Beschreibung:

Property from a Private Irish Collection
Elena ReccoActive in Naples late 17th and early 18th centuriesA pair of still lifes of saltwater fish, shells and crustaceans on a stone ledge
a pair, both oil on canvaseach unframed: 92.5 x 131.2 cm.; 36½ x 51⅝ in.each framed: 113 x 150.6 cm.; 44½ x 59⅛ in.(2)Condition reportBoth canvases are lined, the paint surfaces are dirty and the varnishes are discoloured, and would benefit from professional conservation. In both works the impasto brushwork is remarkably well preserved, notably in the fish and crustaceans. The still life with the landscape to the right of the composition presents two small vertical scratches in the lower left corner and a small paint loss in the lower right corner, below the fish. Two circular areas of discoloured retouching are visible in the buds of the thistle-like plant. Inspection under ultraviolet light reveals the old fluorescing varnish and evidence of strengthening in the shadows and outlines of some of the fish and crustaceans. The still life with the copper bowl presents areas of discoloured retouching, notably in the sky in the upper left corner and in the darks to the left of the bowl. Inspection under ultraviolet light confirms the above and further reveals an S-shaped repaired tear in the upper right quarter of the composition measuring approximately 10 x 30 x 10 cm. It also reveals evidence of strengthening in the shadows and retouching along the left, lower and right margins. Both paintings present well and are in overall fairly good condition.
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this 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.ProvenanceBirr Castle, County Offaly, Ireland, said to have come from Womersley Hall, Yorkshire and the Hawke Collection;
Thence by descent at Birr, where they hung in the dining room. Catalogue noteThis recently rediscovered pair of monumental still lives was painted by Elena Recco daughter and pupil of the most celebrated Neapolitan still-life painter of his day, Giuseppe Recco (1634–1695). Like her father, Elena excelled in the depiction of complex arrangements of fish and crustaceans. A small number of flower paintings are said to have been recorded in the inventories of the Buen Retiro Palace in Madrid, where she followed her father in 1695.1
The present works are characteristic well-preserved examples of Elena's painterly style and important additions to her growing œuvre. Her fluid and gestural brushmarks allow for the depiction of a dazzling range of surfaces and materials and exemplify her skill in painting light and textures. Moreover, Recco's in-depth knowledge of the many creatures featured in her compositions reflects her Neapolitan milieu.
It is no surprise that many of her works are often confused with those of her father, owing not only to the many parallels between their art but also a lack of scholarly attention. The relatively recent resurgence of interest in women artists has enabled Elena Recco to be recognised as an important figure in the development of Neapolitan still-life painting.
In the 17th century, the opportunities for women to become skilled professionals were rare. Elena Recco belongs to a small group of women artists who were able to circumvent existing limitations and become painters. As was the case for artists such as Catharina van Hemessen (1528–after 1587), Lavinia Fontana (1552–1614) and Artemisia Gentileschi (1593–1653), Elena’s father’s profession allowed her to bypass restrictions that she would otherwise have encountered.
1 N. Spinosa, 'Elena Recco', in La natura morta in Italia, F. Zeri (ed.), Milan 1989, vol. II, p. 912.