Lo Spagnoletto Sold at Auction Prices

Saint Paul

Saint Paul, oil on canvas, Spanish School, 17th C., relined, small restorations, signed JUSEPE DE RIBERA ESPAÑOL - attributable to José de Ribera, «Lo Spagnoletto» (1591-1652). Notes: José de Ribera was nicknamed in the Italian Peninsula, the place where he worked for much of his life, as «Lo Spagnoletto», because he was small in stature and because he recalled his origins in a considerable number of works in which he signed, as in the present one, «Jusepe de Ribera Español». The present painting is practically identical to the representation, made by the artist, of the mathematician Pythagoras, a work that can be found in the Museum of Fine Arts in Valencia, Spain, only presenting in addition the attribute of Saint Paul: the sword - vd. https://commons.wikimedia.org/wiki/File:Ribera-pitagoras.jpg - accessed on 18-04-2024., Dim. - 122 x 97 cm

A Grotesque Head

Property of a Private Collector Jusepe de Ribera, called lo Spagnoletto (Játiva 1591 - 1652 Naples) A Grotesque Head with small naked males surmounting his jester's cap, with different tassels on each side, and hanging 'Lilliputian' figures Point of the brush and brown ink and two shades of brown wash, with touches of grey wash, over traces of black chalk; bears numbering in brown ink, lower left: 6. 194 by 254 mm

CIRCLE OF JUSEPE DE RIBERA CALLED LO SPAGNOLETTO PAINTING ST BARTHOLOMEW

Framed oil on canvas painting, now laid on board, Saint Bartholomew, circle of Jusepe de Ribera [called Lo Spagnoletto] (Spanish, 1591-1652), relined in 1949, sight: approx 23.5"h, 17.5"w, overall: 33.25"h, 27.25"w, 14.25lbs

Saint James the Greater

Jusepe de Ribera, called lo Spagnoletto Játiva, Valencia 1591 – 1652 Naples Saint James the Greater oil on canvas canvas: 29 ⅛ by 25 in.; 74 by 63.5 cm. framed: 37 ⅞ by 33 ⅝ in.; 96.2 by 85.4 cm.

Jusepe de Ribera, called Lo Spagnoletto

(Xàtiva 1591–1652 Naples) Ecce Homo, signed and dated: Jusepe de Ribera / español ,F. 1644, oil on canvas, 70 x 57 cm, framed Provenance: sale, Christie, Manson & Woods, 17 March 1888, lot 83 (as Jusepe de Ribera); Obdulio Moncada Calderón Collection, Cartagena, 1890 until at least 1907; possibly by descent in the family; Private collection, London, until 2022 Literature: M. González Simancas, Catálogo Monumental de España. Provincia de Murcia 1905–1907, Manuscript, digitalised by CSIC Tomás Navarro Tomás Library, vol. II, pp. 334–335 (as Jusepe de Ribera) This outstanding signed and dated Ecce Homo was first published by Manuel González Simancas (1855–1942) a member of the Real Academia de Bellas Artes de San Fernando from Córdoba. He cites the painting in his manuscript (see literature) as follows: ‘827. – Mr Obdulio Moncada, whom I have already mentioned, owns a good canvas by Lo Spagnoletto (photo 199), representing Ecce Homo with his right shoulder and part of his chest uncovered, holding the reed in his left hand. This painting could be included among the best works of that brilliant artist, and his signature appears on the red cloth covering the other half of the chest and the left shoulder. Jusepe de Ribera // español (Spaniard), F.1644. The painting, without its frame, is 68 cm high and 55 cm wide, and it is in a very good state of conservation’. According to the manuscript this painting belonged to the collection of Obdulio Moncada Calderón, who was mayor of Cartagena and president of the local press association, as well as editor of the newspaper Eco de Cartagena in the late 19th century. The present work belongs to the artist’s full maturity, and was produced when he was convalescing after an illness that had delayed many of his commissions. Ribera’s naturalism, revealed his early paintings in Rome, continued throughout his long artistic career. His painterly style displays a masterful use of light and shadow, using a limited colour palette, creating an incredible sense of immediacy. This is further enhanced in the present composition by the depiction of Christ, close-up with direct eye contact with the viewer. The format and size of this Ecce Homo was common in the production of the painter, as evidenced in some paintings from his series of apostles or philosophers. The subject of the Ecce Homo was popular during the Counter-Reformation and Ribera executed several versions, including one conserved at the Real Academia de Bellas Artes de San Fernando in Madrid (inv. no. 0629), signed with legated initials ‘J’ and ‘R’. Further comparable paintings from his mature period are the Ecce Homo at the Ateneum Museum in Helsinki (inv. no. A II 1361), the Ecce Homo in the Hermitage Museum in Saint Petersburg (inv. no. ГЭ-7760) and another in the Bob Jones University Collection of Sacred Art, Greenville. Jusepe de Ribera was born in Spain and travelled to Italy as a young man. In Rome from about 1613 to 1616, he developed a personal style that was significantly influenced by the work of Caravaggio. During the 1630s he encountered the work of Anthony van Dyck and Guido Reni, while he perfected his naturalistic style following Diego Velazquez in Naples. By the 1640s Ribera’s career was already well established in Naples and created dramatic works during this period, articulated through contrasts of light and shade. Ribera was aware of Caravaggio’s technique of painting and experimented with chiaroscuro, though he never became a direct follower of Caravaggio and developed his own singular style of painting. The present painting is an exceptional example of his work.

