PIETRO RICCHI, CALLED IL LUCCHESE (LUCCA 1606-1675 UDINE)
PIETRO RICCHI, CALLED IL LUCCHESE (LUCCA 1606-1675 UDINE)
PIETRO RICCHI, CALLED IL LUCCHESE (LUCCA 1606-1675 UDINE)
PIETRO RICCHI, CALLED IL LUCCHESE (LUCCA 1606-1675 UDINE)
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Property from the Collection of Marco and Cristina Grassi
PIETRO RICCHI, CALLED IL LUCCHESE (LUCCA 1606-1675 UDINE)

Judith approaching the Tent of Holofernes

Details
PIETRO RICCHI, CALLED IL LUCCHESE (LUCCA 1606-1675 UDINE)
Judith approaching the Tent of Holofernes
oil on Verona 'marble'
7 1⁄8 x 5 ½ in. (18 x 14 cm.)
Provenance
[Property of a Private Collector]; Sotheby’s, New York, 11 January 1990, lot 68, as Attributed to Giovanni Paolo Recchi.
Literature
F. Fox Hofrichter, Leonart Bramer 1596-1647: A painter of the night, exhibition catalogue, 1996, pp.52-52, no. 5, illustrated, as Attributed to Leonart Bramer.
M. Botteri Ottavani, Pietro Ricchi 1606-1607, exhibition catalogue, Riva del Garda, 1996, pp 314-315, illustrated, and illustrated on the back cover.
P. dal Poggetto, Pietro Ricchi 1606-1675, Rimini, 1996, p. 336, no. 211, illustrated.
F. Baldassari, ‘Il punto sulla formazione e la prima attività di Pietro Ricchi (Lucca, 1606 – Udine, 1675)’, Pietro Ricchi, 1606-1675 : "pittore ardente, pronto e presto" : le tele di Baricetta e la pittura barocca a Rovigo, D. Samadelli, ed., Milan, 2010, pp. 18-19.
M. Boteeri, et. al., Pietro Ricchi a lume di candela L’Inviolata e i suoi artefici, exhibition catalogue, Riva del Garda, 2013, p. 117, under no. 3.
Exhibited
Milwaukee, The Patrick and Beatrice Haggerty Museum of Art at Marquette University, Leonart Bramer 1596-1647: A painter of the night, 4 December 1992 – 28 February 1993, no. 5, as Attributed to Leonart Bramer.
Riva del Garda, Museo Civico Chiesa dell’Inviolata, Pietro Ricchi 1606-1607, 5 October 1996-15 January 1997.
Sale room notice
Please note the attribution of this lot has been updated to Pietro Ricchi, called Il Lucchese.

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Lot Essay

This charming cabinet picture is executed on a black stone - commonly described as ‘marble’ - that was quarried in Verona. The choice of a dark-colored stone is particularly effective for this nocturnal scene, allowing the artist to exploit the support to intensify the dramatic interplay of light. The painter picks out the delicate highlights in Judith’s plumed headdress, the oil lamp raised by the maid, and the discarded armor and sword beside the sleeping Holofernes. Conceived on an intimate scale, the work has the character of a cabinet picture.
We are grateful to Mattia Vinco for pointing out the attribution, and for drawing our to the literature on this painting.

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