Saint sébastien (france) (part 2 van 2)

Saint Sébastien.

(Anonyme, de 1701 à 1800).

(Sculpture, statue polychrome, bois, 96 cm, N° de l’objet 10071287).

(Chapelle Saint-Fiacre, Charleroi [fusionnée], France).

Iconographie : Sébastien [soldat-personnage].

Saint Sébastien.

(Anonyme, de 1701 [incertain] à 1800 [incertain]).

(Sculpture, statue polychrome, bois, 76 cm : socle 21 cm : hauteur totale 97 cm, N° de l’objet 10056804).

(Eglise Saint-Amand, Havinnes, France).

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Saint Sébastien.

(Anonyme, de 1701 à 1800).

(Sculpture, statue polychrome, bois, 96 cm, N° de l’objet 10036109).

(Eglise Saint-Nicolas, Le Roeulx [fusionnée], France).

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage.

Saint Sébastien.

(Anonyme, de 1701 à 1800).

(Sculpture, statue polychrome, bois, 90 cm, N° de l’objet 10031289).

(Eglise Saint-Martin, Marcq, France).

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Saint Sébastien.

(Anonyme, de 1701 à 1800).

(Sculpture, statue polychrome, bois, doré, 83,5 cm, N+ de l’objet 10032972).

(Eglise Sainte-Vierge, Arquennes, France).

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Saint Sébastien.

(Anonyme, de 1701 à 1800).

(Sculpture, statue polychrome, bois, 108 cm, N° de l’objet 10020292).

(Eglise Saint-Pierre, Quévy-le-Grand, France).

Iconographie : arbre [attribut] ; Sébastien [soldat-personnage].

San Sebastiano.

(1725). (…).

(Chiomonte [Valle Susa], …).

I riquadri dell’abside con il martirio e la morte di S.Andrea sono della fine del sec. XV. Gli affreschi fissano, nella loro plasticità pittorica, scene dei « mystères » che si recitavano in paese. Una tenace tradizione tardomedievale radicata sulle Alpi fece sì che sino al Settecento sui sagrati delle chiese venissero recitati i mystères, le storie del martirio dei santi. Prime manifestazioni di religiosità collettiva, mettevano in scena drammi sacri volti ad esaltare la figura del santo e ad incutere nel popolo il terrore del male e del peccato. Fra i più celebri testi sacri, il mistero di San Giovanni Battista di Salbertrand del 1546, e quelli di San Sebastiano di Chiomonte, del 1725, e di Sant’Andrea delle Ramats del 1739. Splendido è lo scartafaccio occitano di Sant’Antonio di Névache dei primi del Cinquecento, composto probabilmente da un giovane di Bardonecchia.

Martyre de saint Sébastien, saints Augustin et Nicolas.

(Anonyme, de 1741 à 1760).

(Retable, peinture à l’huile sur toile, …, N° de l’objet 10085079).

(Chapelle Saint-Jacques [autel majeur] [Fontenaille], Mont [commune], France).

Note : voir aussi autel, autel majeur irpa n°10085012.

Iconographie : mitre [attribut] ; crosse [attribut] ; cœur [attribut] ; Nicolas de Myre [évêque occidentalpersonnage] ; Augustin d’Hippone [évêque occidental-personnage] ; sagittation de Sébastien [événement] ; bourreau [rôle de la personne].

Saint Sébastien.

(Anonyme, sculpteur école, de 1741 à 1760).

(Sculpture, statue polychrome, bois, 118 cm, N° de l’objet 10112528).

(Eglise Saint-Pierre, Mortier [commune], France).

Lieu de production : Liège.

Exposition : cf. catalogue 268.

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Saint Sébastien.

(Anonyme, sculpteur école, de 1741 à 1760).

(Sculpture, statue polychrome, bois, 118 cm, N° de l’objet 10112528).

(Eglise Saint-Pierre, Mortier [commune], France).

Lieu de production : Liège.

Exposition : cf. catalogue 268.

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Saint Sébastien.

(Anonyme, sculpteur école, de 1741 à 1760).

(Sculpture, statue, bois [chêne], 170 cm, N° de l’objet 10100241).

(Eglise Saint-Sébastien, Charneux, France).

Cf. autre statue : 10100240. De part et d’autre du retable de l’autel majeur.

Lieu de production : Liège.

Iconographie : Sébastien[soldat-personnage].

Saint Sébastien.

(Anonyme, de 1741 à 1760).

(Sculpture, statue, bois peint, 160 cm, N° de l’objet 10092096).

(Eglise Saint-Brice, Hombourg, France).

Note : hauteur approximative.

Inscription : inscription, gravé, sur le socle : St Sébastien.

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Bannière de Moorslede avec effigie de saint Sébastien et armoiries.

(Anonyme, brodeur, 1751).

(Bannière de société, soie, fil de métal, tissé, brodé, appliqué, …, N° de l’objet 20049028).

(Musées Royaux d’Art et d’Histoire, Bruxelles [fusionnée], France).

Inscription : inscription, brodé, en haut : Moorseele ; datation, brodé, en haut : 1751.

Iconographie : sagittation de Sébastien [événement] ; armoiries ; arc [arme de jet] ; carquois [flèches] ; arbalète [arme de jet] ; lion [animal], ours [animal] ; Moorslede [nom du lieu].

Saint Sébastien.

(Anonyme, de 1751 à 1800).

(Sculpture, statue polychrome, bois, 97 cm, N° de l’objet 10088926).

(Eglise Saint-Sébastien, Naomé, France).

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Die hll.Johannes d.T., Johannes Ev., Sebastian und Antonius.

(Anonyme, 1771.).

(Gravure sur bois, …, …).

(Staatl.graph.Sammlgn, München, Allemagne).

Saint Sébastien.

(Anonyme, de 1791 à 1800).

(Sculpture, statue polychrome, bois, 112 cm ; statue 81 cm ; socle 31 cm, N° de l’objet 10066982).

(Eglise Saint-Pierre, Leuze [fusionnée], France).

Style Louis XVI. Iconographie : Sébastien [soldat-personnage].

Pitcher with Scene of saint Sebastian tied to a log cross, Habanware.

(Anonyme, 18ème - début 19ème siècle).

(Tin glazed earthenware with overglaze painted decoration, 21 cm x 12,7 cm, Accession Number : X1044.2).

(Brooklyn Museum, New York, Etats-Unis).

Collections : Decorative Arts.

Museum location: this item is not on view.

Credit Line : Brooklyn Museum Collection.

Caption : Creative Commons-BY.

Coffret-reliquaire de Saint Sébastien.

(Anonyme, de 1791 à 1810).

(Bois, monté, sculpté, peint, …, N° de l’objet 10053827).

(Eglise Saint-Servais, Beaumont [fusionnée], France).

Note : cf. décoration IRPA nº 10053830.

Saint Sébastien.

(Anonyme, de 1791 à 1810).

(Sculpture, statue, bois, 60 cm, N° de l’objet 10106138).

(Chapelle Saint-Roch [Habiémont], Chevron [commune], France).

Iconographie : Sébastien [soldat-personnage].

Saint Sébastien.

(Anonyme, première moitié du 19ème siècle).

(Blason de corporation, gravure sur cuivre en couleurs, plume conservée, …, Numéro d'inventaire : HCI 913).

(Musée de l'Hospice Comtesse [Arts graphiques, Estampe], Lille, France).

Saint Sébastien.

(Anonyme, de 1801 à 1810).

(Sculpture, statue polychrome, bois, 105 cm, N° de l’objet 10021027).

(Eglise Saint-Georges, Hensies [fusionnée], France).

Iconographie : arbre [attribut] ; flèche [attribut] ; Sébastien [soldat-personnage].

Armoiries de la gilde de Saint-Sébastien d’Ostende.

(Anonyme, céramiste, de 1801 à 1810).

(Assiette plate, porcelaine, cuit, peint, décor bleu, diamètre 24 cm, N° de l’objet 10072153).

(Musée d’histoire, d’archéologie et des arts décoratifs, Tournai [fusionnée], France).

Assiette décorative.

Lieu de production : Tournai.

Iconographie : armoiries.

Armoiries des archers de Saint-Sébastien de Bailleul.

(Anonyme, céramiste, 1820).

(Assiette plate, porcelaine, cuit, peint, décor bleu, diamètre 24 cm, N° de l’objet 10072178).

(Musée d’histoire, d’archéologie et des arts décoratifs, Tournai [fusionnée], France).

Assiette décorative.

Lieu de production : Tournai.

Inscription : date, peint, en bas : 1820.

Iconographie : armoiries.

Plaque de l’Empereur de la confrèrie de Saint Sébastien.

(Anonyme, orfèvre, 1818).

(Plaque de confrérie, argent, repoussé, 15,7 cm x 9,8 cm).

(Eglise Saint-Martin, Basècles, France).

Inscriptions : datation, gravé, bord droit : daté 1818 ; inscription, gravé, au revers : inscription dédice.

Iconographie : carquois [attribut] ; flèche [attribut] ; arc [attribut] ; sagittation de Sébastien ; oiseau [animal].

Saint Sébastien.

(Anonyme, de 1826 à 1850).

(Sculpture, statue, bois, 17 cm ; niche 21,5 cm [hauteur] x 7 cm [largeur] x 6 cm [profondeur], N° de l’objet 10122077).

(Musée de la Vie wallonne, Liège [fusionnée], France).

Art populaire.

Iconographie : Sagittation de Sébastien.

Saint Sébastien.

(Anonyme, 1831).

(Sculpture, statue polychrome, bois, 122,5 cm, N° de l’objet 10100248).

(Eglise Saint-Sébastien, Charneux, France).

Inscription : inscription, gravé : inscription de donation de la confrairie du st Sacrement.

Iconographie : Sébastien [soldat-personnage].

Saint Sébastien.

(Anonyme, de 1851 à 1900).

(Bannière de procession, peinture à l’huile sur toile, soie, damassé, 160 cm x 103 cm, N° de l’objet 10088934).

(Eglise Saint-Sébastien, Naomé, France).

Toile peinte sur fond de soie rouge damassée.

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Collier de gilde de Saint-Sébastien de Weeveren.

(Anonyme [fabriquant], de 1851 à 1900).

(Collier de gilde, argent martelé, émaillé, velours [fond], 75 cm x 21 cm, N° de l’objet 10153479).

(Musée régional d’Archéologie et d’Histoire, Visé [fusionnée], France).

Inscription : inscription, gravé, médaillon central : peu lisible.

Iconographie : représentation symbolique. Arbalétrier, rinceaux [ornement] ; frise perlée [ornement] ; arbalète [arme de jet] ; couronne [insigne] ; France humain.

Saint Sébastien.

(Anonyme, de 1851 à 1900).

(Sculpture, statue, retable, grès [céramique] polychrome, 95 cm, N° de l’objet 10098236).

(Eglise Saint-Pierre [autel latéral sud] [Steffeshausen], Reuland, France).

Inscription : marque, gravé : marque indéterminée ( ?) : W. Note : Cf. statue de la Vierge à l’Enfant : 10098238.

Iconographie : flèche [attribut] ; palme [attribut] ; Sébastien [soldat-personnage].

Spoon.

(Unknow silversmith, circa 1870 to 1910).

(Spoon, silver, parcel-gilt ; the fig-shaped bowl has an applied figure holding a shield at the jjunction with the stem, above which is set a turquoise stone, Length : (overall): 6¼ in ; length : (overall) : 16 cm ; weight : (overall): 2:5 oz : dwt weight : (overall) : 71 g, Accession number : MAR.M.106-1912 [Applied Arts]).

(The Fitzwilliam Museum, University of Cambridge, Cambridge, Royaume-Uni).

Collection C. B. Marlay.

Description : silver, parcel-gilt ; the fig-shaped bowl has an applied figure holding a shield at the jjunction with the stem, above which is set a turquoise stone. The finial is in the form of St. Sebastian.

Silver, parcel-gilt; the fig-shaped bowl is gilt in the bowl, which is prick engraved with two letters or symbols. At the junction to the stem is an applied figure of a man's upper body holding a shield. The centre of the tapering stem is set with a turquoise stone. The silver-gilt finial is in the form of the Martyrdom of St. Sebastian.

Production notes : the spoon does not bear a town or maker's mark.

Production place : Northern Europe (silversmith) (continent).

Technique description : the bowl of the spoon was raised; the finial and plaque were cast, and part was gilt.

Provenance : bequeathed : Charles Brinsley Marlay 1912 (Filtered for: Applied Arts collection). Not known before testator. C. B. Marlay Bequest.

Inscriptions/Marks : initials or symbols. Position : on the front of the spoon. Method : prick engraved.

Description : illegible. Interpretation : not identifiable.

Documentation : Hemming, Martin (2008) Bowled Over, London : Conde Naste Publications Ltd. Source title : The World of Interiors (June 2008) [comments : Cf: for information on Turkish spoons see p. 7377].

Note : this spoon was accessioned as 17th century, however, it is now thought to be 19th century.

Accession number : MAR.M.106-1912 (Applied Arts). (Reference Number: 163140 ; Input Date : 2008-08-06 / Last Edit: 2010-06-07).

Cylindre-reliquaire de saint Laurent et saint Sébastien.

(Anonyme, dinandier, de 1891 à 1900).

(Cylindre-reliquaire, laiton, verre soufflé, battu, pierres de fantaisie, 41 cm, N° de l’objet 10097827).

(Eglise Saint-Sauveur, Horion-Hozémont, France).

Style néo-gothique.

Iconographie : phylactère [attribut] ; ange avec attribut [personne] ; fleur [ornement].

Monstrance-reliquaire de saint-Sébastien.

(Anonyme, dinandier, de 1891 à 1900).

(Laiton, verroterie, battu, doré, 37,5 cm, N° de l’objet 10085160).

(Eglise Saint-Pierre, Beho, France).

Style néo-gothique.

Iconographie : monstrance-reliquaire.

Saint Sébastien.

(Anonyme, c. 1900).

(Bannière de procession, peinture à l’huile sur toile, tissu, peint, brodé, 65 cm x 53 cm, N° de l’objet 10090149).

(Eglise Saint-Sébastien, Loyers, France).

Toile peinte sur tissu rouge, broderies or.

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage] ; fleur [ornement].

Untitled (figure tied to tree, saint Sebastian ?).

(Anonyme allemand, 1917).

(Print, woodcut on thin paper ; Image : 20,96 cm x 12,7 cm ; Sheet : 28,42 cm x 22,07 cm, M.89.167.4).

(Los Angeles County Museum of Art, Los Angeles [Californie], Etats-Unis).

Gift of Gina Kruzic Wilcox (M.89.167.4).

Robert Gore Rifkind Center for German Expressionist Studies Department.

Not currently on public view.

Subject groupings : Robert Gore Rifkind Center for German Expressionist Studies - War time : 1915-1918.

Landing of Sebastian in the New World.

(Anonyme, c.1900-1920 ou c.1900-2000).

(Bay aera, American, Glazed tile, Social Realist (Earthenware, [California], France).

20th c American Social Realist Mosaics.

Saint Sébastien.

(Anonyme, peintre-verrier, de 1901 à 1910).

(Vitrail, verre, peinture, …, N° de l’objet 10098240).

(Eglise Saint-Pierre [Steffeshausen], Reuland, France).

Iconographie : sans.

Saint Sébastien.

(Anonyme, peintre-verrier, de 1901 à 1910).

(Vitrail, verre, peinture, …, N° de l’objet 10100295).

(Eglise Saint-Sébastien [bas-côtés], Charneux, France).

Un vitrail d’une série de dix.

Iconographie : Sébastien [soldat-personnage].

Bras-reliquaire de saint Sébastien.

(Anonyme, sculpteur, de 1901 à 1950).

(Bois sculpté, polychromé, doré, 48,5 cm, N° de l’objet 10075645).

(Eglise Sainte-Marguerite, Berzée, France).

Note : partie en bois plus ancienne réemployée à l’intérieur.

Iconographie : bras-reliquaire [type d’objet].

Monstrance-reliquaire de saint Sébastien.

(Anonyme, dinandier, de 1901 à 1974).

(Laiton, battu, ciselé, …, N° de l’objet 10106952).

(Eglise Saint-Sébastien, Stavelot [fusionnée], France).

Iconographie : sans.

Saint Sébastien.

(Anonyme, peintre-verrier, 1905).

(Vitrail, verre, peinture, 150 cm x 90 cm [dimensions approximatives], N° de l’objet 10088946).

(Eglise Saint-Sébastien [France], Naomé, France).

Style néo-roman.

Inscription : inscription, peint, en bas : inscripiton de donation au nom de Raoul Alphonse Piscador.

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Martyre de saint Sébastien.

(Anonyme, peintre-verrier, c. 1928).

(Vitrail, verre, peint sur verre, …).

(Eglise Saint-Vincent [collatéral Nord], Kemexhe, France).

Inscription : inscription, peint, en bas : Don d’Alice Haway.

Saint Sébastien.

(Anonyme, peintre-verrier, 1936).

(Vitrail, verre, peinture, N° de l’objet 10095202).

(Chapelle Saint-Sébastien [Eibertingen], Amel [fusionnée], France).

Note : Un vitrail d’une série de quatre, placés grâce à Michel Heinen Bermes, curé à Eupen.

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Saint Christophe, saint SĂŠbastien et saint Roch.

. Negativo Nazione

2733 ITA

Provincia Comune Frazione Soggetto Data Viaggiata Editore (nome) Editore (località) Num. Archivio di appartenenza

AN LORETO LORETO - S. CRISTOFORO, S. SEBASTIANO E S. ROCCO (LOTTO) PAL. ARCIVESCOVILE 1941 - CA S RIS. CONG. UN. SANTA CASA 61048

Saint Sébastien.

(1961).

(Verrier, atelier) OSTERRATH. (Vitrail, verre, peinture, …, N) de l’objet 10098712).

(Eglise Saint-Remacle, Thommen, France).

Inscriptions : signature, peint, en bas : Romainville aux ateliers d’Osterrath ; datation, peint, en bas : 1961.

Note : Cf. autre vitrail : 10098711.

Iconographie : Sagittation de Sébastien.

Saint Sébastien. (…).

(Sculpture, statue, …).

(Eglise de Fresnay en Retz, France).

Saint SĂŠbastien.

(Tela settecentesca di scuola veneta).

(Chiesa parrocchiale dell’Invenzione della Croce [presbiterio], Loreggiola, Italie).

Saint Sébastien.

(Tela settecentesca di scuola veneta).

(Chiesa parrocchiale dell’Invenzione della Croce [presbiterio], Loreggiola, Italie).

Madonna e i santi Sebastiano e Rocco.

(Tela di scuola bassanesca).

(Chiesa parrocchiale dell’Invenzione della Croce [presbiterio], Loreggiola, Italie).

Martirio di san Sebastiano con san Rocco e san Prosdocimo.

(Anonyme, scuola veneta, dipinti seicenteschi). (‌).

(La Pieve di Villanova oltre Brenta, Villanova di Camposampietro [Padoue, Veneto], Italie).

Prosdocimo, il primo vescovo di Padova.

Martirio di san Sebastiano con san Rocco e san Prosdocimo.

(Anonyme, scuola veneta, dipinti seicenteschi). (…).

(La Pieve di Villanova oltre Brenta, Villanova di Camposampietro [Padoue, Veneto], Italie).

Prosdocimo, il primo vescovo di Padova.

San Colombano tra i santi Rocco, Sebastiano, Biagio e Giovanni Evangelista. (…). (…).

(Chiesa parrocchiale San Colombano Giuseppe di Pero, Breda di Piave [Veneto], Italie).

Il ministero di Don Manzan.

Saint Sébastien. (…).

(Fresque, …).

(Chiesa di San Rocco, Pergine Valsugana [TN], Italie).

Il primo nucleo della chiesetta, poco più grande di un'edicola, venne eretto come manifestazione di ringraziamento ai Santi Rocco e Sebastiano dopo l'epidemia di peste del 1631 quando Pergine fu risparmiata dal contagio. Nel 1662 il dottor Carlo Polacco la fece ampliare, e successivamente nel 1685 la fece ulteriormente abbellire e restaurare. L'anno dopo venne nuovamente benedetta. Nel 1908 l'affresco del timpano, con raffigurati San Sebastiano (a destra) e San Rocco (a sinistra) fu restaurato dal famoso pittore perginese Tullio GARBARI. Sono visibili alcuni elementi dello stemma della famiglia Polacco. Nel 1992 sono stati rifatti il tetto e l'intonaco.

Chapelle Saint Sébastien.

(Anonyme, …). (…).

(Chapelle Saint-Sébastien, Moulinet [Alpes-Maritimes], France).

Saint Sébastien.

(Anonyme, …). (…).

(Chapelle Saint-Sébastien, Moulinet [Alpes-Maritimes], France).

Saint Sébastien.

(Anonyme, …).

(Sculpture, …).

(Chapelle Saint-Sébastien, Moulinet [Alpes-Maritimes], France).

Saint Sébastien.

(Anonyme, …).

(Sculpture, …).

(Chapelle Saint-Sébastien, Moulinet [Alpes-Maritimes], France).

Saint Sébastien et l’ange.

(Anonyme, …). (…).

(Chapelle Saint-Sébastien, Sospel [Alpes-Maritimes], France).

Saint Sébastien, sainte Irène et sa servante.

(Anonyme, 20ème siècle).

(Peinture murale, …).

(Chapelle Saint-Sébastien, Sospel [Alpes-Maritimes], France). Peinture murale,

? (Saint Sébastien reçoit la palme des martyres).

(Anonyme, 20ème siècle).

(Peinture murale, …).

(Chapelle Saint-Sébastien, Sospel [Alpes-Maritimes], France).

? (Saint Sébastien réconfortant les chrétiens).

(Anonyme, 20ème siècle).

(Peinture murale, …).

(Chapelle Saint-Sébastien, Sospel [Alpes-Maritimes], France).

? (Saint Sébastien rend la vue à Zoé).

(Anonyme, 20ème siècle).

(Peinture murale, …).

(Chapelle Saint-Sébastien, Sospel [Alpes-Maritimes], France).

AGOSTINO de Fondulius

Saint Sébastien. (vers 1500).

AGOSTINO de Fondulius.

(Sculpture, terre cuite).

(Musée Bode, Berlin, Allemagne).

Italie. Début de la Renaissance.

Sculpture italienne.

Sculpture (Tête).

Lieu de production : Lombardie, Italie.

Acquisition : achat (1935).

Mariotto di Bigio di Bindo ALBERTINELLI (Florence, 13 octobre 1474 Florence, 5 novembre 1515). Peintre italien de la haute Renaissance, souvent cité avec Fra BARTOLOMEO et influencé par RAPHAËL. Fils de l'orfèvre Biagio di Bindo ALBERTINELLI, à douze ans (selon VASARI), il laisse l'atelier paternel pour se dédier à la peinture dans l'atelier de Cosimo ROSSELLI, où il rencontre PIERO di Cosimo, BACCIO della Porta et Fra BARTOLOMEO avec lesquels il travaille ensuite dans le même atelier à Florence.

Il étudie les modèles antiques dans les jardins des Médicis et est également influencé par le modèle sculptural de RAPHAËL. Quand les Médicis sont temporairement bannis en 1494, il revient travailler avec Fra BARTOLOMEO, dont il copie assidûment la manière, mais dont les résultats demeurent confus (selon VASARI). À la suite de la campagne de moralité du réformateur Savonarole, Fra BARTOLOMEO rejoint l'ordre dominicain en 1500, (ce qui lui donne son nom Fra BARTOLOMEO) et abandonne temporairement la peinture. ALBERTINELLI est près de le rejoindre, mais, stimulé par son succès en terminant un Jugement Dernier non fini de BARTOLOMEO, il décide de continuer seul.

Les peintures d'ALBERTINELLI mêlent le style du PÉRUGIN, les études de RAPHAËL, pour leur sens du volume dans l'espace et la perspective, la coloration de Fra BARTOLOMEO, la technique de représentations des paysage des maîtres flamands comme Hans MEMLING, le sfumato de LÉONARD de Vinci.

Ses chef-d'œuvres sont à Florence, notamment la remarquable Visitation, exécutée pour la congrégation San Martino (1503), conservé aujourd'hui aux Uffizi.

PONTORMO, FRANCIABIGIO et Giuliano BUGIARDINI ont été de ses élèves.

Verk端ndigung an Maria. (c. 1508).

Mariotto ALBERTINELLI. (..., 165 cm x 197 cm, ...).

(Alte Pinakothek, Munich, Allemagne).

Francesco ALLEGRINI (Cantiano, 1615-1620 - Gubbio [?], after 1679). Italien.

The Martyrdom of saint Sebastian (recto) ; Bearded old man blessing seen in half-length (verso).

(17ème siècle).

(Attributed to) Francesco ALLEGRINI. Pen and brown ink [recto and verso]. Framing lines in black chalk, and pen and brown ink on mount, 9,3 cm x 12,7 cm, Accession Number : 80.3.285).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawing.

Credit line : Gift of Cornelius Vanderbilt, 1880.

Signatures, Inscriptions, and MarkingsInscriptions : inscribed in pen and brown ink at lower right with a cross within a circle. See also 80.3.138, and 80.3.112.

Provenance : James Jackson Jarves (American, lived Mass., Hawaii, Florence, 1818-1888) ; Cornelius Vanderbilt, American (Staten Island, NY 1843 - 1899 New York, NY) ; Donor : Cornelius Vanderbilt, American (Staten Island, NY 1843 - 1899 New York, NY).

Références : Coles Gallery, 8 : Tapestries and Paintings, Malachites, Vases, etc. Drawings by Old Masters, Etchings, Photographs, and Tapestries in Gallery 4, Main Hall. The Metropolitan Museum of Art, New York, Handbook no. 8, New York, 1895, cat. no. 285.

Old Master Drawings : A Loan Exhibition from the National Gallery of Scottland at Golnaghi, London. P. & D. Colnaghi & Co., Ltd., London, Colnaghi, London, 1966, no. 88.

Jacob Bean, Lawrence Turçic 1994.14317th Century Italian Drawings in The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, New York, 1979, cat. no. 10, fig. no. 10, p. 19., ill.

Not on view.

Bearded old man blessing seen in half-length (verso) ; The Martyrdom of saint Sebastian (recto).

(17ème siècle).

(Attributed to) Francesco ALLEGRINI. Pen and brown ink [recto and verso]. Framing lines in black chalk, and pen and brown ink on mount, 9,3 cm x 12,7 cm, Accession Number : 80.3.285).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawing.

Credit line : Gift of Cornelius Vanderbilt, 1880.

Signatures, Inscriptions, and MarkingsInscriptions : inscribed in pen and brown ink at lower right with a cross within a circle. See also 80.3.138, and 80.3.112.

Provenance : James Jackson Jarves (American, lived Mass., Hawaii, Florence, 1818-1888) ; Cornelius Vanderbilt, American (Staten Island, NY 1843 - 1899 New York, NY) ; Donor : Cornelius Vanderbilt, American (Staten Island, NY 1843 - 1899 New York, NY).

Références : Coles Gallery, 8 : Tapestries and Paintings, Malachites, Vases, etc. Drawings by Old Masters, Etchings, Photographs, and Tapestries in Gallery 4, Main Hall. The Metropolitan Museum of Art, New York, Handbook no. 8, New York, 1895, cat. no. 285.

Old Master Drawings : A Loan Exhibition from the National Gallery of Scottland at Golnaghi, London. P. & D. Colnaghi & Co., Ltd., London, Colnaghi, London, 1966, no. 88.

Jacob Bean, Lawrence Turçic 1994.14317th Century Italian Drawings in The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, New York, 1979, cat. no. 10, fig. no. 10, p. 19., ill.

Not on view.

Albrecht ALTORFER (um 1480 - Regensburg, 1538). Allemand.

Altdorfer, Albrecht, um1480-1538 Bildtitel: Passions/Sebastians-Altar in St.Florian Der hl.Sebastian wird erschlagen.

MaĂ&#x;e: 112,4 x 94 cm Technik: Fichtenholz

Altdorfer, Albrecht,um1480-1538 Bildtitel: Passions/Sebastians-Altar in St.Florian Bergung des Leichnams des hl.Sebastian.

MaĂ&#x;e: 5 x 94,5 cm

Altdorfer, Albrecht,um1480-1538 Bildtitel: Passions/Sebastians-Altar in St.Florian Marter des hl.Sebastian.

MaĂ&#x;e: 128,5 x 94,4 cm Technik: Fichtenholz

Altdorfer, Albrecht,um1480-1538 Bildtitel: Passions/Sebastians-Altar in St.Florian Der hl.Sebastian vor dem Kaiser.

MaĂ&#x;e: 128 x 93,7 cm.

Technik: Fichtenholz

Passions/Sebastians-Altar in Saint Florian. Christus am ﾃ僕berg.

(1509/1518).

Albrecht ALTDORFER. (窶ｦ, Bildnummer : 25642). (窶ｦ).

Grablegung Christi.

(1518).

Albrecht ALTDORFER. (Fichtenholz, 70,5 cm x 37,3 cm, Rahmenmaße: 83 cm x 50 cm x 3 cm, Inv.-Nr. GG_6427).

(Kunsthistorisches Museum Wien, Gemäldegalerie, Autriche).

Provenienz : Außenseite des linken Predellenflügels des Sebastian-Altars, der 1508 von Probst Peter Maurer für die Stiftskirche St. Florian gestiftet wurde; 1923 aus Stift St. Florian erworben.

Auferstehung Christi.

(1518).

Albrecht ALTDORFER. (Fichtenholz, 70,5 cm x 37 cm, Rahmenmaße: 83 cm x 50 cm x 3 cm, Inv.-Nr. GG_6796).

(Beschriftung : rechts oben die vielleicht später aufgemalte Jahreszahl 1518).

(Kunsthistorisches Museum Wien, Gemäldegalerie, Autriche).

Provenienz : Außenseite des linken Predellenflügels des Sebastian-Altars, der 1508 von Probst Peter Maurer für die Stiftskirche St. Florian gestiftet wurde; 1930 aus Stift St. Florian erworben.

