2003
Marco Ruggeri, gen. Marco ZoppoSusanna und die Alten / Susanna wird vor den Richter geführt<
1/2
Beschreibung
Marco Ruggeri, gen. Marco Zoppo
Susanna und die Alten / Susanna wird vor den Richter geführt
Tempera auf Holz, auf Leinwand aufgezogen, auf Holz aufgezogen. 58,5 x 171,7 cm.
Provenienz
Kunsthandlung Antonio Salvadori, Venedig, 1915-1923. – Schloss Stibichhofen, Österreich, vor 1927. – Auktion Knight, Frank and Rutley, London, 27.5.1927, Lot 5. - Slg. Van Moppes, Paris, 1932. – Galerie Jacques Goudstikker, 1927. - Durch die Nationalsozialisten beschlagnahmt. – Stichting Nederlands Kunstbezit, bis 1948. – Rijksdienst Beeldende Kunst, Den Haag (Inv.-Nr. 3265), als Dauerleihgabe im Bonnefantenmuseum, Maastricht, 1989–2006. – 2006 an die Erben nach Joseph Henri Gosschalk restituiert. – Auktion Christie´s, New York, 19.4.2007, Lot 2. – Dort vom jetzigen Eigentümer erworben.
Literatur
Paul Schubring: Cassoni, Truhen und Truhenbilder der italienischen Frührenaissance, Leipzig 1915, S. 353-354, Nr. 567, Abb. CXXV (Schule Francesco del Cossa). – Catalogue des nouvelles acquisitions de la Collection Goudstikker, Amsterdam 1927, XXXIII, Nr. 21 (Francesco del Cossa?). – Frederik Schmidt-Degener: Italiaansche Kunst in nederlandsch Bezit, Amsterdam 1934, S. 60, Nr. 90 (Werkstatt Francesco del Cossa). – Anna Maria Cetto: Der Berner Traian- und Herkinbald-Teppich, Jahrbuch der Bernischen Historischen Museums in Bern, Bern 1966, S. 188, Nr. T 5/4 (Francesco del Cossa). – Bernard Berenson: Italian Pictures of the Renaissance: Central Italian and North Italian Schools, London 1968, Bd. I, S. 132; Bd. II, Abb. 739 (Ferrareser Schule, vor 1510). – Roberto Longhi: Nuovi Ampliamenti (1940-1955), in: Edizione delle opere complete di Roberto Longhi, Officina Ferrarese, V, Florenz 1956, S. 180 (Francesco del Cossa). – Christopher Wright: Paintings in Dutch Museums: An Index of Oil Paintings in Public Collections in the Netherlands by Artists Born Before 1870, London 1980, S. 84 (Fracesco del Cossa). – C. E. De Jong-Janssen: Catalogue of the Italian Paintings in the Bonnefantenmuseum, Maastricht 1995, S. 157, Abb. 78 (Ferrareser Schule, um 1500). – Salvatore Settis: Due cassoni estensi, in: I Tatti Studies. Essays in the Renaissance, VI (1995), S. 31-82, S. 47, Anm. 44, Abb. 22 (Francesco del Cossa zug.).
Die Tafel zeigt friesartig zwei Szenen aus der alttestamentarischen Erzählung der Susanna. In der linken Szene, durch einen Rundbogen gerahmt, sieht man Susanna mit den zwei alten Männern. Diese nähern sich ihr unsittlich und drohen, sie des Ehebruchs zu bezichtigen, sollte sie nicht willfährig sein. In der mittleren figurenreichen Szene wird Susanna aufgrund der falschen Anschuldigungen der beiden Alten abgeführt. Zur rechten, ebenfalls von einem Rundbogen eingefasst, steht Daniel, in Rüstung und auf seinem Schild aufgestützt, der die Verurteilung Susannas verhindert.
Die Tafel galt lange als Werk des Ferrareser Künstlers Francesco del Cossa oder seiner Werkstatt und als Bildschmuck für einen Cassone, eine Truhe, die Ikonografie wurde als „Kaiser Trajan und die Witwe“ gedeutet. Bernard Berenson hat als erster die Zuschreibung an Francesco del Cossa in Frage gestellt und die Tafel mit Marco Zoppo in Verbindung gebracht, eine Zuschreibung, die Mattia Vinco bestätigt hat. Vinco hat die Tafel überdies als Spalliera, als Teil einer Wandvertäfelung, gedeutet, insofern ihre Maße die eines Cassone übersteigen. Darüber hinaus hat Vinco die Tafel mit anderen, ebenfalls Marco Zoppo zuzuschreibenden Gemälden in Verbindung gebracht: einer mittlerweile verschollenen Tafel mit der Darstellung der Steinigung der Alten sowie zwei Fragmenten mit Gerichtsszenen, im Los Angeles County Museum (Abb. 1; LACMA Inv. M 81.259.1) sowie in Florentiner Privatbesitz. Vinco sieht in diesen Tafeln Teile eines zusammengehörigen Zyklus´, der die Gerechtigkeit König Davids und König Salomons zum Thema hat und als Dekoration etwa eines Gerichtssaals gedient haben dürfte.
