GITARRESPIELER Öl auf Leinwand. 73 x 60 cm. In ebonisiertem Holzrahmen. Beigegeben in Kopie ein Gutachten von Prof. Patrizia Giusti Maccari. Das vorliegende Werk ist zudem bei der Fondazione Zeri unter Nummer 55820 mit Abbildung dokumentiert als Pietro Paolini 1928 wurde das angebotene Gemälde von Adolfo Venturi noch Caravaggio zugeschrieben. Vor unbestimmtem Hintergrund das Hüftportrait eines leicht nach links gewandten jungen Mannes eine Gitarre spielend, die er in geschickter optischer Verkürzung in den Betrachterraum hält. Wenngleich das Gemälde noch 1928 als Werk Caravaggios galt, erkannte Federico Zeri es jedoch als eigenhändiges Werk des lucchesischen Malers Pietro Paolini an. Giusti Maccari datiert das Gemälde in ihrem mehrseitigen Gutachten auf ca. 1625 - 1630. Ein Hauptaugenmerk seines Schaffens lag auf allegorischen Gemälden und auf Portraits- und vermutlich haben wir es hier mit einer Kombination beider Typoi zu tun, so weißt die Nase auf portraithafte Züge hin, während die Gitarre auch als Allegorie des Gehörs verstanden werden kann. Im Walters Art Museum wird etwa die Allegorie der Fünf Sinne verwahrt, in der freilich der allgegenwärtige Caravaggismus der Zeit mit seinen Chiaro-Scuro Effekten mitschwingt. Überhaupt scheint Musik eines seiner Lieblingsthemen zu sein, so wird das 1620-1630 entstandene Gemälde „Konzert“ im Dallas Museum of Art aufbewahrt, welches ebenso wie das hier angebotene Gemälde in die Anfangsjahre seiner Römischen Tätigkeit fällt. Provenienz: Laut Fondazione Zeri Römische Privatsammlung. Anmerkung:Paolini wurde bereits sechzehnjährig nach Rom geschickt um unter der Anleitung von Angelo Caroselli zu arbeiten und sich die verschiedensten Malerschulen der Bologneser und Florentiner zu eigen machen zu können. Dabei ist sein Stil stark vom Caravaggismus beeinflusst worden. 1628 in Venedig, kehrt er bereits 1631 in seine Heimatstadt Lucca zurück, wo er 1640 seine eigene Akademie zur Ausbildung lokaler Künstler gegründet hat. Von Giacomo Sardini (1751-1811) wurde er erstmals in großem Stile als einer der strahlensten Maler der Luccesischen Schule gewürdigt. Der Einfluss aus dem Kreis von Bartolomeo Manfredi ist unverkennbar. (1291771) (13) Pietro Paolini, 1603 Lucca – 1681 ibid. YOUNG GUITAR PLAYEROil on canvas. 73 x 60 cm. A copy of the expert‘s report by Professor Patrizia Giusti Maccari is enclosed. The present painting is also listed with an illustration at Fondazione Zeri under n. 55820 and described as by Pietro Paolini; when the painting was offered for sale by Adolfo Venturi in 1928 it was attributed to Caravaggio. Although the painting was still considered a work by Caravaggio in 1928, Federico Zeri recognized it as an original work by the Lucca painter Pietro Paolini. Giusti Maccari dates the painting in her multi-page report to around 1625-1630. In his multi-page report Giusti Maccari dates the painting to ca. 1625 - 1630. The Walters Art Museum, for example, holds The Allegory of the Five Senses, which resonates with the omnipresent Caravaggism and its chiaroscuro typical for the time. Music seems to have been one of his favourite subjects generally, like the painting Concert (1620-1630) held at the Dallas Museum of Art for example, which dates to his early years in Rome like the painting offered for sale here. Provenance: According to Fondazione Zeri held in private collection, Rome.
