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Didier Barra Sold at Auction Prices

Painter, b. 1590 - d. 1644

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    • François De Nomé detto Monsù Desiderio (attr.) (1593/1644) "Due scene di martirio contornate da architetture oniriche e personaggi" - "Two martyrdom scenes surrounded by dreamlike architectures and characters"
      Apr. 09, 2022

      François De Nomé detto Monsù Desiderio (attr.) (1593/1644) "Due scene di martirio contornate da architetture oniriche e personaggi" - "Two martyrdom scenes surrounded by dreamlike architectures and characters"

      Est: €15,000 - €20,000

      Coppia di dipinti ad olio su ardesia ottagonale in cornice ottagonale in legno scolpito e dorato. Cm 31x31 (dipinto); cm 44,5x44,5 (cornice) Pair of oil paintings on octagonal slate in an octagonal frame in carved and gilded wood. Cm 31x31 (painted); cm 44.5x44.5 (frame)

      Galleria Sarno
    • Didier Barra ( 1590- ?), école de .
      Dec. 12, 2021

      Didier Barra ( 1590- ?), école de .

      Est: €3,000 - €4,000

      Didier BARRA ( 1590- ?), école de . " Architecture d'un palais imaginaire" Huile sur toile ( rentoilage). Restaurations anciennes. Dimensions : 63 cm x 75 cm

      Legia-Auction
    • Workshop of FRANÇOIS DE NOMÉ (Metz, c. 1593-Naples, c. 1644). "Lot and his family leaving Sodom." Oil on canvas. Relined.
      Jun. 01, 2021

      Workshop of FRANÇOIS DE NOMÉ (Metz, c. 1593-Naples, c. 1644). "Lot and his family leaving Sodom." Oil on canvas. Relined.

      Est: €5,000 - €5,500

      Workshop of FRANÇOIS DE NOMÉ (Metz, c. 1593-Naples, c. 1644). "Lot and his family leaving Sodom." Oil on canvas. Relined. Measurements: 59 x 84 cm. We see in this canvas a magnificent landscape starring the city of Sodom in flames, the setting for the biblical episode of Lot and his daughters (Genesis 19). In this passage it is narrated that while Lot and his family are in Sodom, two angels arrive in Sodom and two angels arrive in Sodom. Two angels arrive in Sodom and Lot shows them great hospitality. However, the men of the city gather around Lot's house and ask him to give them the two guests so they can rape them. In response, Lot offers them his two daughters, and points out that they are virgins (verse 19: 8). The crowd rejects Lot's offer, but the angels warn Lot to leave the city before it is destroyed. During the flight Lot's wife becomes a pillar of salt, but Lot and his daughters escape to Zoar, and end up living in a cave in the mountains. Seeing that their inevitable fate is going to be loneliness, they decide to get their father drunk and have sex with him, in order to become pregnant. Iconographically, the flight of Lot and his daughters was a theme that began to be represented during the sixteenth century, being chosen in its representation by great artists such as Lucas Cranach, Tintoretto and Rubens. François de Nomé is still linked today to the name of Monsù Desiderio; a designation with which the works of two different artists have traditionally been associated: François de Nomé and Didier Barra. Both painters, whose personalities have recently been separated and identified, were natives of Metz and were active in Naples during the first half of the 17th century, even working in collaboration. François de Nomé moved to Rome when he was about eleven years old. There he trained with Master Baldassarre, who was probably the Flemish landscape painter Balthazar Lauwers, also known as Lauri. In addition to the imprint of Lauwers' own work and that of Paul Bril, François de Nomé's work is influenced by the extravagant architectural painting of Hans Vredeman de Vries and the theatrical scenes of Jacques Callot and Giulio Parigi. From 1610, De Nomé is documented in Naples, where he remained until the end of his life. By the end of the 1610s his work had already acquired a certain reputation, receiving around 1618 his first major documented commission: a cycle of twelve paintings on the theme Stories from the Life of Pharaoh, now unaccounted for. François de Nomé's production is characterized by the small format, towards which he has a preference, and by a very pasty application of color. His chronology is not easy to fix, since only a few pieces of his production are dated, being the reading of these digits difficult to interpret. In the paintings attributed to him, two themes predominate: on the one hand, perspective views of streets and churches and, on the other, ruins and fantastic architectures profusely decorated, which serve as a background for small biblical scenes. The figures that populate his views were often the result of collaboration with other artists, among them Belisario Corenzio and Jacob van Swanenburgh.