Die Tafel ist in die späten 1460er Jahre zu datieren, in Zoppos späte Bologneser Jahre oder die erste Zeit seines zweiten Aufenthaltes in Venedig. Marco Zoppo, in Cento geboren und in Padua bei Francesco Squarcione in die Lehre gegangen, war in Padua, Venedig und Bologna tätig und wurde durch die Malerei dieser norditalienischen Kunstzentren, aber auch Ferraras, geprägt.
Marco Ruggeri, called Marco Zoppo
Susanna and the Elders / Susanna before the Judge
Tempera on panel laid down on canvas, laid down on panel. 58.5 x 171.7 cm.
Provenance
Antonio Salvadori art dealers, Venice, 1915-1923. – Stibichhofen palace, Austria, before 1927. – Auctioned by Knight, Frank and Rutley, London, 27.05.1927, lot 5. - Collection of Van Moppes, Paris, 1932. – Galerie Jacques Goudstikker, 1927. - Expropriated by the Nazis. - Stichting Nederlands Kunstbezit, until 1948. – Rijksdienst Beeldende Kunst, The Hague (inv. no. 3265), on loan to the Bonnefantenmuseum, Maastricht, 1989–2006. – Restituted to the heirs of Joseph Henri Gosschalk in 2006. – Auctioned by Christie´s, New York, 19.4.2007, lot 2. – Acquired there by the present owner.
Literature
Paul Schubring: Cassoni, Truhen und Truhenbilder der italienischen Frührenaissance, Leipzig 1915, p. 353-354, no. 567, illus. CXXV (Schule Francesco del Cossa). – Catalogue des nouvelles acquisitions de la Collection Goudstikker, Amsterdam 1927, XXXIII, no. 21 (Francesco del Cossa?). – Frederik Schmidt-Degener: Italiaansche Kunst in nederlandsch Bezit, Amsterdam 1934, p. 60, no. 90 (studio of Francesco del Cossa). – Anna Maria Cetto: Der Berner Traian- und Herkinbald-Teppich, Jahrbuch der Bernischen Historischen Museums in Bern, Bern 1966, p. 188, no. T 5/4 (Francesco del Cossa). – Bernard Berenson: Italian Pictures of the Renaissance: Central Italian and North Italian Schools, London 1968, vol. I, p. 132; vol. II, illus. 739 (Ferrarese school, before 1510). – Roberto Longhi: Nuovi Ampliamenti (1940-1955), in: Edizione delle opere complete di Roberto Longhi, Officina Ferrarese, V, Florenz 1956, p. 180 (Francesco del Cossa). – Christopher Wright: Paintings in Dutch Museums: An Index of Oil Paintings in Public Collections in the Netherlands by Artists Born Before 1870, London 1980, p. 84 (Fracesco del Cossa). – C. E. De Jong-Janssen: Catalogue of the Italian Paintings in the Bonnefantenmuseum, Maastricht 1995, p. 157, illus. 78 (Ferrarese school, circa 1500). – Salvatore Settis: Due cassoni estensi, in: I Tatti Studies. Essays in the Renaissance, VI (1995), p. 31-82, p. 47, note 44, illus. 22 (attributed to Francesco del Cossa).
The panel depicts two scenes in the form of a frieze from the Old Testament stories of Susanna. In the left-hand scene, framed by a rounded arch, one sees Susanna with the two elders. They indecently approach her and threaten to accuse her of adultery if she is not compliant. In the centre Susanna is led away as a result of the false accusations from the elders. On the right, also framed by an arch, stands Daniel, in armour and propped up by his shield, preventing Susanna's condemnation.
The panel was long considered a work by the Ferrarese artist Francesco del Cossa or his workshop and thought to be a pictorial decoration for a cassone, a chest, with the iconography interpreted as “Emperor Trajan and the Widow”. Bernard Berenson was the first to question the attribution and linked the panel to Marco Zoppo, an attribution which Mattia Vinco has confirmed. In addition, Vinco
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Marco Ruggeri, gen. Marco Zoppo
Susanna und die Alten / Susanna wird vor den Richter geführt
Tempera auf Holz, auf Leinwand aufgezogen, auf Holz aufgezogen. 58,5 x 171,7 cm.