CIRCLE OF JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO (XATIVA 1591-1652 NAPLES)

CIRCLE OF JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO (XATIVA 1591-1652 NAPLES) CIRCLE OF JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO (XATIVA 1591-1652 NAPLES) A scholar or philosopher Initialled R (entwined, lower right). oil on canvas 117.5 x 100 cm Although the precise identity of the subject has yet to be resolved, a plausible suggestion with the inclusion of the compass indicates he is presumably a philosopher or scholar. Paintings of philosophers occupy a special position in Ribera's productive career. He produced the renowned series of philosophers for the Duke of Alcalà, together with many images of saints, in states of penitence and ecstasy. The style and overall type of the painting point to its likely execution during the 17th century. The work can be compared on stylistic and compositional grounds to treatments of the subject by Caravaggio's followers such as Luca Giordano and notibly Ribera. The remarkable popularity of Ribera’s inventions suggest his influence in the present work. The treatment of light and tenebrism with fluid brushwork ranging from finely detailed passages to bold, expressive strokes with rich impasto, especailly to the facial features and hands, giving a a sense of depth to the charicturisation of the figure.

Studio of Jusepe de Ribera, called Lo Spagnoletto, Spanish 1591-1652- Saint Philip, half-length, h

Studio of Jusepe de Ribera, called Lo Spagnoletto, Spanish 1591-1652- Saint Philip, half-length, holding a set square; oil on canvas, 78 x 65.2 cm. Provenance: The Property of the Downside Abbey General Trust sale, Sotheby's, London, 23 September 2020, lot 373. Note: This painting is a studio copy after the similarly sized prime version by Ribera, conceived in 1630-1635 and owned by the Prado Museum in Madrid [P001088] (https://protect-us.mimecast.com/s/bQHJCERZ20IpwqZSLB1fp?domain=museodelprado.es), though currently displayed in the Museu Víctor Balaguer, Barcelona (https://protect-us.mimecast.com/s/EblCCG6Y2MhAr8zHLa4uw?domain=artsandculture.google.com). Professor Nicola Spinosa does not mention this version in his 2008 catalogue raisonné, but acknowledges that a number of replicas exist (See N. Spinosa, Ribera. La obra completa, Madrid 2008, p.379, cat.A132). Painted series of the Apostles became very popular during the Counter Reformation and were often conceived, as in the present work, as half-length figures set against a neutral background, holding their iconographical attributes. The Prado canvas is part of the highly important series that Ribera painted in the first half of the 1630s. Please refer to department for condition report

JUSEPE DE RIBERA (Cerchia di), San Pietro penitente

JUSEPE DE RIBERA detto LO SPAGNOLETTO (Cerchia di) (Xàtiva 1591 – Napoli 1652) San Pietro penitente Olio su tela Cornice in legno intagliato e dorato. Provenienza: Nobile famiglia siciliana. cm 75 x 94,5.