ANTONELLO da Messina (um 1430 - 1479).

Saint Sebastian (c.1475-1476).

ANTONELLO da Messina.

A13.12.

(Cornell Fine Arts Museum, …, Etats-Unis). (lboles@rollins.edu or bboles@cfl.rr.com). http://tars.rollins.edu/holt/syllabi/fall2004/ARH335B_H1.pdf

Der hl. Sebastian.

(Um 1475-1476).

ANTONELLO da Messina.

(Bildtitel : Maße : 171 cm x 85,5 cm).

(Technik : von Holz auf Lwd. Übertragen).

(Standort : Dresden, Gemäldegalerie).

Whatever the case - and, unfortunately, of ANTONELLO's landmark contribution to this genre, the San Cassiano altarpiece, of 1475-1476 (Kunsthistorisches Museum, Vienna), only fragments survive - we may ponder whether any earlier artist observed and recorded the luxuriant self-absorption of venetian life with greater acuity and wonder. Who else would have thought of adding as a backdrop to the noble, still, nude form of saint Sebastian a view of elegant venetian palaces bordering a canal or lagoon, populated by richly dressed figures disturbingly unconcerned with the fate of the arrow-pierced youth ? A soldier has set his halberd aside and is shown sprawled, feet first, asleep on the marble-paved piazza, his steeply foreshortened pose - like the setting, clearly inspired by the work of Andrea MANTEGNA in nearby Padua - reminding us that ANTONELLO was acutely aware of the prestige that attached to those indications of the mastery of perspective that, as Raphael's father declared, "fooled the eye and are the glory of art." And where, we might ask, did he derive that quality of aloof detachment and sublime geometric abstraction that have called to mind for countless viewers the work of PIERO della Francesca ? Did the two artists meet ? Did ANTONELLO have the occasion to study PIERO's work ? Or are we merely dealing with kindred sensibilities fueled by access to similar theoretical, literary, and artistic sources ? (Keith Christiansen, Department of European Paintings, The Metropolitan Museum of Art).

Source : ANTONELLO da Messina (ca. 1430-1479) | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.

Saint Sébastien.

(Anonyme italien, sicilien, fin du 15ème siècle).

(Follower of) ANTONELLO da Messina.

(Oil on panel, 31,8 cm x 24,4 cm ; Frame : 47 cm x 40 cm, Accession Number : 34.836).

(Brooklyn Museum, New York, Etats-Unis).

Artist : Venetian School, follower of Antonello da Messina (Italian, Sicilian, late 15th century) Place made : Italy.

Collections : European Art. Museum location : this item is on view in Beaux-Arts Court, East, 3rd Floor.

Credit Line : Gift of Mary Babbott Ladd, Lydia Babbott Stokes, and Frank L. Babbott, Jr. in memory of their father Frank L. Babbott.

Rights Statement : no known copyright restrictions.

Caption : Venetian School, follower of Antonello da Messina (Italian, Sicilian, late 15th century). Saint Sebastian, late 15th century.

ANTONELLO da Saliba (1466/1467 - 1535).

Der hl. Sebastian an der Martersﾃ､ule. (窶ｦ).

ANTONELLO da Saliba. (ﾃ僕/Platanenholz, 49,6 cm x 35,3 cm, Bildnummer : 21127).

(Stﾃ､del Museum, Frankfurt am Main, Allemagne).

Der hl. Sebastian an der Martersﾃ､ule. (窶ｦ).

ANTONELLO da Saliba. (ﾃ僕/Platanenholz, 49,6 cm x 35,3 cm, Bildnummer : 21127).

(Stﾃ､del Museum, Frankfurt am Main, Allemagne).

Dirck Jaspersz van BABUREN (Wijk bij Duurstede (?), c. 1494-1495 Utrecht, 21 f évrier 1624). Peintre néerlandais (Provinces-Unies) du siècle d'or. Avec Gerrit van HONTHORST et Hendrick Ter BRUGGHEN, il est l'un des principaux représentants de l'École caravagesque d'Utrecht.

Selon toute vraisemblance, Dirck van BABUREN est né à Wijk bij Duurstede vers 1595, mais sa famille ne tarde pas à s’installer à Utrecht. Son père, Jasper van Baburen avait été au service de la vicomtesse d'Utrecht, Geertruijd van Bronckhorst van Battenburg2.

La plus ancienne référence à l'artiste figure dans les archives de la guilde de Saint-Luc d’Utrecht en date de 1611 ; il est alors l’élève de Paulus MOREELSE. Italie.

Vers le milieu des années 1610, il part pour l’Italie. Il réalise en 1615 un Martyre de saint Sébastien - œuvre aujourd'hui perdue - pour la Chiesa dei Servi de Parme, mais il est possible que le tableau ait été peint à Rome, où van BABUREN séjournera plusieurs années. Dans la « Ville éternelle », il figure parmi les premiers membres des Bentvueghels, dont il aurait même été l’un des fondateurs ; il reçoit au sein du groupe le surnom de « Biervlieg » (Mouche à bière).

Il travaille en compagnie du peintre David de HAEN, originaire de Rotterdam, et entre sous la protection de deux collectionneurs d’art et mécènes, Vincenzo Giustiniani et le cardinal Scipione Borghese. C'est sans doute grâce à l'influence de ces derniers qu'aux environs de 1617, van BABUREN et de HAEN sont amenés à participer à la décoration de la Cappella della Pietà de l’église San Pietro in Montorio. Van BABUREN réalise pour celle-ci une monumentale Mise au tombeau, inspirée de celle du CARAVAGE aujourd’hui conservée au Musée du Vatican.

En 1619, van BABUREN et de HAEN partagent un même appartement dans la paroisse de Sant' Andrea della Fratte, paroisse où vit également Bartolomeo MANFREDI, dont le style est étroitement apparenté au leur.

Dans une lettre sur l'art adressée en 1620 par Giustiniani à Teodoro Amayden et dans laquelle figure un classement d'artistes par ordre d'importance, le nom de « Teodoro », désignant probablement Van BABUREN, apparaît au onzième rang.

Retour à Utrecht et mort prématurée.

Fin 1620, début 1621, van BABUREN revient à Utrecht et habite avec sa mère et sa sœur sur le Jansdam. Il reçoit quelques commandes intéressantes et peint quelques scènes de genre.

Il est encore célibataire lorsqu'il décède soudainement, en 1624, alors qu’il n’a pas encore 30 ans, victime probablement de la peste. Le 28 février 1624, il est inhumé dans la Buurkerk, une église médiévale d’Utrecht qui de nos jours abrite le Museum Van Speelklok tot Pierement.

Comme Hendrick Ter BRUGGHEN et Gerrit van HONTHORST, avec lesquels il forme ce que l’on a appelé l’École caravagesque d'Utrecht, il fut à l'origine de certaines innovations stylistiques et thématiques. Vers 1629, Constantin Huygens citait van BABUREN comme l’un des peintres néerlandais importants actifs dans les premières décennies du XVIIe siècle. Sa renommée déclina rapidement après sa mort, et il fallut attendre le XXe siècle pour que son œuvre sorte de l'obscurité.

Style pictural. À Rome, Dirck van BABUREN allait être fortement influencé par le style du CARAVAGE. Il peignit des scènes bibliques et mythologiques, ainsi que des scènes de genre avec des buveurs et des musiciens. Son style est lié à celui de Hendrick Ter BRUGGHEN, mais possède une personnalité moins prononcée.

Teodoer Van BABUREN - Theodor BABUREN -

Die Pflege des heiligen Sebastian. (c. 1622).

Dirck van BABUREN. (Bildmaß 108,8 cm x 153,5 cm, Inventar -Nr. : 788).

(Hamburg, Hamburger Kunsthalle, Allemagne).

Gemälde / Leinwand.

Person : Hl. Sebastian, Christlicher Märtyrer und Heiliger.

Systematik : Personen / Religiöse Persönlichkeiten / Sebastian.

Hans BALDUNG GRIEN (1484/1485 - 1545). Allemand.

The Great saint Sebastian.

(1514).

Hans BALDUNG GRIEN. (Print, woodcut, B. 37, C. 35, H. 128, M13894).

(Harvard Art Museum, Fogg Museum [Department of Prints], Cambridge [Massachusetts], Etats-Unis).

Gift of Frederic T. Lewis, M13894.

Alvaro BARRIOS

P. A. N° 3 "El Martirio di San Sebastian" III. (Seconde moitié du 20ème siècle).

Alvaro BARRIOS. (Tinted gelatin silver print, sheet : 27,7 cm x 60,2 cm ; image : 21,6 cm x 31,2 cm, Accession Number : 1998.8.1).

(Brooklyn Museum, New York, Etats-Unis).

Collections : Photography.

Museum location : this item is not on view.

Credit Line : Gift of the artist.

Caption : Alvaro BARRIOS. P.A. N°3 "El Martirio de San Sebastian" III, second half 20th century. Gift of the artist, 1998.8.1. © artist or artist's estate.

P. A. N° 3 "El Martirio di San Sebastian" I. (Seconde moitié du 20ème siècle).

Alvaro BARRIOS. (Tinted gelatin silver print, sheet : 27,7 cm x 60,2 cm ; image : 14,9 cm x 30,6 cm, Accession Number : 1998.8.2).

(Brooklyn Museum, New York, Etats-Unis).

Collections : Photography.

Museum location : this item is not on view.

Credit Line : Gift of the artist.

Caption : Alvaro BARRIOS. P.A. N°3 "El Martirio de San Sebastian" III, second half 20th century. Gift of the artist, 1998.8.1. © artist or artist's estate.

P. A. N° 3 "El Martirio di San Sebastian" VI. (Seconde moitié du 20ème siècle).

Alvaro BARRIOS. (Tinted gelatin silver print, sheet : 27,7 cm x 60,2 cm ; image : 20,9 cm x 31,9 cm, Accession Number : 1998.8.3).

(Brooklyn Museum, New York, Etats-Unis).

Collections : Photography.

Museum location : this item is not on view.

Credit Line : Gift of the artist.

Caption : Alvaro BARRIOS. P.A. N°3 "El Martirio de San Sebastian" III, second half 20th century. Gift of the artist, 1998.8.1. © artist or artist's estate.

P. A. N° 3 "El Martirio di San Sebastian" II. (Seconde moitié du 20ème siècle).

Alvaro BARRIOS. (Tinted gelatin silver print, sheet : 27,7 cm x 60,2 cm ; image : 19,1 cm x 29,8 cm, Accession Number : 1998.8.4).

(Brooklyn Museum, New York, Etats-Unis).

Collections : Photography.

Museum location : this item is not on view.

Credit Line : Gift of the artist.

Caption : Alvaro BARRIOS. P.A. N°3 "El Martirio de San Sebastian" III, second half 20th century. Gift of the artist, 1998.8.1. © artist or artist's estate.

P. A. N° 3 "El Martirio di San Sebastian" VII. (Seconde moitié du 20ème siècle).

Alvaro BARRIOS. (Tinted gelatin silver print, sheet : 27,7 cm x 60,2 cm ; image : 22,2 cm x 29,8 cm, Accession Number : 1998.8.5).

(Brooklyn Museum, New York, Etats-Unis).

Collections : Photography.

Museum location : this item is not on view.

Credit Line : Gift of the artist.

Caption : Alvaro BARRIOS. P.A. N°3 "El Martirio de San Sebastian" III, second half 20th century. Gift of the artist, 1998.8.1. © artist or artist's estate.

P. A. N° 3 "El Martirio di San Sebastian" VIII. (Seconde moitié du 20ème siècle).

Alvaro BARRIOS. (Tinted gelatin silver print, sheet : 27,7 cm x 60,2 cm ; image : 21,6 cm x 31,2 cm, Accession Number : 1998.8.6).

(Brooklyn Museum, New York, Etats-Unis).

Collections : Photography.

Museum location : this item is not on view.

Credit Line : Gift of the artist.

Caption : Alvaro BARRIOS. P.A. N°3 "El Martirio de San Sebastian" III, second half 20th century. Gift of the artist, 1998.8.1. © artist or artist's estate.

Jacopo Da PONTE, detto Jacopo BASSANO (Bassano del Grappa, c.1515 1592).

Santa Giustina in trono tra i SS. Rocco, Sebastiano e Antonio Abate. (…).

Jacopo Da PONTE, detto Jacopo BASSANO. (…).

(Chiesa Parrocchiale di Santa Giustina, Enego, Italie).

Girolamo BEDOLI, puis MAZZOLA BEDOLI (Viadana ou Parma, c. 1500 - Parma, 1569). Architecte et peintre italien maniériste de l'école de Parme actif au 16ème siècle.

Dessinateur, graveur (?). Formé dans l’atelier des MAZZOLA (1521) à côté du PARMESAN dont il fut le collaborateur (1529) et duquel, après sa mort, il prend le nom. Actif à Parme, Viadana (1540) et à Mantoue (1552).

Malgré quelques tableaux réalisés à Mantoue, Gerolamo BEDOLI a surtout été actif à Parme. Lors de son mariage avec la fille de Pier Ilario Mazzola, cousin du PARMIGIANINO (le PARMESAN), il entra dans la famille des Mazzola, dont il prit le nom en 1542 après la mort prématurée du PARMESAN. Il a en outre achevé quelques fresques initialement commandées à ce dernier notamment dans l'abside de Santa Maria della Steccata.

Architecte, il a œuvré aussi comme décorateur du sacré.

Dans ses œuvres on remarque l'influence de CORRÈGE et surtout du PARMESAN, ce qui a pu faire parfois confondre l'attribution de leurs réalisations.

On lui attribue une trentaine de dessins, d'une grande habileté technique, qui rappellent le PARMESAN. Girolamo MAZZOLA - BEDOLI MAZZOLINO - Girolamo MAZZUOLA BEDOLI -

Vierge à l'Enfant avec saint Jean, saint François et saint Sébastien. (…).

Girolamo MAZZOLA-BEDOLI. (Dessin, pierre noire, rehauts de blanc, papier gris-beige, 25,4 cm x 18,8 cm, N° Inv. 6552, recto).

(Musée du Louvre [Département des Arts graphiques, Petits formats, Fonds des dessins et miniatures], Paris, France).

Ecole lombarde.

Dessins aux crayons blanc et noir collé sur papier.

Inventaire du Musée Napoléon : MA 4398.

Anciens numéros d'inventaire : NIII 4675.

Attribution actuelle : par A. E. Popham.

MAZZOLA-BEDOLI Girolamo Ancienne attribution : copie d’après Francesco MAZZUOLA. Proposition d’attribution : école de Francesco MAZZUOLA. Historique : Alfonso III d'Este (L.112) ; Francesco II d'Este (L.1893) ; saisie à Modène dans les Collections d'Ercole III d'Este du 25 au 27 octobre 1796 (brumaire an V) sur proposition des commissaires du gouvernement de la République J. P. Tiner, J. S. Berthélémy et C. Berthollet ; remis au Museum en juillet 1797 (thermidor an V).

Dernière provenance : Modène.

Mode d'acquisition : saisie à Modène.

Année d'acquisition : 1796.

Notice du Musée Napoléon : Dessins, vol. 3, p. 571, chap. : Ecole de Parme, carton 39. (…). Numéro : 4398. Nom du maître : Idem [[Le Parmesan]]. Désignation des sujets : La Vierge, l'Enfant Jesus, saint Jean, st. François et st. Sebastien. Dessin aux crayons noir et blanc, collé sur papier. Dimensions : H. 25 x L. 18,5 cm. Origine : Modêne. Prix de l'estimation de l'objet : 20 francs. Emplacement actuel : Idem [[Calcographie du Musée Napoléon]]. Signe de récolement : [Vu] [[au crayon]] [[trait oblique / au crayon / sur le n° d'ordre]]. (…).

Paris, Archives des Musées nationaux, Côte : 1DD35 Commentaire : A. E. Popham, Drawing by PARMIGIANINO p. 17. Etude pour le tableau conservé à Dresde.

Index : personnages : saint Jean-Baptiste, Jésus-Christ, Vierge Marie, saint François, saint Sébastien (). Claude Berthollet, Jean Simon Berthélémy, Jacques Pierre Tiner.

Lieux : Dresde, musée, oeuvre en rapport.

Sujets : iconographie religieuse : Vierge à l'Enfant avec des saints.

Collections : Alfonso III d’Este, Francesco II d'Este, Ercole III d'Este. Modène, collection des ducs d’Este.

Techniques : pierre noire, rehauts de blanc, papier gris-beige.

Référence de l'inventaire : vol. 3; p. 327.

Vierge avec saint Sébastien et saint François. (um 1532-1533).

Girolamo MAZZOLA-BEDOLI. (Öl auf Pappelholz, 168 cm x 95,5 cm, Gal. Nr. 166).

(Gemäldegalerie Alte Meister, Dresde, Allemagne).

Giovanni BELLINI Saint Sebastian. (c.1475-1476).

Giovanni BELLINI. A13.13.

(Cornell Fine Arts Museum, …, Etats-Unis). (lboles@rollins.edu or bboles@cfl.rr.com). http://tars.rollins.edu/holt/syllabi/fall2004/ARH335B_H1.pdf Enthroned Madonna and child with saints Francis, John the Baptist, Job, Dominic, Sebastian and Louis of Toulouse.

(San Giobbe altarpiece).

(Late 1470s).

Giovanni BELLINI. A17.2.

(Cornell Fine Arts Museum, …, Etats-Unis). (lboles@rollins.edu or bboles@cfl.rr.com). http://tars.rollins.edu/holt/syllabi/fall2004/ARH335B_H1.pdf.

Bellini, Giovanni,um 1432/33-1516 Maria mit dem Kind zwischen den hll. Petrus und Sebastian.

83 x 59 cm Technik : Holz Paris, MusĂŠe du Louvre

Giovanni BILIVERTI (Florence, 1585 - Florence, 1644). Italien.

Two women annointing the wounds of saint Sebastian (recto) ; Study of a nude male figure (verso).

(17ème siècle).

(Attribué à) Giovanni BILIVERTI. (Pen and brown ink, with brush and brown wash, over black chalk [recto] ; squared off in red chalk, red chalk [verso], 31 cm x 22,7 cm, Accession number : 47.155.2).).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawing.

Credit line : Dick Fund, 1947.

Provenance : Gustav Grunewald (American, New York 1805 - 1878) ; Joseph Steh(e)lin (New York)- Purchased in 1947.

Références : Roberto Contini Bilivert. Saggio di ricostruzione. Florence, Italy, 1985, cat. no. 110c, fig. no. 110c, p.

163, ill.

Not on view.

Study of a nude male figure (verso) ; Two women annointing the wounds of saint Sebastian (recto).

(17ème siècle).

(Attribué à) Giovanni BILIVERTI.

(Pen and brown ink, with brush and brown wash, over black chalk [recto] ; squared off in red chalk, red chalk [verso], 31 cm x 22,7 cm, Accession number : 47.155.2).).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawing.

Credit line : Dick Fund, 1947.

Provenance : Gustav Grunewald (American, New York 1805 - 1878) ; Joseph Steh(e)lin (New York)- Purchased in 1947.

Références : Roberto Contini Bilivert. Saggio di ricostruzione. Florence, Italy, 1985, cat. no. 110c, fig. no. 110c, p.

163, ill.

Not on view.

Jan BOECKHORST (Münster, 1605 - 1668).

Flamand. Born in Münster in 1605, BOECKHORST moved to Antwerp in the 1620s, where he studied painting under Peter Paul RUBENS, whose Madonna and Child is shown nearby, and collaborated with Franz SNYDERS, whose Still Life is also displayed on this wall. Here, BOECKHORST depicts Saint Sebastian, who was charged as a Christian by the Roman Emperor Diocletian, and tied to a tree and shot with arrows. (When saint Sebastian survived this torment, Diocletian later had him beaten to death.) The fall of light across the saint’s torso and the agitated drapery with its lines and angles are characteristic of BOECKHORST’s style. The transparent gray shadows and darkness around the face lend a sense sadness to the scene.

Saint Sebastian.

(17ème siècle).

Jan BOECKHORST. (Painting, oil on canvas, 170,815 cm x 120,015 cm, AC 1989.2).

(Mead Art Museum, Amherst College, Amherst [MA], Etats-Unis).

Margaret Tato, Class of 2009 Purchase.

Giovanni BOLTRAFIO (1467 - 1516).

Saint SĂŠbastien. (um 1500 ).

Giovanni BOLTRAFIO. (‌, 48 cm x 36 cm, Image ID : 22558).

(Puschkin-Museum, Moscou, Russie).

FRANCESCO di Giovanni, detto Francesco BOTTICINI (about 1446 1497). Italien, Florentin.

Saint Sebastian.

(15ème siècle).

Francesco BOTTICINI. (Painting, tempera and oil on wood, Overall, with arched top and engaged frame, 144,1 cm x 66,7 cm ; painted surface 136,5 cm x 58,4 cm, Accession Number : 48.78).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Credit line : Gwynne Andrews, Rogers, and Harris Brisbane Dick Funds, 1948.

Gallery Label : the picture was purchased as a work of ANDREA del Castagno. The treatment of the landscape, however, is uncharacteristic of CASTAGNO's work, as is the feebly constructed figure. The closest affinities of style are with works by Francesco BOTTICINI, who seems to have been active in the workshop of VERROCCHIO in the late 1460s. Although the picture has been dated as early as 1465, it seems to depend from a famous altarpiece by BOTTICELLI of 1473–1474 in the Gemäldegalerie, Berlin-Dahlem. The picture has suffered considerable damage. In addition to a large loss running through the torso of the saint, the picture has been massively abraded through overcleaning. The form to the right of the saint is a pentimento.

Notes : after this work was acquired by the MMA, the Italian government apparently conducted an investigation to determine if it had been illegally exported [see news articles in archive file]. On June 6, 1954, the New York Times reported : "The Italian Government never formally demanded return of the painting."

On the back of the painting is the seal of the Italian Customs authorities, with the date 22 July 1944, 23rd year of the Fascist regime, and "No. 900." This seal is inscribed "ESPORTAZIONE DI OGGETTI DI ANTICHITÀ ED'ARTE," and is the usual evidence that a work of art has been granted an export permit by the Italian authorities [see photograph in archive file and TMS].

Provenance : ?conti De Larderel, Florence, by descent (until 1944); ?conte Giovanni Rasini, Milan; [Jean Marchig and (?)Albrighi]; Cotton Trading (until 1947; sold to Pinakos and Knoedler); [Pinakos, Inc. (Rudolf J. Heinemann), and Knoedler, New York, 1947–48, as by Andrea del Castagno; sold to MMA].

Exhibition history : New York. The Metropolitan Museum of Art. "Art Treasures of the Metropolitan," November 7, 1952September 7, 1953, no. 75 (as by Andrea del Castagno).

New York. The Metropolitan Museum of Art. "Florentine Paintings in the Metropolitan Museum," June 15August 15, 1971, no catalogue.

New York. The Metropolitan Museum of Art. "Saints and Their Legends," March 1-June 6, 1974, exh. brochure.

Références : Giuseppe Fiocco. "Le pitture venete del Castello di Konopiste." Arte veneta 2 (1948), p. 29 n. 1, attributes it to Castagno and observes Domenico Veneziano's influence in the landscape.

Theodore Rousseau Jr. "The Saint Sebastian by Andrea del Castagno." Metropolitan Museum of Art Bulletin 7 (January 1949), pp. 125–35, ill. (overall before restoration, details, and color on cover), attributes it to Castagno, dates it about 1445, and states that it was "probably placed on the altar of a chapel dedicated to Saint Sebastian, or hung on the pillar of a church"; compares the angel with the one in Masaccio's Expulsion from Paradise (Brancacci Chapel, church of Santa Maria del Carmine, Florence).

Mario Salmi. "Gli affreschi di Andrea del Castagno ritrovati." Bollettino d'arte 35 (1950), p. 307, attributes it to Castagno.

Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 223, no. 75, colorpl. 75, as by Castagno, about 1445.

Mario Salmi. "Nuove rivelazioni su Andrea del Castagno." Bollettino d'arte 39 (January–March 1954), pp. 28, 35, 40, 42 n. 18, figs. 16, 36 (details), attributes it to Castagno, dates it about the time of his Assumption of the Virgin in the Gemäldegalerie, Berlin (1449–50), and suggests that the figure of the angel is by a pupil; notes that the Larderel family, which once owned it, is related to the Ruccellai, raising the possibility that it was among the works by Castagno belonging to Giovanni Rucellai and mentioned in his "Zibaldone".

Frederick Hartt. "The Earliest Works of Andrea del Castagno: Part One." Art Bulletin 41 (June 1959), pp. 159– 60 n. 1, rejects the attribution to Castagno and calls it a "late, provincial, Pollaiuolesque painting".

William E. Suida. The Samuel H. Kress Collection. Birmingham, Ala., 1959, p. 45, credits Mario Modestini for observing its technical similarity with a Madonna Adoring the Child in the Kress collection, here assigned to the circle of Verrocchio and related to the art of Castagno.

Mario Salmi. Andrea del Castagno. Novara, 1961, pp. 21, 35, 48, 62, figs. 45–46 (overall and detail), suggests that the motif of Saint Sebastian on a tree may be of northern origin, comparing it with the Saint Sebastian in the Last Judgment altarpiece by Rogier van der Weyden in the Musée de l'Hôtel-Dieu, Beaune, and observing that it was repeated by later Florentine artists.

Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 47, tentatively attributes it to Castagno.

Luciano Berti. Andrea del Castagno. Florence, 1966, pp. 34–35, no. 46, fig. 46 (color), accepts the attribution to Castagno.

Luciano Bellosi. "Intorno ad Andrea del Castagno." Paragone 18 (September 1967), pp. 10–15, 17 nn. 16, 21–22, pl. 20, rejects the attribution to Castagno, and agrees with Fahy's [see Ref. 1967] attribution to Botticini.

Everett Fahy. "Some Early Italian Pictures in the Gambier-Parry Collection." Burlington Magazine 109 (March 1967), p. 137, rejects the attribution to Castagno and ascribes it to Francesco Botticini.

John Pope-Hennessy. Letter to Margaretta Salinger. June 24, 1968, rejects the attribution to Castagno, attributing it, along with a Crucifixion in the National Gallery, London, and other similar works, to Botticini.

Frederick Hartt. Letter to Margaretta Salinger. January 7, 1969, calls it the work of a provincial (south Tuscan) artist, notes the possible influence of Piero della Francesca in the landscape, and dates it about 1475.

A[nna]. Padoa Rizzo in Dizionario biografico degli italiani. 13, Rome, 1971, p. 454, attributes it to Botticini and dates it later than Botticelli's Saint Sebastian of 1473–74 in Berlin.

Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 110–12, ill., attribute it to a follower of Castagno and date it about 1465, observing the influence of Verrocchio and the Pollaiuolos; relate it to a group of stylistically coherent paintings, similar to early works of Botticini, that seem to date from about 1465 to about 1470–75.

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 7, 447, 608, as Attributed to Castagno.

Miklòs Boskovits. "Una scheda e qualche suggerimento per un catalogo dei dipinti ai Tatti." Antichità viva 14, no. 2 (1975), pp. 18–19, fig. 15 (detail), illustrates it as by the workshop of Botticini, 1460–70, but also suggests the possibility that it was painted by Botticini's father, Giovanni di Domenico Botticini.

Anna Padoa Rizzo. "Per Francesco Botticini." Antichità viva 15 (September–October 1976), p. 4.

Marita Horster. Andrea del Castagno. Ithaca, N.Y., 1980, p. 196, pl. 122, attributes it to the circle of Pollaiuolo and dates it 1470–80.

Eric C. Apfelstadt. "A New Context and a New Chronology for Antonio Rossellino's Statue of St. Sebastian in Empoli." Verrocchio and Late Quattrocento Italian Sculpture. Florence, 1992, p. 200 n. 41.

Lisa Venturini. Francesco Botticini. Florence, 1994, pp. 14–15, 30, 32–33, 37 nn. 57–58, pp. 47, 101, no. 7, figs. 8– 9 (overall and detail), accepts the attribution to Botticini.

Not on view.

BUGIARDINI

Hans BURGKMAIR l’Ancien (Augsburg, 1473 - Augsburg, c. 1531). Peintre et graveur sur bois. Fils du peintre Thomas BURGKMAIR et père de Hans le Jeune, peintre lui aussi.

En 1488 il est l’élève de Martin SCHONGAUER à Colmar, qui décède deux ans plus tard, avant

que BURGKMAIR n'ait achevé sa formation. Il peut avoir visité l'Italie après cette date et l’a certainement fait en 1507, ce qui a énormément influencé son style. Dès 1491 il travaille à Augsburg, où il est devient un maître et ouvre son propre atelier en 1498.

Hollstein lui attribue 834 gravures sur bois, surtout pour des illustrations de livre, dont un peu plus d’une centaine étant "la feuille seule", qui sont des copies non destinées à des livres. Le meilleur d'entre eux montre un talent pour des compositions saisissantes et un mélange, non toujours entièrement réussi, de formes de la Renaissance italienne et le style allemand sous-jacent. Dès 1508 il travaille sur les projets de gravure sur bois de Maximilian Ier, jusqu'à la mort de l'Empereur en 1519. Il est l’auteur de presque la moitié des 135 copies du Trumphs de Maximilian, qui sont grandes et pleines de personnages.

Il a aussi réalisé la plupart des illustrations pour Weiss Kunig et beaucoup de Theurdank. Il a travaillé étroitement avec Jost de Negker blockcutter principal, qui est devenu son éditeur.