The canvas represents Saint Jerome in his study, with glasses on his nose, reading a book. It is a canvas with an intense naturalism that has strong references to Caravaggio. This canvas is perfectly inserted in the catalog of Pietro Paolini, a wonderful painter from Lucca who is strongly attracted by the first generation of Merisi's followers; in particular, Bartolomeo Manfredi and Valentin de Boulogne. The canvas is one of the most interesting compositions of his maturity, painted in the fourth decade of the seventeenth century. The biblical scene is shown theatrically in the present painting in a strong light-dark contrast with bright red, white and dark brown-grey. Meditating and reading with his skull as a memento mori close at hand, he spends his days in absolute solitude. His red cardinal's hat hanging on a stump on the right and his red robe, which is loosely wrapped around his shoulder and enveloping his body, refer to his time as a cardinal. The dynamic, and at the same time soft material treatment of the composition as a night piece, is reminiscent of other individual figures of old men (as in works of Honthort). However, the more dramatic conception and the stronger light contrast, which is decreasing the Neapolitan influences, move the Hieronymus painting into the immediate vicinity of Matthias Stomer and Pietro Paolini.
RefOld13921 ALTE DAME MIT TOTENSCHÄDEL Öl auf Leinwand. Doubliert. 100 x 71 cm. In dekorativem vergoldeten Rahmen. In einem Innenraum mit Nischen und Skulpturen eine alte Frau mit faltigem Gesicht in rotem Gewand und weißer Kopfbedeckung hinter einem Tisch stehend. Darauf liegend ein großer Totenschädel, dem sie ihre kräftige linke Hand aufgelegt hat und dessen Kinnpartie sie mit ihrer rechten berührt. Dabei wendet sie ihren Kopf zur Seite, hat den Mund leicht geöffnet und scheint mit dem Zeichner hinter ihr, von dem nur eine Hand mit Griffel vor einer Leinwand ins Bild ragen, zu sprechen. Links unten ist zudem ein Teil eines goldenen Bilderrahmens zu sehen. Es existieren verschiedene Varianten das Motiv der Alten in gleicher Haltung, aber in unterschiedlichem Kontext, zeigend. Das fortgeschrittene Alter der Frau oder auch der Schädel verstehen sich dabei als Vanitassymbole.Literatur:Vgl. Patrizia Giusti Maccari, Pietro Paolini pittore lucchese, 1603-1681, Lucca 1987, S. 83 u.a. (1281732) (18)
The canvas represents Saint Jerome in his study, with glasses on his nose, reading a book. It is a canvas with an intense naturalism that has strong references to Caravaggio. This canvas is perfectly inserted in the catalog of Pietro Paolini, a wonderful painter from Lucca who is strongly attracted by the first generation of Merisi's followers; in particular, Bartolomeo Manfredi and Valentin de Boulogne. The canvas is one of the most interesting compositions of his maturity, painted in the fourth decade of the seventeenth century. The biblical scene is shown theatrically in the present painting in a strong light-dark contrast with bright red, white and dark brown-grey. Meditating and reading with his skull as a memento mori close at hand, he spends his days in absolute solitude. His red cardinal's hat hanging on a stump on the right and his red robe, which is loosely wrapped around his shoulder and enveloping his body, refer to his time as a cardinal. The dynamic, and at the same time soft material treatment of the composition as a night piece, is reminiscent of other individual figures of old men (as in works of Honthort). However, the more dramatic conception and the stronger light contrast, which is decreasing the Neapolitan influences, move the Hieronymus painting into the immediate vicinity of Matthias Stomer and Pietro Paolini.
PIETRO PAOLINI, CALLED IL LUCCHESE (LUCCA 1603-1683) An elderly man playing the guitar with a woman and a putto in attendance oil on canvas, unlined 71 1/8 x 47 5/8 in. (180.6 x 120.9 cm.)
Pietro Paolini (Italian, 1603-1681) oil on canvas, depicting architectural capriccio with figures situated in a landscape with ruins, bearing artist's plaque at bottom with dates. Image: 37.5" H x 31.5" W; frame: 45" H x 39" W x 2.25" D. Small isolated flake in one column, lower edge with minor bulge and resulting minor loss, areas of surface grime.
Ritratto d'uomo con cannocchiale Olio su tela, cm 64,5X91,5 Riferito a Pietro Paolini (Lucca 1603 - 1682) nella collezione di provenienza, per l'evidente carattere iconografico e le analogie con le opere dell'artista, che ritraggono liutai, costruttori di strumenti scientifici e studiosi, il dipinto si configura adeguatamente nel contesto della pittura lucchese d'età barocca. L'opera è interessante non solo per la rarità di simili soggetti, ma anche per il fatto che il protagonista rivolge il cannocchiale verso il basso, quasi a indicare filosoficamente che ogni cosa al di fuori della nostra dimensione è l'eternità e che la stessa guarda in basso verso di noi.
