View full screen - View 1 of Lot 151. Saint Agatha visited by St Peter.
151

Neapolitan School, 17th Century

Saint Agatha visited by St Peter

Estimate:

25,000

to
- 35,000 EUR

A prestigious French collection: a Connoisseur’s cabinet

Neapolitan School, 17th Century

Neapolitan School, 17th Century

Saint Agatha visited by St Peter

Saint Agatha visited by St Peter

Estimate:

25,000

to
- 35,000 EUR

A prestigious French collection: a Connoisseur’s cabinet

Neapolitan School, 17th Century

Saint Agatha visited by St Peter


Oil on canvas, unframed

138 x 123,2 cm ; 54⅜ by 48½ in.

____________________________________________


Provenant d’une prestigieuse collection française: Le Cabinet d’un Amateur

Ecole napolitaine du XVIIe siècle

Sainte Agathe visitée par saint Pierre


Huile sur toile, sans cadre

138 x 123,2 cm ; 54⅜ by 48½ in.

To request a Condition Report, please contact clemence.enriquez@sothebys.com


Please note: Condition XVI of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. (Veuillez noter que l’Article XVI des Conditions Générales de Vente applicables aux Acheteurs (Ventes Effectuées Exclusivement en Ligne) n’est pas applicable pour ce lot.)


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

In the fifth century, the proconsul of Sicily lusted after Saint Agatha of Catania, who was martyred when he had both her breasts cut off after she rejected his advances. The saint is usually portrayed at the moment of her martyrdom, or even more often as an isolated figure with her breasts on a platter. The present iconography is more unusual: it shows the saint prostrate in her cell, shortly after her martyrdom, visited and healed by an apparition of St Peter, guided by an angel. 

The account of this episode was only really popular in the first decades of the seventeenth century, especially among some of the members of the Caravaggesque movement. This imposing painting, which is in good condition, reflects this context. Both its composition and the lively chiaroscuro that animates the scene express a Caravaggesque tendency, most probably the Neapolitan branch of the movement, one of the most fruitful and successful.

The forthright and vigorous treatment strongly recall the art of Battistello Caracciolo (1578–1635), but also that of later painters in the circle of Massimo Stanzione (c. 1585–1656), such as Pacecco de Rosa (1607–1656), especially in the face of the angel accompanying St Peter.
____________________________________________
Convoitée au Ve siècle par le proconsul de Sicile, à qui elle se refusa, sainte Agathe de Catane fut mise au martyre par ce dernier, qui lui fit amputer les deux seins. Si la plupart des représentations de la sainte la dépeignent au moment de son supplice ou, plus souvent encore, isolée et tenant sur un plateau sa poitrine coupée, plus rare est l’iconographie présente qui montre la sainte prostrée dans son cachot, peu de temps après son martyre, visitée et guérie par une apparition de saint Pierre guidé par un ange.

La relation de cet épisode n’aura de véritable succès que dans les premières décennies du XVIIe siècle, notamment chez plusieurs acteurs du mouvement caravagesque. Ce tableau, imposant et en bel état de conservation, n’échappe pas à ce constat. Par sa composition aussi bien que par le vif chiaroscuro qui anime la scène, il est issu de la veine caravagesque, et plus probablement encore de la branche napolitaine de cette mouvance, qui sera l’une des plus fécondes et des plus heureuses.

La franchise et la vigueur de traitement rappellent fortement l’art de Battistello Caracciolo (1578-1635), mais également celui de peintres plus tardifs, autour de Massimo Stanzione (vers 1585-1656), comme Pacecco de Rosa (1607-1656), en particulier dans le visage de l’ange qui accompagne saint Pierre…