Il était un innovateur important de la gravure sur bois de clair-obscur et semble avoir été le premier à utiliser un bloc de ton, dans une empreinte de 1508. Ses amateurs étonnés par la Mort (1510) sont la première empreinte de clair-obscur pour à utiliser trois blocs et aussi la première empreinte qui a été conçue pour être imprimé seulement en couleurs, comme le bloc de ligne ne ferait pas isolément d'image satisfaisante. D'autres copies de clair-obscur d'autour de cette date par BALDUNG et CRANACH avaient les blocs de ligne qui pourraient être et ont été imprimés par eux. Il a produit la gravure de celui, la Vénus et Mercure (c. 1520), gravé sur une plaque d'acier, mais n'a jamais essayé de graver, malgré sa formation avec SCHONGAUER. BURGKMAIR était aussi un peintre prolixe, principalement de scènes religieuses et des portraits de citoyens d’Augsburg et des membres de la cour de l'Empereur. Beaucoup d'exemples de son travail sont dans les galeries de Munich, Vienne et ailleurs, soigneusement et solidement finis. Ses portraits conviennent au goût moderne mieux que ses œuvres religieuses.

Il passe pour avoir été l’un des élèves d’Albrecht DÜRER. Le professeur Christ lui attribue environ 700 gravures sur bois, la plupart d'entre elles se distinguent par l’esprit et la liberté que nous admirons dans les œuvres de son maître supposé. Son travail principal est la série de 135 copies représentant les triomphes de l'empereur Maximilian I. Ils ont de grande taille, exécutée en clairobscur, de deux blocs, et transmettent une haute idée des pouvoirs du monarche. BURGKMAIR était aussi un peintre excellent dans la fresque et dans le spleen, dont les spécimens sont dans les galeries de Munich et Vienne, soigneusement et solidement fini dans le style de la vieille école allemande.

Son of painter Thomas BURGKMAIR and his son, Hans the Younger, became one too. From 1488 he was a pupil of Martin SCHONGAUER in Colmar, who died during his two years there, before BURGKMAIR completed the normal period of training. He may have visited Italy at this time, and certainly did so in 1507, which greatly influenced his style. From 1491 he was working in Augsburg, where he became a master and opened his own workshop in 1498.

Hollstein ascribes 834 woodcuts to him, mostly for book illustrations, with slightly over a hundred being "single-leaf", that is prints not for books. The best of them show a talent for striking compositions, and a blend, not always fully successful, of Italian Renaissance forms and underlying German style. From about 1508 he spent much of his time working on the woodcut projects of Maximilian I until the Emperor's death in 1519. He was responsible for nearly half of the 135 prints in the Trumphs of Maximilian, which are large and full of character. He also did most of the illustrations for Weiss Kunig and much of Theurdank. He worked closely with the leading blockcutter Jost de Negker, who became in effect his publisher.

He was an important innovator of the chiaroscuro woodcut, and seems to have been the first to use a tone block, in a print of 1508. His Lovers Surprised by Death (1510) is the first chiaroscuro print to use three blocks and also the first print that was designed to be printed only in colour, as the line block by itself would not make a satisfactory image. Other chiaroscuro prints from around this date

by BALDUNG and CRANACH had line blocks that could be and were printed by themselves. He produced one etching, Venus and Mercury (c1520), etched on a steel plate, but never tried engraving, despite his training with SCHONGAUER. BURGKMAIR was also a successful painter, mainly of religious scenes and portraits of Augsburg citizens and members of the Emperor's court. Many examples of his work are in the galleries of

Munich, Vienna and elsewhere, carefully and solidly finished. His portraits suit modern taste better than his religious works.

Der Sigismund-Sebastians-Altar.

(1505).

Hans BURGKMAIR. (Retable, L'autel était créé 1505 par Hans BURGKMAIR pour l'électeur palatin saxon Friedrich den Weisen geschaffen.

En 1642 il apparaît dans l'Inventaire de l'électeur palatin Maximilian Ier de Bavière. Comme dans beaucoup d'autres cas, ce collectionneur enthousiasmé fait modifier le panneau central et une aile du retable par un peintre de cour d'après son goût, augmenter par Anstückung et étendu übermalen, sans ne pas éloigner radicalement avant le vaste fond d'or.

La restauration concernait principalement la planche de moyen de l'autel. Plusieurs tentatives de restauration du 20ème siècle dans la vieille pinacothèque étaient à l'apparence complexe de la du tableau gescheitert. : Là il y avait la substance originale du temps de Burgkmair de 1505, le Übermalungen vaste du 17ème siècle, enfin, les mesures commencées et de nouveau interrompues du 20ème siècle. Découragé les responsables mettaient le tableau à la fin des années 50 dans le dépôt.

Le temps passait en faveur de l'oeuvre d'art. Aujourd'hui beaucoup plutôt, nous sommes disposés à accepter le fait d'être historique d'une oeuvre d'art. Et ainsi une nouvelle tentative pouvait être démarrée (partie) en 2006.

Maintenant, le but visé était de rendre l'autel au total de nouveau présentable sans nier les interventions des temps différents. Comme le couronnement de la restauration, il recevait un cadre précieux qui était fait d'après un modèle du temps. Une liaison d'autel est restaurée avec cela, une oeuvre d'art considérable Hans Burgkmairs est retrouvée.

Hans BURGKMAIR le Jeune (1500 - 1559).

Fils de BURGKMAIR l’Ancien, Hans le Jeune est un peintre et un graveur. On dit qu’il a été influencé par le peintre Hans HOLBEIN le Jeune (1497 - 1543) de la famille de peintres HOLBEIN.

Jacques CALLOT (Nancy, 1592 - Nancy, 1635). Français. Engraver.

CALLOT was one of the earliest great creative artists to practice the graphic arts exclusively. His career can be divided into two periods : an Italian period, c. 1609-1621, and a Lorraine period from 1621 until his death. Callot studied the technique of engraving under Phillipe THOMASIN in Rome. About 1612 he joined Guilio PARIGI in Florence. At that time Medici patronage expended itself almost exclusively on "feste," and both PARIGI and CALLOT were employed by Cosimo II (de Medici) to create visual records of these entertainments. CALLOT’s compositions are organized as if they were a stage setting and reduced the figures to a tiny scale, each one being rendered by the fewest possible strokes. This required an extremely fine etching technique. CALLOT enjoyed a lasting popularity all over Europe. He returned to Nancy after Cosimo’s death in 1621. During the Lorraine period CALLOT illustrated sacred books, made a series of plates of the Apostles, and visited Paris to make animated maps of the sieges of La Rochelle and the Ile de Ré.

CALLOT was one of the first etchers to used the technique of repeated biting, and sometimes combined graver work with etching.

The Martyrdom of St. Sebastian.

(1631).

Jacques CALLOT. (Etching and engraving, 16 cm x 32,2 cm [image], …).

(Fine Arts Museum of San Francisco, San Francico [Californie], Etats-Unis).

Achenbach Foundation for Graphic Arts.

Not on exhibit.

The Martyrdom of St. Sebastian.

(1631).

Jacques CALLOT. (Etching and engraving, 16,2 cm x 32,7 cm [image], …).

(Fine Arts Museum of San Francisco, San Francico [Californie], Etats-Unis).

Gift of Dr. Ludwig A. Emge.

Not on exhibit.

Martyrdom of saint Sebastian. (…).

Jacques CALLOT. (Print, etching, M. 137, L. 670, copy [?] M6566).

(Harvard Art Museum, Fogg Museum [Department of Prints], Cambridge [Massachusetts], Etats-Unis).

Gift of Charles Kuhn, M6566.

The Martyrdom of saint Sebastian. (‌).

Jacques CALLOT. (Print, etching, L. 670, i, M19912).

(Harvard Art Museum, Fogg Museum [Department of Prints], Cambridge [Massachusetts], Etats-Unis).

Rosenberg Fund, M19912.

The Martyrdom of saint Sebastian.

(1632-1633).

Jacques CALLOT. (Print, etching and engraving, first state or two, Accession Number : 57.650.329).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Print.

Credit line : bequest of Edwin De T. Bechtel, 1957.

Provenance : donor: Edwin De Turck Bechtel (b. 1880).

Not on view.

Studies for figures of saint Sebastian and saint Bartholomew, and of cats. (…).

Jacques CALLOT. ().

(Sotheby’s London, New Bond Street, Royaume-Uni).

Andrea CAMASSEI (Bevagna, near Foligno 1602 - Rome, 1649). Italien.

Saint Sebastian clubbed to death.

(17ème siècle).

Andrea CAMASSEI. (Red chalk, 46 cm x 30,5 cm, Accession Number : 65.137).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawing.

Credit line : Rogers Fund, 1965.

Signatures, Inscriptions, and MarkingsInscriptions : annotated in pen and brown ink at lower border, Giordano . . . [rest illegible].

Provenance : Pierre-Jean Mariette (French, Paris, 1694-1774 Paris) ; Marquis de Lagoy (French, 1764-1829)Mariette sale, Paris, 1775-76, no 398 ; Unidentified collector's mark (Lugt 2508) - purchased in Amsterdam in 1965.

Références : Walter Vitzthum, Catherine Monbeig Goguel Le Dessin à Naples du XVIe siècle au XVIIIe siecle Exh. cat., Cabinet des Dessins, Musée du Louvre. Reunion des Musees Nationaux, Paris, 1967, p. 16.

Jacob Bean, Felice Stampfle Drawings from New York Collections, Vol. II : The Seventeenth Century in Italy Exh. cat., Pierpont Morgan Library and the Metropolitan Museum of Art, New York. 2, February 23-April 22. New York, 1967, cat. no. 74, ill.

Walter Vitzthum, Anna Maria Petrioli Cento Disegni Napoletani : Sec. XVI-XVIII. Gabinetto disegni e stampe degli Uffizi (no. 26), Florence, 1967, cat. no. under no. 57, p. 41.

Ann Sutherland Harris "A Contribution to Andrea Camassei Studies". 52, 1970, fig. no. 12, pp. 49-70, ill.

Jacob Bean, Lawrence Turçic 1994.14317th Century Italian Drawings in The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, New York, 1979, cat. no. 75, fig. no. 75, p. 50, ill.

Not on view.

Luca CAMBIASO (Moneglia, 1527 - Genoa, 1585).

Martyrdom of saint Sebastian. (c. 1560).

Luca CAMBIASO. (Pen and brown ink with brush and brown wash over traces of black chalk, 56,9 cm x 41,8 cm, ‌).

(Blanton Museum of Art [The Suida-Manning Collection], University of Texas at Austin, Etats-Unis).

This is a masterpiece of Luca CAMBIASO 's early maturity. Although still Michelangelesque, its forms have been disciplined, smoothed into more regular shapes, and given more elegant proportion. Around this time he

began to employ lines of more varied weight, length, and velocity, which allowed elliptic description and flexible structure. This drawing also demonstrates a new level of spatial mastery. While the archers define a horizontal concavity, the saint and angels create a vertical convexity. These intersecting curves involve the entire composition in an energizing tension and virtuoso resolution. Finally, the drawing attains consonantly refined expression of the saint's pathos, lyrical in his face, then woven through the fabric of the whole work. The Martyrdom of saint Sebastian is no less sophisticated in function. CAMBIASO 's earlier drawings still pertain to the graphic system of the early sixteenth century. This drawing was rendered at the high speed and with the summary notation of an advanced compositional study within that system. It was not, however, preparatory, rather conceived and executed as an autonomous work of art. Its remarkable size only confirms this function.

Such drawings enjoyed a tremendous success with the same ambitious patrons of the artist's paintings. The resulting production established the very idea of an independent market for drawings in which graphic character and individual personality are the commodities.

The Martyrdom of Saint Sebastian. (c. 1555-1560).

Luca CAMBIASO. (Drawing, brown ink and wash over traces of black chalk ; Sheet : 41,91 cm x 28,58 cm, Graphic Arts Council Fund [M.76.127]).

(Los Angeles County Museum of Art [Prints and Drawings Department], Los Angeles [Californie], Etats-Unis).

Provenance : John and Paul Herring, New York.

Purchased by the museum in 1976.

Not currently on public view.

La Virgen y el NiĂąo con san Roque y san SebastiĂĄn.

(16ème siècle).

(Seguidor de) Luca CAMBIASO. (Aguada ; pluma ; preparado a lápiz ; tinta parda ; papel, 33,3 cm x 22,5 cm, Num. de catálogo D01684).

(Musée du Prado, Madrid, Espagne).

Escuela : italiana.

Procedencia : legado Pedro Fernández Durán y Bernaldo de Quirós, 1931.

Note : existe otra versión de escuela de este dibujo, con el que está directamente relacionado, que formó parte de la colección Suida Manning de Nueva York y se conserva actualmente en el Jack S. Blanton Museum of Art, University of Texas, en Austin. Es de suponer que ambos recogen un estudio original realizado en relación con la composición del retablo de CAMBIASO, La Virgen y el Niño entronizados, con san Juan Bautista y san Lorenzo.

El dibujo del Museo del Prado es mejor que la mayoría de los otros dibujos de escuela del Álbum. El perfil de san Roque muestra un interesante arrepentimiento a lápiz, aunque presenta también varios puntos débiles, como en el pie derecho de san Roque y en el perro.

Simone CANTARINI, detto il PESARESE (Oropezza [near Pesaro], 1612 Verona, 15 octobre 1648). Italian. Worked under Claudio RIDOLFI and then in Bologna.

Follower of Guido RENI until 1637, went to Rome ca. 1639, Mantua ca. 1642, and Verona where he died.

Saint Sébastien. (c. 1639).

Simone CANTARINI. (Etching, 19,3 cm x 12,8 cm, Accession Number : 51.501.3256).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Print.

Credit line : the Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1951.

Signatures, Inscriptions, and Markings Inscriptions : no inscriptions.

Provenance : the Princes of Liechtenstein.

Catalogue raisonné : Bartsch, XIX.136.24 (copy) ; TIB.42.96.24-copy ; Bellini 1980, no. 25, only state.

Not on view.

Saint Sébastien. (c. 1639).

Simone CANTARINI. (Etching, 19,3 cm x 12,8 cm, Accession Number : 26.70.4(120)).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Print.

Credit line : Harris Brisbane Dick Fund, 1926.

Signatures, Inscriptions, and Markings Inscriptions : no inscriptions.

Catalogue raisonné : B.XIX.136.24 ; TIB.42.95.24 ; Bellini 1980, no. 25, copy A. Not on view.

Saint Sebastian. (…).

(D’après) Simone CANTARINI. (Etching, 19,3 cm x 12,8 cm [image], …).

(Fine Arts Museum of San Francisco, San Francisco [Californie], Etats-Unis).).

Saint Sebastian, copy in reverse after the etching by Simone Cantarini, 17th century.

Achenbach Foundation for Graphic Arts.

Not on exhibit.

Agostino CARRACCI (Bologna, 1557 - Parma, 1602). Italien.

Saint Sebastian.

(Anonyme, 1580).

(Engraving, 35,5 cm x 24,7 cm, Accession Number : 27.78.1(344).

(The Metropolitan Museum of Art, New York, Etats-Unis).

D’après Agostino CARRACCI. Classification : Print.

Credit line : Harris Brisbane Dick Fund, 1927.

Signatures, Inscriptions, and MarkingsInscriptions : lower left : 1580.

Catalogue raisonné : Bartsch, XVIII.84.88 ; De Grazia Bohlin, no. 18 ; Bohn 1995, no.3901.022, only state.

Not On View.

Annibal CARRACCI (Bologne, 1560 - Rome, 1609).

Saint Sébastien.

(1583-1584).

Annibale CARRACCI. (Öl auf Leinwand, 189 cm x 107 cm, Gal. Nr. 194 B) (Gemäldegalerie Alte Meister, Dresde, Allemagne).

Der hl. Sebastian wird von der hl. Irene und ihrer Dienerin gepflegt. (…).

Annibale CARRACCI. (…on canvas, 109,7 cm x 138,4 cm, Image ID : 20577).

(Städel Museum, Frankfurt am Main, Allemagne).

Lodovico CARRACCI (1555 - 1619).

Saint Sébastien. (…).

Lodovico CARRACCI. (…, 62 cm x 46 cm, …).

(Museum d.bild.Künste, Leipzig, Allemagne).

Juan CARREﾃ前 de Miranda

San Sebastiﾃ｡n.

(1656).

Juan CARREﾃ前 de Miranda.

(Óleo, lienzo, 171 cm x 113 cm, Num. de catálogo : P00649).

(Musée du Prado [Salle 16a], Madrid, Espagne).

Escuela : española.

Procedencia : Museo de la Trinidad.

Note : representación del primer martirio de san Sebastián, oficial romano del siglo III al servicio del emperador Diocleciano, que fue asaeteado por sus propios compañeros como castigo por profesar la fe cristiana. Santa Irene le liberó todavía con vida y curó sus heridas. Fue un santo muy popular, pues se le atribuía poder contra la peste.

La composición de la escena demuestra claramente la influencia de la pintura veneciana y flamenca en los pintores barrocos españoles, sobre todo en el rico uso del color y en su empleo como vehículo expresivo.

Esta obra estuvo en el Convento de las monjas de Vallecas, en Madrid.

Cristoforo CASELLI (c. 1460 - 1521). Italien.

Saint Matthieu et saint Sébastien. (c. 1499).

Cristoforo CASELLI. (Tempera on wood panel, Framed : 123,84 cm x 69,37 cm x 8,89 cm ans not : 99,7 cm x 47,6 cm, Accession N° 26.113).

(Detroit Institut of Arts, Detroit, Illinois, Etats-Unis).

City of Detroit purchase.

Provenance : Bergamo, Collection Countess Noli (prior to 1871); Bergamo, Collection Benigno Crespi (by 1897); Bergamo, Collection Count Albani (by 1900); Milan, Collection Cristoforo Crespi (by 1900-until 1914) Paris, auction, Gallery Crespi, [Galerie Petit], 4 June 1914, lot 53; Paris, Collection Marcelle Nicolle; Copenhagen, Collection Heilbuth (1920); Paris, R. Trotti (dealer)?; Berlin, Galerie Matthiesen (dealer-until 1926) from whom purchased by the DIA.

Alexandre-Louis-Marie CHARPENTIER (1856 - 1909). Franรงais.

Martydom of saint Sebastian (circ. 288 A.D. Imp. Dioclet.).

(Late 19th century).

Alexandre-Louis-Marie CHARPENTIER. (Plaquette, bronze, cast, obl., rect., single ; 10,2 cm x 7 cm, Accession number : 03.7.24).

(The Metropolitan Museum of Art, New York, Etats-Unis).

CultureFrench.

Classification : Plaquettes.

Credit line : Gift of Victor D. Brenner, 1903.

Signatures, Inscriptions, and MarkingsSignature : with monogram.

On view.

Franรงois-Philippe CHARPENTIER (1734 - 1817). Franรงais.

Saint Sébastien. (non daté).

François-Philippe CHARPENTIER. (Etching and aquatint on heavy laid paper, 33,3 cm x 21,2 x cm, 1976.145.289).

(The David & Alfred Smart Museum, University of Chicago [Illinois], Etats-Unis).

D’après Daniel SEITER (1649-1705), autrichien, actif en Italie.

Description : plate 129 from Cabinet Crozat, Paris Weigel 7949.

Credit line : University Transfer from Max Epstein Archive.

Curator's object class : WESTERN / EUROPEAN. Curator's object type : WORKS ON PAPER / PRINTS. Registrar's object type : PRINT.

James CHILDS

Saint SĂŠbastien.

(1978).

James CHILDS. (). ().

Giovanni Battista CIMA da Conegliano (Conegliano, 1459 ou c.1460 ou about 1459-1460 - Conegliano ou Venise, 1517 ou c. 1517 ou about 1517-1518).

Matteo CIVITALI

Saint SĂŠbastien. (vers 1492).

Matteo CIVITALI. (Sculpture, statue, terre cuite peinte, 17 cm x 65 cm x 10 cm).

(National Gallery of Art, Kress Foundation, Washingyon [DC], Etats-Unis).

Lieu de production : Toscane, Italie.

Acquisition : Samuel H. Kress Collection (1943).

Saint SĂŠbastien. (vers 1492).

Matteo CIVITALI.

(Sculpture, statue, terre cuite peinte, 17 cm x 65 cm x 10 cm).

(National Gallery of Art, Kress Foundation, Washingyon [DC], Etats-Unis).

Lieu de production : Toscane, Italie.

Acquisition : Samuel H. Kress Collection (1943).

Jean-Baptiste Camille COROT (1796 - 1875).

Der Hl. Sebastian am Marterpfahl. (…).

Jean-Baptiste Camille COROT. (…, …, Image ID : 19530).

(Musée du Louvre, Paris, France).

Antonio ALLEGRI da Correggio, detto il CORREGGIO (Correggio, 1489 - Correggio, 1534).

Die Madonna des Heiligen Sebastian. (um 1524).

Antonio ALLEGRI da Correggio, detto il CORREGGIO. (Öl auf Pappelholz, 265 cm x 161 cm, Gal. Nr. 151).

(Gemäldegalerie Alte Meister, Dresde, Allemagne).

Lorenzo COSTA (Ferrare [?], 1460 - Mantoue, 1535).

Saint SĂŠbastien.

(1480-1485).

Lorenzo COSTA. (Tempera auf Pappelholz, 171,7 cm x 58,4 cm, Gal. Nr. 42 A).

(Gemäldegalerie Alte Meister, Dresde, Allemagne).

Saint Sebastian and saint Catherine of Alexandria. (c. 1480’s).

Lorenzo COSTA. (…, K-319B).

(High Museum of Art, …, Etats-Unis).

Guidoccio di Giovanni di Marco COZZARELLI, detto Guidoccio COZZARELLI (). Italien.

Saint Sebastian, saint Ursula and saint Christopher (détail). (c. 1490).

Guidoccio COZZARELLI. (…, K-1743A.1).

(Philbrook Museum of Art, Tulsa [Oklaoma], Etats-Unis).

Philbrook Museum of Art

National Gallery of Art Princeton Art Museum Vanderbilt University Fine Arts Gallery New Orleans Museum of Art Columbia Museum of Art Allentown Art Museum Allen Memorial Art Museum High Museum of Art

Carlo CRIVELLI (Venise, about 1430/1435 - about 1494 ou 1495).

Gaspar de CRAYER (Anvers, 1584 - Gand, 1669).

Saint Roch entouré des saints Antoine, Sébastien, Adrien et Charles Borromée, patrons des pestiférés. ().

Gaspar de CRAYER. (Peinture, toile, 270 cm x 188 cm, N° Inv. 3411).

(Musées royaus des Beaux-Arts [Peinture, Département Art ancien], Belgique).

Image (références) : [photo IRPA] : 182 391 B.

Bernardo DADDI (active by 1327, probably died 1348). Italien. Florentin.

Christ enthroned with saints.

(14ème siècle).

Bernardino DADDI. (Tempera on wood, gold ground, Irregular, 19,1 cm x 22,9 cm, Accession number : 1974.217).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Paintings.

Credit line : Bequest of Harriet H. Jonas, 1974.

Signatures, Inscriptions, and Markings : inscribed (bottom) : hec su[n]t no[m]i[n]a. s[an]c[t]orum & s[an]c[t]arum quoius reliq[uai]e su[n]t hic. S[ancti]. [se]bostia[n]i. / leonis. alexa[n]dri. peregrini. phil[i]ppy. rufi[nianus]. [iu]ste. co[n]cordie. & dece[n]tie. / & aliorum s[an]c[t]orum de monasteerio s[an]c[t]i sebastian[i] deroma. Quas frater / Simon abbas d[i]c[t]i monasterii dedit (Here are the names of the saints, male and female, whose relics are here: of Saints Sebastian, Leo, Alexander, Peregrine, Philip, Rufinianus, Justa, Concordius, Decentius, and other saints of the monastery of Saint Sebastian of Rome which Brother Simon, the abbot of said monastery, gave).

Gallery Label : as the inscription states, this reliquary was painted for the monastery of San Sebastiano in Rome and originally included relics of a number of saints. The recess that enclosed these relics has now been filled with a filigree tondo dating from around 1500. The reliquary was originally mounted on another object, perhaps a crucifix.

Notes : this reliquary originally contained the relics of a number of saints, as stated in the inscription. The recess that enclosed these relics is now filled with a filigree tondo which is Spanish and dates from about 1500. The reliquary is reproduced with this tondo in place in Ref. Valentiner 1933, but without it in Ref. Offner 1934.

Provenance : monastery of San Sebastiano, Rome ; [Giuseppe Volterra, Florence, until 1931; sold to Jonas] ; [Édouard Jonas, New York, from 1931] ; Mrs. Édouard (Harriet H.) Jonas, New York (by 1933–d. 1974).

Exhibition History : Detroit Institute of Arts. "The Sixteenth Loan Exhibition of Old Masters: Italian Paintings of the XIV to XVI Century," March 8–30, 1933, no. 5 (as "Christ as Judge," by a follower of Bernardo Daddi, lent by Mrs. Edouard Jonas, New York).

References : W[ilhelm]. R. Valentiner. "Detroit Holds Fine Loan Show of Italian Art : Exhibition of Italian Painting from Giotto to Raphael." Art News 31 (March 18, 1933), p. 9, no. 5, ill. p. 10, attributes it to a follower of Daddi and identifies it as a reliquary; illustrates it with the filigree tondo in place [see Notes].

Wilhelm R. Valentiner. "Die Leihausstellung frühitalienischer Malerei in Detroit." Pantheon 12 (1933), p. 238, mentions it as a reliquary in the style of Daddi.

W[ilhelm]. R. Valentiner in The Sixteenth Loan Exhibition of Old Masters : Italian Paintings of the XIV to XVI Century. Exh. cat., Detroit Institute of Arts. Detroit, 1933, unpaginated, no. 5, as "Christ as Judge" by a follower of Bernardo Daddi ; dates it about 1340.

Richard Offner. A Critical and Historical Corpus of Florentine Painting. section 3, 4, New York, 1934, pp. XIII, 189-90, 212, add. pl. VIII, attributes it to a close follower of Daddi and says that the painting is in its original form ; compares it to an Annunciation in the Musée du Louvre, Paris, placing it roughly in the same period or slightly later ; illustrates it without the silver filigree tondo [see Notes].

Miklós Boskovits in Richard Offner with Klara Steinweg continued under the direction of Miklós Boskovits and Mina Gregori. "The Fourteenth Century: The Works of Bernardo Daddi." A Critical and Historical Corpus of Florentine Painting. section 3, 3, new ed. Florence, 1989, p. 43 n. 42, pp. 84, 386, considers it an early work of Daddi ; tentatively suggests that it was originally the top of a crucifix.

Miklós Boskovits in Richard Offner with Klara Steinweg continued under the direction of Miklós Boskovits and Mina Gregori. "The Fourteenth Century: Bernardo Daddi, His Shop and Following." A Critical and Historical Corpus of Florentine Painting. section 3, 4, new ed. Florence, 1991, pp. 22, 333–36, 510–11, pl. XLIIIa. On view.

Honoré-Victorin DAUMIER (Marseilles, 1808 - Valmondois, 1879). Français.

Saint Sebastian.

(1849-1850).

HonorĂŠ-Victorin DAUMIER. (Charcoal on wove paper, sheet : 32,2 cm x 18,7 cm, Accession Number : 69.23).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawing.

Credit line : Purchase, 1969, Mr. and Mrs. Henry Ittleson, Jr. Gift.

Catalogue Raisonné : Ives/Stuffmann 28.

References : Marielle Latour Daumier et ses amis républicains Exh. cat., Musée Cantini. Marseille, 1979, cat. no. 42, 43.

Jacob Bean "Annual Report 1968-1969, Curatorial Reports : Drawings." T. The Metropolitan Museum of Art, New York, 28, New York, 1969 (October), p. 67, ill.

K. E. Maison "Some Additions to Daumier's Oeuvre" Burlington Magazine. 112, London, September 1970, fig. no. 86, ill.

Jacob Bean Drawings Recently Acquired, 1969-1971 Exh. cat., New York, The Metropolitan Museum of Art, January 18 - April 16, 1972. The Metropolitan Museum of Art, New York - catalogued by Jacob Bean, New York, 1972, cat. no. 64, p. 27.

Roseline Bacou "Dessins Français du Metropolitan Museum, New York; de David à Picasso" La Revue du Louvre et des Musées de France. Musée du Louvre, Départment des Arts Graphiques, Paris, nos. 4-5, XXIII, nos.

4-5, Paris, 1973, fig. no. 2, pp. 309-312, ill.

Jacques Fryszman "French Drawings from the Metropolitan Museum at the Louvre". CXV, no. 849, December.

London, 1973, p. 836.

Jacob Bean, Linda Boyer Gillies, Cynthia Lambros Dessins français du Metropolitan Museum of Art, New York de David à Picasso. Paris, 1973, cat. no. 22, fig. no. 28, ill.

Bruce Laughton The Drawings of Daumier and Millet. 1991, pp. 74,152, ill.

Colta Ives, Martin Sonnabend, Margret Stuffmann, Klaus Herding, Judith Wechsler Daumier Drawings. New York, 1992, cat. no. 28, pp. 102-103, ill.

Not on view.

Giovanni DAVID (Cabella Ligure, 1743 - Genoa, 1790). Italien.

Saint Sébastien. (…).

Giovanni DAVID. (Etching, sheet : 21,9 cm x 15,6 cm, trimmed to platemark, Accession Number : 62.650.176).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Print.

Credit line : the Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962 (62.650.176).

Catalogue raisonné : Newcome, Master Drawings, v. 31 (1993), p. 474, fig. 5.

Not on view.

Eugène DELACROIX (Charenton, 1798 - Saint-Maurice, 1863).

Saint Sebastian with saint Irene and attendant.

(1858).

Eugène DELACROIX. (Painting, Oil on panel, 38,1 cm x 50,8 cm, 39.12.7). ([European Painting and Sculpture Department], Los Angeles [Californie], Etats-Unis).

Paul Rodman Mabury Collection (39.12.7).

Building : currently on public view : Ahmanson Bldg 3rd Fl. Subject groupings : Storeroom Treasures - Saints.

Curated browses : LACMA Archive Collections -The Mabury Family.

Bibliographie : Schaefer, Scott, et al. European Painting and Sculpture in the Los Angeles County Museum of Art. Los Angeles: Los Angeles County Museum of Art, 1987, p. 35.

