View full screen - View 1 of Lot 34. The Judgement of Solomon; Daniel defending Susanna.
34

Alessandro Tiarini

The Judgement of Solomon; Daniel defending Susanna

Estimate:

30,000

to
- 50,000 EUR

A prestigious French collection: a Connoisseur’s cabinet | Provenant d’une prestigieuse collection Française: Le Cabinet d’un Amateur

Alessandro Tiarini

Alessandro Tiarini

The Judgement of Solomon; Daniel defending Susanna

The Judgement of Solomon; Daniel defending Susanna

Estimate:

30,000

to
- 50,000 EUR

Lot sold:

100,800

EUR

A prestigious French collection: a Connoisseur’s cabinet

Alessandro Tiarini

Bologne 1577 - 1668

The Judgement of Solomon;

Daniel defending Susanna


A pair, both oil on circular canvas

Each: diam. 131,5 cm ; 51¾ in.

(2)

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

Alessandro Tiarini

Bologne 1577 - 1668

Le jugement de Salomon;

Daniel défendant Suzanne


Huile sur toile circulaire, une paire

Chaque : Diam. 131,5 cm ; 51¾ in.

(2)

THE JUDGEMENT OF SOLOMON

The painting is in a satisfactory condition.

It has been relined.

It seems to be sound and stable.

The paint layer is in a moderately satisfactory condition and shows some wears in places, especially in the dark areas with some discoloured pigments, especially in the sky.

The varnish layer is dirty and thick.


Under UV light

Many retouching appear, more or less important, and scattered throughout the surface.


DANIEL DEFENDING SUSANNA

The painting is in a satisfactory condition.

It has been relined.

It seems to be sound and stable.

The paint layer is in a moderately satisfactory condition.

It shows some wears in places, especially in the red drapery and in the grey background.

The figures are better preserved.

An important and opened craquelure pattern is clearly visible in the red drapery.

The varnish layer is dirty and thick.


Under UV light

A few retouching appear, scattered throughout the surface and more or less important, especially in the left area.


Offered with gilt wood frames.

Please note that Sotheby's does not guarantee the condition of the frames


LE JUGEMENT DE SALOMON

Le tableau est dans un état de conservation convenable.

Il a fait l'objet d'un rentoilage.

Le support est sain et stable.

La couche picturale est dans un état moyennement satisfaisant et présente des usures par endroits, notamment dans les parties sombres avec des décolorations de pigments, notamment dans le ciel.

Le vernis est sale et épais.


À la lampe UV

De nombreux repeints de plus ou moins grande importance apparaissent, disséminés sur la toile.


DANIEL DÉFENDANT SUZANNE

Le tableau est dans un état de conservation convenable.

Il a fait l'objet d'un rentoilage.

Le support est sain et stable.

La couche picturale est dans un état moyennement satisfaisant.

Elle présente des usures par endroits, notamment dans la draperie rouge et dans le fond gris.

Les figures sont mieux préservées.

Un réseau de craquelure important et ouvert est nettement visible dans la draperie rouge.

Le vernis est sale et épais.


A la lampe UV

Quelques repeints apparaissent, disséminés sur la toile et de plus ou moins grande importance, notamment dans la partie gauche.


Vendu dans des cadres en bois doré.

Veuillez noter que Sotheby's ne garantit pas l'état des cadres.


"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Bologna, Giacomo Maria Marchesini, 1685;

Anonymous sale, Paris, Hôtel Drouot, 17 November 1961, lot 80.

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Bologne, Giacomo Maria Marchesini, 1685 ;

Vente anonyme, Paris, Hôtel Drouot, 17 novembre 1961, lot 80.

C.C. Malvasia, Felsina pittrice, 1678, II, p. 141;

M. Oretti, Notizie di vari Pittori e d'altri artefici delle Belle Arti e delle opere loro, Bologna, Ms B 116, c. 168;

M. Szöllösi, Alessandro Tiarini, pittore bolognese 1577 - 1668, Budapest 1936, p. 53;

B. de Montgolfier, 'Two tondi by Alessandro Tiarini', in The Connoisseur, 1969, p. 23;

C.C. Malvasia-L. Marzocchi, Scritti originali del Conte Carlo Cesare Malvasia spettanti alla sua Felsina Pittrice, Bologna 1982, pp. 287-307;

A. Lugli, in Torquato Tasso tra letteratura, musica, teatro e arti figurative, cat. exh. Bologna 1985, p. 277;

E. Settimi, in Cinque secoli di pittura, Rome, 1987-1988, p. 60;

R. Morselli, 'Ludovico e allievi nelle collezioni bolognesi del Seicento'in La scuola dei Carraci. Dall'Accademia alla bottega di Ludovico, Modena 1994, p. 17;

M. Pirondini, 'Alessandro Tiarini', in La scuola dei Carracci Dall'Accademia alla bottega di Ludovico, Modena 1994, pp. 301 and 306, nos.117, 311, 313; 

R. Morselli, Collezioni e quadrerie nella Bologna del Seicento. Inventari 1640-1707, Los Angeles 1998, pp. 339, 492;

E. Negro and N. Roio, Alessandro Tiarini, Monte san Pietro 2000, pp. 55 and 290, nos.272-273, pl. LXXXVI-LXXXVII;

D. Benati, Alessandro Tiarini. L'opera pittorica completa e i disegni, Milan 2001, vol. II, pp. 154-155, nos.233-234.

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C.C. Malvasia, Felsina pittrice, 1678, II, p. 141 ;

