15
15
Attributed to Angelo Caroselli
AN ALLEGORY OF LOVE WITH A SINGING VIOLINIST AND A COURTESAN WITH COINS IN HER PALM
Estimate
60,00080,000
JUMP TO LOT
15
Attributed to Angelo Caroselli
AN ALLEGORY OF LOVE WITH A SINGING VIOLINIST AND A COURTESAN WITH COINS IN HER PALM
Estimate
60,00080,000
JUMP TO LOT

Details & Cataloguing

The Otto Naumann Sale

|
New York

Attributed to Angelo Caroselli
ROME 1585 - 1652
AN ALLEGORY OF LOVE WITH A SINGING VIOLINIST AND A COURTESAN WITH COINS IN HER PALM

Provenance

Anonymous sale, Milan, Sotheby's, 18 October 2006, lot 259 (as Caroselli);
With Rob Smeets, Milan;
From whom acquired. 

Exhibited

London, Whitfield Fine Art, Caravaggio's Friends and Foes, 27 May - 23 July 2010 (as Caroselli).

Literature

E. Clark and C. Whitfield, Caravaggio's Friends and Foes, exhibition catalogue, London 2010, pp. 98-100, reproduced p. 99 (as Caroselli);
D. Semprebene, Angelo Caroselli, 1585-1652: un pittore irriverente, Rome 2011, p. 177 (as Caroselli, dating to the 1620s). 

Catalogue Note

Angelo Caroselli was a self-taught artist who started his career as a restorer and copyist. Indeed such was his skill that Poussin is reported by Bellori to have been unable to tell the difference between Caroselli's copy of a Raphael Madonna and the original. Caroselli's main source of inspiration was undoubtedly Caravaggio and the new possibilities his revolutionary idiom allowed, both in terms of form, through the powerful naturalism his paintings and chiaroscuro achieved, and content, by depicting the picturesque subjects and bohemian characters who must have lined many of the streets of contemporary Rome. Witchcraft, musicians and an association with the occult recur throughout his striking and fantastical oeuvre.

In recent years a corpus of homogeneous paintings whose style comes very close to that of Caroselli has emerged. Little is known about the so-called Pseudo-Caroselli, an artist who must have had direct access to Caroselli, for their styles are often indistinguishable, save for a slightly harder edge to the Pseudo-Caroselli's forms, as well as an increased interest in the build-up of texture through an accentuated use of impasto. Perhaps the possibility that the present work should be given to the Pseudo-Caroselli should not be excluded, but the qualitative difference between the two artists is barely distinguishable. Moreover, our picture was published in Daniela Semprebene's monograph dedicated to Caroselli as a fully autograph work.

The painting's pendant, of very similar dimensions and also on slate, is in a private collection and was sold London, Phillips, 2 December 1997, lot 48, as by Caroselli.

The Otto Naumann Sale

|
New York