Lot 112
112
FRANCESCO GLIELMO (ACTIVE NAPLES, FIRST HALF OF 17TH CENTURY)
FRANCESCO GLIELMO (ACTIVE NAPLES, FIRST HALF OF 17TH CENTURY)
FRANCESCO GLIELMO (ACTIVE NAPLES, FIRST HALF OF 17TH CENTURY)
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A Lifelong Pursuit: Old Masters from a Distinguished Private Collection
FRANCESCO GLIELMO (ACTIVE NAPLES, FIRST HALF OF 17TH CENTURY)

Elijah and the Angel

Details
FRANCESCO GLIELMO (ACTIVE NAPLES, FIRST HALF OF 17TH CENTURY)
Elijah and the Angel
oil on canvas
40 5⁄8 x 30 3⁄8 in. (103.2 x 77.2 cm.)
Provenance
(Probably) A.M. Pierre Barbaja, Naples, 1874.
Colonel Frank W. Chesrow (1903-1989), Chicago, by 1965.
Private collection, United States.
with Galerie Canesso, Paris, by 2007, where acquired by the present owner.
Literature
V. Damian, Tableaux napolitains: du naturalisme au baroque, Paris, 2007, pp. 16-19, illustrated, as Paolo Finoglio.
M.C. Terzaghi, 'Per Paolo Finoglio e il "patronage" artistico degli Acquaviva nella prima metà del Seicento', R. Torlontano, ed., Abruzzo. Il Barocco negato. Aspetti dell'arte del Seicento e Settecento, Rome, 2010, pp. 242-243, fig. 7, as Filippo Vitale.
G. Porzio, La scuola di Ribera: Giovanni Dò, Bartolomeo Passante, Enrico Fiammingo, Naples, 2014, p. 36, no. 23, and p. 63, fig. 34.
G. Porzio, 'Due recuperi caravaggeschi', A. Guerrini and G. Zanelli, eds., Nuove luci. Acquisizioni, donazioni e restauri. Galleria Nazionale della Liguria, 1958-2021, Genoa, 2022, pp. 89-99.
Exhibited
Carbondale, IL, University Galleries, Southern Illinois University, Masterpieces of Renaissance and Baroque Art from the Collection of Colonel Frank, W. Chesrow, 31 January - 5 March 1965, no. 12, as Michelangelo da Caravaggio, described as Saint Peter and Saint John the Younger.

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Lot Essay

Francesco Glielmo’s oeuvre is anchored by a single document: the contract of 23 February 1626 for the high altarpiece of The Blessed James of the Marches in Glory above the City of Naples in the Cappellone di San Giacomo della Marca, Santa Maria la Nova, Naples. Around this altarpiece, Giuseppe Porzio has reconstructed a stylistically coherent corpus for the artist, including the Ecce Homo in the Musée Fabre, Montpellier (inv. no. 2012.19.45), Saint Catherine of Alexandria Refusing to Worship the Idols in the Alte Pinakothek, Munich (inv. no. 5468), and Christ Disputing with the Doctors in the Temple in the Museo e Real Bosco di Capodimonte, Naples (inv. no. Q 1681; G. Porzio, op. cit., 2014, pp. 25-26, 35-37; idem, op. cit., 2022, pp. 89-99). In his tightly cropped compositions, with figures crowded into the foreground, and pronounced chiaroscuro, Glielmo was clearly familiar with the paintings of Caravaggio and his southern followers. His works also reveal an awareness of the young Jusepe de Ribera and Giovanni Bernardino Azzolino.

We are extremely grateful to Giuseppe Porzio for generously sharing the above literature references.

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