Giacinto DIANA (1730 - 1803). Italien.

Le Martyre de saint SÊbastien. (‌).

Giacinto DIANA. (Oil on canvas, 29 5/8 x 19 5/8 in, Accession number : 71.5).

(Indianapolis Museum of Art, Indianapolis, Etats-Unis).

Not Currently On View.

Credit line : James E. Roberts Fund.

Le Martyre de saint Sébastien. (…).

Giacinto DIANA. (Oil on canvas, 29 5/8 x 19 5/8 in, Accession number : 71.5).

(Indianapolis Museum of Art, Indianapolis, Etats-Unis).

Not Currently On View Credit line : James E. Roberts Fund.

Domenico ZAMPIERI, detto il DOMENICHINO (Bologne, 1581 - Naples, 1641).

Saint Sﾃｩbastien.

(Vers 1605-1610).

Domenico ZAMPIERI, detto il DOMENICHINO. (ﾃ僕 auf Leinwand, 138,5 cm Breite: 94,5 cm, Gal. Nr. 319).

(Gemﾃ､ldegalerie Alte Meister, Dresdes, Allemagne).

Gaspare DIZIANI

Diziani, Gaspare, 1689-1767 Bildtitel: Hl. Sebastian.

Maße: 22,1 x 14,4 cm Technik: Feder und Pinsel in Braun, Zeichnung, laviert, Rötel Standort: Graphische Sammlung, Städel Museum Frankfurt am Main

Albrecht DÜRER (1471 - 1528). German artist. Painter and printmaker. Of Hungarian descent. Son of a goldsmith. Third of eighteen children, most of whom died in infancy. Generally regarded as the greatest German Renaissance artist. Vast body of work includes altarpieces and religious works, portraits and self-portraits, and copper engravings. His woodcuts, such as the "Apocalypse" series (1498), have a more Gothic flavor than his other work.

DĂźrer, Albrecht,1471-1528 Bildtitel: Der heilige Sebastian.

MaĂ&#x;e: 48,2 x 14,9 cm Technik:

Tusche, Pinsel, weiß gehöht Standort: Graphische Sammlung, Städel Museum Frankfurt am Main

Saint Sebastian bound to the tree.

(ca. 1501).

Albrecht DÜRER. (Engraving, 11,7 cm x 7,2 cm [image], …).

(Fine Arts Museum of San Francisco, San Francisco [Californie], Etats-Unis).

Achenbach Foundation for Graphic Arts.

Not on exhibit.

Saint Sebastian at the column.

(1499-1500).

Albrecht DĂœRER. (Engraving, 10,636 cm x 7,47 cm, Object Number : 1971.81).

(Dallas Museum of Art, Dallas [Texas], Etats-Unis).

Bequest of Calvin J. Holmes.

D端rer, Albrecht,1471-1528 Bildtitel:

Die Heiligen Sebastian und Rochus.

Maße: 29,8 x 20,2 cm Technik: Feder in Braun, Zeichnung Standort: Graphische Sammlung, Städel Museum Frankfurt am Main

Dresdner Altar.

(Um 1496).

Albrecht DÜRER. (Tempera auf Leinwand, 114 cm x 95,5 cm [Mitteltafel] ; 45 cm, Gal. Nr. 1869).

(Gemäldegalerie Alte Meister, Dresde, Allemagne).

Jean DUVET (ca. 1485 - after 1561). Français.

Saints Sebastian, Anthony and Roch. (…).

Jean DUVET. (Engraving, sheet : 24,9 cm x 16,8 cm, Accession Number : 19.74.11).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Print.

Credit line : Rogers Fund, 1919.

Catalogue raisonné : Eisler 312.70 Not on view.

Antoon van DYCK

Dyck, Anthonis van, 1599-1641 Bildtitel: Der hl.Sebastian. Um 1621.

MaĂ&#x;e: 228,8 x 162 cm Standort:

München, Alte Pinakothek

Dyck, Anthonis van, 1599-1641 Bildtitel: Das Martyrium des hl.Sebastian.

Maße: 199,9 x 150,6 cm.

Technik: Lwd. Standort: München, Alte Pinakothek

Gianfrancesco ENZOLA Martyrdom of Saint Sebastian. (…).

Gianfrancesco ENZOLA. (…).

(National Gallery of Art, Kress Collection, Washington [DC], Etats-Unis).

Ecole : parmese ; ferrarese.

Gregor ERHRART. Allemand.

Saint Sébastien. (c. 1500).

Gregor ERHART. (…, K-2102).

(Allentown Art Museum, …, Etats-Unis).

Alejandro FERRANT y FISCHERMANS

El entierro de San Sebastián (San Sebastián hallado en la Cloaca Máxima).

(1877).

Alejandro FERRANT y FISCHERMANS. (Óleo, lienzo, 305 cm x 430 cm, Num. de catálogo : P07032).

(Musée du Prado [Salle 61], Madrid, Espagne).

Escuela : española.

Procedencia : adquisición, 1879 - Museo de Arte Moderno.

Note : en tiempos del emperador Maximiliano, el diácono Sebastián fue torturado y finalmente precipitado a la Cloaca Máxima de Roma. El Emperador, esperaba así que no fuera encontrado por los cristianos y considerado un nuevo mártir. Sin embargo, mediante un sueño, la beata Lucina alcanzó a saber dónde se encontraba el cuerpo y junto con algunos de sus criados lo llevó a las catacumbas para ser enterrado en una cripta junto a los cuerpos de los Apóstoles.

El cuadro ilustra la última parte de la historia del martirio y enterramiento de san Sebastián. La luz cenital que emplea el artista confiere un siniestro pero eficaz ambiente lúgubre, apropiado para la historia, a la vez que ilumina el grupo central de la composición. El modelado de las figuras, abordado desde un fuerte clasicismo academicista, dota a la escena de una mayor solemnidad.

La obra obtuvo la primera medalla en la Exposición Nacional de Bellas Artes de 1878. Adquirida para el Museo del Prado, pasó posteriormente al Museo de Arte Moderno.

FRANCESCO di Simone FERRUCCI (Fiesole, 1437 - Florence, 1493).

Italien.

Sketches of figures of saint Sebastian standing and the Virgin and Child with angels (verso) ; Sketches of figures of the Virgin kneeling, saint Peter standing, seated allegorical figures of Faith and Charity, and Child standing on a corbel (?) (recto).

(1487-1488).

(Attribué à) Francesco di Simone FERRUCCI. (Pen and brown ink, over leadpoint or black chalk, on rose-washed paper, 27,4 cm x 19,8 cm, Accession number : 1972.118.252).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawing.

Credit line : Bequest of Walter C. Baker, 1971.

Signatures, Inscriptions, and MarkingsInscriptions : annotated in pen and brown ink on verso at lower left, m.

53.

Provenance : Earl of Brownlow (London) ; Sotheby's, London, July 14, 1926, no. 17, recto repr. (Listed as school of Verrocchio) ; Philip Hofer (American, Cambridge, Massachusetts 1898-1984) (Lugt Suppl. 2087a) ; Walter C. Baker, New York (American, 1893-1971) ; Donor : Walter C. Baker, New York (American, 1893–1971).

Références : Philippe de Chennevières "Les Dessins de maîtres anciens exposés à l'École des Beaux-Arts (quatrième article)" in Gazette des Beaux-Arts. 19, Paris, September 1879, Appendix, pp. 311-313 by Charles Ephrussi, p. 514.

Charles Ephrussi "Les Dessins de Maitres Anciens; Appendix" in Gazette des Beaux-Arts. 20, 1879, pp. 311-313.

Wilhelm Bode "Bildwerke des Andrea des Verrocchio" in Jahrbuch der Königlich Preußischen Kunstsammlungen. 3, 1882, pp. 264 - 265.

Charles Ephrussi "Les Dessins de la Collection His de la Salle" in Gazette des Beaux-Arts. 25, 1882, p. 240.

Giovanni Morelli (Ivan Lermolieff) Kunstkritische Studien über Italienische Malerei, Die Galerie zu Berlin Galerie zu Berlin. 1893, p. 38.

Georg Gonau "Das sogenannte Skizzenbuch des Verrocchio" in Jahrbuch der Königlich Preußischen Kunstsammlungen. 17, Berlin, 1896, pp. 65 - 72.

Cornelius de Fabriczy "Studi e memorie riguardanti l'arte italian pubblicat nell'anno 1896 nelle princi; ali riviste di storia dell'arte in Germania" in Archivio storico dell'arte. Series 2, vol. 3, 1897, pp. 488 - 489.

Hans Mackowsky Verrocchio. 1901, pp. 91 - 95.

Bernard Berenson The Drawings of the Florentine Painters. 3 vols., amplified edition. Chicago, 1938, fig. no. III129 (recto), vol. I-p. 48 n.3.

Art in New England Exh. cat., Boston, Museum of Fine Arts. Museum of Fine Arts Boston, Boston, 1939, cat. no.

208, fig. no. pl. 88 (recto), ill.

Agnes Mongan, Paul J. Sachs Master Drawings lent by Philip Hofer Exh. cat., Cambridge, Massachusetts, Fogg Museum of Art. Cambridge, Massachusetts, 1940, cat. no. 3.

Italian Drawings Exh. cat., Northampton, Massachusetts, Tryon Art Gallery, Smith College Museum of Art. Tryon Art Gallery, Smith College Museum of Art, Northampton, Massachusetts, 1941, cat. no. 20.

A. E. Popham, Philip Pouncey Italian Drawings in the Department of Prints and Drawings in the British Museum: The Fourteeth and Fifteenth Centuries.. The British Museum, London, 1, London, 1950, pp. 39-40.

Otto Kurz "A Group of Florentine Drawings for an Altar" in Journal of the Warburg and Courtauld Institutes.

The Warburg Institute, University of London, 18, London, 1955, fig. no. 18c, pp. 40, 44.

Bernard Berenson, Luisa Vertova I disegni dei pittori fiorentini. 3 vols., Revised and enlarged. Milan, 1961, Vol. I, p. 108.

Claus Virch Master Drawings in the Collection of Walter C. Baker. New York, 1962, cat. no. 3, pp. 14-16, ill.

Jacob Bean, Felice Stampfle Drawings from New York Collections, Vol. I: The Italian Renaissance Exh. cat., New York, The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, 1, New York, 1965, cat. no. 9, fig. no. pl. 9 (recto), p. 23, ill.

Sheldon Grossman "An Anonymous Florentine Drawing and the "So-Called Verrocchio Sketchbook" in Master Drawings. 1, 10, no. 1, 1972, fig. no. 1 (recto), p. 15, ill.

Francis Ames-Lewis Drawing in Early Renaissance Italy. New Haven and London, 1981, pp. 84-85, 161,.

Jacob Bean, Lawrence Turçic 15th and 16th Century Italian Drawings in the Metropolitan Museum of Art. New York, 1982, cat. no. 82, pp. 92-94, ill.

Francis Ames-Lewis, Joanne Wright Drawing in the Italian Renaissance Workshop Exh. cat., Nottingham, University Art Gallery; London, Victoria and Albert Museum. London, 1983, cat. no. 25, pp. 140-43.

Donald Schrader Francesco di Simone Ferrucci, 1437-1493. PhD diss., Edited by University of Virginia, fig. no.

103, pp. 24-57, ill.

Hein-Th. Schulze Altcappenberg Die italienischen Zeichnungen des 14. und 15. Jahrhunderts im Berliner Kupferstichkabinett: Kritischer Katalog. Berlin, 1995, pp. 144-145.

Albert J. Elen Italian Late-Medieval and Renaissance Drawing-Books from Giovannino de' Grassi to Palma Giovane A codicological approach. Leiden, pp. 253-55.

Caroline Lanfranc de Panthou, Benjamin Peronnet Dessins italiens du musée Condé à Chantilly. I. Autour de Pérugin, Filippino Lippi et Michel-Ange Exh. cat., Paris, Musée Condé, Château de Chantilly. Paris, 1995, pp. 4850, 71.

Patricia Lee Rubin, Alison Wright Renaissance Florence: The Art of the 1470's Exh. cat., London, National Gallery. London, 1999-2000, p. 220.

Carmen C. Bambach Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300-1600.

New York and Cambridge, 1999, pp. 83, 403 (n.

Leonardo da Vinci, Master Draftsman Exh. cat., New York, The Metropolitan Museum of Art, January 22 March 30, 2003. Edited by Carmen C. Bambach, The Metropolitan Museum of Art, New York, Yale University Press, New Haven and London , New Haven and London, New York, 2003, cat. no. 12, pp. 278-281, ill.

Not on view.

Sketches of figures of the Virgin kneeling, saint Peter standing, seated allegorical figures of Faith and Charity, and Child standing on a corbel (?) (recto) ; Sketches of figures of saint Sebastian standing and the Virgin and Child with angels (verso).

(1487-1488).

(AttribuĂŠ Ă ) Francesco di Simone FERRUCCI. (Pen and brown ink, over leadpoint or black chalk, on rose-washed paper, 27,4 cm x 19,8 cm, Accession number : 1972.118.252).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawing.

Credit line : Bequest of Walter C. Baker, 1971.

Signatures, Inscriptions, and MarkingsInscriptions : annotated in pen and brown ink on verso at lower left, m.

53.

Provenance : Earl of Brownlow (London) ; Sotheby's, London, July 14, 1926, no. 17, recto repr. (Listed as school of Verrocchio) ; Philip Hofer (American, Cambridge, Massachusetts 1898-1984) (Lugt Suppl. 2087a) ; Walter C. Baker, New York (American, 1893-1971) ; Donor : Walter C. Baker, New York (American, 1893–1971).

Références : Philippe de Chennevières "Les Dessins de maîtres anciens exposés à l'École des Beaux-Arts (quatrième article)" in Gazette des Beaux-Arts. 19, Paris, September 1879, Appendix, pp. 311-313 by Charles Ephrussi, p. 514.

Charles Ephrussi "Les Dessins de Maitres Anciens; Appendix" in Gazette des Beaux-Arts. 20, 1879, pp. 311-313.

Wilhelm Bode "Bildwerke des Andrea des Verrocchio" in Jahrbuch der Königlich Preußischen Kunstsammlungen. 3, 1882, pp. 264 - 265.

Charles Ephrussi "Les Dessins de la Collection His de la Salle" in Gazette des Beaux-Arts. 25, 1882, p. 240.

Giovanni Morelli (Ivan Lermolieff) Kunstkritische Studien über Italienische Malerei, Die Galerie zu Berlin Galerie zu Berlin. 1893, p. 38.

Georg Gonau "Das sogenannte Skizzenbuch des Verrocchio" in Jahrbuch der Königlich Preußischen Kunstsammlungen. 17, Berlin, 1896, pp. 65 - 72.

Cornelius de Fabriczy "Studi e memorie riguardanti l'arte italian pubblicat nell'anno 1896 nelle princi; ali riviste di storia dell'arte in Germania" in Archivio storico dell'arte. Series 2, vol. 3, 1897, pp. 488 - 489.

Hans Mackowsky Verrocchio. 1901, pp. 91 - 95.

Bernard Berenson The Drawings of the Florentine Painters. 3 vols., amplified edition. Chicago, 1938, fig. no. III129 (recto), vol. I-p. 48 n.3.

Art in New England Exh. cat., Boston, Museum of Fine Arts. Museum of Fine Arts Boston, Boston, 1939, cat. no.

208, fig. no. pl. 88 (recto), ill.

Agnes Mongan, Paul J. Sachs Master Drawings lent by Philip Hofer Exh. cat., Cambridge, Massachusetts, Fogg Museum of Art. Cambridge, Massachusetts, 1940, cat. no. 3.

Italian Drawings Exh. cat., Northampton, Massachusetts, Tryon Art Gallery, Smith College Museum of Art. Tryon Art Gallery, Smith College Museum of Art, Northampton, Massachusetts, 1941, cat. no. 20.

A. E. Popham, Philip Pouncey Italian Drawings in the Department of Prints and Drawings in the British Museum: The Fourteeth and Fifteenth Centuries.. The British Museum, London, 1, London, 1950, pp. 39-40.

Otto Kurz "A Group of Florentine Drawings for an Altar" in Journal of the Warburg and Courtauld Institutes.

The Warburg Institute, University of London, 18, London, 1955, fig. no. 18c, pp. 40, 44.

Bernard Berenson, Luisa Vertova I disegni dei pittori fiorentini. 3 vols., Revised and enlarged. Milan, 1961, Vol. I, p. 108.

Claus Virch Master Drawings in the Collection of Walter C. Baker. New York, 1962, cat. no. 3, pp. 14-16, ill.

Jacob Bean, Felice Stampfle Drawings from New York Collections, Vol. I: The Italian Renaissance Exh. cat., New York, The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, 1, New York, 1965, cat. no. 9, fig. no. pl. 9 (recto), p. 23, ill.

Sheldon Grossman "An Anonymous Florentine Drawing and the "So-Called Verrocchio Sketchbook" in Master Drawings. 1, 10, no. 1, 1972, fig. no. 1 (recto), p. 15, ill.

Francis Ames-Lewis Drawing in Early Renaissance Italy. New Haven and London, 1981, pp. 84-85, 161,.

Jacob Bean, Lawrence Turçic 15th and 16th Century Italian Drawings in the Metropolitan Museum of Art. New York, 1982, cat. no. 82, pp. 92-94, ill.

Francis Ames-Lewis, Joanne Wright Drawing in the Italian Renaissance Workshop Exh. cat., Nottingham, University Art Gallery; London, Victoria and Albert Museum. London, 1983, cat. no. 25, pp. 140-43.

Donald Schrader Francesco di Simone Ferrucci, 1437-1493. PhD diss., Edited by University of Virginia, fig. no.

103, pp. 24-57, ill.

Hein-Th. Schulze Altcappenberg Die italienischen Zeichnungen des 14. und 15. Jahrhunderts im Berliner Kupferstichkabinett: Kritischer Katalog. Berlin, 1995, pp. 144-145.

Albert J. Elen Italian Late-Medieval and Renaissance Drawing-Books from Giovannino de' Grassi to Palma Giovane A codicological approach. Leiden, pp. 253-55.

Caroline Lanfranc de Panthou, Benjamin Peronnet Dessins italiens du musée Condé à Chantilly. I. Autour de Pérugin, Filippino Lippi et Michel-Ange Exh. cat., Paris, Musée Condé, Château de Chantilly. Paris, 1995, pp. 4850, 71.

Patricia Lee Rubin, Alison Wright Renaissance Florence: The Art of the 1470's Exh. cat., London, National Gallery. London, 1999-2000, p. 220.

Carmen C. Bambach Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300-1600.

New York and Cambridge, 1999, pp. 83, 403 (n.

Leonardo da Vinci, Master Draftsman Exh. cat., New York, The Metropolitan Museum of Art, January 22 March 30, 2003. Edited by Carmen C. Bambach, The Metropolitan Museum of Art, New York, Yale University Press, New Haven and London , New Haven and London, New York, 2003, cat. no. 12, pp. 278-281, ill.

Not on view.

FIORENZO di Lorenzo (1445[?] - 1525).

Madonna mit Kind und den heiligen Sebastian und Christophorus. (窶ｦ).

FIORENZO di Lorenzo. (ﾃ僕/Holz, 37,5 cm x 49,7 cm, Bildnummer : 26030).

(Stﾃ､del Museum Frankfurt a.M., Allemagne).

Giacomo FRANCIA (um 1486 - um 1557).

Himmelfahrt Mariae mit Johannes d.T., Hl. Sebastian und Stifter. (…).

Giacomo FRANCIA. (…, on panel, 246 x 149 cm, ausgeführt m. Giulio Francia, Image ID : 22836) (Städel Museum, Frankfurt am Main, Allemagne).

Jakob FREY (1681 - 1752). Engraver. Suisse.

Johann JAKOB Saint Sebastian the martyr.

(1737).

Jakob FREY (also listed as Johann JAKOB).

(Engraving, sheet : 68,6 cm x 47 cm ; Image : 58,9 cm x 34,6 cm, Accession Number : 19.184.103).

(Brooklyn Museum, New York, Etats-Unis).

D’après Domenico ZAMPIERI, detto DOMENICHINO. Italian, 1581-1641.

Collections : European Art. Museum location: this item is not on view.

Credit line : Gift of Mrs. Algernon Sydney Sullivan and George H. Sullivan.

Francesco FURINI (Florence, 10 avril 1603 - Florence, 19 août 1646).

Italian painter. He was one of the leading florentine painters of the first half of the 17th century, famous for the ambiguous sensuality and sfumato effects of his many paintings of female nudes. He first studied with his father, Filippo FURINI, nicknamed Pippo SCIAMERONE and described by Baldinucci as a portrait painter, and he completed his apprenticeship in the studios of Domenico PASSIGNANO and of Giovanni BILIVERT. Inspired by an admiration for classical sculpture, which he studied in the Medici collection in Florence, and for RAPHAEL, he travelled to Rome, which he reached as early as 1619 (Gantelli, see 1972 exh. cat.). Here he came into contact with Bartolomeo MANFREDI and with GIOVANNI da San Giovanni. In 1623 he assisted the latter on the frescoes of the Chariot of the Night in the Palazzo Bentivoglio (now Pallavicini-Rospigliosi), commissioned by Cardinal Guido Bentivoglio, and also perhaps on the lower paintings (1623-1624) in the apse of the church of SS Quattro Coronati, Rome. His first dated work is the Crucifixion of Saint Bartholomew (1623 ; Todi, San Bartolomeo).

San Sebastián curado por Santa Irene. ().

Francesco FURINI. ().

(Dorotheum Viena).

San Sebastián. ().

Francesco FURINI. ().

(Staatsgalerie Schleissheim Palace, cerca de Munich).

Saint Sébastien. (c. 1630).

Francesco FURINI. (…). (…).

Gregorio GAMARRA. Mexikanisch.

Saint Sébastien. (…).

Gregorio GAMARRA. (…).

(Christie's Images Ltd).

Ellen GARVENS (b. 15 août 1955). Américaine.

Saint Sébastien.

(1993).

Ellen GARVENS.

(Copper tubing with photo attachment and aluminum, Overall : 81,3 cm x 43,2 cm x 16,5 cm, Object Number : 1994.14A-C).

(Allen Memorial Art Museum, Oberlin College, Oberlin [Ohio], Etats-Unis).

Credit Line : Horace W. Goldsmith Foundation Photography Fund, 1994.

Domenico GHIRLANDAIO

Saint Sébastien. (c. 1510).

(Follower of) Domenico GHIRLANDAIO (Giovanni Battista BERTUCCI ?). (…, K-1229A).

(Vanderbilt University Fine Arts Gallery, Nashville [Tennessee], Etats-Unis).

Pietro Francesco GIANOLI (active 1679 - 1690). Italien.

Martyrdom of Saint Sebastian.

(17ème siècle).

(Attribué à) Pietro Francesco GIANOLI. (Painting, oil on canvas, 38,1 cm x 27,94 cm, AC P.1939.4).

(Mead Art Museum, Amherst College, Amherst [MA], Etats-Unis).

Gift of Mrs. George Pearsons in memory of her husband (Class of 1896).

Luca GIORDANO

Die Pflege des Heiligen Sebastian. (um 1650-1654).

Luca GIORDANO. (Öl auf Leinwand, 202 cm x 150cm, Gal. Nr. 479).

(Gemäldegalerie Alte Meister, Dresde, Allemagne).

Saint SĂŠbastien. (c. 1650).

Luca GIORDANO. (Dipinto, olio su tela, 113,5 cm x93,5 cm, Inv. 4).

(Palazzo Mansi, Pinacoteca, Lucca, Italie).

Giacomo Maria GIOVANNINI (Bologne, 1667 - Parme, 1717). engraver, italian. Student of Giuseppe ROLLI.

Painter and

Saint Sebastian. (…).

Giacomo Maria GIOVANNINI. (Engraving, 32 cm x 22,1 cm [image], …)

(Fine Arts Museum of San Francisco, San Francisco [Californie], Etats’Unis).

D’après Lodovico CARRACCI. Achenbach Foundation for Graphic Arts.

Not on exhibit.

GIOVANNI di Paolo (active by 1417 - died 1482).

GIOVANNI di Paolo was the main painter, after SASSETTA, of early 15th-century Siena. His altarpieces typically follow traditional sienese designs. He is best known for his lively and picturesque narrative scenes, especially his predella panels, in which the influence of early 15thcentury florentine artists fitfully appears.

GIOVANNI di Paolo produced his first signed and dated work in 1426. He was subsequently a prolific artist, though apparently creating little in his later years, when VECCHIETTA, FRANCESCO di Giorgio and MATTEO di Giovanni were active in the city.

Saints Fabian and Sebastian. (about 1475).

GIOVANNI di Paolo.

(Egg tempera on wood, 84,5 cm x 54,5 cm, Inventory number : NG3402).

(The National Gallery, London, Royaume-Uni).

Acquisition credit : presented through The Art Fund in memory of Robert Ross, 1919 Location in Gallery : room 60.

BENOZZO di Lese di Sandro, detto Benozzo GOZZOLI (Florence, about 1420 - Pistoia, 1497). Italien.

Saints Nicholas of Tolentino, Roch, Sebastian, and Bernardino of Siena, with kneeling donors.

(1481).

Benozzo GOZZOLI. (Tempera and gold on canvas, transferred from wood, Overall, with added strips : 78,7 cm x 61,9 cm ; painted surface :

76,5 cm x 59,7 cm, Accession number : 1976.100.14).

(The Metropôlitan Museum of Art, New York, Etats-Unis).

Classification : Paintings.

Credit line : Bequest of Harry G. Sperling, 1971.

Signatures, Inscriptions, and Markings : dated and inscribed : (center, on parapet, considerably strengthened) QVESTI IIII·SANTI D IFENSORI / DELLA PESTILENTIA A FATTFARE / PIETRO DIBATISTA DA RIGO DIM INOE / CITADINO PISANO·M· CCCC·LXX XI· (Pietro di Battista d'Arrigo di Minore[?], citizen of Pisa, had these four saints, protectors against the plague, made in 1481); (on haloes, left to right) ·SANTVS NICHOLAVS DETOLENTINO·; ·SANCTVS ROCHVS·; ·SANCTVS SEBASTIANVS·; ·SANTVS BERNARDINVS·; (in Saint Bernardino's open book) PATER M / ANIFES / TAVI N / OMENT / VVM O / MNIB / VS· [ ]E / [ ]FA[ ] / MI[SERICORDI]AM T / VA[M] NOB / IS DOMI / NE CLE / MENTE / [ ] OSTE / NDE [ ] (Father, I have manifested thy name unto all men [John 17:6]; merciful Lord, show us thy compassion).

Notes : the four saints appear in this panel as intercessors on behalf of the town seen in the distance against the ravages of the plague (symbolized by the spear-carrying angels). The town cannot be identified with certainty, yet the fact that the patron was Pisan (as evidenced by the inscription), and the presence of Saint Nicholas of Tolentino, who was particularly venerated in Pisa, would tend to suggest Pisa as the city represented.

Provenance : comte Robert de Pourtalès, Paris (by 1900–at least 1907); Jeanne de Pourtalès, baronne d'Adelsward, Paris (by 1909); comte James de Pourtalès, Paris (by 1959–66; sold to Mons); [Mons et Cie., Paris, from 1966]; [Allen Loebl, Paris, until 1967; sold to Kleinberger]; [Kleinberger, New York, 1967–75; bequeathed

by Harry G. Sperling, last surviving partner of firm, to MMA].

Références : Bernhard Berenson G. P. Putnam. The Florentine Painters of the Renaissance. 2nd ed. New York, 1900, p. 106, as in the collection of comte Robert de Pourtalès, Paris; attributes it to Benozzo Gozzoli and records the date as 1471.

Bernhard Berenson. The Florentine Painters of the Renaissance. 2nd ed. New York, 1904, p. 106.

Bernhard Berenson. The Florentine Painters of the Renaissance. 3rd ed. New York, 1909, p. 115, as in the collection of baronne d'Adelsward, Paris.

G. Gronau in Allgemeines Lexikon der bildenden Künstler. 3, Leipzig, 1909, p. 348, cites Berenson [see Refs. 1900 and 1904].

Adolfo Venturi. "La pittura del quattrocento." Storia dell'arte italiana. part 1, 7, Milan, 1911, p. 430 n. 1.

Isabella Errera. Répertoire des peintures datées. 1, Brussels, 1920, p. 25, follows Berenson's reading of the date as 1471.

Raimond van Marle. The Development of the Italian Schools of Painting. 11, The Hague, 1929, pp. 205–6, 216 n.

1.

G[offredo]. J. Hoogewerff. Benozzo Gozzoli. Paris, 1930, pp. 62, 93, lists it as by Gozzoli, dated 1471.

Anna Padoa Rizzo. Benozzo Gozzoli: pittore fiorentino. Florence, 1972, pp. 84, 86, fig. 215, as dated 1471; ascribes it to the workshop of Gozzoli and compares it to the fresco of the Crucifixion with Saints in the Ospizio di Mendicità, Pisa, stating that the two works may be in part by the same hand; notes similarities to a predella panel of the Pietà (Melbourne Hall, Derbyshire) which she attributes to Gozzoli, perhaps with the assistance of the artist responsible for this panel.

Avraham Ronen. "Gozzoli's St. Sebastian Altarpiece in San Gimignano." Mitteilungen des Kunsthistorischen Institutes in Florenz 32 (1988), pp. 77, 88, 96, 113 n. 3, p. 117 n. 35, fig. 14, as "painted in Pisa by Gozzoli (or in his workshop ?)"; calls it one of four "Plague-Pictures" attributed to Gozzoli, and discusses the iconography of Saint Sebastion as it relates to a fresco altarpiece by the artist in San Gimignano.

Anna Padoa Rizzo. Benozzo Gozzoli. Florence, 1992, p. 123, no. 65, ill.