Maestro della scuola di Jusepe de Ribera o José de Ribera o lo Spagnoletto (Xàtiva 1591 - Napoli 1652)

Maestro della scuola di Jusepe de Ribera o José de Ribera o lo Spagnoletto (Xàtiva 1591 - Napoli 1652) Adorazione dei pastori Olio su tela 95 x 126 cm Maestro indiscusso e fondamentale dell’ambito napoletano del Seicento, durante la sua felice attività artistica ha guidato un’importante bottega, dalla quale sono usciti maestri di primaria importanza: il primo da menzionare è Luca Giordano, che nella sua fase iniziale dimostra tutto il suo debito verso lo Spagnoletto, poi Aniello Falcone, oggi conosciuto come autore di battaglie, lo spagnolo Juan Do, Giovanni Ricca, i fratelli pugliesi Francesco e Cesare Fracanzano e il fiammingo Hendrick van Somer. Inoltre va ricordato il nome che più si avvicina alla nostra opera ovvero Bartolomeo Bassante, autore talvolta ritenuto, a seconda degli studiosi, l’autore delle opere dell’enigmatico Maestro dell’Annuncio ai pastori. Master of the school of Jusepe de Ribera or José de Ribera or Lo Spagnoletto (Xàtiva 1591 - Naples 1652) Adoration of the shepherds Oil on canvas 95 x 126 cm

Jusepe De Ribera - know as Lo Spagnoletto. Xativa, 1591 - Naples 1652. San Girolamo, 78.5 x 64.5 -

Jusepe De Ribera - know as Lo Spagnoletto. Xativa, 1591 - Naples 1652. San Girolamo, 78.5 x 64.5 - oil paint on canvas. A real masterpiece, perhaps performed at the Neapolitan beginnings of Ribera, for a private client. In Naples, the painter comes loaded with a cognitive experience, which in him creates a cultural stratification, derived from the knowledge of the classicism of Emilian and Bolognese painting; from that of the French caravaggisti that he knows in Rome, such as Gerard Douffet, or the Master of Judgment of Solomon.In Naples he has the opportunity to see Battistello and Filippo Vitale, from whom he suffers a certain contamination: as can be seen in San Matteo and L'Angelo of 1616; recalls Battistello, it is evident in the figure of the Saint and in the Battistellian Angel similar in the painting of the Liberation of San Pietro al Carcere. In this work, the Caravaggesque naturalism, rendered with rigor in a meticulous manner, especially in the realization of the real datum of the character and of his physical construction, is enriched at the same time by a psychological datum, guilty by the look and gesture of the hand with the finger indicating. All this generates an expressly communicative and not only formal thought. The dense and compact but at the same time fluid pictorial mixture naturally welcomes a simplicity that becomes primary and necessary to give greater strength, and to underline the psychological and spiritual data of the character. The figuration focuses everything on the Saint's gaze and face, which makes it all vibrant by a communication of thought, excluding an artificial attitude. In this way, the Valencian expertly manages to combine a vigorous Caravaggesque naturalism with an intense and expressive portraiture, originating an emotional and vibrant communication. The work may have been done around 1618/20.Provenance: Gironda D'Amico collectionFrom family inheritance deriving from the progenitor Bernardo Gironda, (1580 Naples, 1690) 19th Baron of Naples.

Jusepe de Ribera, lo Spagnoletto (Játiva 1591-1652 Naples) - Saint Andrew

Jusepe de Ribera, lo Spagnoletto (Játiva 1591-1652 Naples) Saint Andrew oil on canvas 50 ¼ x 39 7/8 in. (127.8 x 100.7 cm.)

