View full screen - View 1 of Lot 9. JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO | Saint Judas Thaddeus | 胡塞佩・德・里貝拉 - 或稱洛・斯帕尼奧萊托 | 《聖猶達》.

JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO | Saint Judas Thaddeus | 胡塞佩・德・里貝拉 - 或稱洛・斯帕尼奧萊托 | 《聖猶達》

Property from a Spanish Private Collection | 西班牙私人收藏

JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO | Saint Judas Thaddeus | 胡塞佩・德・里貝拉 - 或稱洛・斯帕尼奧萊托 | 《聖猶達》

JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO | Saint Judas Thaddeus | 胡塞佩・德・里貝拉 - 或稱洛・斯帕尼奧萊托 | 《聖猶達》

Property from a Spanish Private Collection



胡塞佩・德・里貝拉 - 或稱洛・斯帕尼奧萊托

Játiva, Valencia 1591 - 1652 Naples


Saint Judas Thaddeus


oil on canvas


65 x 50 cm.; 25⅝ x 19¾ in.

65 x 50公分;25 ⅝ x 19 ¾英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:


Saint Jude Thaddeus

Oil on canvas, in a gilt wood frame with minor los

The original canvas is lined. The lining is inert and unsympathetic but provides good tension

It appears that the original tacking edge may have been conserved to the front of the image, a 1 cm strip all round the edge has been restored.

There is evidence of scalloping of the canvas to the edges.

Old stretcher marks are visible and these present with very minor paint loss along them.

The paint layer is in good original condition.

The surface is raised in some areas but secure.

There is a small recent damage to the sitter's left shoulder and an older horizontal fracture , 5 cm long, below the nose in to the background; a further vertical damage, 4cm long, is visible to left of the sitter's ear and a small restored loss is visible to the left of the spear head.

Under UV light minor scattered loss can be detected across the surface.

The paint texture is well preserved; there is a raised highlight to the sitter's nose which has been compromised, but the sculptural quality of the paint, particularly to the flesh tones and the vigorous application of paint to the green coat, is evident and not corrupted by previous conservation.

Subtle gradations to the flesh tones are well preserved.

Removal of a degraded and discoloured varnish will substantially improve overall tonality and reveal colours that retain vibrancy

"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

By descent in the Imperiali-Francavilla family, Naples and later Rome, to

Don Andrea Imperiali, Rome;

By whom sold, London, Sotheby’s, 5 July 1995, lot 72;

There acquired by the father of the present owner;

Thence by inheritance.

N. Spinosa, Jusepe de Ribera, exh. cat., Naples 1992, pp. 124–25, no.1.7b, reproduced in colour p. 125;

A.E. Pérez Sánchez, N. Spinosa, Jusepe de Ribera, exh. cat., New York 1992, p. 66, under no. 7, p. 259;

N. Spinosa, Ribera. L’opera completa, Naples 2003, p. 255, no. A24;

A. Buondonno, in José de Ribera Bajo el signo de Caravaggio (1613–1633), N. Spinosa (ed.), exh. cat., Salamanca, Valencia, Seville, 2005, pp. 62–63 and 84–85, no. 11;

N. Spinosa, Ribera. L’opera completa, Naples 2006, p. 267, no. A30;

N. Spinosa, Ribera. La obra completa, Madrid 2008, p. 331, no. A53;

J. Milicua, J. Portús (eds), El joven Ribera, exh. cat., Madrid 2011, p. 158, under no. 24.

Naples, Castel Sant’Elmo, Ribera, 1992, no. 1.7b.

Prof. Nicola Spinosa (see Literature) dates this well-preserved work to the very end of Ribera’s Roman period, or the beginning of his activity in Naples, where he moved in 1616.

Spinosa links Saint Judas Thaddeus with the Saint Philip of exactly the same dimensions, formerly with Giovanni Sarti, Paris, and now in a private collection.1 These two works were very likely part of a set depicting the twelve apostles of which the others are lost or destroyed, but which may also include the Saint Peter in the collection of the University Art Museum, Bloomington;2 and the Saint Paul in a private collection, Naples.3 Both of those works, of similar dimensions to the present painting, are dated by Spinosa to the same period. A further work which very likely also formed part of the same series is at the National Gallery, London;4 though previously identified as Saint Judas Thaddaeus, usually portrayed with a club or an axe, he most likely represents either Saint Thomas or Saint Matthew, both of whose common attribute is a spear.

Ribera painted several series of the apostles throughout his career, the most complete being that now housed in the Museo del Prado, Madrid, and executed circa 1630. That series, showing the saints half-length, is first mentioned in the Spanish royal inventories at the end of the eighteenth century.

1 Spinosa 2008, p. 331, no. A52.

2 Spinosa 2008, p. 330, no. A51.

3 Spinosa 2008, p. 330, no. A50.

4 Spinosa 2008, p. 498, no. C7.