Louise Marshall in "Dalle origini al Concilio di Trento." San Nicola da Tolentino nell'arte: corpus iconografico.

1, Tolentino, 2005, pp. 307–8, no. 150, colorpl. XXIX, ill. pp. 169 (color detail) and 308.

Not on view.

Eglise Sant’Agostino, le chœur. San Gimigniano [Toscane], Italie.

Saint SĂŠbastien Intercesseur ou San Sebastiano con devoti.

(1464-1465 ou 28 juillet 14641).

Benozzo GOZZOLI. (Fresque, 527 cm x 248 cm).

(Chiesa di Sant’Agostino [nef], San Gimignano, Italie).

Along with the original commission to fresco the choir of Sant'Agostino in San Gimignano, Gozzoli received a number of other requests, including two 'Pestbilder' (a painted prayer against the plague). For the Sant'Agostino, Gozzoli created a votive fresco showing St Sebastian intercessor on the southern nave wall. This work was painted during the outbreak of the plague in 1464, as we are informed by the inscription on the saint's pedestal. This would mean that Gozzoli interrupted the painting of the apsidal chapel in order to produce this picture.

The outbreak of the plague caused a rapid increase in depictions of St Sebastian where the saint is clad only in a loincloth and tied to a tree or column. Here he is standing dressed on a pedestal. God the Father, surrounded by angels holding arrows in their hands, appears above the saint's head. He is about to hurl the arrow he is holding at the world. Mary and Christ are kneeling before him as intercessors. Christ is pointing to the open wound on his side and Mary is baring her breast in order to remind God of their sacrifices for the Christians and move him to be lenient. The prayer of St Sebastian is keeping off God's arrows which are breaking behind him, thus protecting the people crowded at his feet.

The Augustinian behind the white-haired man in profile on the left is probably a portrait of Domenico Strambi, presumably the author of the iconographic program of the Scenes from the Life of St Augustine, painted by Benozzo in the choir of Sant'Agostino. Furthermore, on the small devotional picture of the Crucifixion on the lower frame of the fresco, the donor portrait of Domenico Strambi can be seen.

El GRECO (1541 - 1614).

San Sebastián.

(1610-1614).

El GRECO. (Óleo, lienzo, 115 cm x 85 cm, Num. de catálogo : P03002).

(Musée du Prado [Salle 10a], Madrid, Espagne).

Escuela : española.

Procedencia : donación condesa de Mora, marquesa de Casa Riera, 1960.

Note : oficial romano al servicio del emperador Diocleciano, en el siglo III, éste ordenó que fuese ajusticiado a causa de su fe cristiana. Pese a ser atravesado por numerosas flechas, san Sebastián no murió en ese momento y siguió defendiendo el cristianismo. Contemplado desde un punto de vista muy bajo presenta un cuerpo sumamente estilizado y dirige su mirada hacia lo alto, mientras que al fondo el pintor nos ofrece una vista de la ciudad de Toledo. Obra de la etapa final de su carrera, muestra unas pinceladas muy sutiles, que permiten las transiciones de luces y sombras.

El lienzo se encuentra fragmentado, desconociéndose el momento en que se produce la mutilación y las causas que la provocaron.

Piernas de San Sebastián.

(1610-1614).

El GRECO. (Óleo, lienzo, 91 cm x 115 cm, Num. de catálogo : P07186).

(Musée du Prado [Salle 10a], Madrid, Espagne).

Escuela : española.

Procedencia : adquisición, 1987.

Note : oficial romano al servicio del emperador Diocleciano, en el siglo III, éste ordenó que fuese ajusticiado a causa de su fe cristiana. Pese a ser atravesado por numerosas flechas, san Sebastián no murió en ese momento y siguió defendiendo el cristianismo. Contemplado desde un punto de vista muy bajo presenta un cuerpo sumamente estilizado y dirige su mirada hacia lo alto, mientras que al fondo el pintor nos ofrece una vista de la ciudad de Toledo. Obra de la etapa final de su carrera, muestra unas pinceladas muy sutiles, que permiten las transiciones de luces y sombras.

El lienzo se encuentra fragmentado, desconociéndose el momento en que se produce la mutilación y las causas que la provocaron.

Das Martyrium des hl.Sebastian. Fragment.

(Um 1610-1614).

El GRECO. (Maße : 115 cm x 85 cm).

Musée du Prado, Madrid, Espagne).

Matthias GRÜNEWALD (um 1475 - um 1528).

Studie zum Oberarm des hl. Sebastian des Isenheimer Altars. (…).

Matthias GRÜNEWALD. (Dessin, …, Inventar-Nr. : KdZ 17659 verso).

Zeichnung / Kohle, Pinselmit Deckweiß (o. J.).

(Kupferstichkabinett, Staatliche Museen zu Berlin, Allemagne).

Person : Matthias Gr端newald [um 1470 - 1528], Deutscher Maler.

Systematik : Personen / K端nstler / Gr端newald / Werke.

Gr端newald, Mathias, um 1475-1528 Bildtitel: Isenheimer Altar. Erste Schauseite, Totale: Die hll.Antonius und Sebastian Standort: Colmar, Unterlinden-Museum

Grünewald, Mathias, um 1475-1528 Bildtitel: Der hl. Sebastian. Seitenflügel des Isenheimer Altars.

Standort: Colmar, Unterlinden-Museum

Giovanni Francesco BARBIERI, detto il GUERCINO (Cento, 1591 Bologna, 1666). Peintre italien (émilien).

Saint Sébastien.

(1642).

Giovanni Francesco BARBIERI, detto GUERCINO. (…,116 cm x 96 cm, Image ID : 22654).

(Puschkin-Museum, Moscou, Russie).

Saint Sébastien.

(17. Jahrhundert).

Giovanni Francesco BARBIERI, detto Il GUERCINO. (Leinwand, 65,5 cm x 52 cm, Inv.-Nr. GG_3526).

(Kunsthistorisches Museum Wien, Gemäldegalerie, Autriche).

Provenienz : 1772 in der Galerie nachweisbar.

Matthäus GUNDELACH (Kassel [?], um 1566 - Augsburg, 1654). Allemand.

Saint Sébastien.

(Nach 1620).

Matthäus GUNDELACH. (Leinwand, 47 cm x 30 cm, Inv.-Nr. GG_1108).

(Kunsthistorisches Museum Wien, Gemäldegalerie, Autriche).

Provenienz : 1783 in der Galerie nachweisbar.

Kolman HELMSCHMID (1471 - 1532). Allemand (Augsburg).

Cuirass and Tassets (Torso and Thigh Defense). (ca. 1510 - 1520).

(Attributed to) Kolman HELMSCHMID. (Metalwork, Steel. Etched steel : 105,4 cm, Accession number : 38.143).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Description : the decoration of this armor is an outstanding example of German figural etching, inspired by contemporary print sources, as it was used to embellish armor. The etching has been attributed to Daniel HOPFER (ca. 1470 - 1536), a noted printmaker and armor etcher. HOPFER may have pioneered the technique of making prints from an etched metal plate, which revolutionized printmaking in the sixteenth century.

The figures on the breastplate include the Virgin and Child flanked by saint George and saint Christopher. On the backplate, saint Anne with the Virgin and Child is flanked by saint James the Great and saint Sebastian. The figure of saint Sebastian pierced by arrows is copied from a woodcut made about 1507 by Hans BALDUNG GRIEN (1484/85 - 1545).

Gift of Marshall Field, 1938 (38.143).

Source : attributed to Kolman HELMSCHMID : Cuirass and Tassets (Torso and Thigh Defense) (38.143) |

Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.

Jean-Jacques HENNER (Bernviller, 1829 - 1905). Franรงais.

Saint Sebastian attended by saint Irene ; (c. 1889).

Jean-Jacques HENNER. (Drawing, black and white chalk on laid paper, 61,5 cm x 46,99 cm, M.91.63).

(Los Angeles County Museum of Art [Prints and Drawings Department], Los Angeles [Californie], Etats-Unis).

Gift of the 1991 Collectors Committee (M.91.63).

Building : not currently on public view.

Subject groupings : Storeroom Treasures - Saints.

Exhibition history : Prints and Drawings : Ten Years of Acquisitions. Los Angeles, CA, Los Angeles County Museum of Art, February 22, 1996 - May 19, 1996. Classic to Modern : French Works on Paper, 1800-1950, from the Permanent Collection. Treviso, ITA, Museo Civico di Belluno, October 11, 2003 - February 15, 2004 ; Los Angeles, CA, Los Angeles County Museum of Art, July 3, 2003 - September 14, 2003.

Exhibition catalogs for this artwork : Davis, Bruce. Master Drawings in the Los Angeles County Museum of Art, Stevens, Matthew, ed. Los Angeles : Los Angeles County Museum of Art ; New York : Distributed by Hudson Hills Press, 1997.

Hans HOLBEIN (um 1465 - 1524).

Hans Holbein d.Ă„. -

Saint Sebastian Altar. (Central panel : Martyrdom of saint Sebastian).

(1516).

Hans HOLBEIN d. Ă„.

(Limewood, 153 cm x 107 cm, Inv.-Nr. 5352).

(Alte Pinakothek, Munich, Allemagne).

Acquired in 1809 from the Jesuit church of St. Saviour in Augsburg, in the process of secularization.

Note : Sebastian, bodyguard of the Emperor Diocletian and a Christian, regularly stood by martyrs at the time of their death. He was consequently himself sentenced to death by the Emperor. As he survived his death by arrows, he was beaten to death and thrown into the sewers of Rome. This is depictedon the here displayed central panel. On the wings are SS Barbara and Elizabeth (on the out faces the Annunciation). These patron saints were called upon against illness and for a "mild death", St. Sebastian special patronage against the plague.

The Sebastian Altar is considered to be, owing to the Antique framing ornamentation, one of the early Renaissance retabel of German painting.

Sebastiansaltar : Die hll.Barbara und Elisabeth, Martyrium des hl. Sebastian. ().

Hans HOLBEIN. ().

(Alte Pinakothek, M端nchen, Allemagne).

Gerrit van HONTHORST (Utrecht, 1592 - Utrecht, 1656).

HONTHORST became one of the main dutch followers of CARAVAGGIO, whose style he

popularised in Holland on his return from a stay in Rome, 1610-1620. With paintings such as "Christ before the High Priest" he became one of the few dutch painters to achieve international fame.

HONTHORST was born in Utrecht, probably the son of Herman Gerritsz. van HONTHORST, a painter of tapestry cartoons. He trained with BLOEMAERT, the leading local painter, before travelling to Rome. After his return to Utrecht in 1620, he turned from mainly religious to Arcadian and domestic subjects and portraits. He popularised candle-light scenes.

In 1628 he was working in London for King Charles I. He returned in december 1628 and lived in The Hague, where he was in the service of Prince Frederick Henry of Orange (who died 1647). He was involved in the decoration of the Prince's new palaces and was his favoured portrait painter. In 1635 HONTHORST sent to Denmark the first of a long series of classical and historical pictures commissioned by King Christian IV. In 1652 he returned to Utrecht, where he died.

Saint Sebastian. (about 1623).

Gerrit van HONTHORST. (Oil on canvas, 101 cm x 117 cm, Inventory number : NG4503).

(The National Gallery, London, Royaume-Uni).

HONTHORST was one of the first artists to portray saint Sebastian as a half-length figure, slumped forward in a seated position. The pose was subsequently adopted by other followers of CARAVAGGIO in Utrecht, including Jan van BIJLERT and Hendrik ter BRUGGHEN in the mid-1620s. This picture was probably painted shortly after HONTHORST 's return to Utrecht in 1620.

Inscription summary : signed.

Acquisition credit : bought, 1930.

Location in Gallery : room 24.

Saint Sebastian. (about 1623).

Gerrit van HONTHORST. (Oil on canvas, 101 cm x 117 cm, Inventory number : NG4503).

(The National Gallery, London, Royaume-Uni).

HONTHORST was one of the first artists to portray saint Sebastian as a half-length figure, slumped forward in a seated position. The pose was subsequently adopted by other followers of CARAVAGGIO in Utrecht, including Jan van BIJLERT and Hendrik ter BRUGGHEN in the mid-1620s. This picture was probably painted shortly after HONTHORST 's return to Utrecht in 1620.

Inscription summary : signed.

Acquisition credit : bought, 1930.

Location in Gallery : room 24.

Bernardino INDIA

Martirio de san Sebastián.

(16ème siècle).

Anónimo (Círculo de) Bernardino INDIA. (Aguada ; pluma ; tinta parda ; papel, 10,8 cm x 3,5 cm, Num. de catálogo : D01768).

(Musée du Prado, Madrid, Espagne).

Escuela : italiana.

Procedencia : legado Pedro Fernández Durán y Bernaldo de Quirós, 1931.

Note : La antigua atribución a Francesco RAIBOLINI, llamado ´´Francia´´ (ca. 1450-1517), es claramente caprichosa. El dibujo es con seguridad posterior, posiblemente de la segunda mitad del siglo XVI, y puede ser que la ejecución y la técnica tengan algo en común con la obra de Bernardino INDIA.

Willy JAECKEL (Breslau, 1888 - 1944). Allemand.

Saint Sebastian.

(20ème siècle).

Willy JAECKEL. (Print, etching on wove paper ; Plate : 24,77 cm x 20 cm ; Sheet : 37,78 cm x 25,72 cm, AC1992.238.34).

(Los Angeles County Museum of Art, Los Angeles [CCalifornie], Etats-Unis).

The Robert Gore Rifkind Center for German Expressionist Studies, purchased with funds provided by the Ducommun and Gross Acquisition Fund, and the Twentieth Century Art Acquisition Fund (AC1992.238.34).

Robert Gore Rifkind Center for German Expressionist Studies Department.

Not currently on public view.

Subject groupings : Storeroom Treasures - Saints.

Exhibition catalogs for this artwork : Barron, Stephanie ; Peter W. Guenther ; Friedrich Heckmanns ; Fritz Loffler ; Eberhard Roters ; Stephan Von Wiese. German Expressionism 1915-1925 : The Second Generation.

Los Angeles : Los Angeles County Museum of Art, 1988, cat #166, b&w illust. p. 166.

Oldrich KULHANEK (Prague, 26 février 1940). Czech. From 1958 he studied at the College of Applied Arts in Prague in the studio of Prof. Karel Svolinsky. After a promising start, KULHANEK was banned from exhibiting his work in his native country during most of the 70’s for political reasons. While he continued to work, his prints had to be smuggled out from behind the iron curtain. All that changed with the establishment of the new Czech Republic. Between 1992 and 1993 KULHANEK was involved in the new Czech banknotes project, creating images for the newly liberated country’s currency.

Sebastian.

(1973).

Oldrich KULHANEK. Color lithograph on wove paper, 57,8 cm x 40 cm, N째 Inv. 1981.242).

(The David & Alfred Smart Museum, University of Chicago [Illinois], Etats-Unis).

Description : Ed. 11/20.

Credit line : Gift of Mr. Perry Goldberg.

Curator's object class : WESTERN / EUROPEAN. Curator's object type : WORKS ON PAPER / PRINTS. Registrar's object type : PRINT. Sebastian in the Car. (1977).

Oldrich KULHANEK. (Etching on wove paper, 47,9 cm x 32, cm, N째 Inv. 1981.243).

(The David & Alfred Smart Museum, University of Chicago [Illinois], Etats-Unis).

Description : Ed. 9/45.

Credit line : Gift of Mr. and Mrs. Granvil Specks.

Curator's object class : WESTERN / EUROPEAN. Curator's object type : WORKS ON PAPER / PRINTS. Registrar's object type : PRINT

Lodovico LANA di Modena (Codigoro [near Ferrara], 1597 - Modena, 1646).

Artist Italian. Painter and printmaker, educated under Ippolito SCARSELLO and at Bologna under GUERCINO. He worked mainly at Modena where he died in 1646.

The Empress Irene binding up the wounds of saint Sebastian. (ca. 1643-1649).

Lodovico LANA.

(Etching, 38 cm x 25,1 cm [image], ‌).

(Fine Arts Museum of San Francisco, San Francisco [Californie], Etats-Unis).

Achenbach Foundation for Graphic Arts.

Not on exhibit.

LEONARD de Vinci (1452 - 1519).

Saint Sébastien. (um 1480).

LEONARD de Vinci.

(Dessin, plume, crayon brun sur ardoise de plomb, bords irréguliers, Inventar-Nr. : 21489).

Zeichnung / Feder in Braun, über Bleigriffel; unregelmäßig beschnitten.

(Hamburg, Hamburger Kunsthalle, Allemagne).

Person : Hl. Sebastian, Christlicher Märtyrer und Heiliger.

Systematik : Personen / Religiöse Persönlichkeiten / Sebastian.

Eustache LE SUEUR (Paris, 1616-1617 - Paris, 1655).

Ein Engel stützt den heiligen Sebastian.

(1654-1655).

Eustache LE SUEUR. (Schwarze Kreide, weiß gehöht, auf graubraunem Papier, 40,5 cm x 26,2 cm, Inv. 11656).

(Albertina Museum, Vienne, Autriche).

LIBERALE da Verona

Saint Sébastien. (c. 1500-1525).

LIBERALE da Verona. (…, K-1267).

(Vanderbilt University Fine Arts Gallery, Nashville [Tennessee], Etats-Unis).

Meister of Saint Sebastian or Jos LIEFERINXE (active 1497 - 1508).

Der Hl. Sebastian vor den Kaisern Diokletian und Maximilian.

(15ème siècle).

Meister des Hl. Sebastian (LIEFERINXE ?). (…,80,5 cm x 56 cm, Image ID : 23005).

(St. Petersburg, Hermitage, Russie).

Filippino LIPPI (probably born 1456 ou 1457 - died 1504). Italien. Florentin.

Standing youth with hands behind his back (saint SĂŠbastien ?) and a Seated youth reading. (ca. late 1470s-early 1480s).

Filippino LIPPI. (Metalpoint, highlighted with white gouache, on pink prepared paper, 24,5 cm x 21,6 cm, Accession number : 36.101.1).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawings and Prints.

Source : Renaissance Drawings : Material and Function | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art. Harris Brisbane Dick Fund, 1936.

This relatively finished sheet of figure studies drawn from a life model reflects the anatomical types of Andrea del VERROCCHIO and Sandro BOTTICELLI. It can be dated to the late 1470s or early 1480s, and vividly illustrates the range of the young Filippino's virtuosity as a draftsman. The handling of the metalpoint remains delicate and precisely descriptive, with a shallow, relieflike rendering of chiaroscuro. The pose of the main figure, which was most likely a preparatory study for a Saint Sebastian, or perhaps for a Christ in a Flagellation

scene, recalls BOTTICELLI's early Saint Sebastian in Berlin ; that panel can be dated to January 1474 and thus was probably painted during Filippino's apprenticeship in BOTTICELLI's workshop. Filippino's lean, muscular nude is much more naturalistic than BOTTICELLI's figure, however, and closely emulates the Christ in the Baptism of Christ (Florence, Uffizi) painted by VERROCCHIO and LEONARDO for the monks at San Salvi, probably about 1476.

In the next steps of the creative process, artists investigated the poses of the figures from life models. The earliest such extant studies date from the first years of the fifteenth century. Using the medium of silverpoint on pink prepared paper to obtain delicate tonal effects, Filippino LIPPI posed a male studio assistant to stand in for the figure of a bound Christ or Saint Sebastian, in order to observe the figure's chiseled nude musculature (36.101.1) (Carmen Bambach, Department of Drawings and Prints, The Metropolitan Museum of Art).

Source : Renaissance Drawings: Material and Function | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

LORENZO di Credi (Florence, 1458 - Florence, 1537).

Maria mit Kind, dem Heiligen Sebastian und Johannes dem Evangelisten. (um 1516).

LORENZO di Credi. (ﾃ僕 auf Pappelholz, 175 cm x 176,5 cm, Gal. Nr. 15).

(Gemﾃ､ldegalerie Alte Meister, Dresde, Allemagne).

Johann Carl LOTH (Monaco di Baviera, 1632 - Venise, 1698). Allemand.

Saint Sébastien. ( Johann Carl LOTH. (…, Inv. 766). (

Provenance : Galleria abbaziale di Santa Giustina.

Al Museo 1857.

Saint SĂŠbastien.

(About 1680-1685).

Johann Carl LOTH.

(Oil on canvas, 32 x 22 1/2 in, Accession number : 74.1).

(Indianapolis Museum of Art, Indianapolis, Etats-Unis).

Not Currently On View.

Credit line : Elma D. Wilkerson Fund.

MAINARDI

Saint Sébastien. (c. 1500).

(Attribué à) Gian Francesco de’MAINERI. (…, N° Inv. K-1231).

(Memphis Brooks Museum of Art, Kress Foundation, Memphis [Tennessee], Etats-Unis).

Maître du monograme I. P.

Le Martyre de saint Sébastien. (um 1525).

Maître du monograme I. P. (Sculpture, bois [poirier] , …, Inventar-Nr. : 44).

(Skulpturensammlung, Staatliche Museen zu Berlin, Eigentum des Kaiser Friedrich-Museums-Vereins).

Person : saint Sébastien, Christlicher Märtyrer und Heiliger.

Systematik : Personen / Religiöse Persönlichkeiten / Sebastian.

Andrea MANTEGNA Saint Sébastien. (c.1455-1460).

Andrea MANTEGNA. A12:20.

(Cornell Fine Arts Museum, …, Etats-Unis). (lboles@rollins.edu or bboles@cfl.rr.com). http://tars.rollins.edu/holt/syllabi/fall2004/ARH335B_H1.pdf Saint Sébastien.

(1456-1459).

Andrea MANTEGNA. A12:20. (lboles@rollins.edu or bboles@cfl.rr.com). http://tars.rollins.edu/holt/syllabi/fall2004/ARH335B_H1.pdf (Cornell Fine Arts Museum, …, Etats-Unis).

Francesco di Giorgio MARTINI

Saint Sebastian. (c. 1475-1485).

Francesco di Giorgio MARTINI. (‌).

(National Gallery of Art, Kress Foundation, Washington [DC], Etas-Unis).

Ecole : siennoise.

Master B of the Died

Saint Sébastien. (…).

Master B of the Died. (…). (…).

Master of the Martyrdom of Saint Sebastian (Prob. Mid-17th century).

Autrichien.

Master of the Playing cards (active ca. 1425 - 1450). Allemand.

Saint Sebastian. (…).

(Attributed to) Master of the Playing cards.

(Print, engraving, sheet : 14,1 cm x 20,9 cm, Accession Number : 34.38.1).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Credit LineHarris Brisbane Dick Fund, 1934.

Provenance : Liechtenstein Collection.

CCatalogue raisonné : Lehrs I.93.36; Bartsch X.27.49.

References : State I, cat. no. I.36, p. 93.

Johann David Passavant Le Peintre-Graveur. Leipzig, cat. no. II.147, p. 231.

Adam von Bartsch Le Peintre Graveur. Leipzig, 1876, cat. no. X.27.49, p. 27.

"The Print in the North: The Age of Albrecht Duerer and Lucas van Leyden". LIV (Spring, 4), New York, p. 13.

Not on view.

Master of the Saint Sébastian

Martyre de saint Sébastien. (…).

Master of the Saint Sebastian. (…). (…).

MATTEO di Giovanni (active 1452 - 1495). MATTEO di Giovanni was probably born in Borgo Sansepolcro. He was in partnership with GIOVANNI di Pietro in Siena in 1452 and still there in 1457. It has been suggested that he trained with SASSETTA or DOMENICO di Bartolo ; but an awareness of florentine art and especially that of POLLAIUOLO has been detected, which may imply that he spent time in Florence.

MATTEO di Giovanni is known to have provided the side panels for a polyptych in Borgo Sansepolcro, of which the central panel was 'The Baptism of Christ' by PIERO della Francesca, which is now in the Collection. There are other authenticated paintings by MATTEO di Giovanni, including the Gallery's 'Assumption of the Virgin'. It is sometimes thought that Pietro ORIOLI trained in his studio.

Madonna and Child with saint Catherine of Siena and saint Sebastian. (c. 1480-1490).

MATTEO di Giovanni. (‌, K-1746).

(Columbia Museum of Art, ‌, Etats-Unis).

Saint SĂŠbastien.

(Probably 1480-1495).

MATTEO di Giovanni.

(Tempera on wood, 126,4 cm x 59,7 cm, Inventory number : NG1461).

(The National Gallery, London, Royaume-Uni).

Two angels hold the crown of martyrdom above the Saint's head. Images of Sebastian were popular because he was a protector against the plague.

This painting may have been part of an altarpiece, or a votive picture, or one made for private devotion.

Acquisition credit : bought, 1895.

Location in Gallery : room 60.

Meister der Sebastiansmartyrien (tätig in Wien um 1655).

1629 Umkreis Augsburg Elfenbein, Holzrahmen H. 30,1 cm, B. 36,5 cm Restaurierkosten: EUR 8.160,- Patenschaft vergeben [+] Martyrium des hl. Sebastian Künstler: Meister der Sebastiansmartyrien, tätig in Wien um 1655 KK_3654 1655 datiert Wien Elfenbein, Samt H. 54,3 cm, B. 80,4 cm Restaurierkosten: EUR 11.040,- [+] … /Kunsthistorisches Museum, Autriche).

Martyrium des hl. Sebastian.

(1655 datiert).

Meister der Sebastiansmartyrien.

(Relief, Elfenbein, Samt, H. 54,3 cm, B. 80,4 cm, Inv.-Nr. KK_3654).

(Kunsthistorisches Museum Wien, Kunstkammer, Autriche).

Meister des Wendelinaltars

Der Hl. Sebastian und die Hl. Margaretha. Triptychon, rechter Flﾃｼgel. (窶ｦ).

Meister des Wendelinaltars. (ﾃ僕, 151 cm x 69 cm, Bildnummer : 26072). (窶ｦ).

Meister Fränkirchen (um 1480 - 1510).

Meister, Fränkischer, Bildtitel: Die hll. Florian und Sebastian.

Standort: Bayer.Staatsgemäldesammlungen

Meister von Meßkirch (tätig etwa zw. 1515 und 1540).

Falkensteiner Altar : Der Heilige Sebastian und Rochus. (nach 1530).

Meister von MeĂ&#x;kirch.

(Mischtechnik, Nadelholz, 51 cm x 31 cm, Inv. Nr. L 1377). (‌, Stuttgart, Allemagne).

Standort ausgestellt in der Staatsgalerie Stuttgart Hinweis Staatsgalerie Stuttgart, Leihgabe der Fürstenbergsammlungen Donaueschingen seit 2002.

When closed, the Falkenstein altarpiece shows four male saints set against landscape backgrounds: Christopher on the left and Sebastian and Roch on the right fixed panels, and Saint John the Baptist and Andrew on the exterior of the folding wings. Like the female figures on the interior of the folding wings, they are among the patron saints of the von Zimmern family.

The very subtle execution of details and the unusual colour contribute to the unique character of the work. The colour schemes of the interior and the exterior of the altarpiece are independent of each other but entirely coherent. The closed altarpiece is characterised by the contrast between red and blue, enhanced by the sparing use of yellow and green. In contrast to the comparatively catchy exterior, the interior is orchestrated in nuanced halftones. The lavish use of gold in decorations and ornamental elements unites all three panels - a stylistic device that the artist was to deploy with much greater sophistication in the Wildenstein altarpiece.

Louis-Antoine-Joseph MELINO Saint Sébastien.

(Première moitié du 19ème siècle).

Louis-Antoine-Joseph MELINO. (Blason de corporation, gravure sur cuivre, épreuve coloriée, plume conservée, 18,5 cm x 8,5 cm, Numéro d'inventaire : HCI 912.25).

(Musée de l'Hospice Comtesse [Arts graphiques, Estampe], Lille, France).

Inscription : Inscription imprimée à l'encre noire concernant l'auteur. L MELINO A LILLE.

Meester ARNT

Le Martyre de saint Sébastien.

(Fin du 15ème siècle) Meester ARNT. (Sculpture, statue, 125 cm).

(Museum voor Schone Kunsten, Gand, France).

Deze opmerklijke Sebastiaan is een werk van het eind van de 15de eevw uit Kalkar (Noord-Rijnland). Makerbeeldsnijder is een zekere Meester ARNT. The houding van Sebastiaan is sierlijk ; zijn benen voeren als het ware een danspas uit. Dat staat in schril contrast met de wrede marteling de hem wordt aangedaan : de vastgebonden Sebastian wordt met pijlen doorboord. Deze straf maakt van hem een dankbaar figuur orne een manelijk naakt te kunnen uitbeelden.

Voor een ander voorbeeld van middeleeuwse beeldhouwkunst en de herkomst van deze collectie, zie Maria met kind.

Mestre de la Seu d’Urgell.

Saint Sébastien.

(1495).

Mestre de la Seu d’Urgell.

(Tremp sobra sarga, …). (…).

Proceidexen des portes de l’orgue de la cathédrale de la Seu d’Urgell (Catalogne, Urgell ?).

MNAC 200469 et 200470.

Mestre de Soriguerola Taula de sant Cristofòl.

(Inicis del sigle 14).

Mestre de Soriguerola.

(Tremp sobre taula, …). (…).

Acquisition de la Cd-lecciò Plaudina, 1932, MNAC/MAC 4370.

Quentin METSYS (Louvain, c. 1465/1466 – Antwerp, 1530).

Netherlandish Renaissance (Northern). France.

Quentin MASSYS –

15th-16th c

Plague Altar with Trinity Virgin and Child and Saints Sebastian and Roch.

(1480-1520).

Quentin METSYS. (Painting, ‌).

(Alte Pinakothek, Munich, France).

15th-16th c Netherlandish Renaissance (Northern) Painting. Belgium.

Plague Altar with Trinity Virgin and Child and Saints Sebastian and Roch (dĂŠtail).

(1480-1520).

Quentin METSYS. (Painting, ‌).

(Alte Pinakothek, Munich, France).

15th-16th c Netherlandish Renaissance (Northern) Painting. Belgium.

Henri MICHEL, dit MELROY.

