Roman School, circa 1610–1620
![Roman School, circa 1610–1620 - Obrazy starých mistrů Roman School, circa 1610–1620 - Obrazy starých mistrů](/fileadmin/lot-images/38A200609/normal/roemische-schule-um-1610-1620-6718263.jpg)
Ecce Homo,
oil on canvas, 81 x 65 cm, framed
Provenance:
Private collection, Correggio, late 19th century;
Private collection, Rome;
and thence by descent to the present owner
Literature:
R. Longhi, L’ Ecce Homo del Caravaggio a Genova, in: Paragone, V, vol. 51, 1954, p. 9, fig. 13a (as ‘Derivazione seicentesca siciliana dall’Ecce Homo di Caravaggio’);
A. Moir, The Italian followers of Caravaggio, Cambridge Mass. 1967, vol. 1, p. 184, footnote 7, not ill. (as a Copy from a lost painting by Caravaggio);
M. Calvesi, Caravaggio o la ricerca della salvazione, in: Storia dell’Arte, vol. 9/10, 1971, p. 123, footnote 110, fig. 45 (as ‘Da Caravaggio’, Copy from a lost work by Caravaggio);
M. Marini, Io Michelangelo da Caravaggio, Rome 1974, p. 412, mentioned under cat. no. 58–E, not illustrated (under ‘copie’ of the Ecce Homo by Caravaggio, Genova – Mario Minniti);
B. Nicolson, The International Caravaggesque Movement, Oxford 1979, p. 74 no. 2.3, not illustrated (as a third version by Mario Minniti);
F. Campagna Cicala, Intorno all’attività di Caravaggio in Sicilia. Due momenti del caravaggismo siciliano: Mario Minniti e Alonzo Rodriguez, in: Caravaggio in Sicilia. Il suo tempo, il suo influsso, exhibition catalogue, Palermo 1984, p. 107, not illustrated (as a Possibly copy from a lost work by Caravaggio, Mario Minniti ?);
M. Calvesi, La realtà del Caravaggio, Turin 1984, p. 74 footnote 85, pp. 322-324, fig. 210 (as ‘Copia da Caravaggio’);
R. Barbiellini Amidei, Della committenza Massimo, in: Caravaggio nuove riflessioni, Quaderni di Palazzo Venezia, Rome 1989, vol. 6, pp. 62-63, not illustrated;
A. Governale, Caravaggio in Sicilia. L’Ecce Homo della Commissione Nicolao Di Giacomo a Messina, Palermo 2012, p. 14, p. 17, illustrated p. 15, fig. 3 (as ‘Derivazione del 17esimo secolo dall’Ecce Homo del Caravaggio’);
E. Negro/N. Roio, Caravaggio e i caravaggeschi in Emilia, Modena 2013, pp. 124-128, p. 127, fig. 98 (as ‘Anonimo, Lorenzo Garbieri?’);
G. Papi, Il primo Ecce Homo di Caravaggio, in: Spogliando modelli e alzando lumi. Scritti su Caravaggio e l’ambiente caravaggesco, Naples 2014, pp. 23-26, illustrated p. 24 fig. 1 (as ‘Copia da Caravaggio’);
N. Roio, Caravaggio, Mario Minniti o Lorenzo Garbieri: l’Ecce Homo dei Lambertini di Bologna, in: Una vita per la storia dell’arte: scritti in memoria di Maurizio Marini, Rome 2015, p. 349, illustrated p. 351 fig. 1 (as ‘Già attribuito a Mario Minniti – Lorenzo Garbieri ?);
G. Papi, L’Ecce Homo giovanile di Caravaggio e le sue copie, in: Originali, repliche, copie. Uno sguardo diverso sui grandi maestri, ed. by P. Di Loreto, Rome 2018, pp. 103-107, p. 106, fig. 3 (as ‘Anonimo, da Caravaggio’)
The present painting is one of a series of similar canvases of the same subject which are thought to be based on a lost composition by Caravaggio.
This work was the first version of the compostion to be made known when it was published by Roberto Longhi in 1954 and he considered it to be a 17th century Sicilian derivation of Caravaggio´s Ecce Home in the Palazzo Bianco, Genova, painted in the style of Mario Minitti (Syracusa 1577-1640) (see literature).
Other versions of the present compostion were subsequently been published. In 1971 Maurizio Calvesi (see literature) discussed a version, that is very similar to the present painting, but with the compostion widened on the right. Calvesi suggested that these two compostions were based on a missing Ecce Homo by Caravaggio that differed from the version in the Palazzo Bianco, Genoa.
