Master Paintings Evening Sale
Master Paintings Evening Sale
Property from the collection of J.E. Safra
Auction Closed
January 30, 12:05 AM GMT
Estimate
180,000 - 250,000 USD
Lot Details
Description
Property from the Collection of J.E. Safra
GIACOMO CERUTI, CALLED PITOCCHETTO
Milan 1698 - 1767
A GIRL WITH A COW AND A SHEEP IN A ROCKY LANDSCAPE
oil on canvas
46¾ by 35¾ in.; 118.7 by 90.8 cm.
Suida-Manning Collection, New York;
By descent to Robert L. Manning, New York;
Anonymous sale, London, Christie's, 24 May 1991, lot 67;
There acquired.
R.L. Manning, Painting in Italy in the 18th c.: Rococo to Romanticism, exhibition catalogue, Chicago 1970, p. 26;
M. Gregori, Giacomo Ceruti, Milan 1982, p. 473, cat. no. 251, reproduced in color p. 407 and color details pp. 408-09;
F. Frangi, Giacomo Ceruti, il Pitocchetto, exhibition catalogue, Brescia 1987, p. 194, under cat. no. 84;
E. Strocchi, Settecento Lombardo, exhibition catalogue, Milan 1991, p. 142;
Although well known for his portraits, still-life and religious paintings, Ceruti is most celebrated as a painter of genre and low-life scenes, depicting his humble subjects with striking naturalism and unusual dignity. Here the artist depicts a girl holding a distaff and resting outdoors while tending a cow and sheep. The painting has been dated by Dr. Mina Gregori and later Francesco Frangi and Elisabetta Strocchi (see Literature) to the 1760s. It belongs to a group of pastoral works which the artist completed towards the end of his career and which were influenced by a series of prints by Cornelis Bloemaert after Abraham Bloemaert. The present painting relates specifically to the eighth print in the series, in a which a girl also holds a distaff.
A proposed pendant to present composition, depicting a mother and child milking a cow in a landscape, was sold at Sotheby's New York, 30 January 2019, lot 58 (fig. 1, $300,000). Other works from the series include A spinner and farmer with a basket in the Museo d'arte antica del Castello Sforzesco, Milan, and A shepherdess formerly with Colnaghi, London.1 Like the present painting, the figures in these scenes also look directly at the viewer as if in conversation.
1. See M. Gregori 1982, pp. 473-4, cat. nos. 252 and 253, reproduced in color pp. 410-413.