"Death is a Haven, to which all winds drive..."
Jean Ganière (French, c. 1615-1666 Paris), after Artemisia Gentileschi
Memento Mori
1640 (published by Peter Stent, London, c. 1642-1665, with English inscription added)
engraving and stipple engraving on paper 15,5 x 22 cm
engraved inscription lower right within the image: "P. Stent excud."
engraved inscription below: "Fix this rare Emblem on thy Closet Dore, Death is a Haven, to which all winds drive, Be therefore wise, that when thy Corps shall lie And be in love with Vanity no more. And where at last each Mortall must arrive At Anchor thus thy Soule may mount on high."
presumably to be read thus:
"Fix this rare Emblem on thy Closet Dore,
And be in love with Vanity no more:
Death is a Haven to which all Winds drive,
And where at last each Mortall must arrive;
Be therefore wise, that when thy Corps shall lie
At Anchor thus, thy Soul, may mount on high."
See Miscellanea sacra: or, A Curious Collection of Original Poems, upon Divine and Moral Subjects (London: printed for Henry Playford, 1698-1705).
an excellent, high-contrast impression with small margins around the depiction, trimmed below up to the text
condition: smoothed vertical center fold; minimally stained; short, carefully closed tear in the margin lower left; otherwise in very good condition
This print is believed to be based upon a lost painting by Artemisia Gentileschi (IFF 20).
The print appears to be quite rare. It is not listed in Alexander Globe's 1985 catalogue raisonné of engravings published by Peter Stent. It is also missing from the comprehensive holdings of the British Museum; only the Victoria & Albert Museum in London lists this sheet in its collection (inv. no. E.1769-1991).
"Peter Stent was a printseller, who from the early 1640s until his death ran one of the biggest printmaking businesses of the day. In around 1642, he opened a shop in Giltspur Street, London, where he sold engravings printed on his own rolling presses. The civil wars presented Stent with the opportunity to purchase over 700 plates from a number of printsellers and artists, and he ended up holding over eight times as many plates as any of his predecessors. He published prints across a variety of subjects, from business forms to portraits." National Portrait Gallery, London.
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Giacomo Francesco Cipper (Feldkirch 1664-1736 Milan), Austrian painter in Milan who was also known as Il Todeschini
Young Man Lousing Himself c. 1700 oil on canvas 75,8 x 61,5 cm The Daulton Collection
"Free of any pietism, in this expressive work Cipper shows us a young man in a torn robe who looks directly at us with wide-open eyes and a flickering gaze. Probably plagued by fleas [or lice], he scratches his chest with his left hand while with his right he crushes a small pest in his hair between his fingers. The concentration on the figure is increased by the tenebrific chiaroscuro, which sharply highlights the distorted facial features. Genre paintings that make the common people their subject flourished in the 17th and 18th centuries, particularly in northern Italy and Lombardy. Many influences can be identified for this boom. The life of the miserabili was already being ennobled in literature at that time, and artistically the Caravaggists and Jusepe de Ribera paved the way with their ruthless attention to reality. The Roman Bamboccianti and printmakers such as Giuseppe Maria Crespi had also turned their attention to the everyday. The Austrian-born Giacomo Francesco Cipper, known as Il Todeschini, also followed this tradition. He was successful in Milan with simple street types at a time when poverty dominated the everyday life of the majority of the population. His artistic view was predominantly characterized by compassion, with the comic and grotesque dimension usually only playing a role as a means of intensifying the tragic. However, a certain cynicism on the part of the collectors of the time cannot be denied, and Salvator Rosa already ironically denounced all those who 'loved to paint what they detested in life' ('Quel ch'aboriscon vivo aman dipinto,' La pittura: Satira III)." B
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Unidentified Artist
The Last Missionary: Portrait of Missionary Giovanni Battista Sidotti
circa 1715-1720, probably southern Germany, Augsburg school
oil on canvas
118.8 x 88.5 cm
below the image the following inscription in Latin:
"Joannes Sydoti presbyter Saec[ularis] prinum [i.e., primum] Manilae in Indiae oriendali [orientali] per 4 annos, dein per plures in Japonia missionarius, bis ab idolola[t] ris ad rogum, ut vivus combureretur ductus, bino miraculo conservatus."