JUSEPE DE RIBERA, LO SPAGNOLETTO - (JÁTIVA, VALENCIA 1591-1652 NAPLES)

JUSEPE DE RIBERA, LO SPAGNOLETTO (JÁTIVA, VALENCIA 1591-1652 NAPLES) Saint James the Lesser inscribed 'S JACOBVS. MI' (lower center, on the banderole) oil on canvas 43 1/4 x 34 1/2 in. (109.6 x 87.7 cm.)

Jusepe ou José de Ribera, dit Lo Spagnoletto (1591-1652) Silène ivre. 1628. Eau-forte. 346 x 265. Bartsch 13 ; Brown 14. Belle épreuve sur vergé chamois, rognée au trait carré en tête et en pied et sur le coup de planche latéralement. Petits trous aux bords du feuillet, visibles essentiellement par transparence, habilement restaurés dans les angles au verso. Traces de plis dont pli de séchage vertical médian.

Jusepe ou José de Ribera, dit Lo Spagnoletto (1591-1652) Silène ivre. 1628. Eau-forte. 346 x 265. Bartsch 13 ; Brown 14. Belle épreuve sur vergé chamois, rognée au trait carré en tête et en pied et sur le coup de planche latéralement. Petits trous aux bords du feuillet, visibles essentiellement par transparence, habilement restaurés dans les angles au verso. Traces de plis dont pli de séchage vertical médian.

Jusepe de Ribera, Saint Bartholomew, Etching, 1624

Etching on laid paper Italy, 1624 Jusepe de Ribera called Lo Spagnoletto (1591-1652) – Spanish born painter, draftsman and printmaker of the broque Signed ‘Jusepe de Ribera Spanol’ as well as inscribed and dated ‘Dedico mis obras y esta estampa al Serenismo Principe Philiberto mi Señor en Napoles año 1624’ in the plate Full title ‘The Martyrdom of Saint Bartholomew’ Catalogue raisonné: Bartsch 6 Plate/sheet dimensions: 32.2 x 24.3 cm Matted: 45 x 34.5 cm Good condition Very popular motif of the artist, whose work shows a penchant for gruesome scenes. Condition The etching is trimmed to the platemark and bears occasional faint foxmarks as well as a horizontal crease, presumably related to the printing process. The sheet is hinged to a mat at the reverse upper edge and overall in good age-appropriate condition. The dimensions of the trimmed sheet correspond to the plate dimensions and are 32.2 x 24.3 cm. The mat measures 45 x 34.5 cm. Jusepe de Ribera (1591-1652) Born in the Spanish province of Valencia Ribera began his artistic training with Francesc Ribalta. Then he moved to Italy, where he studied the works by Italian masters such as Raphael and Caravaggio in Rome, Parma, Modena and Naples. Ribera was court painter to the Duke of Osuna and was appointed a member of the Accademia de San Luca in Rome in 1630. In 1644 the pope awarded him the Supreme Order of Christ. Jusepe Ribera, who was also known as ‘lo Spagnoletto’, the little Spaniard because of his origin, is considered next to Caravaggio as the most important naturalist of the Neapolitan school of painting. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Auctionata charges the resale rights tax pursuant to Section 26 of the German Copyright Act (UrhG) towards the buyer in case of the sale of an original work of art or photography prior to 70 years having lapsed since the death of their creator. Therefore, Auctionata charges when purchasing a good – if a protection as an original work of art or photography is given – starting from a hammer price of EUR 400 an additional amount, which is calculated according to Section 26 (2) German Copyright Act (UrhG) and which does not exceed the amount of EUR 12,500. You can find more information about resale rights tax in Auctionata´s table of fees and T&C.