DIE RÜCKKEHR DES JÄGERS Öl auf Leinwand. Doubliert. 95 x 135 cm. In teilvergoldetem Rahmen. Im Zentrum des Gemäldes in Nahsicht der von links in eine Stube oder Küche zurückkehrende junge Jäger, mit geschultertem Gewehr, an dem ein erlegter Vogel hängt, um seine rechte Schulter eine herunterhängende Jagdtasche, auf seinem Haupt einen Hut und in seiner rechten Hand weitere erlegte Vögel haltend. Er wird bereits sehnsüchtig von einer weiteren Person erwartet, die um ihren Kopf ein weißes geknotetes Band trägt und ihn mit dunklen Augen ansieht. Ihre rechte Hand hält eine flache Schale oder einen Topf, auf den ihre andere Hand deutlich hinweist. Rechts neben ihr ein großer brauner Topf mit Deckel. Das Gemälde steht stilistisch eindeutig im Zeichen des Caravaggismus, jener Hell-Dunkel-Malerei, die auch in den meisten Werken Paolinis zu finden ist. Durch die Helligkeit sind auf dem Gemälde besonders das Hemd des Jägers, die beiden Gesichter der dargestellten Figuren, die jedoch teils leicht verschattet sind, sowie die Hände der Figuren hervorgehoben. Qualitätvolle Malerei, die den Werken des genannten Künstlers entspricht. Rest., Retuschen, kleinere Rahmenschäden. Anmerkung: Paolini kam bereits als 16-Jähriger nach Rom um unter der Anleitung von Angelo Caroselli (1585-1652) in dessen Atelier zu arbeiten und sich die verschiedensten Malerschulen der Bolognese und Florentiner zu eigen machen zu könne. Dabei ist sein Stil stark vom Caravaggismus beeinflusst worden. (1251663) (3) (18)
BÄRTIGER ALTER, DER FÜR EINE LAUTE EINE SAITE PRÜFT Öl auf Leinwand im Oval. 73 x 61 cm. In altem vergoldeten Ovalrahmen. Zuweisung an den Künstler durch Expertise von Dr. Patrizia Giusti Maccari, Lucca vom 10. März 1998 (in Kopie beiliegend). Der Alte, wohl ein Instrumentenmacher, ist hier im Halbbildnis wiedergegeben. Vor ihm eine schräg ins Bild, perspektivisch gelungen, wiedergegebene Laute, für die er eine Saite prüft, die er zwischen beiden Händen hält. Sein rotes Gewand mit regelmäßig gereihten, vertikalen Schlitzen versehen, auf dem Nasenrücken eine Brille aufgesetzt. Im stark abgedunkelten Hintergrund die Steinfigur einer liegenden Venus auf einer Kline. Auffällig ist hier, wie auch in den weiteren Werken Paolinis, der Hell-Dunkel-Stil des Caravaggismus, war der Maler doch selbst in jungen Jahren in der Werkstatt des Angelo Caroselli (1585-1652) in Rom, der wiederum ein Nachfolger Michelangelo Merisi il Caravaggios (1570/71-1610) war. So leuchtet auch hier vor dem schwarzen Hintergrund das Gesicht und insbesondere die Stirn des Alten auf, wobei dazu die flache Holzdecke der Laute korrespondiert. Die im Hintergrund halbdunkel wiedergegebene Steinplastik hebt sich in ihrer Farbkälte von den warmen Lichttönen des Vordergrundes ab. Das Bildthema selbst fügt sich ganz in die Reihe der Darstellungen von Personen, die sich mit Musik oder anderen Instrumenten befassen. So ist ein weiteres, exakt themengleiches Gemälde des Malers bekannt geworden, bei dem im Unterschied zum vorliegenden Gemälde anstelle der antiken Steinfigur eine römische Säulenstellung ins Bild gebracht wurde. Die Datierung des genannten Vergleichsbildes zwischen 1619 und 1632 bildet auch den Rahmen für die zeitliche Einordnung des vorliegenden Gemäldes. Literatur: Keith Christiansen, A Caravaggio Rediscovered: The Lute Player, Metropolitan Museum of Art 1990, S. 24-25, S. 70-73. (12203510) (2) (11) Pietro Paolini, 1603 Lucca – 1681, attributed BEARDED OLD MAN CHECKING STRING ON A LUTE Oil on canvas in oval. 73 x 61 cm. In old gilt oval frame. Attribution to the artist thanks to an expert´s report in copy by Dr. Patrizia Giusti Maccari, Lucca, dated 10 March 1998. The old man, probably an instrument maker, is portrayed in half-length portrait format here. A lute is depicted in front of him, arranged diagonally into the painting with skilled perspective. The background is very dark and shows a stone sculpture of a reclining Venus on a chaise longue. As in other works by Paolini, the chiaroscuro style of Caravaggism is striking in this painting although the painter himself was active in the workshop of Angelo Caroselli (1585-1652) in Rome in his youth, who was in turn a follower of Michelangelo Merisi il Caravaggios (1570/71-1610). Another painting by the artist with exactly the same subject is known, which shows a Roman column instead of an antique stone sculpture. The dating of the aforementioned comparable painting between 1619 and 1632 also gives a timeframe for the dating of the painting on offer for sale here. Literature: Keith Christiansen, A Caravaggio Rediscovered: The Lute Player, Metropolitan Museum of Art 1990, pp. 24-25, pp. 70-73.