Provenienz
Kunsthandlung Antonio Salvadori, Venedig, 1915-1923. – Schloss Stibichhofen, Österreich, vor 1927. – Auktion Knight, Frank and Rutley, London, 27.5.1927, Lot 5. - Slg. Van Moppes, Paris, 1932. – Galerie Jacques Goudstikker, 1927. - Durch die Nationalsozialisten beschlagnahmt. – Stichting Nederlands Kunstbezit, bis 1948. – Rijksdienst Beeldende Kunst, Den Haag (Inv.-Nr. 3265), als Dauerleihgabe im Bonnefantenmuseum, Maastricht, 1989–2006. – 2006 an die Erben nach Joseph Henri Gosschalk restituiert. – Auktion Christie´s, New York, 19.4.2007, Lot 2. – Dort vom jetzigen Eigentümer erworben.
Literatur
Paul Schubring: Cassoni, Truhen und Truhenbilder der italienischen Frührenaissance, Leipzig 1915, S. 353-354, Nr. 567, Abb. CXXV (Schule Francesco del Cossa). – Catalogue des nouvelles acquisitions de la Collection Goudstikker, Amsterdam 1927, XXXIII, Nr. 21 (Francesco del Cossa?). – Frederik Schmidt-Degener: Italiaansche Kunst in nederlandsch Bezit, Amsterdam 1934, S. 60, Nr. 90 (Werkstatt Francesco del Cossa). – Anna Maria Cetto: Der Berner Traian- und Herkinbald-Teppich, Jahrbuch der Bernischen Historischen Museums in Bern, Bern 1966, S. 188, Nr. T 5/4 (Francesco del Cossa). – Bernard Berenson: Italian Pictures of the Renaissance: Central Italian and North Italian Schools, London 1968, Bd. I, S. 132; Bd. II, Abb. 739 (Ferrareser Schule, vor 1510). – Roberto Longhi: Nuovi Ampliamenti (1940-1955), in: Edizione delle opere complete di Roberto Longhi, Officina Ferrarese, V, Florenz 1956, S. 180 (Francesco del Cossa). – Christopher Wright: Paintings in Dutch Museums: An Index of Oil Paintings in Public Collections in the Netherlands by Artists Born Before 1870, London 1980, S. 84 (Fracesco del Cossa). – C. E. De Jong-Janssen: Catalogue of the Italian Paintings in the Bonnefantenmuseum, Maastricht 1995, S. 157, Abb. 78 (Ferrareser Schule, um 1500). – Salvatore Settis: Due cassoni estensi, in: I Tatti Studies. Essays in the Renaissance, VI (1995), S. 31-82, S. 47, Anm. 44, Abb. 22 (Francesco del Cossa zug.).
Die Tafel zeigt friesartig zwei Szenen aus der alttestamentarischen Erzählung der Susanna. In der linken Szene, durch einen Rundbogen gerahmt, sieht man Susanna mit den zwei alten Männern. Diese nähern sich ihr unsittlich und drohen, sie des Ehebruchs zu bezichtigen, sollte sie nicht willfährig sein. In der mittleren figurenreichen Szene wird Susanna aufgrund der falschen Anschuldigungen der beiden Alten abgeführt. Zur rechten, ebenfalls von einem Rundbogen eingefasst, steht Daniel, in Rüstung und auf seinem Schild aufgestützt, der die Verurteilung Susannas verhindert.
Die Tafel galt lange als Werk des Ferrareser Künstlers Francesco del Cossa oder seiner Werkstatt und als Bildschmuck für einen Cassone, eine Truhe, die Ikonografie wurde als „Kaiser Trajan und die Witwe“ gedeutet. Bernard Berenson hat als erster die Zuschreibung an Francesco del Cossa in Frage gestellt und die Tafel mit Marco Zoppo in Verbindung gebracht, eine Zuschreibung, die Mattia Vinco bestätigt hat. Vinco hat die Tafel überdies als Spalliera, als Teil einer Wandvertäfelung, gedeutet, insofern ihre Maße die eines Cassone übersteigen. Darüber hinaus hat Vinco die Tafel mit anderen, ebenfalls Marco Zoppo zuzuschreibenden Gemälden in Verbindung gebracht: einer mittlerweile verschollenen Tafel mit der Darstellung der Steinigung der Alten sowie zwei Fragmenten mit Gerichtsszenen, im Los Angeles County Museum (Abb. 1; LACMA Inv. M 81.259.1) sowie in Florentiner Privatbesitz. Vinco sieht in diesen Tafeln Teile eines zusammengehörigen Zyklus´, der die Gerechtigkeit König Davids und König Salomons zum Thema hat und als Dekoration etwa eines Gerichtssaals gedient haben dürfte.
