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Pietro Francesco GianoliDavid mit dem Haupt des Goliath

In Alte Kunst / Old Masters

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Pietro Francesco GianoliDavid mit dem Haupt des Goliath
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Pietro Francesco Gianoli
David mit dem Haupt des Goliath

Öl auf Leinwand (doubliert). 150 x 104 cm.

Gutachten
Marco Tanzi, März 2020.

Provenienz
Möglicherweise Sammlung von Massimiliano VI. Giuseppe Stampa (1740-1818), X. Marchese di Soncino.

Wie Marco Tanzi bemerkt, ist das vorliegende Gemälde eine Hommage an den berühmten David mit dem Kopf des Goliath von Tanzio da Varallo, ausgeführt von Pier Francesco Gianoli (circa 1660-1670). Das Werk zeigt jedoch erhebliche Abweichungen gegenüber dem berühmten Original. Gianolis Leinwand ist größer als der Prototyp, und vor allem die Komposition unterscheidet sich in der Beziehung zwischen Figuren und Raum. Andere offensichtliche Unterschiede lassen sich in der Farbauswahl, in den Details der Kostüme sowie im Ausdruck von David feststellen, der in Gianolis Version dramatischer ist.
Die Arbeit weist Ähnlichkeiten mit anderen Beispielen von Gianoli auf: Der gigantische Kopf des Goliath ähnelt stark einigen der Figuren, die in Werken für die Bruderschaft von Santa Marta in Varallo dargestellt sind, von Gianoli zwischen 1668 und 1671 ausgeführt. Die Figur in der Mitte der Begleitung der Verurteilten (Inv. 715) und die beiden am linken Rand der Prozession (Inv. 714) sind eng mit dem Kopf unseres Riesen verwandt. Darüber hinaus gibt es Ähnlichkeiten zwischen Davids Gesichtszügen und einem Selbstporträt als Heiliger Jakob (Marseille, Kunstmarkt) sowie einem Selbstporträt als Pilger in der XXXII. Kapelle von Sacro Monte in Varallo (1655): die Darstellung der eher geschwollenen Augenlider, der kleinen fleischigen Lippen und der starken Nasenform stimmen überein.
Einige kürzlich entdeckte Dokumente eröffnen interessante Einblicke in die mögliche Herkunft unseres Gemäldes. Nach dem Tod des zehnten Marchese di Soncino (Mailand, 1818), Massimiliano Giuseppe Stampa, wurden zwei Inventare seiner Bildergalerie erstellt. In beiden Listen wird ein David erwähnt, der mit dem des Tanzio da Varallo verbunden ist: in einem Inventar wird das Gemälde als reine Kopie nach Tanzio bezeichnet, in dem anderen als eine Nachahmung des Werkes von Tanzio, aus der Schule von Daniele Crespi.
Unser Gemälde wird in die kommende Monographie von Filippo Maria Ferro über Tanzio da Varallo aufgenommen.





Pietro Francesco Gianoli
David with the Head of Goliath

Oil on canvas. 150 x 104 cm.

Certificate
Maro Tanzi, March 2020.

Provenance
Possibly Collection of Massimiliano VI. Giuseppe Stampa (1740–1818), X. Marchese di Soncino.

The present canvas is a replica of Tanzio Varallo´s David with the Head of Goliath, but shows significant variations compares to the famous original as Marco Tanzi has shown. Gianoli´s canvas is larger than the prototype and the composition differs in in the relationship between the figures and space. Other obvious differences can be noted in the choice of colour palette, in the details of the costumes, as well as in the expression of David, which is much more dramatic in Gianoli´s version.
The work shows strong similarities to other paintings by Gianoli: The gigantic head of Goliath strongly resembles some of the characters included in canvases for the Confraternity of Santa Marta in Varallo, executed by Gianoli between 1668 and 1671. In particular, the figure in the centre of the Accompaniment of the condemned (inv. 715) and the two on the left margin of the Procession (inv. 714) are closely related to the head of our giant. Further, there are similarities between David´s features, and a Self portrait as Saint Jaques (Marseille, art market), as well as a Self-portrait as a pilgrim, in the XXXII Chapel of Sacro Monte in Varallo (1655), which displays the same rendering of the rather swollen eyelids, the small fleshy lips and the strong nose.
Some recently discovered documents open up interesting insights into the possible provenance of this work. Following the death of the 10th Marchese di Soncino (Milan, 1818), Massimiliano Giuseppe Stampa, two inventories of his picture gallery were drawn up. Both lists mentioned a David, certainly connected to the Tanzio da Varallo one: In one of the inventories, the painting is described as a copy after Tanzio, in the other it is described as a work by the School of Daniele Crespi, after Tanzio da Varallo. Tanzi proposes that the Milanese inventories could describe the painting in question, certainly a derivation with its own artistic quality.
The painting will be included in the forthcoming monograph on Tanzio da Varallo by Filippo Maria Ferro.





