CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES)
CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES)
CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES)
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CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES)

The Holy Trinity with an archangel freeing enslaved people, a bozzetto

Details
CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES)
The Holy Trinity with an archangel freeing enslaved people, a bozzetto
oil on copper, shaped top
19 x 9 3/4 in. (48.4 x 24.8 cm.)
Provenance
Commissioned from the artist by Ferdinand VI of Spain in 1746.
Private collection, Europe, by at least the early 19th century, by whom sold,
[Property from a European Private Collection]; Sotheby’s, London, 7 July 2010, lot 44, where acquired by the present owner.
Special notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.

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Lot Essay

This painting is a bozzetto for an altarpiece, dated 1749, in the Chiesa della Santissima Trinità degli Spagnoli in Rome. It depicts Giaquinto’s preliminary design, with another later sketch revealing the development of the upper section of the altarpiece (Pinoteca Comunale, Montefortino; see C. Strinati and E. Gabrielli, Giaquinto. Capolavori dalle Corti in Europa, exhibition catalogue, Bari, 1993, p. 148, no. 16, fig. A). Built for Ferdinand VI of Spain, the church and convent of Santissima Trinità degli Spagnoli can be seen as a turning point in Giaquinto’s career. The success of the interior’s decorative scheme, including the altarpiece, resulted in the artist being summoned to Spain to decorate the interior of the Palacio Real in 1753. From here, Giaquinto became First Painter to the King, Director of the Real Academia de San Fernando and Director of the Royal Tapestry factory of San Barnaba.

A number of changes are evident between this sketch and the final altarpiece. The viewpoint is slightly higher in the final altarpiece, the peripheral figures are slightly different and the slave at the archangel’s feet in the altarpiece holds the chain with his left hand to his chest, while here the chains are attached to his wrist. There are also further changes to the figure of Christ, who is seen more in profile and has a darker beard. Here, God the Father tucks His left arm under His mantle and holds the staff while His right hand is lifted in a gesture of benediction. This is reversed in the final composition, and his sign of benediction to the slave below becomes more outstretched than raised.

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