BÄRTIGER ALTER, DER FÜR EINE LAUTE EINE SAITE PRÜFT Öl auf Leinwand im Oval. 73 x 61 cm. In altem vergoldeten Ovalrahmen. Beigegeben Expertise in Kopie von Dr. Patrizia Giusti Maccari, Lucca vom 10. März 1998. Der Alte, wohl ein Instrumentenmacher, ist hier im Halbbildnis wiedergegeben. Vor ihm eine schräg ins Bild, perspektifisch gelungen, wiedergegebene Laute, für die er eine Saite prüft, die er zwischen beiden Händen hält. Sein rotes Gewand mit regelmäßig gereihten, vertikalen Schlitzen versehen, auf dem Nasenrücken eine Brille aufgesetzt. Im stark abgedunkelten Hintergrund die Steinfigur einer liegenden Venus auf einer Kline. Auffällig ist hier, wie auch in den weiteren Werken Paolinis, der Hell-Dunkel-Stil des Caravaggismus, war der Maler doch selbst in jungen Jahren in der Werkstatt des Angelo Caroselli (1585-1652) in Rom, der wiederum ein Nachfolger Michelangelo Merisi il Caravaggios (1570/71-1610) war. So leuchtet auch hier vor dem schwarzen Hintergrund das Gesicht und insbesondere die Stirn des Alten auf, wobei dazu die flache Holzdecke der Laute korrespondiert. Zwischen Hell und Dunkel fungiert die im Hintergrund im Halbdunkel wiedergegebene Steinplastik, die sich auch in ihrer Farbkälte von den warmen Lichttönen des Vordergrundes abhebt. Das Bildthema selbst fügt sich ganz in die Reihe der Darstellungen von Personen, die sich mit Musik oder anderen Instrumenten befassen. So ist ein weiteres, exakt themengleiches Gemälde des Malers bekannt geworden, bei dem im Unterschied zum vorliegenden Gemälde anstelle der antiken Steinfigur eine römische Säulenstellung ins Bild gebracht wurde. Die Datierung des genannten Vergleichsbildes zwischen 1619 und 1632 bildet auch den Rahmen für die zeitliche Einordnung des vorliegenden Gemäldes. Literatur: Vgl. Keith Christiansen, A Caravaggio Rediscovered: The Lute Player, Metropolitan Museum of Art 1990, S. 24-25, S. 70-73. (12203510) (2) (11) Pietro Paolini, 1603 Lucca – 1681, attributed BEARDED OLD MAN CHECKING STRING ON A LUTE Oil on canvas in oval. 73 x 61 cm. In old gilt oval frame. Attribution to the artist thanks to an expert´s report i n copy by Dr Patrizia Giusti Maccari, Lucca dated 10 March 1998. The old man, probably an instrument maker, is portrayed in half-length portrait format here. A lute is depicted in front of him, arranged diagonally into the painting with skilled perspective. The background is very dark and shows a stone sculpture of a reclining Venus on a chaise longue. As in other works by Paolini, the chiaroscuro style of Caravaggism is striking in this painting although the painter himself was active in the workshop of Angelo Caroselli (1585-1652) in Rome in his youth, who was in turn a follower of Michelangelo Merisi il Caravaggios (1570/71-1610). Another painting by the artist with exactly the same subject is known, which shows – by contrast with the painting on offer for sale in this lot – a Roman column instead of an antique stone sculpture. The dating of the aforementioned comparable painting between 1619 and 1632 also gives a timeframe for the dating of the painting on offer for sale here. Literature: Keith Christiansen, A Caravaggio Rediscovered: The Lute Player, Metropolitan Museum of Art 1990, pp. 24-25, pp. 70-73.