["The secular priest Giovanni Sidotti, who was a missionary first in Manila, East India, and then for several years in Japan, was twice taken to the stake by the idolaters to be burned alive, and both times was miraculously saved from death."]
This painting, recently discovered, is the only known portrait of Giovanni Battista Sidotti (Palermo 1668-1714 Tokyo) from the Baroque period, probably painted during the advocacy for his beatification, not long after he died in captivity in Japan at age 46.
Sidotti's importance lies in the fact that he is regarded as the last Christian missionary who was able to reach Japan and work there during the isolation of the Edo period. Martin Scorsese used motifs from Sidotti's story in his 2016 missionary film "Silence."
The discovery of Sidotti's remains beneath a house in Tokyo in 2014, exactly 300 years after Sidotti's death, gave a great boost to his appreciation in modern-day Japan. And using the techniques of forensic facial approximation, it was possible to reconstruct his facial appearance from the skull bones; the head produced in this way can now be seen in the National Museum of Nature and Science in Tokyo. The striking resemblance of the head reconstructed from the bones in Japan to our portrait over a period of almost three hundred pictureless years, in which no portrait of Sidotti was known at all, is truly remarkable, one might say miraculous:
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Mariano Fortuny y Marsal (Spanish, 1838-1874) Marocain assis [Seated Moroccan]
1878 aquatint etching on China paper proof impression before the addition of the title (state III of VI) 13,9 x 10,1 cm on the base paper, a
handwritten dedication by Henriette Fortuny, the artist's daughter-in-law The Daulton Collection
Magnificent,
strong impression with a wide margin around the clearly defined platemark.
Condition: slight foxing; faint signs of wear.
Catalogue raisonne: Rosa
Vives i Piqué and Maria Luisa Cuenca Garcia, Mariano Fortuny Marsal, Mariano
Fortuny Madrazo: grabados y dibujos, Cat. No. 19 III (of VI).
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Jacques Majorelle (French, 1886-1962, although he resided most of his working life in Marrakesh) "Tasgah, Grand Atlas, Vallée de Telouet"
["Tasga, High Atlas, Valley of Telouet"] 1927
etching on firm wove paper proof impression outside the numbered edition of 24
image 20,1 x 26,6 cm (sheet 31,5 x 44,7 cm)
in pencil titled, dated, and signed lower right: "Tasgah (Grand Atlas Vallée de Telouet)," "1927," "JMajorelle" The Daulton Collection
Magnificent impression with nicely drawn platemarks and a wide margin.
After a stay in Egypt, Jacques Majorelle, the son of the French art nouveau furniture designer Louis Majorelle, discovered Morocco. He was particularly impressed by the colors of the landscape and the Berber architecture, which influenced his work in subject and style. He settled in Marrakech in 1917, where he built a villa with a studio.
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Miguel Viladrich Vila (Torrelameu, Spain 1887-1956 Buenos Aires, Argentina) El Ultimo Abencerraje (The Last Abencerrage)
first half 20th century oil on wood panel 50 x 42 cm signed lower right: "M. Viladrich" The Daulton Collection
provenance: Argentine private collection
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Gérard Laenen (Belgian, 1899-1980) Portrait of Maurice Collis (1889-1973), author and colonial administrator in Burma oil on canvas 27.5 x 31.5 in.
signed lower left: GLaenen The Daulton Collection
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Fabio Rieti (Rome 1927-2020 Paris) Portrait of a Woman with a Rose 1967 acrylic on canvas-textured panel 69 x 85 cm signed and dated lower right: "Fabio Rieti 67" The Daulton Collection
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Gertrude Degenhardt (German; New York, NY 1940 -- active in Mainz-Gosenheim) Der Tod mit kleinem Lebenslicht [Death holding a Small Light of Life]
1969 black ink and watercolor on velum paper 23,6 x 23,7 cm
signed and dated in black ink lower right: "Gertrude Degenhardt 69." The Daulton Collection
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Contact:The Daulton Collection Los Altos Hills, California e-mail: thedaultoncollection@outlook.com
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