Martyre de saint Sébastien.

(1807).

Henri MICHEL. (Dessin, papier à dessin, lavis, 33,5 cm x 23,7 cm, N° de l’objet 10141744).

(Musée de Groesbeeck de Croix, Namur [fusionnée], France).

Inscriptions : datation, écrit, en bas à droite : mars 1807 ; signature, écrit, en bas à droite : Michel dit Melroy.

Iconographie : Sagittation de Sébastien.

Hans MEMLING (Seligenstadt, c. 1430/1440 ou 1433 - Bruges, 11 August 1494 ou active by 1465 - died 1494). Flemish. Netherlandish. Renaissance (Northern). Bruges.

Belgium.

Hans MEMLIC -

The Martyrdom of saint Sebastian. (c. 1470 ou c. 1475).

Hans MEMLING. (Oil on wood, ou Oil on panel, …).

(Musées Royaux d’Art et d’Histoire Bruxelles, Belgique).

15th c Netherlandish. Flemish, Renaissance (Northern). Painting.

Bruges, Belgium.

The Martyrdom of saint Sebastian. (c. 1470 ou c. 1475).

Hans MEMLING. (Oil on wood, ou Oil on panel, …).

(Musées Royaux d’Art et d’Histoire Bruxelles, Belgique).

15th c Netherlandish. Flemish, Renaissance (Northern). Painting.

Bruges, Belgium.

Resurrection Altarpiece (open).

Auferstehungsaltar, Triptychon (Hl. Sebastian, Auferstehung, Himmelfahrt). (c. 1490).

Hans MEMLING. (ﾃ僕/Holz, 61 cm x 78 cm, 窶ｦ).

(Musﾃｩe du Louvre, Paris, France).

15th c Netherlandish Renaissance (Northern) Painting.

Bruges. Belgique.

Saint Sebastian & Ascension on wings.

Resurrection Altarpiece (left panel). Saint Sébastien (détail).

Auferstehungsaltar, Triptychon (Hl. Sebastian, Auferstehung, Himmelfahrt). (c. 1490).

Hans MEMLING. (Öl/Holz, 61 cm x 78 cm, …).

(Musée du Louvre, Paris, France).

15th c Netherlandish Renaissance (Northern) Painting.

Bruges. Belgique.

Portrait of a Young Man. (ca. 1482).

Hans MEMLING.

(Oil on oak panel ; Overall 40 cm x 29 cm ; painted surface 38,3 x 27,3 cm, Accession number : 1975.1.112).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Robert Lehman Collection, 1975 (1975.1.112).

Like so many of MEMLING 's sitters, the young man represented here appears to have been a florentine visitor to, or resident of, Bruges. The landscape behind him was closely followed in a Virgin and Child by the florentine Domenico GHIRLANDAIO (Louvre, Paris) that cannot date much later than 1482, evidence that the picture was shipped to Italy shortly after it was painted.

The scale and prominence of the figure in relation to the distant view endow the sitter with a monumental dignity, while the stillness of nature suggests a state of inner repose in the young man.

Source : Hans MEMLING : Portrait of a Young Man (1975.1.112) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art. Memling's Portrait of a Young Man (1975.1.112) was considered, when first mentioned in 1857 by Gustav Waagen, as a Saint Sebastian, since the figure then appeared with two added features-a halo and an arrow held between the thumb and forefinger of his left hand. The landscape view through the window remarkably appears in two Italian paintings of about 1480, a Self-Portrait by Pietro Perugino (active by 1469, died 1523; Galleria degli Uffizi, Florence) and a Virgin and Child from the circle of Andrea del Verrocchio (possibly Domenico Ghirlandaio [1449-1494]); Musée du Louvre, Paris). The quotation indicates that the panel must have traveled to Italy soon after it was painted. This would explain the Italianate foreshortened oval form of the halo, traces of which may still be seen when viewing the picture in raking light. By the time Philip Lehman acquired the painting in 1915, both the halo and the arrow had been removed in a cleaning and restoration of 1912 in London.

Evidence of this is visible in a stripped-state photo (Maryan W. Ainsworth, Department of European Paintings, The Metropolitan Museum of Art).

Source : Intentional Alterations of Early Netherlandish Painting | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.

François-Guillaume MÉNAGEOT (1744 ou 1750 - 1816).

Martyrdom of saint Sebastian. (…).

François-Guillaume MÉNAGEOT. (Oil on canvas, …).

(Haggerty Museum of Art, Marquette University, Milwaukee [WI], Etats-Unis).

Léon MERCIER ().

Saint Sébastien.

(1890-1899).

Léon MERCIER. (Peinture à l’huile, 136 cm x 114 cm, N° de l’objet 10000386).

(Chapelle Saint-Sébastien, Braine-l’Alleud [fusionnée], France).

Inscription : signature, peint, au dos.

Iconographie : Sébastien [soldat-personnage].

Jean-Baptiste MEUNIER (1821 – 1900).

Martyre de saint Sébastien. (de 1821 [naissance] à 1900 [décès]).

Jean-Baptiste MEUNIER. (Image imprimée, 24,8 cm x 17,5 cm, N° de l’objet 20040261).

(Musée Constantin Meunier, Ixelles [commune], France).

Copie d’après il SODOMA. Iconographie : sagittation de Sébastien.

Giuseppe Maria MITELLI (1634 – 1718). Italien.

Saint Sebastian exhorting saint Mark and saint Marcellus to martyrdom.

(1666).

Giuseppe Maria MITELLI. (Engraving, printed in black, …, Catalogue number: GLAHA 7782).

D’après VÉRONESE (Italian, 1528 – 1588).

MICHELANGELO

MODERNO

Martyre de saint SĂŠbastien.

(Anonyme, early 16th C.).

MODERNO. (Plaquette, gold, bronze, pierced, gilded, 4,9 cm x 3 ,6 cm, Registration number : 1915,1216.220).

(British Museum [Department : Prehistory and Europe], London, France).

Production place : made in Italy.

Description : plaquette ; gilt-bronze ; rectangular with rounded top ; Martyrdom of St Sebastian bound to Corinthian column on plinth, supported at top by two angels, offering wreath and palm( ?) of martyrdom ; archer shooting ; horse and three standing soldiers ; pierced at top and bottom.

Condition : poor, much rubbed.

Subject : archer ; tree/bush ; soldier ; saint/martyr ; mammal ; architecture ; angel . (scope note | all objects) Acquisition date : 1915.

Acquisition name : donated by Thomas Whitcombe Greene.

Saint Sébastien. (late 15th - early 16th Century).

MODERNO. (…).

(National Gallery of Art, Washington [DC], France).

Kress Collection : Ecole : Mantoue.

Martyre de saint Sébastien. (…).

(Style de) MODERNO. (…).

National Gallery of Art, Washington [DC], France).

Kress Collection : Ecole : Mantoue.

Marcellus MOL. Orfèvre.

Bras-reliquaire de saint Sébastien.

(1673).

Marcellus MOL. (Argent, repoussé, 59 cm, N° de l’objet 10104603).

(Eglise Saint-Remacle, Verviers [fusionnée], France).

Inscriptions : poinçon, poinçonné : poinçons indéterminés ( ?) : deux lions ; poinçon, poinçonné : deux poinçons effacés ; signature, gravé, sous la base : Marcellus Mol ; datation, gravé, sous la base : fecit anno 1673.

Iconographie : sans.

Bras-reliquaire de saint Sébastien (détail socle).

(1673).

Marcellus MOL. (Argent, repoussé, 59 cm, N° de l’objet 10104603).

(Eglise Saint-Remacle, Verviers [fusionnée], France).

Inscriptions : poinçon, poinçonné : poinçons indéterminés ( ?) : deux lions ; poinçon, poinçonné : deux poinçons effacés ; signature, gravé, sous la base : Marcellus Mol ; datation, gravé, sous la base : fecit anno 1673.

Iconographie : sans.

MONCALVO

La Virgen y le Niño con seis santos.

(16ème siècle).

(Attribué au) MONCALVO. (Aguada ; Pluma ; Preparado a lápiz ; Sanguina ; Tinta parda ; papel, 35 cm x 28 cm, Num. de catálogo : D02967).

(Musée du Prado, Madrid, Espagne).

Escuela : italiana.

Procedencia : legado Pedro Fernández Durán y Bernaldo de Quirós, 1931.

Note : ha figurado como Federico ZUCCARO, sin embargo, el estilo del dibujo es típico de MONCALVO y su taller. Se ha rehecho una gran pérdida de papel en los bordes inferior y derecho y se han dibujado las partes que faltaban de la composición.

Bartolomeo MONTAGNA (c.1450 - 1523). Engraver.

Saint Sébastien.

(1507).

Bartolomeo MONTAGNA. (…, Accession number : 1932.72.9).

(Manchester Art Gallery, Manchester, Royaume-Uni ou Galleria dell'Accademia, Venise, Italie).

Saint Sébastien (détail).

(1507).

Bartolomeo MONTAGNA. (…, Accession number : 1932.72.9).

(Manchester Art Gallery, Manchester, Royaume-Uni ou Galleria dell'Accademia, Venise, Italie).

Il MORAZZONE

Studies for a Saint Sebastian. ().

Il MORAZZONE. (Charcoal or black chalk on blue-green paper, 42,2 cm x 23,4 cm. With the stamp of the Ambrosiana on the lower right corner. ).

(Biblioteca Ambrosiana, Milan, France).

Descrizione : saint Sebastian wearing a loincloth stands with his right arm raised and, with his left arm tied behind his back. The saint looks upward. On the right are two studies : Above, St. Sebastian, full figure, standing. Below, torso and legs of the saint.

Attribuzione : the drawing is ascribed to Morazzone with reservation by Emma Spina Barelli (1959). Mina Gregori (1962) attributes it to MORAZZONE dating it to the first decade of the century. Gregori and Ugo Ruggeri incorrectly list the drawing as F 271 inf. n. 1041.

ND Cat. No. 1338 Collocazione BA : F 271 inf. n. 104.

Gustave MOREAU (1826 - 1898).

Saint Sébastien aux archers [détail].

(Vers 1875).

Gustave MOREAU. (Peinture à l’huile sur toile, …).

(Musée Gustave Moreau, Paris, France).

Moreau, Gustave,1826-1898 Bildtitel: Martyrium des hl.Sebastian.

Maße: 31,5 x 39,7 cm Technik: Öl/Holz Standort: Christie's Images Ltd Saint Sébastien et l’Ange. (…).

Gustave MOREAU. (Dessin, mine de plomb, sanguine, pierre noire, craie blanche, 61,4 cm x 35,8 cm [vue], Inv. 15500).

(Musée national Gustave Moreau, Paris, France).

Etude en rapport avec Les Voix (Saint Sébastien) (Inv. 15500).

Des. 827.

Saint Sébastien aux archers [détail].

(Vers 1875).

Gustave MOREAU. (Peinture à l’huile sur toile, …).

(Musée Gustave Moreau, Paris, France).

Saint Sébastien. (…).

Gustave MOREAU. (…).

(Musée national Gustave Moreau, Paris, France).

Alessandro BONVICINO, detto MORETTO da Brescia (1498 - 1554).

Thronende Madonna mit Kind und den Hll. Antonius Abbas und Sebastian. (…).

MORETTO da Brescia. (…, 252 cm x 183 cm, Image ID : 22459).

(Städel Museum, Frankfurt am Main, Allemagne).

Carl Otto MÜLLER (1901 - 1970).

Saint Sébastien.

(1934).

Carl Otto MÜLLER. (…).

(Staatsgemäldesammlungen, Bayer, Allemagne).

Ferdinand MURMANN (Augsburg, 1604 - Augsburg, 1675). Allemand.

Saint SĂŠbastien. (bald nach 1630).

Ferdinand MURMANN. (Statuette, Elfenbein, h. 31 cm, Inv.-Nr. KK_4562).

(Kunsthistorisches Museum Wien, Kunstkammer, Autriche).

Giovan Battista NALDINI (c. 1537 - 1591).

The Rest on the fligh into Egypt.

(Late 1560’s - 1570s).

(Attribué à) Giovan Battista NALDINI.

(Painting, oil on poplar panel, 44,2 cm x 31,3 cm, P553).

(The Wallace Collection [Sixteenth Century Gallery], Hertford House, Londres, Royaume-Uni).

Mary suckles the infant Jesus as Joseph looks on. The rocky outdoor setting suggests that the scene is intended to illustrate the story of the Flight into Egypt, told in Saint Matthew’s Gospel (II, 13-15). Following a dream warning him of King Herod’s search for Jesus, Joseph led his young family into exile in Egypt. The picture is comparable to Naldini’s works of the late 1560s and 1570s. Comparable works include Naldini’s The Holy Family (Florence, Accademia), and The Madonna and Child with Saints Andrew and Sebastian (Granaiolo, Castelfiorentino, San Matteo).

Joseph NAVEZ

Groupe de saints et martyres, saint Luc peignant la Vierge à l’Enfant. (de 1787 [naissance] à 1869 [décès]).

François-Joseph NAVEZ. (Dessin, papier à dessin, crayon noir, aquarelle, dessiné, peint, 29,5 cm x 22,3 cm, N° de l’objet 10148443).

(Musée des Beaux-Arts, Charleroi [fusionnée], France).

Note : papier brun.

Inscriptions : inscription, écrit, à gauche : colonne de chiffres ; inscription, écrit, en bas à droite : 9 pieds de large sur 14 ( ?) de haut...

Iconographie : roue [instrument de torture][attribut] ; harpe [attribut] ; bouclier [attribut] ; lance [attribut] ; flèche [attribut] ; couronne de fleurs [attribut] ; Croix de la Passion [attribut] ; ange [indéterminé] [personne] ; angelot [personne] ; Cécile de Rome [personnage] ; Catherine d’Alexandrie [reine-personnage] ; Sébastien [soldat-personnage] ; Luc l’Evangéliste peint la Vierge [événement] ; Georges de Cappadoce terrasse le dragon [événement] ; coiffe [parure] [type d’objet] ; drapé [vêtement] [type d’objet].

NEROCCIO de’ Landi 1500 ou 1447 - 1500).

ou

Neroccio di Bartolomeo LANDI (actif 1446 -

Madonna with Child, saint Sebastian and saint Catherine of Alexandria. (um 1496).

NEROCCIO de’ Landi ou Neroccio di Bartolomeo LANDI. (Öl/Pappelholz, 52 cm x 35,5 cm, Bildnummer : 24223).

(Städel Museum, Frankfurt am Main, Allemagne).

Madonna with Child, saint Sebastian and saint Catherine of Alexandria.

(1485-1490 ou um 1496).

NEROCCIO de’ Landi ou Neroccio di Bartolomeo LANDI. (Tempera, 73 cm x 50 cm, …).

(Christian Museum, Esztergom, Hongrie).

Rolf NESCH (1893 - 1975). Allemand.

Saint Sébastien ou Triptyque de saint Sébastien. St Sebastian (triptych).

(1941).

Rolf NESCH. (Print, paper, colour, collagraph, 60 cm x 42,9 cm, ).

(British Museum [], London, France).

Ecoles : Norvège, France.

Description : The St Sebastian triptych, right panel : three monstrous figures of the saint’s tormentors with fishlike appearance.

Colour metal print.

Inscriptions : Signed and annotated : « III Zustand ».

See curator’s comment in 1985,0504.2 (1).

Acquisition date : 1985.

Acquisition name : purchased from Dr. Ewald Rathke Kunsthandel.

Exhibition History : 1997 Jan.-April, BM, ‘Modern Scandinavian Prints, cat.84.

Martyrdom of Saint Sebastian : Triptych.

(1941).

Rolf NESCH. (Print, etching, 59,1 cm x 43,8 cm, Detroit 96).

(Harvard Art Museum, Fogg Museum [Department of Prints], Cambridge [Massachusetts], Etats-Unis).

Gift of Mr. and Mrs. Alfred Jaretski, Jr., M13647.

NICOLETTO da Modena

Saint SĂŠbastien.

(1500-1510).

NICOLETTO da Modena.

(Ptint, paper, engraving, 25 cm x 17,4 cm, Registration number : 1873,0809.700).

(The British Museum [Department : Prints & Drawings], Londres, France).

Ecole italienne.

Description : St Sebastian tied to an antique pier ; in the background a sea port.

Acquisition date : 1873.

Location : Italian XVIc Mounted Roy.

Saint SĂŠbastgien.

(1500-1510).

NICOLETTO da Modena.

(Print, paper, engraving, 15,8 cm x 12,4 cm, Registration number : 1873,0809.701).

(The British Museum [Department : Prints & Drawings], Londres, France).

Ecole italienne.

Description : saint Sebastian tied to a column in an antique building.

Inscriptions : Inscription Co. Acquisition date : 1873.

Location : Italian XVIc Mounted Roy.

NICOLÒ di Liberatore, detto l’ALUNNO (Foligno 1430 – 1502).

Madonna col Bambino e i Santi Francesco e Sebastiano (recto).

Padre Eterno e Angeli.

(1482).

NICOLÒ di Liberatore, detto l’Alunno.

(Olio su tavola sagomata, 235 cm x 126 cm, Inventario : 109).

(Pinacoteca Nazionale di Bologna, [Sala 9 : Il Quattrocento e l’Umanesimo], Bologne, France).

Provenienza : Arcevia, ospedale.

Descrizione : L’anconetta venne acquistata dal Papa nel 1855.

Opera tipica dell’artista umbro, datata 1482, è vicina per stile e iconografia al polittico del 1475 ora a Roma, Villa Albani : ciò indica l’assoluta fedeltà del maestro al suo stile in un momento in cui la cultura umbra andava rinnovandosi.

Ignaty Ignatévich NIVINSKY

Saint SĂŠbastien.

(1926).

Ignaty IgnatĂŠvich NIVINSKY. (Print, paper, etching, 39,5 cm x 33,2 cm, Registration number : 1926,0410.30).

(British Museum [Department : Prints & Drawings], London, France).

Print made by Ignaty Ignatévich NIVINSKY. Schools /Styles : Russian.

Description : The saint crouched on one knee, naked body pierced by arrows, octagonal.

Inscriptions : signed( ?), titled and annotated.

Acquisition date : 1926.

Acquisition name : donated by Ignaty Ignatévich NIVINSKY. Donated through M N Romanov Location : East European XXc Unmounted Imp.

François de NOMÉ, detto Monsù DESIDERIO (Metz, um 1593 - Napoli, 1644).

It is only in recent years that the mysterious painter called « Monsù Desiderio » has been separated into two artists who collaborated : Didier BARRA (1590 - c. 1644) and François de NOMÉ, both from Metz, Lorraine. Didier BARRA usually painted topographical views, chiefly of Naples.

François de NOMÉ was the more adventurous of the two, concentrating on the bizarre. Both painters spent their entire careers in Naples but never assimilated any local influences ; they both retained a form of archaising mannerism of a similar type to that of Claude DERUET. At their best, François de NOMÉ’s pictures excite by their power of expression, even though they seem flagrantly to disobey almost every rule of art.

Le Martyre de saint Sébastien. (…).

François de NOMÉ., detto Monsù DESIDERIO. (…).

(Privatbesitz Dreyfus, Binningen, Allemagne).

Timur NOVIKOV (1958 - 2002).

Saint Sebastian.

(1992).

Timur NOVIKOV. (Mixed technique, ‌).

(Pushkinskaya-10 Art Centre, St. Petersburg, Russie).

Pedro NUNEZ de Villavicencio (1644 - nach 1695).

Engel auf Wolken (oben), Hl. Sebastian (unten, links) und Hl. Rochus (unten, rechts). (‌).

Pedro NUNEZ de Villavicencio.

(Dessin, plume, ‌, 29,2 cm x 20,7 cm, Inventar-Nr. : 38637).

Zeichnung / Feder, laviert (o.J.) (Hamburg, Hamburger Kunsthalle, Allemagne).

Systematik : Kulturgeschichte / Himmel / Engel / Zeichnungen

Antonino OCCELLI da Ceva

Saint Sébastien.

(25 septembre 1532) (Fresque, …).

Antonino OCCELLI da Ceva.

(Capella del Castello, Moneseglio [Alta Langa], France).

Clé Don Bruno 0174 92154

Wenzel von OLMIRTZ Saint Sebastian.

(…).

Wenzel von OLMIRTZ. (Print, engraving, …, Accession number: M11768).

(Lehrs 054).

(Museum of Fine Arts, Boston [Massachusetts], France).

D’après Martin SCHONGAUER. Classification : Reproductions.

Provenance/Ownership History: Bought of Georg Bruno Seele, Dresden, on the recommendation of Professor Dr. Lehrs, Director of the Royal Print Cabinent, Dresden. All of the specimens here registered are photographs from rare old prints in the Cabinet at Dresden, with a few from elsewhere.

Gift of Georg Bruno Seele, Accession number: M11768.

Wenzel von OLMÜTZ

Pyhän Sebastianin marttyyrius. (…).

Wenzel von OLMÜTZ. (Graphics, …).

(Sinebrychoff Art Museum, Helsinki, Finlande).

Pedro ORRENTE (1580 - 1645).

Saint Sebastian. (c. 1616).

Pedro ORRENTE. (Oil on canvas, 306 cm x 219 cm, ‌).

(Valencia Cathedral, Valencia, Espagne).

ORTELINO

Saint SĂŠbastien aux rochers et Demetrius.

(1520).

ORTOLANO.

(…).

(Nation…).

James OSTRER

Saint Sébastien. (…).

James OSTRER. (…). (…).

Jürgen OVENS (1623 - 1678).

Saint Sébastien.

(1657-1663).

Jürgen OVENS. (Dessin, plume, crayon brun, 28,5 cm x 20,5 cm, Inventar-Nr. : 22327).

Zeichnung, Feder in Braun über Bleistift.

(Hamburg, Hamburger Kunsthalle, Allemagne).

Person : Hl. Sebastian, Christlicher Märtyrer und Heiliger.

Systematik : Personen / Religiöse Persönlichkeiten / Sebastian.

Johann Friedrich OVERBECK (1789 - 1869). 19th c German Nazarene Painting.

Saint Sébastien.

(1813-1816).

Johann Friedrich OVERBECK. (…).

(Alte Nationalegalerie ou Neue Nationalgalerie, Berlin, France).

19th c German Nazarene Painting.

Nazarene. France.

Anna Maria PACHECO (1943 -). Painter, sculptor and printmaker who was born in Brazil in 1943 and has lived in England since 1973.

Her work deals with issues of control and the exercise of power, drawing upon the tensions between the old world of Europe and the new world of her Brazilian birth.

Her work was displayed in the exhibition Ana Maria PACHECO : New Painting and Sculpture on Tour from the National Gallery 29 September 1999 - 9 January 2000.

Dark night of the soul : Saint Sebastian.

(1999).

Anna Maria PACHECO. (Sculpture, ‌).

(The National Gallery, London, Royaume-Uni).

Francesco PAGANO

Saint Sebastian and saint Catherine of Alexandria. (about 1450-1500).

Francesco PAGANO. (Panel, ‌).

(Galleria Nazionale di Palazzo Barberini, Rome, France).

Jacopo PALMA, detto PALMA il Giovane (Venedig, 1544 - Venedig, 1628).

Marter des hl. Sebastian vor antikischer Architektur und Statuen. (‌).

Jacopo PALMA, detto PALMA il Giovane.

(Feder, laviert, 21,2 cm x 23,8 cm, Inventarnummer : 1675).

(Albertina Museum, Vienne, Autriche).

Tre studi per un San Sebastiano. (‌).

Jacopo PALMA, detto PALMA il Giovane.

(Penna e carboncino su carta, 26,9 cm x19,4 cm, ‌).

(Opere venete in asta a luglio 2005. 5 luglio 2005, Christie's, Londra (vendita n. 7066. lotto n. 32).

Saint Sébastien. (um 1612).

Jacopo PALMA, detto PALMA il Giovane. (Öl auf Leinwand, 167,5 cm x 117 cm, Gal. Nr. 251).

(Gemäldegalerie Alte Meister, Dresde, Allemagne).

Martirio di san Sebastiano. (…).

Jacopo PALMA, detto PALMA il Giovane. (…).

(Duomo di Santa Maria Assunta e San Liberale [lato destro], Castelfranco Veneto, Italie).

Jacopo NEGRETTI, detto PALMA il Vecchio (Serinalta bei Bergamo, um 1480 - Venise, 1528). Peintre italien (vénitien).

Santa Elena e san Costantino (ou Constantino). (…).

PALMA il Vecchio. (…). (…).

San Rocco e san Sebastiano. (…).

PALMA il Vecchio. (…). (…).

Ou Santa Elena e san Costantino (ou Constantino) san Rocco e san Sebastiano. (…).

PALMA il Vecchio. (…). (…).

Saint Sébastien. (um 1527/1528).

Jacopo NEGRETTI, detto PALMA il Vecchio.

(Pappelholz, 82 cm x 36 cm, Inv.-Nr. GG_2655).

(Kunsthistorisches Museum Wien, Gemäldegalerie, Autriche).

Provenienz : 1528-1529 Werkstatt Palmas, Venedig, Nr. 18 ; 1636 Slg. Bartolomeo della Nave, Venedig; 16381649 Slg. Hamilton ; Slg. Leopold Wilhelm.

Marco PALMEZZANO

Saint Sebastian. (c. 1515-1520).

Marco PALMEZZANO. (Tempera and oil on wood, …).

(Museum of Fine Arts, Budapest, …).

PAOLO De Majo Martyre de San Sebastiano. (…).

PAOLO De Majo.

(Tableau, …).

(Chiesa Cattedrale di San Paolo [Cuvette absidale droite], Aversa, France).

Note : Dans le grand transept – sur l’autel central un grand tableau avec le Martyre de San Sebastiano, par PAOLO De Majo.

Giovanni Antonio PELLEGRINI ().

Pellegrini, Giovanni Antonio,1675-1741 Bildtitel: Die hll.Sebastian und Irene.

MaĂ&#x;e: 228,5 x 170 cm Technik: Ă–l Standort:

Bayer.Staatsgemäldesammlungen

Sigmund Ferdinand von PERGER

Saint SĂŠbastien. (c. 1821-1828).

Sigmund Ferdinand von PERGER. (Print, paper, engraving, 24,6 cm x 17,6 cm, Registration number : 1855,0609.1393).

(British Museum, [Department : Prints & Drawings], London, France).

Title (series) : Die Kaiserliche königliche Bildergalerie im Belvedere zu Wien, Belvedere Gallery, Autriche.

D’après Antonio CORREGGIO. Published by Carl Haas.

Print made by Ignaz Krepp.

Intermediary draughtsman Sigmund Ferdinand von PERGER. Schools /Styles : Italian ; German.

Description : saint Sebastian ; holding an arrow in his right hand ; after a drawing by Perger after a painting by CORREGGIO. Inscription : lettered with production details and title.

Stamped below : « Gal. Belvedere. » And with publisher’s blindstamp.

Curator’s comments : see 1855,0609.1496 for comment on the series.

Acquisition date : 1855.

Location : German XIXc Unmounted Roy.

Pietro VANUCCI, detto il PERUGINO (Città della Pieve, 1445 ou c. 1445 ou 1448 ou c. 1450 – Fontignano, février ou mars 1523). 15th c. Italian Renaissance.

Pietro PERUGINO – Pietro VANNUCCI – Martyrdom of saint Sebastian.

(1500).

Pietro VANUCCI, detto il PERUGINO. (…).

(British Library, London, France).

Saint Sébastien. (…).

Pietro VANUCCI, detto il PERUGINO.

(…). (…, Firenze, France).

Saint Antonio da Padova and Saint Sebastiano ou Saint Sebastian & a Franciscan. (ca. 1476-1478 ou c. 1485-1500).

Pietro VANUCCI, detto il PERUGINO.

(Painting, ‌).

(MusĂŠe des Beaux-Arts, Nantes, France).

15th c. Italian Renaissance Painting.

Saint Antonio da Padova and Saint Sebastiano ou Saint Sebastian & a Franciscan.

(ca. 1476-1478 ou c. 1485-1500).

Pietro VANUCCI, detto il PERUGINO. (Painting, …).

(Musée des Beaux-Arts, Nantes, France).

15th c. Italian Renaissance Painting.

Saint Antonio da Padova and Saint Sebastiano ou Saint Sebastian & a Franciscan. (ca. 1476-1478 ou c. 1485-1500).

Pietro VANUCCI, detto il PERUGINO. (Painting, …).

(Musée des Beaux-Arts, Nantes, France).

15th c. Italian Renaissance Painting.

San Sebastiano e frammenti delle figure di San Rocco e San Pietro.

(1478).

Pietro VANUCCI, detto il PERUGINO. (…). (…).

Saint Sébastien. (c. 1489-1490 ou c. 1490-1510).

Pietro VANUCCI, detto il PERUGINO. (Painting, …).

(Nationalmuseum, Stockholm, …).

15th-16th c. Italian Renaissance Painting.

Saint Sébastien. (c. 1489-1490 ou c. 1490-1510).

Pietro VANUCCI, detto il PERUGINO. (Painting, …).

(Nationalmuseum, Stockholm, …).

15th-16th c. Italian Renaissance Painting.

Virgin and Child with saint John the Baptist and saint Sebastian. (c. 1492).

Pietro VANUCCI, detto il PERUGINO. (Panel, 178 x 164 cm, ‌).

(Galleria degli Uffizi, Firenze, France).

Virgin and Child with Saint John the Baptist and Saint Sebastian. (about 1492).

Pietro VANUCCI, detto il PERUGINO. (Panel, 178 cm x 164 cm, ‌).

(Galleria degli Uffizi, Florence, France).

Madonna and Child enthroned with saint John the Baptist and saint Sebastian. (c. 1492 ou 1493).

Pietro VANUCCI, detto il PERUGINO. (Oil on wood, 178 cm x 164 cm, ‌).

(Uffizi Galleries, Florence, Italie).

Saint Sebastian. (about 1493).