Pietro Francesco Gianoli
David mit dem Haupt des Goliath

Öl auf Leinwand (doubliert). 150 x 104 cm.

Gutachten
Marco Tanzi, März 2020.

Provenienz
Möglicherweise Sammlung von Massimiliano VI. Giuseppe Stampa (1740-1818), X. Marchese di Soncino.

Wie Marco Tanzi bemerkt, ist das vorliegende Gemälde eine Hommage an den berühmten David mit dem Kopf des Goliath von Tanzio da Varallo, ausgeführt von Pier Francesco Gianoli (circa 1660-1670). Das Werk zeigt jedoch erhebliche Abweichungen gegenüber dem berühmten Original. Gianolis Leinwand ist größer als der Prototyp, und vor allem die Komposition unterscheidet sich in der Beziehung zwischen Figuren und Raum. Andere offensichtliche Unterschiede lassen sich in der Farbauswahl, in den Details der Kostüme sowie im Ausdruck von David feststellen, der in Gianolis Version dramatischer ist.
Die Arbeit weist Ähnlichkeiten mit anderen Beispielen von Gianoli auf: Der gigantische Kopf des Goliath ähnelt stark einigen der Figuren, die in Werken für die Bruderschaft von Santa Marta in Varallo dargestellt sind, von Gianoli zwischen 1668 und 1671 ausgeführt. Die Figur in der Mitte der Begleitung der Verurteilten (Inv. 715) und die beiden am linken Rand der Prozession (Inv. 714) sind eng mit dem Kopf unseres Riesen verwandt. Darüber hinaus gibt es Ähnlichkeiten zwischen Davids Gesichtszügen und einem Selbstporträt als Heiliger Jakob (Marseille, Kunstmarkt) sowie einem Selbstporträt als Pilger in der XXXII. Kapelle von Sacro Monte in Varallo (1655): die Darstellung der eher geschwollenen Augenlider, der kleinen fleischigen Lippen und der starken Nasenform stimmen überein.
Einige kürzlich entdeckte Dokumente eröffnen interessante Einblicke in die mögliche Herkunft unseres Gemäldes. Nach dem Tod des zehnten Marchese di Soncino (Mailand, 1818), Massimiliano Giuseppe Stampa, wurden zwei Inventare seiner Bildergalerie erstellt. In beiden Listen wird ein David erwähnt, der mit dem des Tanzio da Varallo verbunden ist: in einem Inventar wird das Gemälde als reine Kopie nach Tanzio bezeichnet, in dem anderen als eine Nachahmung des Werkes von Tanzio, aus der Schule von Daniele Crespi.
Unser Gemälde wird in die kommende Monographie von Filippo Maria Ferro über Tanzio da Varallo aufgenommen.





Pietro Francesco Gianoli
David with the Head of Goliath

Oil on canvas. 150 x 104 cm.

Certificate
Maro Tanzi, March 2020.

Provenance
Possibly Collection of Massimiliano VI. Giuseppe Stampa (1740–1818), X. Marchese di Soncino.

The present canvas is a replica of Tanzio Varallo´s David with the Head of Goliath, but shows significant variations compares to the famous original as Marco Tanzi has shown. Gianoli´s canvas is larger than the prototype and the composition differs in in the relationship between the figures and space. Other obvious differences can be noted in the choice of colour palette, in the details of the costumes, as well as in the expression of David, which is much more dramatic in Gianoli´s version.
The work shows strong similarities to other paintings by Gianoli: The gigantic head of Goliath strongly resembles some of the characters included in canvases for the Confraternity of Santa Marta in Varallo, executed by Gianoli between 1668 and 1671. In particular, the figure in the centre of the Accompaniment of the condemned (inv. 715) and the two on the left margin of the Procession (inv. 714) are closely related to the head of our giant. Further, there are similarities between David´s features, and a Self portrait as Saint Jaques (Marseille, art market), as well as a Self-portrait as a pilgrim, in the XXXII Chapel of Sacro Monte in Varallo (1655), which displays the same rendering of the rather swollen eyelids, the small fleshy lips and the strong nose.
Some recently discovered documents open up interesting insights into the possible provenance of this work. Following the death of the 10th Marchese di Soncino (Milan, 1818), Massimiliano Giuseppe Stampa, two inventories of his picture gallery were drawn up. Both lists mentioned a David, certainly connected to the Tanzio da Varallo one: In one of the inventories, the painting is described as a copy after Tanzio, in the other it is described as a work by the School of Daniele Crespi, after Tanzio da Varallo. Tanzi proposes that the Milanese inventories could describe the painting in question, certainly a derivation with its own artistic quality.
The painting will be included in the forthcoming monograph on Tanzio da Varallo by Filippo Maria Ferro.




Alte Kunst / Old Masters

Auktionsdatum
Lose: 2000 - 2155
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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