PORTRAIT DES SÄNGERS TIBERIO FIORILLI ALS SCARAMOUCHE Öl auf Leinwand. Doubliert. 93 x 132 cm. In vergoldetem Prunkrahmen. Im Mittelpunkt des großfigurigen Gemäldes der Schauspieler Tiberio Fiorilli (1608-1694) in dunklem Gewand mit weißem Kragen und Kopfbedeckung, leicht geröteten, halb geschlossenen Augen und voller Inbrunst singend. Ihm zur Seite eine junge Frau in einem rötlichen Gewand mit Kopfbedeckung und hinter ihm, seitlich stehend, ein weiterer Mann mit Maske über dem Gesicht. Alle drei wohl Schauspieler des italienischen Volkstheaters Commedia dell‘arte, die gerade eine Vorstellung geben. Malerei in reduzierter Farbigkeit mit ausdrucksstarkem Gesicht des Hauptdarstellers. Retuschen. Tiberio Fiorilli war ein italienischer Schauspieler der Commedia dell‘arte, der die Rolle Scaramouche entwickelte. Besonders beliebt war er in Frankreich, wo er Leiter der Truppe der Comédie-Italienne war, die am Theater des Petit-Bourbon und dem Theater Palais-Royal in Paris spielte. Im Gegensatz zu anderen Commedia dell‘arte-Spielern gab er die Maske auf und nutzte die Ausdruckskraft seines Gesichtes. Seine großen Augen und Augenbrauen sowie die lange Nase und der Schnurrbart trugen zu diesem ausdrucksstarken Effekt bei; so wird er auch auf dem vorliegenden Gemälde dargestellt. Anmerkung: Es wird zudem auf dem Kunstmarkt von einer französischen Galerie ein Gemälde von Pietro Paolini angeboten, das den Schauspieler Tiberio Fiorilli ebenfalls als Scaramouche zeigt. Dieses Gemälde (Öl auf Leinwand, mit den Maßen 92,5 x 121 cm), wird in die Zeit vor 1681 datiert und zeigt den Schauspieler in vergleichbarer Kleidung, mit Handschuh und ebenfalls vergleichbarem Gesichtsausdruck. (1210821) (18) Pietro Paolini, 1603 Lucca - 1681, attributed PORTRAIT OF THE SINGER TIBERIO FIORILLI AS SCARAMOUCHE Oil on canvas. Relined. 93 x 132 cm. In magnificent gilt frame. At the centre of the large-figure painting is a depiction of the actor Tiberio Fiorilli (1608 - 1694) in dark robes with white collar and a headdress. He is shown with slightly reddened, half-closed eyes singing at the top of his lungs. Notes: There is a painting by Pietro Paolini on offer for sale on the art market by a French gallery, also showing the actor Tiberio Fiorilli as Scaramouche. This gallery painting (oil on canvas, measuring 92.5 x 121 cm), is dated to before 1681 and shows the actor in similar clothing with gloves and comparable facial expression.
