LOT DETAILS

Materials:

oil on canvas

Measurements:

22.44 in. (57.00 cm.) (height) by 22.44 in. (57.00 cm.) (width)

Condition:

framed

Literature:

R. E. Spear, R. E. Spear, Renaissance and Baroque Paintings from the Sciarra and Fiano Collections, Renaissance and Baroque Paintings from the Sciarra and Fiano Collections, Rome 1972, Rome 1972, pp. 18-19, pp. 18-19, no. 5 (as Girolamo Mirola or Jacopo Zanguidi);, no. 5 (as Girolamo Mirola or Jacopo Zanguidi);, D. De Grazia, D. De Grazia, Bertoia, Bertoia, Mirola and the Farnese court, Mirola and the Farnese court, Bologna 1991, Bologna 1991, pp. 170-171, pp. 170-171, no. P3 and fig. 40 (as Girolamo Mirola or Jacopo Zanguidi), no. P3 and fig. 40 (as Girolamo Mirola or Jacopo Zanguidi), The present painting once belonged to the prestigious collection of the Ottoboni family, The present painting once belonged to the prestigious collection of the Ottoboni family, the Dukes of Fiano. Their family palace on the Corso in Rome was sold, the Dukes of Fiano. Their family palace on the Corso in Rome was sold, along with all its contents, along with all its contents, ,to Edoardo Almagià in 1898 (see Spear 1972, ,to Edoardo Almagià in 1898 (see Spear 1972, in literature)., in literature)., The present painting is mentioned in the 1896 inventory of pictures entrusted by Marco Ottoboni to his tenant in the family palace, The present painting is mentioned in the 1896 inventory of pictures entrusted by Marco Ottoboni to his tenant in the family palace, the Ambassador of Portugal to the Holy See, the Ambassador of Portugal to the Holy See, Miguel d’Antas. In this inventory the painting is identified as ‘Scuola fiamminga’ [‘Flemish school’], Miguel d’Antas. In this inventory the painting is identified as ‘Scuola fiamminga’ [‘Flemish school’], and located in the ‘Salone Rosso’ [‘Red Saloon’] with the inventory number 41., and located in the ‘Salone Rosso’ [‘Red Saloon’] with the inventory number 41., As Spear states the attribution of the painting was hesitantly redirected to the Bolognese school in the manuscript inventory of the Almagià collection compiled in the 1930s, As Spear states the attribution of the painting was hesitantly redirected to the Bolognese school in the manuscript inventory of the Almagià collection compiled in the 1930s, where it is documented at number 33: this is confirmed by a corresponding label on the back of the canvas., where it is documented at number 33: this is confirmed by a corresponding label on the back of the canvas., The present painting has been given to the sixteenth-century Parmese school by Spear, The present painting has been given to the sixteenth-century Parmese school by Spear, and he has attributed it either to Jacopo Zanguidi called Il Bertoja, and he has attributed it either to Jacopo Zanguidi called Il Bertoja, or Girolamo Mirola – both painters were active at the Farnese court, or Girolamo Mirola – both painters were active at the Farnese court, and they collaborated on various projects. This painting of square format depicts a heroical male figure, and they collaborated on various projects. This painting of square format depicts a heroical male figure, is seen from behind in the right foreground as he battles the double-headed dragon below him, is seen from behind in the right foreground as he battles the double-headed dragon below him, while a female figure can be seen in the left background. The imposing form of the horse, while a female figure can be seen in the left background. The imposing form of the horse, dominates the scene as he leaps diagonally across the composition: his position is counterpointed by the pose of the hero, dominates the scene as he leaps diagonally across the composition: his position is counterpointed by the pose of the hero, who could either be Perseus or Roger. Since both the stories of ‘Perseus and Andromeda’ and ‘Roger freeing Angelica’ are often depicted in a similar manner, who could either be Perseus or Roger. Since both the stories of ‘Perseus and Andromeda’ and ‘Roger freeing Angelica’ are often depicted in a similar manner, it is difficult to determine which subject was used as a reference for the present painting., it is difficult to determine which subject was used as a reference for the present painting., This work can be compared to the Story of the Sabines conserved in the Museo Civico in Bologna (inv. no. 1245). The soft brushstrokes of pastel colour, This work can be compared to the Story of the Sabines conserved in the Museo Civico in Bologna (inv. no. 1245). The soft brushstrokes of pastel colour, the visionary landscape of the background, the visionary landscape of the background, the anatomical rendering of Perseus/Roger, the anatomical rendering of Perseus/Roger, and the fragile figure of Andromeda/Angelica are indeed all elements that can be found in the Bolognese painting. There has, and the fragile figure of Andromeda/Angelica are indeed all elements that can be found in the Bolognese painting. There has, however, however, been uncertainty amongst art historians about the attribution of the Bolognese painting as they are divided between the authorship of one or other of the two painters. Spear leans towards a late phase of Mirola from the 1560s. De Grazia also noted the affinities between the present painting and the one in Bologna, been uncertainty amongst art historians about the attribution of the Bolognese painting as they are divided between the authorship of one or other of the two painters. Spear leans towards a late phase of Mirola from the 1560s. De Grazia also noted the affinities between the present painting and the one in Bologna, as well as the similarities the present work shares with the frescoes in the Palazzo del Giardino in Parma, as well as the similarities the present work shares with the frescoes in the Palazzo del Giardino in Parma, which were the great enterprise that saw both Bertoja and Mirola working together in collaboration during the 1560s and 70s., which were the great enterprise that saw both Bertoja and Mirola working together in collaboration during the 1560s and 70s