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Lot 20: Andrea Semino (Genova, 1526 – 1594) LA COMUNIONE DI SAN GEROLAM

Est: €150,000 EUR - €250,000 EURSold:
Pandolfini Casa d'AsteFlorence, ItalyNovember 26, 2019

Item Overview

Description

Andrea Semino
(Genova, 1526 – 1594)
LA COMUNIONE DI SAN GEROLAMO (al centro); IL COMMITTENTE CON L’ARCANGELO MICHELE (a sinistra); TOBIOLO CON L’ANGELO (a destra)
trittico, olio su tavola, tavola centrale cm 135,5x94 e laterali cm 117,5x54,8
firmato e datato “+ANDREAS. SEMINUS./FACIEBAT./ANNO. 1553.” sulla tavola centrale, in basso a destra
 
THE LAST COMMUNION OF SAINT JEROME (centre); THE PATRON WITH SAINT MICHAEL (left); AND TOBIAS WITH THE ANGEL (right)
triptych, oil on panel, central panel cm 135,5x94 and laterals cm 117,5x54,8
signed and dated “+ANDREAS. SEMINUS./FACIEBAT./ANNO. 1553.” on the central panel, lower right.
 
Bibliografia
M. Bartoletti, Semino, Andrea, in La pittura in Italia. Il Cinquecento, a cura di G. Briganti, II, Milano 1988, p. 836; P. Boccardo, Dipinti fiamminghi del secondo Cinquecento a Genova: il ruolo di una collezione Balbi, in Pittura fiamminga in Liguria. Secoli XIV-XVII, a cura di P. Boccardo e C. Di Fabio, Cinisello Balsamo 1997, p. 173 nota 1; G. Zanelli, Semino, Andrea, in Dizionario Biografico degli Italiani, vol. 92, 2018.
 
Referenze fotografiche
Fondazione Zeri, scheda 45462
 
Ben noto alla critica ma non ancora oggetto di uno studio approfondito volto a ricostruirne committenza e collocazione originaria, l’importante trittico è stato eseguito dal genovese Andrea Semino a distanza di pochi anni dal suo viaggio di formazione a Roma, in compagnia del fratello minore Ottavio, avvenuto dopo l’apprendistato presso la bottega paterna: le citazioni dall’antico nel paesaggio con rovine e l’eleganza delle figure risentono dei suoi studi compiuti nella città eterna sulle vestigia classiche e sui vertici raggiunti nei cantieri romani da Raffaello e dai suoi seguaci.
Nel 1552 è documentato il suo coinvolgimento insieme a Luca Cambiaso e ai fratelli Lazzaro e Pantaleo Calvi nella decorazione della cappella Centurione presso la chiesa genovese di S. Maria degli Angeli in Promontorio, realizzando un affresco raffigurante il Battesimo di Cristo.
Dopo pochi anni, la bottega dei Semino, diretta proprio da Andrea in seguito alla morte del padre nel 1555, diventerà uno dei principali punti di riferimento per la committenza genovese, instaurando anche stretti rapporti con la Spagna.
Membro della ristretta élite che amministrava il territorio della Repubblica di Genova, come dimostra l’abito nero senatoriale, il committente dell’opera offerta è presentato dall’arcangelo Michele nello scomparto sinistro, mentre in quello destro si trova Tobiolo accompagnato da un altro arcangelo, Raffaele.
La scelta dei due angeli e della scena centrale con l’Ultima comunione di San Gerolamo, dove in basso a destra compare la firma del pittore e l’anno 1553, deve essere stata dettata da una precisa volontà del notabile genovese, legata presumibilmente a questioni familiari oltre che devozionali, a oggi non ancora emerse.
La notevole qualità del trittico, oltre che nel ricordo raffaellesco, soprattutto nelle figure dei due angeli - ricordo senz’altro rinverdito dalla presenza di molte opere di Perin del Vaga sul territorio ligure - e nell’attenzione per la diversificazione dei volti dei monaci che si stringono intorno al santo morente o nel tentativo ritrattistico del committente, sta nella suggestiva resa del paesaggio dove tra ruderi di edifici antichi, fronde di alberi di un verde brillante e città murate che si affacciano su erte insenature solcate da velieri, è possibile seguire anche le vicende del santo eremita e del giovane Tobiolo con il pesce. Interessante confrontare quest’ultimo con gli affreschi di Polidoro da Caravaggio in San Silvestro al Quirinale con storie sacre inserite all’interno di scenari paesistici all’antica, che Andrea aveva potuto senz’altro ammirare durante il suo soggiorno romano (fig. 1).
Giustamente è stato sottolineato come l’artista abbia meditato anche sulla tradizione fiamminga, con particolare riferimento alla produzione di ambito anversano, così apprezzata dall’aristocrazia genovese tra il XV e il XVI secolo. Piero Boccardo ha infatti affermato che «è possibile sostenere che vi sia stata una specifica richiesta in tal senso da parte della committenza» (Boccardo 1997, p. 173 nota 1), ossia un preciso rifarsi alle sontuose tavole che artisti quali Joos van Cleve (Cleve, 1485 circa - Anversa, 1540/1541) avevano realizzato per i ricchi mercanti genovesi all’inizio del Cinquecento.
 
