Denys Calvaert

Von Planta family, Samedan, by family tradition acquired in the 1920s, although possibly acquired earlier.

The signed and dated copper plate is flat and stable. It is in good overall condition with lively colours and a vibrant paint surface. With the naked eye some small areas of wear can be made out in Joseph's right sleeve, below Jesus' legs, as well as a small area of old damage lower left. Inspection under UV light confirms the good overall condition; areas which fluoresce include the aforementioned small damage lower left, below and to the left of Christ's legs, in Jerome's right sleeve, as well as a small area to the right of the Baptist's feet. The scattered small old retouchings could be removed and reapplied but are not obtrusive and the copper can be enjoyed in its current state. The painting is offered in a carved and gilt wooden frame in good condition.
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NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This beautifully executed copper, signed and dated, was painted by Denys Calvaert, one of the first Flemish artists to migrate to Italy. He arrived there in 1560 and quickly absorbed the strand of Mannerism prevalent in Bologna, training in the studio of Prospero Fontana and then working with Lorenzo Sabatini. Calvaert focused almost exclusively on religious scenes and while he produced some excellent life-size altarpieces, his best work was arguably on a smaller format, particularly on copper, a support which perfectly complemented his detailed brushwork and use of colour.

The strong X-shaped design is characteristic of the artist's work and may be compared to a similar signed and dated copper from 1584 sold Milan, Sotheby's, 30 May 2006, lot 5, for 160,000 euros. The disposition of the figures, if not all their poses, is very similar to the present work, as is the overall palette, which is less acidic in colour than some of Calvaert's earlier paintings. Saint Jerome is replaced by Saint Elisabeth in the Milan picture, and the window that looks on to the background is more reminiscent of Federico Barocci's work than in the present painting. The physiognomies of the faces, particularly the Madonna's and the Baptist's, however, come closer to a slightly earlier signed and dated work from 1579, recently on the art market.¹ A likely date of execution for the present painting thus lies somewhere between these two pictures.

Calvaert's contribution to Emilian painting was considerable: his soft handling and sweet figures ensured that the Correggesque style was extended to the very end of the century. Moreover, in 1575, seven years before the Carracci family established their celebrated Accademia degli Incamminati, he founded a school of painting in Bologna where Guido Reni and Domenichino, among others, received their inital training. Though Reni then moved on to study with the Carracci family, his delightful early coppers from the first years of the 1600s clearly show the influence of Calvaert, both in conception and execution.

The signature and date probably originally read: DENIS CALVART / FECIT / 158(?). There is a visible pentiment in the inscription on the scroll which the Baptist holds.

1. Sale, Vienna, Dorotheum, 13 October 2010, lot 363, for 120,000 euros.