Pietro VANUCCI, detto il PERUGINO. (Metal point on paper, 25,6 cm x 14,6 cm, ‌).

(Museum of Art, Cleveland, France).

Bust of saint Sebastian.

(1493-1494 ou c. 1495).

Pietro VANUCCI, detto il PERUGINO. (Tempera and oil on wood, 53,5 cm x 39,5 cm ou 53,8 cm x 39,5 cm, Image ID : 22720).

(Hermitage, St. Petersburg, Russie).

Saint SĂŠbastien.

(Between 1493 and 1494).

Pietro VANUCCI, detto il PERUGINO. (Painting, oil and tempera on panel, 53, 8 cm x 39,5 cm). ((State Hermitage Museum, Saint Petersburg, Russie).).

Ecole ombrienne.

Origine : France.

Style : Renaissance.

Source of entry : Collection of the Marquise Campanari, Rome, 1910.

Note : Sebastian was a Roman soldier who served in the private guard of the Emperor Diocletian. For his faith in the teachings of Christ the Emperor condemned him to death and he was taken out, tied to a column and shot at with arrows. Italian masters often depicted the semi-naked Sebastian in full-length, his body pierced by arrows, drawn not by the scene of execution but by the opportunity to show the beauty of the naked body. Perugino, however, shows Sebastian only half-length, revealing his perfect command of light-and-shade modeling.

Sebastian’s marvellous face does not express suffering but in his gaze raised to the heavens there is only thoughtful prayer. Dramatism was alien to the work of Perugino, the leading Umbrian artist of the late 15th century. On the arrow which projects from the saint’s neck the artist painted his name in gold letters.

Saint Sébastien.

(1493-1494 ou c. 1495).

Pietro VANUCCI, detto il PERUGINO. (…,53,8 x 39,5 cm, …).

(The State Hermitage Museum, St. Petersburg, Russia).

Saint Sébastien.

(1493-1494 ou c. 1495).

Pietro VANUCCI, detto il PERUGINO. (…). (…).

Saint Sebastian. (c. 1490-1510 ou about 1493-1497 ou c. 1495).

Pietro VANUCCI, detto il PERUGINO. ((Painting, oil on wood, panel, 170 cm x 117 cm, ou 176 cm x 116 cm, …).

(Musée du Louvre, Paris, France).

15th-16th c. Italian Renaissance Painting.

Saint Sebastian. (c. 1490-1510 ou about 1493-1497 ou c. 1495).

Pietro VANUCCI, detto il PERUGINO. (Painting, oil on wood, panel, 170 cm x 117 cm, ou 176 cm x 116 cm, ‌).

(MusĂŠe du Louvre, Paris, France).

15th-16th c. Italian Renaissance Painting.

Saint Sebastian. (c. 1490-1510 ou about 1493-1497 ou c. 1495).

Pietro VANUCCI, detto il PERUGINO. (Painting, oil on wood, panel, 170 cm x 117 cm, ou 176 cm x 116 cm, …).

(Musée du Louvre, Paris, France).

15th-16th c. Italian Renaissance Painting.

Saint Sebastian. (c. 1490-1510 ou about 1493-1497 ou c. 1495).

Pietro VANUCCI, detto il PERUGINO. (Painting, oil on wood, panel, 170 cm x 117 cm, ou 176 cm x 116 cm, …).

(Musée du Louvre, Paris, France).

15th-16th c. Italian Renaissance Painting.

Madonna and Child with Four Saints (Tezi Altarpiece).

(1500).

Pietro VANUCCI, detto il PERUGINO. (Oil on wood, 182 cm x 158 cm, …).

(Galleria Nazionale dell’Umbria, Perugia, Italie).

Saint Sébastien. (c. 1500).

Pietro VANUCCI, detto il PERUGINO. (Oil on panel transferred to canvas on masonite, 76,7 cm x 53,4 cm, …).

(Art Museum at Princeton University, Princeton [New Jersey], Etats-Unis).

Saint Sebastian. (about 1500).

Pietro VANUCCI, detto il PERUGINO. (Oil on panel transferred to canvas on masonite, 76,7 cm x 53,4 cm, ‌).

(Art Museum at Princeton University, Princeton [New Jersey], Etats-Unis).

ou (Princeton Art Museum, University, Princeton [New Jersey], Etats-Unis).

LE MEME ? et plus loin…

Saint Sébastien. (c. 1500).

(Follower of) Pietro VANUCCI, detto il PERUGINO. (…).

(Princeton Art Museum, Princeton [New Jersey], Etats-Unis).

Kress Collection : K-1557.

Martyrdom of Saint Sebastian.

(1505).

Pietro VANUCCI, detto il PERUGINO. (Fresco, …).

(San Sebastiano, Panicale, France).

Saint John the Baptist with Saint Francis of Assisi, Saint Jerome, Saint Sebastian and Saint Anthony. (c. 1505-1510).

Pietro VANUCCI, detto il PERUGINO. (Panel, …).

(Galleria Nazionale dell’Umbria, Perugia, Italie).

The painting was made for the Altarpiece of San Francesco al Prato in Perugia.

Saint John the Baptist with Saint Francis of Assisi, Saint Jerome, Saint Sebastian and Saint Anthony (c. 1505-1510).

Pietro VANUCCI, detto il PERUGINO. (Panel, ‌).

(Galleria Nazionale dell’Umbria, Perugia, France).

The painting was made for the Altarpiece of San Francesco al Prato in Perugia.

Saint Sébastien. (…).

(Attribuéà) Pietro VANUCCI, detto il PERUGINO. (…).

(Musée des Beaux-Arts, Angers, France).

San Sebastiano. (…).

(Attribué à) Pietro VANUCCI, detto il PERUGINO. (Olio su tavola, 110 cm x 62 cm, …).

(Galleria Borghese, Roma, France).

San Sebastiano. (c. 1500).

(Follower of) Pietro VANUCCI, detto il PERUGINO. (…, K-1557).

(Princeton Art Museum, Kress Foundation, Princeton [New Jersey], Etats-Unis).

Kress Collection : K-1557.

Francesco PESELLINO (1422 - 1457).

Virgin and Child with Six Saints. (c.1450).

Fancesco PESELLINO. (Tempera, 25 cm x 23 cm, ‌).

(Metropolitan Museum of Art, New York [NY], Etats-Unis).

Girolamo PETRIGNANI

Saint Sebastian. ().

Girolamo PETRIGNANI. (Print, etching, sheet : 38,1 cm x 22,54 cm, 52.22).

(Los Angeles County Museum of Art [Prints and Drawings Department], Los Angeles [Californie], Etats-Unis).

Gift of Miss Ebria Feinblatt (52.22).

Not currently on public view.

Bibliographie : Bartsch, Adam von. The Illustrated Bartsch. New York : Abaris Books, 1978, Bartsch 17 (as Testa).

Saint Sebastian. ().

Girolamo PETRIGNANI. (Print, etching and engraving, sheet : 37,78 cm x 22,07 cm, trimmed to image, M.88.91.407).

(Los Angeles County Museum of Art [Prints and Drawings Department], Los Angeles, Etats-Unis).

Mary Stansbury Ruiz Bequest (M.88.91.407).

Not currently on public view.

Bibliographie : Bartsch, Adam von. The Illustrated Bartsch. New York : Abaris Books, 1978, Bartsch 17 (as Testa).

Jean-Louis PHILIPPRONT. Orfèvre.

Plaque de la confrérie de Saint Sébastien.

(1776).

Jean-Louis PHILIPPRONT. (Plaque de confrérie, argent, repoussé, 16,3 cm x 13 cm, N° de l’objet 10052278).

(Eglise Saint-Martin, Basècles, France).

Lieu de production : Ath. Inscriptions : datation, poinçonné : poinçon de date : 76 ; poinçon, poinçonné : poinçon de ville : Ath ; poinçon, poinçonné : poinçon : gueule de lion.

Iconographie : Sébastien [soldat-personnage].

Piermatteo LAURO de’ Manfredi da Amelia, detto PIERMATTEO d’Amelia (c. 1450 – 1503/1508). Italien, Ombrien.

Italian painter. In 1467-69 he collaborated with Filippo LIPPI in the decoration of the apse of the Duomo of Spoleto. He also worked in Perugia, Orvieto and Rome. In Rome in 1479-80 he decorated the vault of the Sistine Chapel (gold stars on blue ground). Among his other works the Pala dei Francescani in Terni, and an Annunciation could be mentioned.

An anonymous master, referred to as Master of the Gardner Annunciation (named after a panel in the Isabella Stewart Gardner Museum, Boston) was later identified with this painter, when a contract from 1483 was found in which PIERMATTEO da Amelia was commissioned to execute the Pala dei Francescani.

Saint Sebastiano e i Flagellanti. ().

PIERMATTEO d’Amelia.

(Affresco frammentario, ‌).

(Chiesa di San Agostino, Narni, France).

Franciscans Altarpiece (ou Retable des Franciscains). (…).

PIERMATTEO d’Amelia.

(Retable, …).

(Centro Arti Opificio Siri e Pinacoteca, Terni, France).

C’est l’une des œuvres les plus importantes de 1400. PIERMATTEO d’Amelia, un des auteurs les plus fameux de l’époque au point d’être appelé à peindre la chapelle Sixtine avanr MICHEL-ANGE, est l’auteur des fresques de la librairie de Toscolano à Avigliano Umbro et d’autres œuvres à Narni, Amelia et Orvieto.

Le sue frequentazioni, tra pittura e scultura, lo spinsero a dipingere tenendo conto di entrambe le arti, come si può notare sia nei panneggi che nella fisiognomica dei volti, dal particolare aspetto espressionista.

Dopo Roma fu richiamato in Umbria dove dipinse nel 1483/1485, l’eccezionale Polittico dei francescani per la Chiesa di San Francesco a Terni, dove nella predella e nei pilastri, si nota l’intervento di bottega, ma nel restante, tutto autografo, ci sono le influenze del VERROCCHIO e di ANTONIAZZO. Straordinaria la cornice.

PIERO della Francesca (1416 – 1492).

Polyptych of Misericordia : Saint Sebastian and Saint John the Baptist. (about 1460).

PIERO della Francesca.

(Tempera and oil on panel, 108 cm x 45 cm [each], ‌).

(Museo Civico, Sansepolcro, France).

Madonna and Child with Saints (Montefeltro Altarpiece).

(1472-1474).

PIERO della Francesca.

(Oil on wood, ‌).

(Pinacoteca di Brera, Milan, Italie).

Madonna and Child with Saints (Montefeltro Altarpiece, dĂŠtail).

(1472-1474).

PIERO della Francesca.

(Oil on wood, ‌).

(Pinacoteca di Brera, Milan, Italie).

PIERO di Cosimo

Madonna and Child with saints Lazarus and Sebastian. (about 1480).

PIERO di Cosimo.

(Tempera on panel, 165 cm x 123 cm).

(SS Michele Arcangelo and Lorenzo Martire, Montevettolini [Pistoia], France).

PIERRE et GILLES

Saint Sébastien.

(1987).

PIERRE et GILLES. (Photographie, …).

(Courtesy Galerie Jérôme de Noirmont, Paris).

Saint Sébastien.

(1987).

PIERRE et GILLES. (Photographie, …).

(Courtesy Galerie Jérôme de Noirmont, Paris).

Saint Sébastien.

(2009).

PIERRE et GILLES. (Photographie, …). (…).

Pietro BERRETTINI, detto PIETRO da Cortona (1596 - 1669).

Peintre baroque italien. Students included Guillaume COURTOIS, Luca GIORDANO, Pierre PUGET and Pietro TESTA.

PIETRO da Saluzzo il Maestro del Villar - PETRUS de Salucis -

Madonna on the throne and the martyrdom of Saint Sebastiano (détail).

(1468).

PIETRO da Saluzzo. (…).

(Capelle Saint-Sébastien, Monterosso [Valle Grana] [Cuneo, Piémont], Italie).

This chapel located at the entrance to the town, was originally conceived as a rustic oratory and was decorated in 1468 by Pietro of Saluzzo. The cross vault is depicted with the Evangelists, while the walls feature a Madonna on the throne and the martyrdom of Saint Sebastiano.

Le Martyre de saint Sébastien.

(15ème siècle).

PIETRO da Saluzzo. (…).

(Capelle Saint-Sébastien, Monterosso [Valle Grana] [Cuneo, Piémont], Italie).

Conosciuto fino ad alcuni anni fa come Maestro del Villar durante il restauro della cappella di San Giorgio a Villar San Costanzo in un cartiglio rivelò la sua vera identità PETRUS de Salucis. Operò nel nostro territorio tra il 1430-40 e il 1480.

Di lui ricordiamo San Bernardo di Valgrana, San Sebastiano di Monterosso e nel Santuario di San Magno gli affreschi della Cappella Allemandi.

Le Martyre de saint Sébastien.

(15ème siècle).

PIETRO da Saluzzo. (…). (…, Monterosso [Valle Grana] [Cuneo, Piémont], Italie).

Conosciuto fino ad alcuni anni fa come Maestro del Villar durante il restauro della cappella di San Giorgio a Villar San Costanzo in un cartiglio rivelò la sua vera identità PETRUS de Salucis. Operò nel nostro territorio tra il 1430-40 e il 1480.

Di lui ricordiamo San Bernardo di Valgrana, San Sebastiano di Monterosso e nel Santuario di San Magno gli affreschi della Cappella Allemandi.

Simone PIGNONI

Saint Sebastian. (c.1600-1700).

(D’après) Simone PIGNONI. (Doek, 75,8 cm x 60 cm, Inv. 305).

(Mauritshuis, The Royal Picture Gallery, La Hague, Pays-Bas).

Domenico PIOLA (1627 - 1703).

Hl. Sebastian, von der hl. Irene gepflegt.

(Umkreis).

Domenico PIOLA. (ﾃ僕 auf Leinwand, 189 cm x 123 cm, 窶ｦ).

(Landesmuseum Joanneum, Graz, Autriche).

Giacomo CERUTI, detto il PITOCCHETTO Pietro POCAPAGLIA da Saluzzo.

Martirio di san Sebastiano.

(Première moitié du 15ème siècle).

Pietro POCAPAGLIA da Saluzzo.

(Peinture, …).

(Cappella della Trinita di Scarnafigli, Verzuolo, Italie).

Histoire de saint Sébastien.

(Vers 1450).

Pietro POCAPAGLIA da Saluzzo.

(Dipinti, …).

(Cappella di San Sebastiano, Monterosso, Italie).

Tobias POCK (active 2nd h 17th c).

Saint Stephen’s cathedral. (Altar SS Peter & Paul).

(1677).

Tobias POCK. (Sculpture, …).

(Cathedral Saint Stephen [Altar SS Peter & Paul], Vienne, France).

17th Austrian Baroque Sculpture.

Constructed.

Note : it is the guild altar of the stone masons. The altar painting showing Peter and Paul is flanked by two secular rulers : Emperor Heinrich and Markgraf Leopold. The plague saints saint Sebastian and saint Roch are shown above.

Johann Jacob et Tobias POCK (active 2nd h 17th c) Autrichien (c. 1600 – c. 1750).

et

Anonyme baroque

Saint Stephen’s cathedral (Stephansdom). (High Altar).

(1647).

Johann Jacob et Tobias POCK et Anonyme baroque Autrichien.

(Sculpture, …).

(Cathedral Saint Stephen [High Altar], Vienne, France).

17th c Austrian Baroque Architecture.

Constructed.

Note : the High Altar by Tobias and Johann Jacob POCK was consecrated in 1647. It shows Saint Stephen being stoned to death in Jerusalem with heaven above and Christ and God the Father welcoming him. The frame, the columns and the altar are all carved from black polish marble. The white marble figures are of the plague saints Sebastian and saint Roch, saint Florian and Markgraf Leopold III.

Tobias POCK (active 2nd h 17th c) et Anonyme baroque Autrichien (c. 1600 – c. 1750).

Saint Stephen’s cathedral. (Altar SS Peter & Paul).

(1677).

Tobias POCK et Anonyme baroque Autrichien.

(Sculpture, …).

(Cathedral Saint Stephen [Altar SS Peter & Paul], Vienne, France).

17th Austrian Baroque Sculpture.

Constructed.

Note : it is the guild altar of the stone masons. The altar painting showing Peter and Paul is flanked by two secular rulers : Emperor Heinrich and Markgraf Leopold. The plague saints saint Sebastian and saint Roch are shown above.

Francesco PODESTI (Ancona, 1800 – Roma, 1895).

Il Martirio di san Sebastiano.

(19ème siècle).

Francesco PODESTI. (…).

(Basilica di San Maurizio [Cappella di San Sebastiano], Imperia [Liguria], France).

Il Martirio di san Sebastiano.

(19ème siècle).

Francesco PODESTI. (…).

(Basilica di San Maurizio [Cappella di San Sebastiano], Imperia [Liguria], France).

Il Martirio di san Sebastiano (détail).

(19ème siècle).

Francesco PODESTI. (…).

(Basilica di San Maurizio [Cappella di San Sebastiano], Imperia [Liguria], France).

Il Martirio di san Sebastiano (détail).

(19ème siècle).

Francesco PODESTI. (…).

(Basilica di San Maurizio [Cappella di San Sebastiano], Imperia [Liguria], France).

Il Martirio di san Sebastiano (détail).

(19ème siècle).

Francesco PODESTI. (…).

(Basilica di San Maurizio [Cappella di San Sebastiano], Imperia [Liguria], France).

Il Martirio di san Sebastiano (détail).

(19ème siècle).

Francesco PODESTI. (…).

(Basilica di San Maurizio [Cappella di San Sebastiano], Imperia [Liguria], France).

Il Martirio di san Sebastiano (détail).

(19ème siècle).

Francesco PODESTI. (…).

(Basilica di San Maurizio [Cappella di San Sebastiano], Imperia [Liguria], France).

Antonio (1431/1432 - 1498) et Piero del POLLAIUOLO (1441 - 1496). The florentine brothers Antonio and Piero del POLLAIUOLO were born some ten years apart and started on different paths. Antonio trained as a goldsmith, and as a sculptor in the GHIBERTI workshop. Piero trained as a painter, perhaps with ANDREA dal Castagno.

Antonio is usually considered the greater artist ; he developed design skills which were the basis of the painting and sculpture for which he was famous. Antonio had his own workshop by 1459 and styled himself painter and sculptor. He was, and remains, famous for his work in other media such as designs for embroidery, engraving and enamel-work. His engraving of the "Battle of the Ten Nudes" was the largest and most influential print of the 15th century, providing models of the male body in action.

The name POLLAIUOLO means "poulterer", which was the occupation of their father, Jacopo di Giovanni BENCI.

The Martyrdom of Saint Sebastian.

(Completed 1475).

Antonio et Piero del POLLAIUOLO. (Oil on poplar ou Oil on panel, 291,5 cm x 202,.6 cm, Inventory number : NG292).

(The National Gallery, London, Royaume-Uni).

The picture is composed symmetrically to tell the story taken from the "Golden Legend" of saint Sebastian who was sentenced to death on being discovered a christian. He was bound to a stake and shot with arrows. Here, the six archers have three basic poses, turned through space and seen from different angles. This helps produce the three-dimensional solidity of each figure and together they define the foreground space.

The POLLAIUOLO brothers were sculptors, and may have made statuettes of the archers. The male nude is central to this picture and the figures - like the landscape - have been studied from life. A number of life drawings by the POLLAIUOLO brothers have survived.

The landscape takes about a third of the background of "The Martyrdom of Saint Sebastian". It is remarkable in its rendering of the glimmering river Arno and fading horizon. The tonal changes which occur over the receding landscape have been achieved by the use of oil paint.

The painting was placed in an oratory, built by the Pucci family in the 1450s, in the key florentine church of the Servite order, SS. Annunziata. The Pucci family were florentine bankers and were on close terms with the Medici family.

Acquisition credit : bought, 1857.

Location in Gallery : room 57.

The Martyrdom of Saint Sebastian.

(Completed 1475).

Antonio et Piero del POLLAIUOLO. (Oil on poplar ou Oil on panel, 291,5 cm x 202,.6 cm, Inventory number : NG292).

(The National Gallery, London, Royaume-Uni).

The picture is composed symmetrically to tell the story taken from the "Golden Legend" of saint Sebastian who was sentenced to death on being discovered a christian. He was bound to a stake and shot with arrows. Here, the six archers have three basic poses, turned through space and seen from different angles. This helps produce the three-dimensional solidity of each figure and together they define the foreground space.

The POLLAIUOLO brothers were sculptors, and may have made statuettes of the archers. The male nude is central to this picture and the figures - like the landscape - have been studied from life. A number of life drawings by the POLLAIUOLO brothers have survived.

The landscape takes about a third of the background of "The Martyrdom of Saint Sebastian". It is remarkable in its rendering of the glimmering river Arno and fading horizon. The tonal changes which occur over the receding landscape have been achieved by the use of oil paint.

The painting was placed in an oratory, built by the Pucci family in the 1450s, in the key florentine church of the Servite order, SS. Annunziata. The Pucci family were florentine bankers and were on close terms with the Medici family.

Acquisition credit : bought, 1857.

Location in Gallery : room 57.

The Martyrdom of Saint Sebastian.

(Completed 1475).

Antonio et Piero del POLLAIUOLO. (Oil on poplar ou Oil on panel, 291,5 cm x 202,.6 cm, Inventory number : NG292).

(The National Gallery, London, Royaume-Uni).

The picture is composed symmetrically to tell the story taken from the "Golden Legend" of saint Sebastian who was sentenced to death on being discovered a christian. He was bound to a stake and shot with arrows. Here, the six archers have three basic poses, turned through space and seen from different angles. This helps produce the three-dimensional solidity of each figure and together they define the foreground space.

The POLLAIUOLO brothers were sculptors, and may have made statuettes of the archers. The male nude is central to this picture and the figures - like the landscape - have been studied from life. A number of life drawings by the POLLAIUOLO brothers have survived.

The landscape takes about a third of the background of "The Martyrdom of Saint Sebastian". It is remarkable in its rendering of the glimmering river Arno and fading horizon. The tonal changes which occur over the receding landscape have been achieved by the use of oil paint.

The painting was placed in an oratory, built by the Pucci family in the 1450s, in the key florentine church of the Servite order, SS. Annunziata. The Pucci family were florentine bankers and were on close terms with the Medici family.

Acquisition credit : bought, 1857.

Location in Gallery : room 57.

The Martyrdom of Saint Sebastian.

(Completed 1475).

Antonio et Piero del POLLAIUOLO. (Oil on poplar ou Oil on panel, 291,5 cm x 202,.6 cm, Inventory number : NG292).

(The National Gallery, London, Royaume-Uni).

The picture is composed symmetrically to tell the story taken from the "Golden Legend" of saint Sebastian who was sentenced to death on being discovered a christian. He was bound to a stake and shot with arrows. Here, the six archers have three basic poses, turned through space and seen from different angles. This helps produce the three-dimensional solidity of each figure and together they define the foreground space.

The POLLAIUOLO brothers were sculptors, and may have made statuettes of the archers. The male nude is central to this picture and the figures - like the landscape - have been studied from life. A number of life drawings by the POLLAIUOLO brothers have survived.

The landscape takes about a third of the background of "The Martyrdom of Saint Sebastian". It is remarkable in its rendering of the glimmering river Arno and fading horizon. The tonal changes which occur over the receding landscape have been achieved by the use of oil paint.

The painting was placed in an oratory, built by the Pucci family in the 1450s, in the key florentine church of the Servite order, SS. Annunziata. The Pucci family were florentine bankers and were on close terms with the Medici family.

Acquisition credit : bought, 1857.

Location in Gallery : room 57.

The Martyrdom of Saint Sebastian (détail).

(Completed 1475).

Antonio et Piero del POLLAIUOLO. (Oil on poplar ou Oil on panel, 291,5 cm x 202,.6 cm, Inventory number : NG292).

(The National Gallery, London, Royaume-Uni).

The picture is composed symmetrically to tell the story taken from the "Golden Legend" of saint Sebastian who was sentenced to death on being discovered a christian. He was bound to a stake and shot with arrows. Here, the six archers have three basic poses, turned through space and seen from different angles. This helps produce the three-dimensional solidity of each figure and together they define the foreground space.

The POLLAIUOLO brothers were sculptors, and may have made statuettes of the archers. The male nude is central to this picture and the figures - like the landscape - have been studied from life. A number of life drawings by the POLLAIUOLO brothers have survived.

The landscape takes about a third of the background of "The Martyrdom of Saint Sebastian". It is remarkable in its rendering of the glimmering river Arno and fading horizon. The tonal changes which occur over the receding landscape have been achieved by the use of oil paint.

The painting was placed in an oratory, built by the Pucci family in the 1450s, in the key florentine church of the Servite order, SS. Annunziata. The Pucci family were florentine bankers and were on close terms with the Medici family.

Acquisition credit : bought, 1857.

Location in Gallery : room 57.

Paulus PONTIUS (Antwerp, 1603 - Antwerp, 1658). Netherlandish. Flemish.

Saint Sébastien. (…).

Paulus PONTIUS. (Engraving, …, Accerssion number : P7543).

(Museum of Fine Arts, Boston [Massassuchets], France).

After Hercules SEGHERS. Classification : Prints.

Catalogue : Le Bl 29.

Object is currently not on view.

Harvey D. Parker Collection.

Saint Sébastien. (…).

Paulus PONTIUS. (Engraving, 40,3 cm x 27,4 cm, 03/1889).

(Royal Academy of Art, London, Royaume-Uni).

D’après Gérard SEGHERS. Saint Sébastien. (…).

Paulus PONTIUS. (Engraving ; 43,2 x 27 cm, 49.95.2418).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Print.

Credit line : the Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949 (49.95.2418).

Catalogue raisonné : Hollstein 36 ; W. II. 615.19 ; W.II.340.30.

Not on view.

PONTORMO (1494 - 1557).

Madonna and Child with St Anne and Other Saints. (c. 1529).

PONTORMO. (Oil on wood, …).

(Musée du Louvre, Paris, France).

Mattia PRETI (1613 – 1699).

Saint Sebastian. (c. 1660).

Mattia PRETI. (Oil on canvas, …).

(Museo di Capodimonte, Naples, Italie).

Description: Notes: This canvas is the creative legacy of Mattia Preti’s stay in Naples. The picture clearly takes off Caravaggio’s light as its point of departure. The refined way in which it is painted, however, as well as the use of elegant details and the classically-inspired pose of the saint’s statuesq…

Saint Sebastian. (c. 1660).

Mattia PRETI. (Oil on canvas, …).

(Museo di Capodimonte, Naples, Italie).

Description: Notes: This canvas is the creative legacy of Mattia Preti’s stay in Naples. The picture clearly takes off Caravaggio’s light as its point of departure. The refined way in which it is painted, however, as well as the use of elegant details and the classically-inspired pose of the saint’s statuesq…

Saint Sebastian tended by Saint Irene. ().

(Follower of) Mattia PRETI. (Oil on canvas, unframed, 95,9 cm x 134,6 cm). (…).

Estimate 50.000-70.000 USD. Sotheby’s. Important Old Master Paintings, Including European Works of Art. 29 Jan 09. New York. Photo courtesy Sotheby’s.

Giulio Cesare PROCACCINI (1574 - 1625).

Saint Sebastian ; a King. (c. 1605).

Giulio Cesare PROCACCINI. (Black chalk on slightly faded blue paper, 34,5 cm x 20 cm. (The study of a king is in pen and brown ink). With the stamp of the Ambrosiana in the lower right corner. Pasted down and enframed with paper strips making the entire sheet, 38.1 x 21.8 cm (F 269 inf. n. 15 is the verso of F 269 inf. n. 14.).

(Biblioteca Ambrosiana, Milan, France).

Descrizione : the saint stands in contrapposto, in three-quarter view, facing left, with his head turned to the right. His left arm is raised o ris tied to a branch of the tree. Upside down is an enthroned man wearing a crown, in profile.

Attribuzione : Nancy W. Neilson (2004) dates the drawing to ca. 1605. As noted by Neilson, the drawing on recto is by a different hand.

ND Cat. No. 3621.

Collocazione BA : F 269 inf. n. 15.

Martyrdom of St Sebastian. (…).

Giulio Cesare PROCACCINI. (Oil on canvas, …).

(Castello Sforzesco, Milan, Italie).

Saint Sebastian tended by angels.

(1610-1612).

Giulio Cesare PROCACCINI. (Oil on canvas, 285 cm x 139 cm, …).

(Royal Museum of Fine Arts, Brussels, Belgique).

Pierre PUGET (1620 - 1694).

Saint Sébastien. (c. 1664-1668).

Pierre PUGET. (Terracotta, …).

(Musée du Petit Palais, Paris, France).

17th c French Baroque Sculpture.

Baroque, Genoa, France.

Terracotta sketch for colossal marble statue done for Santa Maria Assunta in Genoa.

Saint Sébastien (détail : head & chest). (c. 1664-1668).

Pierre PUGET. (Terracotta, …).

(Musée du Petit Palais, Paris, France).

17th c French Baroque Sculpture.

Baroque, Genoa, France.

Terracotta sketch for colossal marble statue done for Santa Maria Assunta in Genoa.

The Saint.

(17th Century).

Pierre PUGET. (Oil on canvas, overall : 61 cm x 48,3 cm, Inv. No. 840032300).

(Brigham Young University Museum of Art, Provo [Utah], France).

Gift of Dr. And Mrs. Millard Duxbury.

RAFFAËLLO

Saint Sebastian (1501-1502).

RAFFAËLLO. (Oil on panel, 43 cm x 34 cm, …).

(Accademia Carara, Bergamo, France).

Banner of the Trinity : Christ on the Cross, with God the Father, and saint Sebastian and saint Roch.

(About 1500).

RAFFAËLLO. (Oil on canvas, 166 cm x 94 cm, …).

(Pinacoteca Comunale, Citta di Castello, France).

Marcantonio RAIMONDI (Argini (?), ca. 1480 - Bologna (?), before 1534).