      Setdart Auction House
    • François de Nomé, called Monsù Desiderio (Metz c. 1593-after 1644 An archit
      May. 01, 2019

      François de Nomé, called Monsù Desiderio (Metz c. 1593-after 1644 An archit

      Est: $30,000 - $50,000

      François de Nomé, called Monsù Desiderio (Metz c. 1593-after 1644 An architectural capriccio with figures engaged in a skirmish oil on canvas 19 ¾ x 30 1/8 in. (50.2 x 76.6 cm.)

      Christie's
    • ATTRIBUTED TO FRANCOIS DE NOME, CALLED MONSÙ DESIDERIO (METZ C.1590-AFTER C. 1652 NAPLES?)
      May. 18, 2017

      ATTRIBUTED TO FRANCOIS DE NOME, CALLED MONSÙ DESIDERIO (METZ C.1590-AFTER C. 1652 NAPLES?)

      Est: £7,000 - £10,000

      ATTRIBUTED TO FRANCOIS DE NOME, CALLED MONSÙ DESIDERIO (METZ C.1590-AFTER C. 1652 NAPLES?) An architectural capriccio with the Arrest of St Peter oil on canvas 38 1/8 x 50 1/4 in. (96.9 x 127.6 cm.) in a simple moulded giltwood frame

      Christie's
    • Attribué à Didier Barra Né à Metz, vers 1589 - Actif à Naples Portiques d'un palais Huile sur toile (Toile d'origine)
      Nov. 13, 2013

      Attribué à Didier Barra Né à Metz, vers 1589 - Actif à Naples Portiques d'un palais Huile sur toile (Toile d'origine)

      Est: €10,000 - €15,000

      Attribué à Didier Barra Né à Metz, vers 1589 - Actif à Naples Portiques d'un palais Huile sur toile (Toile d'origine) Annotée 'Viola Born 1572 (…) 1632 / Cardinal Fesch' et porte les numéros '352' et '900.' au verso ; plusieurs traces de cachets à la cire rouge au verso. 'THE PORTICO OF A PALACE', OIL ON CANVAS, ATTRIBUTED TO D. BARRA h: 64 w: 49,50 cm Provenance : Ancienne collection du cardinal Fesch, selon une inscription au verso ; Chez J. Kugel, Paris (comme Didier Barra) ; Acquis auprès de ces derniers par l'actuel propriétaire en 1993 ; Collection particulière, Paris Bibliographie : Peut-être 'Catalogue des tableaux composant la galerie de feu son éminence le cardinal Fesch', Rome, 1841, p. 126, n° 3194 : "Portiques d'un Palais ; ils sont d'une belle lumière et bien rendus". Commentaire : "Le vingtième siècle a vu surgir de l'oubli de nombreuses personnalités artistiques. Parmi elles, 'Monsù Desiderio' est certainement l'une des plus intéressantes. Sous ce nom, nous ont été transmises les œuvres de deux artistes : François de Nomé et Didier Barrà1". Il n'est pas rare que les peintures appartenant à ce corpus puissent être rattachées à la production d'un de ces deux artistes : Didier Barrà pour le 'Portique de palais' ou François de Nomé pour Le banquet de Pharaon (lot 61). Favori des surréalistes comme André Breton2, Monsù Desiderio connut un extraordinaire succès après la Seconde Guerre mondiale grâce à l'intérêt de collectionneurs et de grands musées américains, avant d'être célébré à juste titre de manière extrêmement complète lors de la brillante exposition de Metz en 2004-20053. 1 - Maria Rosaria Nappi, " Fortune critique ", in cat. exp. 'Monsù Desiderio, Un fantastique architectural au XVIIe siècle', Metz, 2004-2005, p. 12. 2 - Plusieurs articles ou ouvrages révèlent l'intérêt des surréalistes pour l'art de Monsù Desidero : Robert Lebel, " Une exposition de Monsù Desiderio ", in Arts, 14 avril 1950 ; André Breton et G. Legrand, 'Art Magique', Paris, 1957 ; M. Brion, 'L'Art fantastique', Paris, 1961. 3 - 'op. cit.'