In 1974 Maurizio Marini suggested that the present painting should be attributed to Mario Minniti (see literature).
A third version of the Ecce Homo was identified by Benedict Nicolson in the Museum für Kunst und Kulturgeschichte, Dortmund (inv. no. C.6095) and he believed that all three known versions were by Mario Minniti.
In 1991 a fourth version of the Ecce Homo was identified in the Kunsthistorisches Museum, Vienna (inv. no. 5665): this was also referred to Mario Minniti and dated to circa 1610-1620 (see W. Prohaska, in: Sammlungskatalog der Gemäldegalerie: Rom I. Die Gemäldegalerie des Kunsthistorischen Museums in Wien. Caravaggio und der Internationale Caravaggismus, ed. by W. Prohaska/G. Swoboda, Cinisello Balsamo 2000, pp. 237-241). This version is documented in the Imperial Austrian collection in 1773 and in an 1819 inventory it was given to Caravaggio.
Gianni Papi published a fifth version of this composition in 2014 in a private collection in Cittadella, identifying it as the original autograph composition by Caravaggio that served as the basis for the other previously mentioned versions (see literature).
The attribution to Mario Minniti for all, or some, of these canvases has not been universally accepted by scholarship. An Ecce Homo by him, which is signed and dated 1625, is in the Museo della Cattedrale di Mdina, Malta (see D. Spagnolo, in: Mario Minniti. L’eredità di Caravaggio a Siracusa, exhibition catalogue, ed. by V. Greco, G. Grado, V. Abbate, Naples 2004, cat. no. 17 p. 96).
The present canvas and another version in a private collection in Rome has also been associated with documentation by Malvasia and connected to Lorenzo Garbieri (see Negro/Roio 2013 in literature).
The possibility that these similar versions of the Ecce Homo derive from a Roman or Sicilian painting by Caravaggio is plausible and the original prototype must have been easily accessible, or the compostion was promoted by its diffusion by Mario Minniti.
Expert: Mark MacDonnell
Mark MacDonnell
+43 1 515 60 403
old.masters@dorotheum.com
09.06.2020 - 16:00
- Dosažená cena: **
-
EUR 87.800,-
- Odhadní cena:
-
EUR 80.000,- do EUR 120.000,-
Roman School, circa 1610–1620
Ecce Homo,
oil on canvas, 81 x 65 cm, framed
Provenance:
Private collection, Correggio, late 19th century;
Private collection, Rome;
and thence by descent to the present owner
Literature:
R. Longhi, L’ Ecce Homo del Caravaggio a Genova, in: Paragone, V, vol. 51, 1954, p. 9, fig. 13a (as ‘Derivazione seicentesca siciliana dall’Ecce Homo di Caravaggio’);
A. Moir, The Italian followers of Caravaggio, Cambridge Mass. 1967, vol. 1, p. 184, footnote 7, not ill. (as a Copy from a lost painting by Caravaggio);
M. Calvesi, Caravaggio o la ricerca della salvazione, in: Storia dell’Arte, vol. 9/10, 1971, p. 123, footnote 110, fig. 45 (as ‘Da Caravaggio’, Copy from a lost work by Caravaggio);
M. Marini, Io Michelangelo da Caravaggio, Rome 1974, p. 412, mentioned under cat. no. 58–E, not illustrated (under ‘copie’ of the Ecce Homo by Caravaggio, Genova – Mario Minniti);
B. Nicolson, The International Caravaggesque Movement, Oxford 1979, p. 74 no. 2.3, not illustrated (as a third version by Mario Minniti);
F. Campagna Cicala, Intorno all’attività di Caravaggio in Sicilia. Due momenti del caravaggismo siciliano: Mario Minniti e Alonzo Rodriguez, in: Caravaggio in Sicilia. Il suo tempo, il suo influsso, exhibition catalogue, Palermo 1984, p. 107, not illustrated (as a Possibly copy from a lost work by Caravaggio, Mario Minniti ?);
M. Calvesi, La realtà del Caravaggio, Turin 1984, p. 74 footnote 85, pp. 322-324, fig. 210 (as ‘Copia da Caravaggio’);
R. Barbiellini Amidei, Della committenza Massimo, in: Caravaggio nuove riflessioni, Quaderni di Palazzo Venezia, Rome 1989, vol. 6, pp. 62-63, not illustrated;
A. Governale, Caravaggio in Sicilia. L’Ecce Homo della Commissione Nicolao Di Giacomo a Messina, Palermo 2012, p. 14, p. 17, illustrated p. 15, fig. 3 (as ‘Derivazione del 17esimo secolo dall’Ecce Homo del Caravaggio’);
