Baroque: Masterpieces from the Fisch Davidson CollectionOrazio GentileschiPisa 1563 - 1639 LondonPenitent Saint Mary Magdalene
oil on canvascanvas: 58⅝ by 73½ in.; 148.9 by 186.7 cm.framed: 71⅞ by 87⅛ in.; 182.6 by 221.3 cm.Condition reportFor further information on the condition of this lot please contact Zola.hoehn@sothebys.com Saleroom NoticeFor updated exhibition history, please see the online catalogue.ProvenanceCommissioned from the artist by Giovanni Antonio Sauli (1596-1661), Genoa, likely in 1621;Thence by descent to his son, Francesco Maria Sauli (1662-1699), Genoa;Thence by descent to his son, Domenico Maria Ignazio Sauli (1675-1760), Genoa;Thence by inheritance to his nephew, Domenico Sauli (1739-1769), Genoa;Thence by descent to his son, Paolino Sauli II (1765-1843), Genoa, by 1780;Thence by descent to his son Constantino Sauli (1793-1853), Genoa;Thence probably by descent to his daughter, Louisa Sauli Pallavicino (1818-1898), Genoa;Thence probably by descent to her daughter, Maria Teresa Pallavicini Cambiaso (1840-1907), Genoa;Thence probably by descent to her son, Marchese Pier Francesco (Pierino) Negrotto Cambiaso (1867-1925), Genoa, by 1906;Thence by inheritance to his wife, Matilde Giustiniani Durazzo Pallavicini (1878-1970), Genoa;Thence by inheritance to her niece and adopted daughter, Marchesa Carlotta Fasciotti Giustiniani Cattaneo-Adorno (1923-1989), Arenzano;From whom acquired by Thomas P. Grange (1894-1976), London, 1975;Thence by inheritance to his wife, Marie Thérèse Jacobi Grange (b. 1923), London;Private collector, Switzerland, 1988;From whom acquired by the present collectors, 1999.LiteratureR. Soprani, Le Vite de' pittori scultori, et architetti genovesi. E de’ Forastieri, che in Genoua operarono Con alcuni Ritratti de gli stessi, Genoa 1674, p. 318;
C.G. Ratti, Vite de’ pittori, scultori, ed architetti genovesi di Raffaello Soprani patrizio genovese, Genoa 1768, p. 452;
C.G. Ratti, Instruzione di quanto puo’ vedersi di piu’ bello in Genova in pittura, scultura, ed architettura ecc., Genoa 1780, vol. I, p. 112;
W. Suida, Genua, Leipzig 1906, p. 156;
H. Voss, Die Malerei des Barock in Rom, Berlin 1924, p. 460 (incorrectly listed as a copy of the version in Vienna);
R.W. Bissell, “Orazio Gentileschi and the Theme of ‘Lot and His Daughters,’” in Bulletin of the National Gallery of Canada 14 (1969), Appendix I, no. I, p. 30;
A. Moir, The Italian Followers of Caravaggio, Cambridge 1967, vol. I, p. 197 note 4, vol. II, p. 78, cat. no. 7b;
Descrizione della città di Genova da un anonimo del 1818, E. Poleggi and F. Poleggi (eds.), Genoa 1969, p. 232;
B. Nicolson, The International Caravaggesque Moment: Lists of Pictures by Caravaggio and His Followers Throughout Europe from 1590 to 1650, Oxford 1979, p. 53;
B. Nicolson, Caravaggism in Europe, Oxford 1979, p. 115, reproduced fig. 216;
R.W. Bissell, Orazio Gentileschi and the Poetic Tradition in Caravaggesque Painting, University Park 1981, pp. 173-174, 177-178, cat. no. 46, reproduced fig. 97;
A.T. Lurie, in European Paintings of the 16th, 17th, and 18th Centuries, The Cleveland Museum of Art Catalogue of Paintings, A.T. Lurie and N.C. Wixom (eds.), Cleveland 1982, p. 346;
B. Nicolson, “Orazio Gentileschi and Giovanni Antonio Sauli,” in Artibus et Historiae 6, no. 12 (1985), pp. 9-25, reproduced fig. 1;