Jusepe de Ribera, Saint Bartholomew, Etching, 1624

Etching on laid paper Italy, 1624 Jusepe de Ribera called Lo Spagnoletto (1591-1652) – Spanish born painter, draftsman and printmaker of the broque Signed ‘Jusepe de Ribera Spanol’ as well as inscribed and dated ‘Dedico mis obras y esta estampa al Serenismo Principe Philiberto mi Señor en Napoles año 1624’ in the plate Full title ‘The Martyrdom of Saint Bartholomew’ Catalogue raisonné: Bartsch 6 Plate/sheet dimensions: 32.2 x 24.3 cm Matted: 45 x 34.5 cm Good condition Very popular motif of the artist, whose work shows a penchant for gruesome scenes. Estimate by Auctionata Expert: 2,600 Euro Condition The etching is trimmed to the platemark and bears occasional faint foxmarks as well as a horizontal crease, presumably related to the printing process. The sheet is hinged to a mat at the reverse upper edge and overall in good age-appropriate condition. The dimensions of the trimmed sheet correspond to the plate dimensions and are 32.2 x 24.3 cm. The mat measures 45 x 34.5 cm. Jusepe de Ribera (1591-1652) Born in the Spanish province of Valencia Ribera began his artistic training with Francesc Ribalta. Then he moved to Italy, where he studied the works by Italian masters such as Raphael and Caravaggio in Rome, Parma, Modena and Naples. Ribera was court painter to the Duke of Osuna and was appointed a member of the Accademia de San Luca in Rome in 1630. In 1644 the pope awarded him the Supreme Order of Christ. Jusepe Ribera, who was also known as ‘lo Spagnoletto’, the little Spaniard because of his origin, is considered next to Caravaggio as the most important naturalist of the Neapolitan school of painting. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Auctionata charges the resale rights tax pursuant to Section 26 of the German Copyright Act (UrhG) towards the buyer in case of the sale of an original work of art or photography prior to 70 years having lapsed since the death of their creator. Therefore, Auctionata charges when purchasing a good – if a protection as an original work of art or photography is given – starting from a hammer price of EUR 400 an additional amount, which is calculated according to Section 26 (2) German Copyright Act (UrhG) and which does not exceed the amount of EUR 12,500. You can find more information about resale rights tax in Auctionata´s table of fees and T&C.

A philosopher, half-length, in a torn white shirt and brown jacket, holding books and a wicker flask

Attributed to Jusepe de Ribera, lo Spagnoletto (Játiva, Valencia 1591-1652 Naples) A philosopher, half-length, in a torn white shirt and brown jacket, holding books and a wicker flask oil on canvas 50 ¾ x 39 7/8 in. (127.6 x 99.3 cm.)

Jusepe de Ribera, lo Spagnoletto (Játiva, Valencia 1591-1652 Naples)

Jusepe de Ribera, lo Spagnoletto (Játiva, Valencia 1591-1652 Naples) A philosopher holding a mirror signed 'Jusepe de Ribera F' (lower left) oil on canvas 45 x 31½ in. (114.4 x 80 cm.)

LO SPAGNOLETTO Kreuzabnahme

LO SPAGNOLETTO Kreuzabnahme Jativa (Spanien) 1591-1652 Neapel Auf der Unterlage rückseitig vormalige Katalogbeschreibung der Galerie Fischer (ohne Jahr) und viele Referenzhinweise. Lavierte Feder in Bister, auf Karton montiert, 27,8 x 33 cm, dünnes Papier, Mittelfalt mit zwei Durchbrüchen

JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO

SAINT ONOPHRIUS signed and dated center right: Jusepe de Ribera, espagnol, F. 1643

- Workshop of Jusepe de Ribera, called Lo Spagnoletto , Játiva, Valencia 1591 - 1652 Naples Jacob stealing Esau's Birthright oil on canvas

oil on canvas

Jusepe Ribera, gen. Lo Spagnoletto (Játiba um

Jusepe Ribera, gen. Lo Spagnoletto (Játiba um 1590-1652 Neapel), nach Christus unter den Schriftgelehrten, Öl auf Leinwand, 64 x 79 cm, gerahmt, (GS) Nach dem heute dem Umkreis Riberas zugeordneten Gemälde im Kunsthistorischen Museum,Wien. Provenienz: Haus Habsburg (ehemals Allerhöchster Privatfonds, Inv. Nr. 1266).