E. Negro/N. Roio, Caravaggio e i caravaggeschi in Emilia, Modena 2013, pp. 124-128, p. 127, fig. 98 (as ‘Anonimo, Lorenzo Garbieri?’);
G. Papi, Il primo Ecce Homo di Caravaggio, in: Spogliando modelli e alzando lumi. Scritti su Caravaggio e l’ambiente caravaggesco, Naples 2014, pp. 23-26, illustrated p. 24 fig. 1 (as ‘Copia da Caravaggio’);
N. Roio, Caravaggio, Mario Minniti o Lorenzo Garbieri: l’Ecce Homo dei Lambertini di Bologna, in: Una vita per la storia dell’arte: scritti in memoria di Maurizio Marini, Rome 2015, p. 349, illustrated p. 351 fig. 1 (as ‘Già attribuito a Mario Minniti – Lorenzo Garbieri ?);
G. Papi, L’Ecce Homo giovanile di Caravaggio e le sue copie, in: Originali, repliche, copie. Uno sguardo diverso sui grandi maestri, ed. by P. Di Loreto, Rome 2018, pp. 103-107, p. 106, fig. 3 (as ‘Anonimo, da Caravaggio’)
The present painting is one of a series of similar canvases of the same subject which are thought to be based on a lost composition by Caravaggio.
This work was the first version of the compostion to be made known when it was published by Roberto Longhi in 1954 and he considered it to be a 17th century Sicilian derivation of Caravaggio´s Ecce Home in the Palazzo Bianco, Genova, painted in the style of Mario Minitti (Syracusa 1577-1640) (see literature).
Other versions of the present compostion were subsequently been published. In 1971 Maurizio Calvesi (see literature) discussed a version, that is very similar to the present painting, but with the compostion widened on the right. Calvesi suggested that these two compostions were based on a missing Ecce Homo by Caravaggio that differed from the version in the Palazzo Bianco, Genoa.
In 1974 Maurizio Marini suggested that the present painting should be attributed to Mario Minniti (see literature).
A third version of the Ecce Homo was identified by Benedict Nicolson in the Museum für Kunst und Kulturgeschichte, Dortmund (inv. no. C.6095) and he believed that all three known versions were by Mario Minniti.
In 1991 a fourth version of the Ecce Homo was identified in the Kunsthistorisches Museum, Vienna (inv. no. 5665): this was also referred to Mario Minniti and dated to circa 1610-1620 (see W. Prohaska, in: Sammlungskatalog der Gemäldegalerie: Rom I. Die Gemäldegalerie des Kunsthistorischen Museums in Wien. Caravaggio und der Internationale Caravaggismus, ed. by W. Prohaska/G. Swoboda, Cinisello Balsamo 2000, pp. 237-241). This version is documented in the Imperial Austrian collection in 1773 and in an 1819 inventory it was given to Caravaggio.
Gianni Papi published a fifth version of this composition in 2014 in a private collection in Cittadella, identifying it as the original autograph composition by Caravaggio that served as the basis for the other previously mentioned versions (see literature).
The attribution to Mario Minniti for all, or some, of these canvases has not been universally accepted by scholarship. An Ecce Homo by him, which is signed and dated 1625, is in the Museo della Cattedrale di Mdina, Malta (see D. Spagnolo, in: Mario Minniti. L’eredità di Caravaggio a Siracusa, exhibition catalogue, ed. by V. Greco, G. Grado, V. Abbate, Naples 2004, cat. no. 17 p. 96).
The present canvas and another version in a private collection in Rome has also been associated with documentation by Malvasia and connected to Lorenzo Garbieri (see Negro/Roio 2013 in literature).
The possibility that these similar versions of the Ecce Homo derive from a Roman or Sicilian painting by Caravaggio is plausible and the original prototype must have been easily accessible, or the compostion was promoted by its diffusion by Mario Minniti.
Expert: Mark MacDonnell
Mark MacDonnell
+43 1 515 60 403
old.masters@dorotheum.com
Horká linka kupujících
Po-Pá: 10.00 - 17.00
old.masters@dorotheum.at +43 1 515 60 403 |
Aukce: | Obrazy starých mistrů |
Typ aukce: | Salónní aukce |
Datum: | 09.06.2020 - 16:00 |
Místo konání aukce: | Wien | Palais Dorotheum |
Prohlídka: | 02.06. - 09.06.2020 |
** Kupní cena vč. poplatku kupujícího a DPH
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