Opera dichiarata di interesse culturale particolarmente importante dal Ministero per i Beni e le Attività culturali. Soprintendenza Archeologia, Belle Arti e Paesaggio per la città metropolitana di Genova e le province di Imperia, La Spezia e Savona il 9 settembre 2002 (n. notifica 25972).
 
The Italian Soprintendenza considers this lot to be a work of national importance and requires it to remain in Italy; it cannot therefore be exported from Italy.

Artist or Maker

Payment & Shipping

Payment

Accepted forms of payment: MasterCard, Visa, Wire Transfer

Shipping

BUYER'S PREMIUM: All sales will be subject to a Buyer's Premium of 20% (23% on-line) that will be added to the purchase price of any lot. Any taxes will be applied to the aggregate amount of Bid Price and Buyer's Premium.

Auction Details

Old Master Paintings

by
Pandolfini Casa d'Aste
November 26, 2019, 03:30 PM CET

Borgo Albizi, 26, Florence, 50122, IT

Terms

Buyer's Premium

22.5%

Bidding Increments

From:To:Increment:
€0€99€20
€100€499€50
€500€999€100
€1,000€4,999€500
€5,000€9,999€1,000
€10,000€49,999€2,500
€50,000€99,999€5,000
€100,000€199,999€10,000
€200,000€499,999€25,000
€500,000+€50,000

PAYMENT

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BANCA MONTE DEI PASCHI DI SIENAFiliale 1874 - Sede di Firenze Via Sassetti
IBAN: IT 25 D 01030 02827 000006496795,Swift BIC - PASCITM1W40

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As concerning attributions, please note that:
1. ANDREA DEL SARTO: in our opinion a work by the artist.
2. ATTRIBUTED TO ANDREA DEL SARTO: in our opinion the work was executed by the artist, but with a degree of uncertainty.
3. ANDREA DEL SARTO'S WORKSHOP: work executed by an unknown artist in the workshop of the artist, whether or not under his direction.
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aforementioned artist. He may be a pupil.
5. STYLE OF…; FOLLOWER OF…; a work by a painter who adheres to the style of the artist: he could be a pupil or another contemporary, or almost contemporary, artist.
6. MANNER OF ANDREA DEL SARTO: work executed imitating the style of the artist, but at a later date.
7. FROM ANDREA DEL SARTO: copy from a painting known to be by the artist.
8. IN THE STYLE OF…: work executed in the style specified, but from a later date.
9. The terms signed and/or dated and/or initialled means that it was done by the artist himself.
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Resale right
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Value Added Tax
The purchaser will pay 22% V.A.T. on the hammer price. The final price is therefore composed of the hammer price plus a total of 25% on the first €100.000 and 22% on any amount exceeding €100.000.

Lots with symbol
Lots with the symbol (*) have been entrusted by Consignors subject to V.A.T. and are therefore subject to V.A.T. as follows:
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Shipping Terms

BUYER'S PREMIUM: All sales will be subject to a Buyer's Premium of 20% (23% on-line) that will be added to the purchase price of any lot. Any taxes will be applied to the aggregate amount of Bid Price and Buyer's Premium.

Shipping Terms

BUYER'S PREMIUM: All sales will be subject to a Buyer's Premium of 20% (23% on-line) that will be added to the purchase price of any lot. Any taxes will be applied to the aggregate amount of Bid Price and Buyer's Premium.