      Artcurial
    • Circle of François de Nomé, called Monsù Desiderio (Metz c. 1593-1644 Naples)
      Oct. 26, 2011

      Circle of François de Nomé, called Monsù Desiderio (Metz c. 1593-1644 Naples)

      Est: £4,000 - £6,000

      Circle of François de Nomé, called Monsù Desiderio (Metz c. 1593-1644 Naples) An architectural capriccio with elegant figures conversing oil on canvas 29½ x 40½ in. (74.9 x 102.8 cm.)

      Christie's
    • DIDIER BARRA, DETTO MONSÙ DESIDERIO METZ 1590 CIRCA-POST 1652 NAPOLI
      Jun. 01, 2004

      DIDIER BARRA, DETTO MONSÙ DESIDERIO METZ 1590 CIRCA-POST 1652 NAPOLI

      Est: €15,000 - €20,000

      olio su tela

      Sotheby's
    • Fran‡ois de Nom‚, called Mons— Desiderio (Metz c.1593-after 1644 Naples)
      Jan. 24, 2003

      Fran‡ois de Nom‚, called Mons— Desiderio (Metz c.1593-after 1644 Naples)

      Est: $80,000 - $120,000

      Venice, a view of San Marco from the Bacino 193/4 x 30 7/8 in. (50 x 78.5 cm.) PROVENANCE Private Collection, England. LITERATURE M.-R. Nappi, Fran‡ois de Nom‚ e Didier Barra. L'enigma Mons— Desiderio, Rome, 1991, p. 189, no. A109. NOTES De Nom‚'s adoption of a pseudonym and his very frequent collaboration with other painters, who added the figures to his predominantly architectural subjects, have tended to confuse his artistic identity, even though the basic facts of his career are clear enough. Born in Metz, he arrived in Italy about 1602 and worked first in Rome in the studio of Balthazar Lawers, a follower of Paulus Bril and Agostino Tassi, from whom he acquired his propensity to fantasy and caprice. At a stage he moved to Naples which remained his base for the rest of his life. He may have worked in Florence at the court of Cosimo II, around 1619, and the continuing influence of Tassi and other painters of fantastic architecture like Viviano Codazzi perhaps suggests that he made a return visit to Rome in the early 1630s. De' Dominici records that his chief collaborator in Naples was the Greek Belisario Corenzio, but he also worked with the Dutchman Jacob van Swanenburgh and Didier Barra. The present picture is best regarded as a relatively measured and cautious exercise in fantasy by de Nom‚, probably datable to the mid 1620s. The liberties taken with the Libreria Marciana and the Palazzo Ducale, to present them almost as a pair, and the transformation of San Marco into a confection of the most mannered high Baroque can only be his, while the modest narrative elements in the foreground need hardly have necessitated a collaborator at all. Not known to have visited Venice, de Nom‚ presumably based this view on a print such as Sadeler's View of the Piazzetta. Several other Venetian subjects by de Nom‚ are recorded, including a larger Imaginary View of San Marco from the Bacino (private collection, England), which is thought to be the one listed in an inventory of the Florentine collection of the Del Rosso brothers, compiled in 1689 (see F. Haskell, Patron and Painters, London, 1971, p. 213).

      Christie's
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