A Saint holding a cross, in a painted oval

Jusepe de Ribera, Lo Spagnoletto (Jàtiva, Valencia 1591-1652 Naples) A Saint holding a cross, in a painted oval oil on panel 19 5/8 x 14 7/8 in. (49.8 x 37.8 cm.)

JUSEPE DE RIBERA, LO SPAGNOLETTO (Jativa 1591-1652 Naples)

Saint Paul oil on canvas 30 x 25 in. (76.2 x 63.5 cm.)

STUDIO OF JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO JÁTIVA, VALENCIA 1591 - 1652 NAPLES

STUDIO OF JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO JÁTIVA, VALENCIA 1591 - 1652 NAPLES

Studio of Jusepe de Ribera, lo Spagnoletto (Jativa, Valencia 1591-1652 Naples)

Saint Philip oil on canvas 24 x 193/4 in. (61 x 50.2 cm.) NOTES The composition relates closely to a picture, considered by Felton to be workshop, in The Prado, Madrid.

*LUCA GIORDANO, CALLED FA PRESTO (1632-1705)

signed and dated lower center Lucas Jordanus/F./1657 oil on canvas Giordano's early style was formed under the influence of Ribera, the primary Neapolitan painter of the day and most probably the younger artist's master at some point early on. A trip to Rome in 1652 exposed Giordano to other influences, including the dominant Baroque idiom of Pietro da Cortona, but also the works left in Rome by the young Peter Paul Rubens some 45 years earlier. The present work was painted in 1657 (see note below), the same year as the famous Madonna del Rosario (for the church of the Solitaria, Naples, now in the Capodimonte) which exhibits the artist's new interest in color (a combination of Rubensian and Venetic influences). His contemporaries noticed this change; some years later De Dominici in discussing the Solitaria picture noted that Giordano "fece... un quadro del SS. Rosario con bella invenzione, e colorito ad imitazione del suo primo maestro lo Spagnoletto, col bel componere del Veronese... Egli è mirabile per la freschezza del colore [made... a painting of the most holy Rosary of beautiful invention, and colored in imitation of his first master Lo Spagnoletto, with the beautiful arrangement of Veronese... It is astounding for its freshness of color.]'' Due to the misreading of the date at the time of the 1963 sale (see Provenance below), the importance of this painting had not hitherto been recognized. It reflects very closely the style of Ribera in such works as the Immaculate Conception of 1637 in the Harrach collection, Schloss Rohrau (see A.E. Pérez Sànchez, L'opera completa del Ribera, 1978, pp. 109-10, no. 106), but also is an important example of Giordano's transition from his earliest, Riberesque works to a more mature style (see note above).. The present painting will be included in the third volume addendum of the catalogue raisonne of Luca Giordano by Oreste Ferrari and Giovanni Scavizzi, in preparation.

Jusepe de Ribera, lo Spagnoletto (J tiva, Valencia 1591-1652 Naples)

Saint Jerome oil on canvas 30 x 25 in. (76.2 x 63.5 cm.) PROVENANCE Abb‚ Thu‚lin, Paris. LITERATURE A. P‚rez S nchez and N. Spinosa, L'opera completa del Ribera, Milan, 1978, no. 465 (as studio - see note below). EXHIBITION Paris, H“tel Charpentier, La Demeure Historique, Exposition d'Art Ancien Espagnol, 1925, no. 97. NOTES In a facsimile dated 19 February 2001, Professor Nicola Spinosa confirms the autograph status of this picture, on the basis of a transparency, explaining that the attribution to the studio given in his 1978 Opera completa was based on a bad photograph. SALESROOM NOTICE We are grateful to Professor Riccardo Lattuada for independently attributing this picture in full to Ribera on the basis of a transparency (26 January 2001).