Attributed to Giuseppe Maria Crespi
- Giuseppe Maria Crespi
- A shepherdess playing the flute
- oil on canvas, possibly reduced
- 95 x 77 cm.; 37 3/8 x 30 1/4 in.
By family tradition, said to have been bought from the Zambeccari collection in Bologna by Dr the Rev. Gilbert Elliot, Dean of Bristol (1800–1891), in 1862;
Thence by descent.
Probably A. Emiliani, La Collezione Zambeccari nella Pinacoteca Nazionale di Bologna (Rapporto della Soprintendenza alle Gallerie di Bologna, n. 19), Bologna 1973, p. 72 (as Cagnacci).
Tha application of lighter tones freely brushed onto a dark background, layer upon layer, wet in wet, is characteristic of Crespi’s mature work. The supremely confident brushwork on the sleeve may be compared with the artist’s Mother and child sold in these rooms, 8 December 2004, lot 45 (£240,0000; fig. 1). This is a technique seen as well in the work of Crespi’s contemporary in Bologna Giovanni Antonio Burrini (1656–1727) as exemplified by his Study of a youth in the Museo Davia Bargellini, Bologna.1
Crespi delighted in the depiction of women in unusual poses and gestures. Very often his women are completely or three-quarter turned, their back to the viewer, in semi-contraposto. There is something of the spirit of Crespi’s genre-landscapes in this work, normally filled with women at various tasks, and the figure here recalls, for example, those of the woman spinning wool in the work of the same title sold London, Christie’s, 25 November 1966, lot 36; the woman playing a lute in the Museum of Fine Arts, Boston; the figure of Mary Magdalene in the Niedersächsische Landesgalerie, Hannover; or the central figure in the Finding of Moses in Palazzo Venezia, Rome.2 The rusty, ochre colour of the garment is also one widespread in his œuvre.
Note on Provenance
By family tradition the painting was acquired for the present collection in 1862 by their ancestor Dr Elliot, Dean of Bristol with an attribution to Cagnacci. It is said he bought it from the Zambeccari family of Bologna. The first record of the present painting is likely to be a mid-nineteenth century reference to a work in Marchese Camillo Zambeccari's collection. Given that Elliot is deemed to have acquired the painting as a Cagnacci it may be identifiable with the following entry in the catalogue of the Marchese's collection, put together just a few years before Elliot's acquisition: 'Cagnacci, Guido. Una Pastorella, tela'.3 Much of the Zambeccari collection was acquired in 1884 by the Pinacoteca in Bologna.
1. See E. Riccomini, Giovanni Antonio Burrini, Bologna 1999, pp. 177–78, cat. no. 13, reproduced p. 62, fig. 28.
2. For the three latter, see M. Merriman, Giuseppe Maria Crespi, Milan 1980, cat. no. 213, reproduced; cat. no. 95, reproduced; and cat. no. 5, reproduced colour plate I.
3. A. Emiliani, La Collezione Zambeccari nella Pinacoteca Nazionale di Bologna (Rapporto della Soprintendenza alle Gallerie di Bologna, n. 19), Bologna 1973, p. 72. An earlier inventory of the collection of Angelica Teresa Zanchini, Contessa Zambeccari, drawn up on the 17 February 1783 and held today in the Archivio di Stato, Bologna, would appear not to list the work in question, although under no. 31 a painting of a figure playing an instrument is recorded with an attribution to Carracci (‘Uno che suona una graticola mezza figura al naturale dipinto in tela a oglio alto piedi 2 largo 1 d 8 originale de Caracci cornice intagliata e dorata L. 140’); see G. Becchetti et al., Inventario de Mobili nel casino posto Nel Comune di Gesso, 17 February 1783, no. 31.