M. Oretti, Notizie di vari Pittori e d'altri artefici delle Belle Arti e delle opere loro, Bologne, Ms B 116, c. 168 ;

M. Szöllösi, Alessandro Tiarini, pittore bolognese 1577 - 1668, Budapest, 1936, p. 53 ;

B. de Montgolfier, 'Two tondi by Alessandro Tiarini', in The Connoisseur, 1969, p. 23 ;

C.C. Malvasia-L. Marzocchi, Scritti originali del Conte Carlo Cesare Malvasia spettanti alla sua Felsina Pittrice, Bologne, 1982, pp. 287-307 ;

A. Lugli, in Torquato Tasso tra letteratura, musica, teatro e arti figurative, cat. expo. Bologne, 1985, p. 277 ;

E. Settimi, in Cinque secoli di pittura, Rome, 1987-1988, p. 60 ;

R. Morselli, 'Ludovico e allievi nelle collezioni bolognesi del Seicento', in La scuola dei Carraci. Dall'Accademia alla bottega di Ludovico, Modène, 1994, p. 17 ;

M. Pirondini, 'Alessandro Tiarini', in La scuola dei Carracci Dall'Accademia alla bottega di Ludovico, Modène, 1994, pp. 301 et 306, n°117, 311, 313 ;

R. Morselli, Collezioni e quadrerie nella Bologna del Seicento. Inventari 1640-1707, Los Angeles, 1998, pp. 339, 492

E. Negro et N. Roio, Alessandro Tiarini, Monte san Pietro, 2000, pp. 55, 290, n°272-273, pl. LXXXVI-LXXXVII ;

D. Benati, Alessandro Tiarini. L'opera pittorica completa e i disegni, Milan, 2001, vol. II, pp. 154-155, n°233-234.

The two scenes illustrated by Tiarini come from the Old Testament.


In Daniel defending Susanna, from the Book of Daniel, Susanna rejects indecent advances made by two elders, who take their revenge by accusing her of adultery. The young prophet Daniel intervenes in Susanna's defence to prevent her from being condemned to death.


The Judgement of Solomon, from the Book of Kings, tells the story of two young women who both claim to be the mother of the same baby. In order to establish the truth, Solomon orders the child to be cut in half; one of the women immediately renounces her claim and Solomon sees that she is the true mother.


In both these paintings, the colour palette enhances the dramatic atmosphere, accentuated by the expressive force of the protagonists. The figures seem to have been caught fleetingly at a decisive moment in time, yet they have been imbued with a monumental quality by the lighting, which has echoes of Guerchin or Carrache, whose works Tiarini could have seen. An impression of monumentality is also created by the contrast between the astonishing purity of Susanna's face, which seems to testify to her innocence, and the rugged, almost sculptural musculature of the men surrounding her.


In The Judgement of Solomon, the painting gains its theatrical quality from the women's gestures, the light that seems to emanate from the baby, and the intense expression on Solomon's face.


These works point to the artist's maturity: by this time he had mastered his technique, acquired on his travels through Emilia-Romagna. Benati suggests a date in the 1640s.


The composition of The Judgement of Solomon was revisited by Jacopo Alessandro Calvi, in a red chalk drawing now in Windsor Castle (inv. RL O1201), which mentions the original by Tiarini.


We are grateful to Professor Daniele Benati who has kindly endorsed the attribution and whose report forms the basis of this entry.

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Les deux scènes illustrées par Tiarini sont issues de l’Ancien Testament.


Le Jugement de Salomon, tiré du Livre des Rois, représente deux jeunes femmes déclarant toutes deux être la mère d'un même nourrisson ; afin de déterminer la vérité, Salomon ordonne de couper l'enfant en deux : à cet instant, afin de préserver la vie du nourrisson, l'une des deux femmes renonce à réclamer la maternité et Salomon reconnaît en elle la vraie mère.


Daniel défendant Suzanne, épisode narré dans le Livre de Daniel, représente Suzanne qui, ayant refusé des propositions malhonnêtes de la part de deux vieillards, est accusée d'adultère par vengeance. Le jeune prophète Daniel intervient en faveur de Suzanne afin de la défendre et de lui éviter la condamnation à mort.


Dans ces deux œuvres, la palette chromatique transcrit une atmosphère dramatique, accentuée par la force expressive des protagonistes. Illustrant un instant décisif, les personnages semblent pris sur le vif, tout en étant monumentalisés par un éclairage qui n’est pas sans rappeler le Guerchin ou encore les Carrache, dont Tiarini a pu voir les œuvres. Les effets de contraste, entre la pureté éclatante du visage de Suzanne semblant témoigner de son innocence, et la musculature développée – presque sculpturale – des hommes autour d’elle, donnent une impression de monumentalité. Dans le Jugement de Salomon, la gestuelle des femmes, la lumière semblant émaner de l’enfant, ainsi que la forte expression du visage de Salomon, donnent un caractère théâtral au tableau.


Ces œuvres montrent une certaine maturité de l’artiste, qui maîtrise déjà sa technique, acquise lors des voyages à travers l’Emilie Romagne. Benati propose d’ailleurs de les dater des années 1640.


La composition du Jugement de Salomon a été reprise par Jacopo Alessandro Calvi (1740-1815), dans un dessin à la sanguine aujourd’hui conservé au château de Windsor (inv. RL O1201), mentionnant l’original par Tiarini.


Nous remercions le Professeur Daniele Benati pour son aide dans la rédaction de cette notice.