J. Grabski, “On Seicento Painting in Naples: Some Observations on Bernardo Cavallino Artemisia Gentileschi and Others,” in Artibus et Historiae 6, no. 11 (1985), pp. 57-58;
P. Matthiesen, in Baroque III, 1620-1700, exhibition catalogue, London 1986, pp. 49-50;
M. Garrard, Artemisia Gentileschi The Image of the Female Hero in Italian Baroque Art, Princeton 1989, p. 56;
E.G. Ponzi, “Gentileschi a Genova: un nuovo dipinto e alcune considerazioni sulla cronologia delle opere,” in Bolletino dei Musei Civici Genovesi 16, nos. 47-49 (December 1994), pp. 51-59;
R.W. Bissell, Artemisia Gentileschi and the Authority of Art, Critical Reading and Catalogue Raisonné, University Park 1999, pp. 6-7, 50, 229, reproduced fig. 107;
G. Finaldi, in Orazio Gentileschi at the Court of Charles I, exhibition catalogue, G. Finaldi (ed.), London 1999, p. 70;
M. Leonard, N. Khandekar, and D.W. Carr, “‘Amber varnish’ and Orazio Gentileschi’s ‘Lot and his daughters,’” in Burlington Magazine 143, no. 1174 (January 2001), pp. 4-7, 10, reproduced p. 6, fig. 3;
Orazio and Artemisia Gentileschi exhibition catalogue, K. Christiansen (ed.), New York 2002, pp. 21, 30, 66, 172, 174-178, 184, 212, 218, 251, 256-258, 403, cat. no. 35, p. 184, reproduced in color;
M.C. Gallo, “The Sauli Collection, Two Unpublished Letters and a Portrait by Orazio Gentileschi ” in Burlington Magazine 145, no. 1202 (May 2003), pp. 348-351, reproduced p. 348, fig. 14;
M.C. Gallo, “La collezione Sauli e due lettere inedite di Orazio Gentileschi ” in Ligures 2 (2004), pp. 158-160, 180, 192, reproduced fig. 3;
M. Odlozil and G. Swoboda, “Orazio Gentileschis Büssende Magdalena und die Danae Sauli Gemäldetechnologische Untersuchungen und Vorschlag einer neuen Chronologie,” in Technologische Studien Kunsthistorisches Museum Wien 4 (2007), pp. 47, 58-60, 67, reproduced fig. 5;
L.N. Fernandez, in Caravaggism and Classicism in Italian Painting at the Thyssen-Bornemisza Museum: A Technical and Historical Study, Madrid 2008, p. 102;
J.J. Marciari, in Italian Paintings from the Richard L. Feigen Collection, exhibition catalogue, L. Kanter and J.J. Marciari (eds.), New Haven and London 2010, pp. 157-158, reproduced fig. 1;
M. Odlozil, in Caravaggio und der internationale Caravaggismus, exhibition catalogue, W. Prohaska and G. Swoboda (eds.), Milan 2010, pp. 177-185, reproduced fig. 2;
A. Leonardi, Genoese Way of Life: Vivere da collezionisti tra Seicento e Settecento, Rome 2013, p. 46;
R. Lattuada, in Artemisia Gentileschi e il suo tempo, F. Baldessari (ed.), Milan 2016, p. 226;
A. Orlando, "I Gentileschi a Genova, Dati certi e incerti per Orazio, Artemisia, Francesco e Giulio," in Caravaggio e i Genovesi, Committenti, collezionisti, pittori, exhibition catalogue, A. Orlando (ed.), Genoa 2019, pp. 155-156, reproduced in color fig. 5;
M. Bartoletti, in A Superb Baroque: Art in Genoa, 1600-1750, exhibition catalogue, J. Bober (ed.), Washington and Princeton 2020, p. 112;
A. Brady, “The Studio of Guido Reni from 1620 to 1630: Formulating Compositions,” in Getty Research Journal 12 (2020), pp. 11-12;
L. Treves, in Artemisia, exhibition catalogue, L. Treves (ed.), London and New Haven 2020, p. 116.ExhibitedRome, Museo Nazionale di Palazzo Venezia; New York, Metropolitan Museum of Art; Saint Louis Art Museum, Orazio and Artemisia Gentileschi 15 October 2001 – 15 September 2002, no. 35;Los Angeles, The J. Paul Getty Museum, Orazio Gentileschi in Genoa: Paintings for the Palazzo Sauli, 1 October 2002 - 12 January 2003.