Die Tafel ist in die späten 1460er Jahre zu datieren, in Zoppos späte Bologneser Jahre oder die erste Zeit seines zweiten Aufenthaltes in Venedig. Marco Zoppo, in Cento geboren und in Padua bei Francesco Squarcione in die Lehre gegangen, war in Padua, Venedig und Bologna tätig und wurde durch die Malerei dieser norditalienischen Kunstzentren, aber auch Ferraras, geprägt.
Marco Ruggeri, called Marco Zoppo
Susanna and the Elders / Susanna before the Judge
Tempera on panel laid down on canvas, laid down on panel. 58.5 x 171.7 cm.
Provenance
Antonio Salvadori art dealers, Venice, 1915-1923. – Stibichhofen palace, Austria, before 1927. – Auctioned by Knight, Frank and Rutley, London, 27.05.1927, lot 5. - Collection of Van Moppes, Paris, 1932. – Galerie Jacques Goudstikker, 1927. - Expropriated by the Nazis. - Stichting Nederlands Kunstbezit, until 1948. – Rijksdienst Beeldende Kunst, The Hague (inv. no. 3265), on loan to the Bonnefantenmuseum, Maastricht, 1989–2006. – Restituted to the heirs of Joseph Henri Gosschalk in 2006. – Auctioned by Christie´s, New York, 19.4.2007, lot 2. – Acquired there by the present owner.
Literature
Paul Schubring: Cassoni, Truhen und Truhenbilder der italienischen Frührenaissance, Leipzig 1915, p. 353-354, no. 567, illus. CXXV (Schule Francesco del Cossa). – Catalogue des nouvelles acquisitions de la Collection Goudstikker, Amsterdam 1927, XXXIII, no. 21 (Francesco del Cossa?). – Frederik Schmidt-Degener: Italiaansche Kunst in nederlandsch Bezit, Amsterdam 1934, p. 60, no. 90 (studio of Francesco del Cossa). – Anna Maria Cetto: Der Berner Traian- und Herkinbald-Teppich, Jahrbuch der Bernischen Historischen Museums in Bern, Bern 1966, p. 188, no. T 5/4 (Francesco del Cossa). – Bernard Berenson: Italian Pictures of the Renaissance: Central Italian and North Italian Schools, London 1968, vol. I, p. 132; vol. II, illus. 739 (Ferrarese school, before 1510). – Roberto Longhi: Nuovi Ampliamenti (1940-1955), in: Edizione delle opere complete di Roberto Longhi, Officina Ferrarese, V, Florenz 1956, p. 180 (Francesco del Cossa). – Christopher Wright: Paintings in Dutch Museums: An Index of Oil Paintings in Public Collections in the Netherlands by Artists Born Before 1870, London 1980, p. 84 (Fracesco del Cossa). – C. E. De Jong-Janssen: Catalogue of the Italian Paintings in the Bonnefantenmuseum, Maastricht 1995, p. 157, illus. 78 (Ferrarese school, circa 1500). – Salvatore Settis: Due cassoni estensi, in: I Tatti Studies. Essays in the Renaissance, VI (1995), p. 31-82, p. 47, note 44, illus. 22 (attributed to Francesco del Cossa).
The panel depicts two scenes in the form of a frieze from the Old Testament stories of Susanna. In the left-hand scene, framed by a rounded arch, one sees Susanna with the two elders. They indecently approach her and threaten to accuse her of adultery if she is not compliant. In the centre Susanna is led away as a result of the false accusations from the elders. On the right, also framed by an arch, stands Daniel, in armour and propped up by his shield, preventing Susanna's condemnation.
The panel was long considered a work by the Ferrarese artist Francesco del Cossa or his workshop and thought to be a pictorial decoration for a cassone, a chest, with the iconography interpreted as “Emperor Trajan and the Widow”. Bernard Berenson was the first to question the attribution and linked the panel to Marco Zoppo, an attribution which Mattia Vinco has confirmed. In addition, Vinco
Full description on lot-tissimo.com
Alte Kunst / Old Masters
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Köln
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Germany
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