Lot Essay
We are grateful to Dr. Eric Schleier for confirming the attribution to Lanfranco from a transparency, and for his assistance in researching this entry.
Dr. Schleier suggests that the present lot may be the painting by Lanfranco of a 'David' which was left to Cardinal Flavio Chigi by Cardinal Brancacci, and which Cardinal Chigi had relined for the 3 scudi in 1683 (cf. V. Golzioÿ Documenti artistici sul Seicento nell'Archivio Chigi, 1939, p. 296, no. 1383). This painting is listed in the Chigi archives (ibid.) as measuring 7 x 5 palmi; one palmo romano being equivalent to 2.23cm. These dimensions corresponds quite closely with the present lot which measures 6.3 x 4.9 palmi. Schleier notes that the subject of 'Samson and the lion' can easily be confused with 'David wrestling the lion'.
The present painting might also be identifiable with a painting listed as "Scula caravaggesca" representing "Ercole" (39 x 108cm.) in the 1917 inventory of Ecc. ma. Casa Chigi, Stima de Quadri, in Rome.
Giovanni Michele Silos (Pinacotheca sive Romana Pictura et Sculptura, 1673, ed. M.B. Bosante, 1979, p. 114) describes a painting by Lanfranco representing 'Samson killing the Lion' as being in the collection of the Altemps family. Boschetto, ibid., identifies the Chigi 'Samson' with the Altemps 'Samson', although this is by no means certain.
Dr. Schleier suggests a date of well in to the 1620s, if not circa 1630, for the present painting. Having known the painting only from a poor photograph, he previously suggested a date of close to 1620 (Disseration Thesis, 1966). On stylistic grounds he compares the 'Samson' to a 'Venus' in the Suida-Manning collection, New York, which he dates similarly. Boschetto, loc. cit., however, published the Suida-Manning picture and the present lot as both dating from around 1612-15.
Martinelli, loc. cit., believes the present painting is an early work by Lanfranco, formerly in the Chigi collection, which appears to be partly inspired by Bernini's drawing of 'David killing the Lion' for Mellan's engraving for the frontispiece of the 1631 Roman edition of Poemata by Maffeo Barberini, later Urban VIII, [which is the armorial history of the Barberini].
Dr. Schleier suggests that the present lot may be the painting by Lanfranco of a 'David' which was left to Cardinal Flavio Chigi by Cardinal Brancacci, and which Cardinal Chigi had relined for the 3 scudi in 1683 (cf. V. Golzioÿ Documenti artistici sul Seicento nell'Archivio Chigi, 1939, p. 296, no. 1383). This painting is listed in the Chigi archives (ibid.) as measuring 7 x 5 palmi; one palmo romano being equivalent to 2.23cm. These dimensions corresponds quite closely with the present lot which measures 6.3 x 4.9 palmi. Schleier notes that the subject of 'Samson and the lion' can easily be confused with 'David wrestling the lion'.
The present painting might also be identifiable with a painting listed as "Scula caravaggesca" representing "Ercole" (39 x 108cm.) in the 1917 inventory of Ecc. ma. Casa Chigi, Stima de Quadri, in Rome.
Giovanni Michele Silos (Pinacotheca sive Romana Pictura et Sculptura, 1673, ed. M.B. Bosante, 1979, p. 114) describes a painting by Lanfranco representing 'Samson killing the Lion' as being in the collection of the Altemps family. Boschetto, ibid., identifies the Chigi 'Samson' with the Altemps 'Samson', although this is by no means certain.
Dr. Schleier suggests a date of well in to the 1620s, if not circa 1630, for the present painting. Having known the painting only from a poor photograph, he previously suggested a date of close to 1620 (Disseration Thesis, 1966). On stylistic grounds he compares the 'Samson' to a 'Venus' in the Suida-Manning collection, New York, which he dates similarly. Boschetto, loc. cit., however, published the Suida-Manning picture and the present lot as both dating from around 1612-15.
Martinelli, loc. cit., believes the present painting is an early work by Lanfranco, formerly in the Chigi collection, which appears to be partly inspired by Bernini's drawing of 'David killing the Lion' for Mellan's engraving for the frontispiece of the 1631 Roman edition of Poemata by Maffeo Barberini, later Urban VIII, [which is the armorial history of the Barberini].