Catalogue note
Baroque: Masterpieces from the Fisch Davidson CollectionOrazio GentileschiPisa 1563 - 1639 LondonPenitent Saint Mary Magdalene
oil on canvascanvas: 58⅝ by 73½ in.; 148.9 by 186.7 cm.framed: 71⅞ by 87⅛ in.; 182.6 by 221.3 cm.Condition reportFor further information on the condition of this lot please contact Zola.hoehn@sothebys.com Saleroom NoticeFor updated exhibition history, please see the online catalogue.ProvenanceCommissioned from the artist by Giovanni Antonio Sauli (1596-1661), Genoa, likely in 1621;Thence by descent to his son, Francesco Maria Sauli (1662-1699), Genoa;Thence by descent to his son, Domenico Maria Ignazio Sauli (1675-1760), Genoa;Thence by inheritance to his nephew, Domenico Sauli (1739-1769), Genoa;Thence by descent to his son, Paolino Sauli II (1765-1843), Genoa, by 1780;Thence by descent to his son Constantino Sauli (1793-1853), Genoa;Thence probably by descent to his daughter, Louisa Sauli Pallavicino (1818-1898), Genoa;Thence probably by descent to her daughter, Maria Teresa Pallavicini Cambiaso (1840-1907), Genoa;Thence probably by descent to her son, Marchese Pier Francesco (Pierino) Negrotto Cambiaso (1867-1925), Genoa, by 1906;Thence by inheritance to his wife, Matilde Giustiniani Durazzo Pallavicini (1878-1970), Genoa;Thence by inheritance to her niece and adopted daughter, Marchesa Carlotta Fasciotti Giustiniani Cattaneo-Adorno (1923-1989), Arenzano;From whom acquired by Thomas P. Grange (1894-1976), London, 1975;Thence by inheritance to his wife, Marie Thérèse Jacobi Grange (b. 1923), London;Private collector, Switzerland, 1988;From whom acquired by the present collectors, 1999.LiteratureR. Soprani, Le Vite de' pittori scultori, et architetti genovesi. E de’ Forastieri, che in Genoua operarono Con alcuni Ritratti de gli stessi, Genoa 1674, p. 318;
C.G. Ratti, Vite de’ pittori, scultori, ed architetti genovesi di Raffaello Soprani patrizio genovese, Genoa 1768, p. 452;
C.G. Ratti, Instruzione di quanto puo’ vedersi di piu’ bello in Genova in pittura, scultura, ed architettura ecc., Genoa 1780, vol. I, p. 112;
W. Suida, Genua, Leipzig 1906, p. 156;
H. Voss, Die Malerei des Barock in Rom, Berlin 1924, p. 460 (incorrectly listed as a copy of the version in Vienna);
R.W. Bissell, “Orazio Gentileschi and the Theme of ‘Lot and His Daughters,’” in Bulletin of the National Gallery of Canada 14 (1969), Appendix I, no. I, p. 30;
A. Moir, The Italian Followers of Caravaggio, Cambridge 1967, vol. I, p. 197 note 4, vol. II, p. 78, cat. no. 7b;
Descrizione della città di Genova da un anonimo del 1818, E. Poleggi and F. Poleggi (eds.), Genoa 1969, p. 232;
B. Nicolson, The International Caravaggesque Moment: Lists of Pictures by Caravaggio and His Followers Throughout Europe from 1590 to 1650, Oxford 1979, p. 53;
B. Nicolson, Caravaggism in Europe, Oxford 1979, p. 115, reproduced fig. 216;
R.W. Bissell, Orazio Gentileschi and the Poetic Tradition in Caravaggesque Painting, University Park 1981, pp. 173-174, 177-178, cat. no. 46, reproduced fig. 97;
A.T. Lurie, in European Paintings of the 16th, 17th, and 18th Centuries, The Cleveland Museum of Art Catalogue of Paintings, A.T. Lurie and N.C. Wixom (eds.), Cleveland 1982, p. 346;
B. Nicolson, “Orazio Gentileschi and Giovanni Antonio Sauli,” in Artibus et Historiae 6, no. 12 (1985), pp. 9-25, reproduced fig. 1;
J. Grabski, “On Seicento Painting in Naples: Some Observations on Bernardo Cavallino Artemisia Gentileschi and Others,” in Artibus et Historiae 6, no. 11 (1985), pp. 57-58;