PIETRO PAOLINI, att. to (Lucca 1603 - 1681) SALOMÈ WITH THE BAPTIST'S HEAD Oil on canvas, cm. 96 x 130 PROVENANCE Collection of illustrious family, Livorno CONDITIONS OF THE PAINTING Twentieth century re-lining. Two points and a line of color lacks on the right. A small color lack aloft to the left. Accumulations of fat. The painting is in good state of conservation FRAME Giltwood frame of the end of the 18th century PIETRO PAOLINI, att. a (Lucca 1603 - 1681) SALOMÈ CON LA TESTA DEL BATTISTA Olio su tela, cm. 96 x 130 PROVENIENZA Collezione di illustre famiglia, Livorno CONDIZIONI DEL DIPINTO Rintelo novecentesco. Due punti e una linea di cadute di colore sulla destra. Una piccola caduta di colore in alto a sinistra. Accumuli di grasso. Il dipinto è in ottimo stato di conservazione CORNICE Cornice in legno dorato a bordi modanati, della fine del XVIII secolo
PIETRO PAOLINI, att. to (Lucca 1603 - 1681) SUSAN AND THE ELDER Oil on canvas, cm. 96 x 130 PROVENANCE Collection of illustrious family, Livorno CONDITIONS OF THE PAINTING Twentieth century lining. A small line of restoration almost oxidized on the red cloth at the bottom. Some color lacks on the arm of Susan and on the hand of an elder. Accumulations of fat. The painting is in good state of conservation FRAME Giltwood frame of the end of the 18th century PIETRO PAOLINI, att. a (Lucca 1603 - 1681) SUSANNA E I VECCHIONI Olio su tela, cm. 96 x 130 PROVENIENZA Collezione di illustre famiglia, Livorno CONDIZIONI DEL DIPINTO Rintelo novecentesco. Una piccola linea di restauro quasi ossidata sul drappo rosso in basso. Alcune minute cadute di colore sul braccio di Susanna e sulla mano di un vecchione. Accumuli di grasso. Il dipinto è in ottimo stato di conservazione CORNICE Cornice in legno dorato a bordi modanati, della fine del XVIII secolo
PIETRO PAOLINI, att. to (Lucca 1603 - 1681) JUDITH WITH THE HEAD OF HOLOFERNES Oil on canvas, cm. 96 x 130 PROVENANCE Collection of illustrious family, Livorno CONDITIONS OF THE PAINTING Twentieth century re-lining. Color lacks aloft to the left, on the breast of Giuditta and to the right for vertical line. Two restoration points almost oxidized right to Judith. Accumulations of fat. The painting is in good state of conservation FRAME Giltwood frame of the end of the 18th century PIETRO PAOLINI, att. a (Lucca 1603 - 1681) GIUDITTA CON LA TESTA DI OLOFERNE Olio su tela, cm. 96 x 130 PROVENIENZA Collezione di illustre famiglia, Livorno Il dipinto in questione assieme alla Salomè e alla Susanna sorpresa dai vecchioni presentati tutti in catalogo, costituiscono tre importanti rinvenimenti di cultura caravaggesca romana. Le opere sicuramente di elevata bellezza ma anche di altrettanto elevata difficoltà di analisi stilistica sono comunque collocabili nella cultura del tardo caravaggismo romano e presumibilmente databili intorno alla metà del XVII secolo. Alcune connotazioni fisionomiche, quali il disegno particolarmente allungato dei volti femminili, la cui forma viene marcata dal taglio della luce, e gli occhi amigdaloidi potrebbero aprire una ipotesi attributiva a favore di Pietro Paolini, benchè siano assenti altri elementi distinguibili dello stile del maestro lucchese, quali la brillantezza delle cromie ed una luce che sugli incarnati appare più liquida. Le opere comunque sprigionano una grande forza espressiva come la Giuditta che pone la testa di Oloferne all'interno di un sacco con sguardo sprezzante o la seducente Salomè che accenna un sorriso di compiacimento nel ricevere il macabro trofeo. Tre opere assolutamente inedite, conservate fino ad oggi da più di cinquanta anni, nella collezione di una dimora di un grande collezionista Livornese CONDIZIONI DEL DIPINTO Rintelo novecentesco. Cadute di colore in alto a sinistra, sul petto di Giuditta e a destra per linea verticale. Due punti di restauro quasi ossidati sulla destra di Giuditta. Accumuli di grasso. Il dipinto è in buono stato di conservazione CORNICE Cornice in legno dorato a bordi modanati, della fine del XVIII secolo
Attribué à Pietro PAOLINI (1603 - vers 1681) Jeune musicien à l'orgue Panneau de résineux, ovale, une planche, non parqueté 64 x 41 cm Restaurations Sans cadre
A young man holding bagpipes standing beside a table with a lute, a tambourine and a book of music oil on canvas 73 x 97.5 cm. (28¾ x 38 3/8 in.) in a carved Italian frame
oval, oil on canvas The present painting is a version of Paolini's The Lute Maker formerly in the Mansi Collection, Lucca (see P. G. Maccari, Pietro Paolini pittore luchese 1603-1681, 1987, p. 130, cat. no. 45).
