Antiveduto Gramatica

Don Santiago Pierrad (according to a label on the reverse);
In the collection of the family of the present owner for two generations.

Barcelona, Museu Nacional d'Art de Catalunya, Caravaggio y la pintura realista europea, 10 October 2005 - 15 January 2006, no. 37.

G. Papi in Caravaggio y la pintura realista europea, exh. cat., Barcelona 2005-06, pp. 174-77, cat. no. 37, reproduced.

The canvas has an old lining. The figure herself is reasonably well preserved, but has been the subject of quite extensive recent restoration. The principle area of restored damage is to the background above and to the left of Salome and these areas are still somewhat uneven despite the restoration. The most obvious defect is a restored tear in this area. There is a well restored area of damage just beneath her neck (approx. 7 by 10 cm.). There are some finely applied retouchings around Salome's eyes and on her nose and further retouching to her purple sleeve. There is also strengthening to her outline. The background is now covered with an opaque and heavy layer of vanish. The head of the Baptist and his dish are well preserved with only incidental restoration but have suffered from wear. There has also been repair to several cracks caused by the unevenness of the paint in the background. This lot is offered with a later plain water gilt wood frame, some minor chips and damages.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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 painting was exhibited in the Caravaggio exhibition in Barcelona in 2003 having been recently brought to the attention of Gianni Papi (see Exhibited). It is a particularly striking example of Gramatica’s art, being similar in style and composition to others but with a greater immediate impact than many of them.  Gramatica is important for being one of the very first artists to take up with relish the strong naturalism of Caravaggio during the latter’s own lifetime and in so-doing for having a profound effect on the development of artists like Guerrieri, Vouet and Serodine.

Salome is shown against a black background sharply lit from the left. Her pose, in something of a contrapposto, recalls some of Antiveduto’s other women such as his St. Catherine (private collection, Florence);¹ the muse Euterpe (Palazzo Chiablese, Turin)² and another depiction of Salome in a multi-figured composition last seen on the Paris art market.³ Ultimately the source of his inspiration for the pose would seem to be Caravaggio’s depiction of Salome is his late work in the National Gallery, London. Antiveduto’s Salome here turns her head away from the brilliantly lifelike Baptist’s head but looks back at us through the corners of her eyes. Antiveduto has sensualised her further from the ex-Paris version by lowering her neckline to reveal her bosom, painted in beautiful chiaroscuro.

Given the existence of only two dated works by Antiveduto it is difficult to establish a likely date of execution for this or indeed any other undated painting. However, the fact of the folds of Salome’s sleeve corresponding precisely to those in the above-mentioned St. Catherine would suggest that the two were likely painted around the same time. Papi suggests this could be as early as 1615 on account of the Caravaggesque lighting, the monumentality of the figure and the intense naturalistic quality of the Baptist’s head; or as late as the 1620s on account of the classicist rotundity of Salome’s head which seems to have provided the model for the typologies of his son Imperiale.

1. G. Papi, Antiveduto Gramatica, Soncino 1995, cat. no. 7, reproduced, p. 150, fig. 6.

2. Papi 1995, cat. no. 67, reproduced p. 180, fig. 45.

3. Papi 1995, cat. no. 6, reproduced p. 46, plate IV.