P. Matthiesen, in Baroque III, 1620-1700, exhibition catalogue, London 1986, pp. 49-50;
M. Garrard, Artemisia Gentileschi The Image of the Female Hero in Italian Baroque Art, Princeton 1989, p. 56;
E.G. Ponzi, “Gentileschi a Genova: un nuovo dipinto e alcune considerazioni sulla cronologia delle opere,” in Bolletino dei Musei Civici Genovesi 16, nos. 47-49 (December 1994), pp. 51-59;
R.W. Bissell, Artemisia Gentileschi and the Authority of Art, Critical Reading and Catalogue Raisonné, University Park 1999, pp. 6-7, 50, 229, reproduced fig. 107;
G. Finaldi, in Orazio Gentileschi at the Court of Charles I, exhibition catalogue, G. Finaldi (ed.), London 1999, p. 70;
M. Leonard, N. Khandekar, and D.W. Carr, “‘Amber varnish’ and Orazio Gentileschi’s ‘Lot and his daughters,’” in Burlington Magazine 143, no. 1174 (January 2001), pp. 4-7, 10, reproduced p. 6, fig. 3;
Orazio and Artemisia Gentileschi exhibition catalogue, K. Christiansen (ed.), New York 2002, pp. 21, 30, 66, 172, 174-178, 184, 212, 218, 251, 256-258, 403, cat. no. 35, p. 184, reproduced in color;
M.C. Gallo, “The Sauli Collection, Two Unpublished Letters and a Portrait by Orazio Gentileschi ” in Burlington Magazine 145, no. 1202 (May 2003), pp. 348-351, reproduced p. 348, fig. 14;
M.C. Gallo, “La collezione Sauli e due lettere inedite di Orazio Gentileschi ” in Ligures 2 (2004), pp. 158-160, 180, 192, reproduced fig. 3;
M. Odlozil and G. Swoboda, “Orazio Gentileschis Büssende Magdalena und die Danae Sauli Gemäldetechnologische Untersuchungen und Vorschlag einer neuen Chronologie,” in Technologische Studien Kunsthistorisches Museum Wien 4 (2007), pp. 47, 58-60, 67, reproduced fig. 5;
L.N. Fernandez, in Caravaggism and Classicism in Italian Painting at the Thyssen-Bornemisza Museum: A Technical and Historical Study, Madrid 2008, p. 102;
J.J. Marciari, in Italian Paintings from the Richard L. Feigen Collection, exhibition catalogue, L. Kanter and J.J. Marciari (eds.), New Haven and London 2010, pp. 157-158, reproduced fig. 1;
M. Odlozil, in Caravaggio und der internationale Caravaggismus, exhibition catalogue, W. Prohaska and G. Swoboda (eds.), Milan 2010, pp. 177-185, reproduced fig. 2;
A. Leonardi, Genoese Way of Life: Vivere da collezionisti tra Seicento e Settecento, Rome 2013, p. 46;
R. Lattuada, in Artemisia Gentileschi e il suo tempo, F. Baldessari (ed.), Milan 2016, p. 226;
A. Orlando, "I Gentileschi a Genova, Dati certi e incerti per Orazio, Artemisia, Francesco e Giulio," in Caravaggio e i Genovesi, Committenti, collezionisti, pittori, exhibition catalogue, A. Orlando (ed.), Genoa 2019, pp. 155-156, reproduced in color fig. 5;
M. Bartoletti, in A Superb Baroque: Art in Genoa, 1600-1750, exhibition catalogue, J. Bober (ed.), Washington and Princeton 2020, p. 112;
A. Brady, “The Studio of Guido Reni from 1620 to 1630: Formulating Compositions,” in Getty Research Journal 12 (2020), pp. 11-12;
L. Treves, in Artemisia, exhibition catalogue, L. Treves (ed.), London and New Haven 2020, p. 116.ExhibitedRome, Museo Nazionale di Palazzo Venezia; New York, Metropolitan Museum of Art; Saint Louis Art Museum, Orazio and Artemisia Gentileschi 15 October 2001 – 15 September 2002, no. 35;Los Angeles, The J. Paul Getty Museum, Orazio Gentileschi in Genoa: Paintings for the Palazzo Sauli, 1 October 2002 - 12 January 2003.
Catalogue note
.jpg "Source: Christie's")
.jpg "Source: Christie's")
Try LotSearch and its premium features for 7 days - without any costs!
Be notified automatically about new items in upcoming auctions.
Create an alert
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