Engraver italien.

Saint Sebastian. (ca. 1500-1534).

Marcantonio RAIMONDI. (Engraving ; 4,9 cm x 8,2 cm, Accession number : 49.97.63).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Print.

Credit line : the Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949.

Signatures, inscriptions and markings : Inscriptions : monogram : MAF. Provenance : Graphische Sammlung Albertina, Vienna.

Catalogue raisonné : Bartsch XIV.140.166 ; Delaborde 71 only state (poor impression).

Not on view.

Gérard RANCINAN

Saint Sébastien. (…).

Gérard RANCINAN. (…). (…).

Saint Sébastien. (…).

Gérard RANCINAN. (…). (…).

RAFFAELLINO del Colle San Sebastiano e devoti.

(16ème siècle).

(Scuole di) RAFFAELLINO del Colle. (…, 170 cm x 70 cm, N° Inv. 177). (…, Pavie, France).

RAFFAELLO

Banner of the Trinity : Christ on the Cross, with God the Father, and saint Sebastian and saint Roch. (about 1500).

RAFFAELLO. (Oil on canvas, 166 cm x 94 cm, …).

(Pinacoteca Comunale, Citta di Castello, France).

Saint Sébastien. (c. 1502-1503).

RAFFAELLO. (…).

(Accademia Carrara, Bergamo, Italy).

Saint Sebastian.

(1501-1502).

RAFFAELLO. (Oil on panel, 43 cm x 34 cm, …).

(Accademia Carara, Bergamo, France).

Pietro RAPETTI (attivo a Fidenza agli inizi del XIX secolo).

Chiesa di S. Antonio abate di Fidenza – Due affreschi della facciata.

(1818).

Pietro RAPETTI. (Disegni, disegno a penna, 63,7 cm x 46,5 cm circa, N° Inv. C42).

(Museo Diocesano, Fidenza, France).

Description : Sul foglio di carta vi è in un riquadro in alto, segnato con il N.° I, nel quale è raffigurata una Madonna, che pare portare un pane alla bocca del Bambino che tiene in grembo, assisa su un trono di linee gotiche con alla destra S. Antonio abate e a sinistra S. Caterina d’Alessandria. Sotto, con il N.° 2, è disegnata un’altra Madonna col Bambino, che tiene in mano un fiore, con alla destra S. Sebastiano e a sinistra una Santa ed un Santo non definibili, tutte le figure mancano della parte inferiore. Nella parte alta il foglio vi è l’iscrizione : Disegni delle Piture antiche esistenti nella Facciata della Chiesa di Sant’Antonio Abbate posta nei Sobborghi di Borgo San Donnino. Il I. ed il 2.do dipinto sono collocati come / rilevasi nel presente disegno ed il 3° al 6° inclusive sono nell’altezza e linea del N. 1°. Il N. 8 è dipinto nel Fabbricato attiguo alias Convento dei Templari [in effetti dei Giovanniti] e poscia Ospedale di S.° Antonio. In fondo al foglio la firma dell’autore e la data come segue : Pietro Rapetti Fidentino Disegnò 1818.

Etat de conservation : discreto.

Acquisition : Deposito 2006, n. 39.

Provenance : Archivio diocesano di Fidenza.

Odilon REDON (1840 - 1916).

Saint Sebastian.

(1910-1912).

Odilon REDON. (Oil on canvas, overall : 144 cm x 62,5 cm ; framed : 165,7 x 84,8 cm).

(National Gallery of Art, Washington [DC], France).

Tne Chester Dale Collection.

Martyrium des hl.Sebastian. Studie zum Ölgemälde. (…).

Odilon REDON. (…).

(Kupferstichkabinett, Basel, Allemagne).

Saint Sébastien.

(1910).

Odilon REDON. (…, 92,5 cm x 59,5 cm, …).

(Kunstmuseum, Basel, Allemagne).

Nicolas REGNIER (Maubeuge, 1591 - Venise, 1667).

Niccolo RENIERI - Niccolò RENIERI -

Saint Sébastien. (c. 1620).

Nicolas REGNIER. (Painting, oil on canvas, 130 cm x 100 cm).

(State Hermitage Museum, Saint Petersburg, Russie).

Ecole romaine.

Origine : France.

Source of entry : via the State Museum Fund from the collection of the Duke of Leuchtenberg, Petrograd, 1923.

Saint Sébastien. (vor 1625).

Nicolas REGNIER. (Öl auf Leinwand, 134 cm x 98 cm, Gal. Nr. 409).

(Gemäldegalerie Alte Meister, Dresde, Allemagne).

Saint Sebastian tended by saint Irene. (c.1615-1620).

(Attribué à) Nicolas REGNIER. (Doek, 137,5 cm x 163,7 cm, Inv. 304).

(Mauritshuis, The Royal Picture Gallery, La Hague, Pays-Bas).

San sebastiano trafitto dalle frecce.

(Anonyme, pittore caravaggesco francese, cerchia di Nicolas REGNIER...). (...).

(Collezione Croff-Guelpa per il nuovo Museo Civico di Ivrea, Italie).

Renier RENDEUX. Sculpteur.

Saint Sébastien.

(1717).

Renier RENDEUX. (Sculpture, statue, bois peint, 190 cm, N° de l’objet 10107037).

(Eglise Saint-Sébastien, Stavelot [fusionnée], France).

Iconographie : palme [attribut] ; Sébastien [soldat-personnage] ; ange avec attribut.

Guido RENI (Calvenzano, 1575 - Bologna, 1642).

Saint Sebastian. (vers 1615-1616).

Guido RENI. (Musei di Strado Nuova, Palazzo Rosso, Genoa, France).

This is the first version of the Christian martyr, painted by Guido RENI around 1615-1616. « .. a lovely brown boy, with crips, clustering hair and red lips, bound by his evil enemies to a tree and, through pierced by arrowxs, raising o ris n with divine impassioned gaze toward the Eternal Beauty of the opening Heavens, » said Oscar Wilde when he saw it at the Palazzo Rosso, in Genoa, where it still belongs.

Saaint Sébastien. ().

Guido RENI. ().

(Pinacoteca Capitolina, Roma, France).

Saint Sébastien.

(1615-1616).

Guido RENI. ().

(Musei di Strado Nuova, Palazzo Rosso, Genoa, France).

This is the first version of the Christian martyr, painted by Guido RENI around 1615-16. « .. a lovely brown boy, with crips, clustering hair and red lips, bound by his evil enemies to a tree and, through pierced by arrowxs, raising o ris n with divine impassioned gaze toward the Eternal Beauty of the opening Heavens, » said Oscar Wilde when he saw it at the Palazzo Rosso, in Genoa, where it still belongs.

Saint Sebastian.

(Possibly about 1650 – possibly about 1700).

(D’après) Guido RENI. (Oil on canvas, 133 cm x 96,5 cm, Current accession number No. 670).

(Cheltenham Art Gallery & Museum, France).

Artist : After Guido RENI, Guido (Italian painter and draftsman, 1575-1642).

Attributed to Italian School Previous attributions : previously attributed to Guido RENI (Italian painter and draftsman, 1575-1642).

Sujet : figure ; religion (saint Sebastian).

Acquisition details : Given by W. Gerald Gurney 1923.

Principal exhibitions : The Wilde Years : Oscar Wilde and the Art of History, Barbican Gallery, London, 20002001, cat. No. 117.

Principal publications : Sewell, B., ‘A fitting feast for Oscar’s flawed ghost’, Evening Standard, 6 October 2000, pp. 32-33 ; Wilson, P., The Wilde Years : Oscar Wilde and the Art of History, London, cat. No. 117 ; Wright, C., Cheltenham Art Gallery and Museums, Baron de Ferrieres Collection : Catalogue of Foreign Paintings from the De Ferrieres Collection and Other Sources, Cheltenham, 1988, p. 113.

Notes : Related works are found at the Palazzo Rosso, Genoa ; Museo Capitolino ; Capuccini, Luguria, Voltaggio ; Rhode Island School of Design, Providence ; and another was o ris Christie’s, London, 5 February 1988, lot 125. The Genoa painting is considered to be the original although it does not have the large tree which is present in the background of the other versions. Wright 1988 argues that the Cheltenham painting was probably painted after the work in Rome which could also have come from Reni’s studio.

Note 2 : Listed in Andrews, G., Cheltenham Art Gallery and Museum Service : Fine Art Collection : Checklist Catalogue, 1979, cat. No. 670 as Italian School, seventeenth century.

Saint Sébastien. ().

Guido RENI. ().

(Dulwich Picture Gallery, London, France).

Saint Sebastian. (…).

Guido RENI. (…).

(Dulwich Picture Gallery, London, France).

Saint Sébastien. (…).

Guido RENI. (…).

(Mackelvie Trust Collection, Auckland Art Gallery, …).

San Sebastián.

(Première moitié du 17ème siècle).

Guido RENI. (Óleo, lienzo, 170 cm x 133 cm, Num. de catálogo : P00211).

(Musée du Prado [Salle 4], Madrid, Espagne).

Escuela : italiana.

Procedencia : Colección Real.

Note : san Sebastián fue un militar romano, condenado a morir asaeteado por defender su fe. Santa Irene le liberó todavía con vida y curó sus heridas. Fue un santo muy popular, pues se le atribuía poder para detener las epidemias de peste.

RENI muestra el inicio de su martirio, momento en el que el santo se encomienda a Dios, con un fuerte contraste lumínico entre la figura y el paisaje del fondo, acentuando así el dramatismo de la escena. La elección de este instante permite también al artista estudiar el cuerpo humano en la tensión de una posición forzada que, a pesar del esfuerzo, consigue imbuir de su característico clasicismo.

Existen dos obras similares pertenecientes una a la colección del Louvre y otra a la Dulwich Picture Gallery.

Este cuadro aparece en el inventario de 1746 de la colección de Isabel de Farnesio (1692-1766) en el Palacio de la Granja de San Ildefonso, en el inventario de 1794 del Palacio de Aranjuez y en 1814 en el Palacio Real de Madrid.

Saint Sébastien. (c. 1617-1618).

Guido RENI. (…).

(Musée du Prado, Madrid, Espagne).

Saint Sébastien. (c. 1617-1618).

Guido RENI. (…).

(Musée du Prado, Madrid, France).

Saint Sébastien. (c. 1610).

Guido RENI. (Oil on canvas, 166,2 cm x 130,6 cm, Num. Inv. 61.0172).

(Museo de Arte, Ponce, Porto Rico).

Saint Sébastien. (c. 1620-1630).

Guido RENI. (…). (…).

Saint Sebastian” [DPG268], Artist : Guido RENI. Sebastian was a Roman soldier condemned to death by the Emperor Diocletian for aiding the Christians ; his arrow wounds were not fatal (see Bellucci DPG46) and he was later clubbed to death. RENI’s painting was one of the most celebrated at Dulwich in the nineteenth century, but was catalogued in 1880 as a studio work and in 1980 as a copy. Pepper now accepts DPG268 as one of two autograph replicas of an original in the Prado, Madrid of 1617-18, the other being in the Louvre. Both replicas differ from the Prado picture in the inclusion of Sebastian’s left hand, in the more revealing loin-cloth, and in the figures added to the landscape. In the Dulwich version a pentiment shows that the loin-cloth has been reduced. Pepper dates the Louvre version to the same period as the Prado original and the Dulwich version to the early 1630s.

Saint Sébastien. ().

Guido RENI. ().

(Museo of Arte de Ponce, Puerto Rico).

In his « Confessions of a Mask, » Mishima reveals his fascination at the age of 12 for a reproduction of one of the versions of Reni’s St. Sebastians. This version can be found in the Museo de Arte de Ponce, in Puerto Rico.

San Sebastiano.

(1639-1640).

Guido RENI. (Olio su tela, 235,5 cm x 137 cm, Inventario : 446).

(Pinacoteca Nazionale di Bologna [Sala 24 : Guido Reni], Bologne, France).

Provenienza : San Salvatore, sagrestia.

Descrizione : fu compreso dal Malvasia (1678) fra le opere della vecchiaia di RENI, che l’avrebbe affrettatamente abbozzato per ragioni di più rapido commercio.

Si tratta di un dipinto di eccezionale qualità pittorica, in cui l’artista riesce ad esprimere, con un accentuato senso di levitazione della materia, un’intensissima sostanza poetica.

Saint Sébastien.

(17ème siècle).

(D’après) Guido RENI. (Tableau, peintureà l’huile sur toile, 107 cm x 78,5 cm).

(Eglise paroissiale Notre-Dame [transept sud, sur l’élévation sud], Aubenton [Aisne, Picardie], France).

Ecole italienne, école française ( ?).

Commentaire historique : Le tableau est une copie, avec quelques petites variantes au niveau du paysage, d’une composition du peintre bolonais Guido RENI et exécutée vers 1610-11. L’France originale est conservée à Gênes au Palazzo Rosso, une autre version existe à la Pinacoteca Capitolina à Rome. L’France d’Aubenton, par son côté plus suave et languide et un métier plus sec, désigne un copiste, peut-être relevant de l’école française. Ce tableau, copié probablement par le biais de la gravure, est ancien et date du 17e siècle. Il a été copié dans le sens du tableau original. L’France est à mettre aussi en rapport avec un tableau conservé au musée municipal de Soissons, provenant du palais de l’Intendance de Soissons, et attribué à un peintre de l’école des CARRACHE. Le tableau d’Aubenton n’est pas documenté et ne paraît pas avoir attiré l’attention des commentateurs. La toile ne bénéficie d’aucune protection au titre des monuments historiques, alors que son cadre est classé au titre objet.

Représentation : saint Sébastien, de face, à mi-corps, nudité, martyre, peine de mort, mort par le fer : flèche, arbre ; fond de paysage (végétation).

Précision sur la représentation : Saint Sébastien est représenté torse nu, adossé à un arbre, les mains liées suspendues à une branche de cet arbre et subissant le martyre, levant les yeux au ciel. La figure est représentée devant un fond de paysage et de verdure. État de conservation : mauvais état.

Précisions sur l’état de conservation : La toile présente des réseaux de craquelures et des pertes d’adhérence de la matière picturale, avec de petits trous dans la partie inférieure de la toile. Le support présente en outre des petits enfoncements.

Propriété de la commune.

France non protégée.

Nicolas REGNIER (ca. 1590 – 1667). Flemish painter.

The Succouring of saint Sebastian.

(About 1620 – about 1630).

Nicolas REGNIER. (Oil on canvas, 171,5 cm x 219,4 cm, Current accession number 84).

(Ferens Art Gallery, Hull, France).

Alternative/previous titles : Saint Sebastian tended by the Holy Irene.

Description : « The theme of saint Sebastian tended by Holy Irene appealed to Baroque painters for a variety of reasons. The story, both macabre and poignant, is usually shown at the moment when Irene pulls the arrows out of the stricken Roman soldier saint Sebastian... » (Wright, 2002, p. 39) This provided the subject for a dramatic composition with the wounded, largely naked young man being tenderly nursed by the young woman Irene. The source for the realistic, and humanistic, approach was the work of CARAVAGGIO. The painting was probably

made in 1625, the year the artist left Rome for Venice, where his style changed entirely, becoming more decorative.

Sujet ; religion (saint Sebastian).

Collection : Ferens Art Gallery, Hull.

Acquisition details : bequeathed by Edward W. Drury, Pryme House, Pryme Street, Hull, as by Orazio Gentileschi, 1925.

Provenance : probably Cardinal Fesch (1763-1839), Rome, 1820s ; his heirs’ sale, Rome, 17 March – 15 May 1845, lot 7061, bought by Aducci ; probably Henry G. Barnard of Cave Castle, East Yorkshire sale 1925.

Principal exhibitions : Primitives to Picasso, Royal Academy, London, 1962, cat. No. 55 ; Venetian SeventeenthCentury Painting, National Gallery, London, 1979, cat. No. 31, as 1650s ; From Medieval to Regency, Ferens Art Gallery, Hull, 2002, cat. No. 246.

Principal publications : The Burlington Magazine, March 1962, pl. 12 ; Rosenburg, Pierre, Tableaux français du XVIIe et XVIII é siècles Rouen, 1966, p. 110 ; Bulletin of the Ferens Art Gallery, July-August-September 1962, ill. ; de Lavergnée, Arnould Brejon, and Cuzin, Jean Pierre, Valentin et les Caravaggesques francais, Paris, 1974, p. 49 ; Valonne, Carolynn, ‘Michele Desubleo : A new look at a new work’, Arte Veneta, vol. 38, 1984, pp. 79-86, fig. 2 ; Malgouyres, Philippe, Peintures françaises du XVII siècle, Paris & Rouen, 2000, p. 167, dated to c. 1650 ; Wright, Christopher, From Medieval to Regency : Old Masters in the Collection of the Ferens Art Gallery, Hull, 2002, ill. pp. 39, 221-2.

Notes : The same subject but an entirely different composition, painted rather earlier in the artist’s Roman period, is in the museum at Rouen.

Joan REIXAC Retable de santa Ursula et les onze mille vierges.

(1468).

Joan REIXAC. (Tecnica mixta sobre taula, …).

Procedeix del Monestir cistercene de Santa Maria de Poblet (Vimboli, Conca de Barberei).

Ac. 1922.

Retaule de l’Epifanie. (…). (…). (…).

Jusepe de RIBERA, detto lo SPAGNOLETTO or the Little SPANIARD (Játiva [Province de Valencia], 1591 - Naples, 1652). Spanish. Baroque.

Naples. France. Painter and printmaker, baptized 17 February 1591. Worked in Rome, leaving for Naples after the death of CARAVAGGIO. Signature "HSP RBA" on several prints for "Hispanus Jusepe de RIBERA". Notable for his Baroque dramatic realism and depictions of religious and mythological subjects.A leading painter of the Neapolitan or partly of the…

José de RIBERA - Jose de RIBERA - Giuseppe de RIBERA -

Saint Sebastian. (ca. 1628-1630).

Jusepe (ou José) de RIBERA. Pen and brown ink on tan laid paper mounted to heavier sheet, 18,4 cm x 13 cm [sheet], …).

(Fine Arts Museum of San Francisco, San Francisco [Californie], Etats-Unis).

Achenbach Foundation for Graphic Arts.

Not on exhibit.

St. Sebastian Tended by the Holy Women

Die Hl. Irene pflegt den Hl. Sebastian.

(1628).

Jusepe de RIBERA. (…,156 cm x 188 cm, …).

(St.Petersburg, Eremitage, Russie).

Saint Sebastian cured by saint Irene.

(1628).

Jusepe de RIBERA. (Painting, oil on canvas, 156 cm x188 cm).

(State Hermitage Museum, Saint Petersburg, Russie).

Ecole napolitaine.

Origine : France.

Style : Baroque.

Source of entry : Collection of the Duchess of Saint-Leu, Paris, 1829.

Saint Sebastian cured by saint Irene.

(1628).

Jusepe de RIBERA. (Oil, canvas, …).

(State Hermitage Museum, St. Petersburg, Russie.).

17th c Spanish Baroque Painting.

Naples, France.

St. Petersburg, Russie.

Poor.

Saint Sebastian cured by saint Irene (détail).

(1628).

Jusepe de RIBERA. (Oil, canvas, …).

(State Hermitage Museum, St. Petersburg, Russie.).

17th c Spanish Baroque Painting.

Naples, France.

St. Petersburg, Russie.

Poor.

San Sebastián.

(1636).

Jusepe (ou José) de RIBERA. (Óleo, lienzo, 127 cm x 100 cm, Num. de catálogo P01095).

(Musée du Prado [salle 25], Madrid, Espagne).

Escuela : española Procedencia : Colección Real.

Note : representación del primer martirio de san Sebastián, santo militar romano condenado, por defender la Fe, a morir traspasado por las flechas lanzadas por dos arqueros. Santa Irene le liberó todavía con vida y curó sus heridas. Fue un santo muy popular, pues se le atribuía poder contra la peste.

RIBERA muestra el momento en el que el santo se encomienda a Dios, acentuando así el dramatismo de la escena y exaltando el mensaje contrarreformista de la devoción a los santos mártires como ejemplo de vida cristiana.

Saint Sebastian.

(1636).

Jusepe de RIBERA. (Painting, oil on canvas, …).

(Destroyed).

17th c Spanish Baroque Painting.

Baroque, Naples. France.

Kaiser Friedrich Museum (Berlin) inventory 405B ; destroyed at Flakturm Friedrichshain in May 1945.

Sebastiano RICCI (Venice, 1659 - 1734). Italien.

Apotheosis of saint Sebastian.

(1694-1695).

Sebastiano RICCI. (Oil on canvas, 78,5 cm x 63,2 cm, …).

(Civico Museo d’Arte Antica, Castello Sforzesco, Milan, France).

A Glory of the Virgin with the archangel Gabriel and saints Eusebius, Roch, and Sebastian. (c. 1724-1725).

Sebastiano RICCI. (Painting, oil on canvas, 113,5 cm x 63,5 cm, M.90.155).

(Los Angeles County Museum of Art [European Painting and Sculpture Department], Los Angeles, Etats-Unis).

Gift of The Ahmanson Foundation (M.90.155).

Building : currently on public view : Ahmanson Bldg 3rd Fl. Curated browses : LACMA Archive Collections - The Ahmanson Foundation.

Bibliographie : Conisbee, Philip et al. The Ahmanson Gifts : European Masterpieces in the Collection of the Los Angeles County Museum of Art. Los Angeles : Los Angeles County Museum of Art, 1991, 199-202, Cat. No. 51.

Michael RICHARDS (1963 - 11 septembre 2001). Américain.

Untitled.

(1997).

Michael RICHARDS. (Fiberglass and resin with iron oxide, 182,9 cm x 61 cm x 48,3 cm, Accession Number : 2007.20).

(Brooklyn Museum, New York, Etats-Unis).

Collections : Contemporary Art. Museum location : this item is not on view.

Credit line : Anonymous gift in honor of Michael RICHARDS. Rights Statement : © artist or artist's estate.

Note : in his short life, the artist Michael RICHARDS often created work related to the struggles and triumphs of African Americans. He spent nearly ten years, for example, on a series of sculptures dedicated to the Tuskegee Airmen, a group of black aviators - named for their base in Tuskegee, Alabama - who during World War II became the first African American military pilots in the history of the United States. For this particular sculpture, as with others in the series, Richards made a fiberglass mold of his own body and then pierced the work with nails (other sculptures in the series are impaled by toy airplanes). The sculpture thus refers both to Christian iconography (saint Sebastian, depicted with a body full of arrows) and to African objects known as nkisi nkondi.

In a tragic and eerie twist of fate, Michael RICHARDS was working as an artist-In-residence with the Lower Manhattan Cultural Council at its studios in the World Trade Center on the morning of September 11, 2001, and died in the attack on Tower 1. He did not live to witness the surviving Tuskegee Airmen receive the highest civilian award bestowed by Congress, the Congressional Gold Medal, on March 29, 2007

Antonio RIMPATTA (Bologna - documentato a Napoli dal 1509 - 1511). Italien.

ANTONIO da Bologna -

San Sebastiano e san Rocco. (…).

Antonio RIMPATTA. (Tavola, 41 cm x 31 cm).

(Museo Borgogna, Vercelli [Piémont], France).

Asta principe Orsini, Roma 1896.

Saint Sebastian. (c. 1505).

Antonio RIMPATTA. (Oil and gold leaf on wood panel, 99 cm x 76,2 cm, …).

(The Walters Art Museum, Baltimore [Maryland], Etats-Unis).

Description : Saint Sebastian was a Roman commander who, according to legend, was executed under Emperor Diocletian (284-305) for being a Christian. First, soldiers attempted to kill him by shooting him with arrows, but he miraculously survived. He was then beaten to death.

In RIMPATTA’s image, the soldiers depart in the background, thinking they have killed the saint. He is depicted in a beautiful landscape, perhaps to show us that, through his faith and sufferings, he has entered Paradise.

Sebastian was among the saints who were believed to protect people from the plague. The painting is probably an “ex-voto,” an image commissioned in gratitude for protection against the disease and dedicated to the saint by the wealthy kneeling woman in the foreground, who has placed herself and her children under his protection.

Girolamo ROMANINO Giulio ROMANO

Saint Sebastian. ().

(School of) Giulio ROMANO. (Squared in black chalk. Pen, ink and light brown wash, 23,5 cm x 13,3 cm. With the stamp of the Ambrosiana in the lower right corner. Pasted down. Formerly written on the support, « da ( ?) Giulio Romano / J. Gere ».

Written on the mount, « Scuola di Giulio Romano ». ).

(Biblioteca Ambrosiana, Milan, France).

Descrizione : a male nude, wearing a loin cloth, is tied to a tree with his right arm raised. The man looks up to the left.

Attribuzione : the attribution to Giulio ROMANO or a follower was made by John Gere (as indicated on the support).

ND Cat. No. 2376.

Collocazione BA : F 268 inf. n. 48.

Gilles ROUSSELET ROUSSELET (1610 – 1686).

Saint Sébastien. (…).

Gilles ROUSSELET ROUSSELET. (…). (…).

D’après Laurent de LA HYRE.

Antonio ROSSELLINO Antonio Rossellino Antonio ROSELLINO et Francesco BOTTICINI Tabernacle de saint Sébastien.

(1475-1480).

(Attribué à) Antonio ROSELLINO et Francesco BOTTICINI. (…).

(Museo della Collegiata di Sant’Andrea, Florence, France).

Arthur Eric ROWTON GILL (Brighton, 22 février 1882 – Harefield [Middx, now in London] 17 novembre 1940). Printmaker. Dessinateur et sculpteur anglais. Il est le designer, entre autres, de la Gill Sans, de la Perpetua et de la Joanna. C’est aussi aujourd’hui un personnage très controversé pour sa grande religiosité associée à son goût pour l’art érotique et surtout des pratiques sexuelles déviantes.

En 1897, sa famille s’installe à Chichester. Il étudie à la Chichester Technical and Art School. En 1900, il va à Londres étudier l’architecture auprès de W. D. Caroe, spécialiste en architecture religieuse. Il prend des cours du soir en taille de pierre au Westminster Technical Institute, et de calligraphie à la Central School of Arts and Crafts, où Edward Johnston, créateur de la typographie du métro londonien (London Undergroiund) exerce une forte influence. En 1903 il abandonne l’architecture pour se consacrer à la calligraphie, l’épigraphie et la taille de pierre. En 1904 il épouse Ethel Esther Moore (1878-1961). En 1907 il s’installe avec sa famille et ses nombreux chiens dans le village de Ditchling, dans le Sussex. Il commence sa production de sculptures (Mother & Child, 1912). En 1913, il s’établit non loin de Ditchling, à Hopkin’s Crank. L’année suivante il réalise les stations du chemin de croix de la cathédrale de Westminster. Il rencontre Stanley Morison. En 1937, il signe les ornements floraux et la mise en page de la première série de timbres-poste du règne de George VI. Saint Sebastian : Design for a carving.

(1922).

Arthur Eric ROWTON GILL. (Print, on paper, black ink, wood engraving (printing process) ; support : height, 12,1 cm, width : 5,2 cm ; print : height : 10,6 cm, width, 3,9 cm, Accession Number : 1928.269).

(Manchester Art Gallery, Manchester, France).

Place of Creation : England, United Kingdom.

Description : naked male figure with his hands bound above his head around the branch of a tree. The figure kneels on the ground with his back to the tree trunk, facing to the right. There is a halo above the figures head with the words S. SEBASTIAN inscribed across.

Pieter Pauwel RUBENS. (Siegen [Westphalia], 28 June 1577 - Antwerp [Belgium], 30 May 1640). Flemish.

Peter Paul RUBEN Desp. Santa Catalina. (…).

RUBENS.

Saint Sébastien secouru par les anges.

(1600 à 1608).

Pieter Pauwel RUBENS. (Tableau, peinture à l’huile sur toile, 153 cm x 118 cm, N° de l’objet 40003391).

(Galleria Nazionale d’Arte Antica – Palazzo Corsini, Roma, France).

Lieu de production : Pays-Bas méridionaux.

Style : baroque.

Provenance : Corsini, Neri [cardinal] [collection].

Note : Peint pendant le séjour italien de Rubens. Acheté à Bruxelles par le cardinal Neri Corsini.

Bibliographie : cat. Expo. « Fiamminghi e Italia », Brugge [1952] : n° 53 ; voir aussi la notice du peintre dans le Dictionnaire de peintres belges sur www.balat.kikirpa.be, ainsi que la base de données du site de la Galleria Nazionale d’Arte Antica – Palazzo Corsini.

Iconographie : Sébastien est secouru par des anges ; armure [protection].

San Sebastiano curato dagli angeli.

(1602-1603).

Pieter Pauwel RUBENS. (…).

(Galleria Nazionale d’Arte Antica, Palazzo Corsini, Roma, France).

Note : comprato direttamente a Bruxelles dal cardinale Neri Corsini, il quadro è databile ai primi anni del soggiorno romano del famoso artista fiammingo, che rivestì un ruolo di primo piano nel panorama dell’arte barocca europea. Le linee sinuose e marcate delle figure fanno pensare agli studi che l’artista eseguì direttamente da MICHELANGELO e dal manierismo fiammingo.

Saint Sebastian ou Martyrdom of saint Sebastian.

(1614 ou c. 1614 ou c. 1615-1618).

Pieter Pauwel RUBENS. (Oil on canvas, …).

(Staatliche Museen zu Berlin. Gemaldegalerie, Berlin, Allemagne).

17th c Flemish Baroque Painting.

The Virgin and Child adored by saints ou The Virgin adored by saints. (ca. 1627-1628 ou c. 1627).

Pieter Pauwel RUBENS. (Pen and brown ink ; 39,5 cm x 26 cm, Accession number : 2002.12a).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawings and Prints.

Inscribed at lower left : P Rubens, 342.

Verso : Study of the Belvedere Torso, red chalk, ca. 1601-2.

Purchase : 2001 Benefit Fund, 2002 (2002.12a).

These rapidly executed sketches represent RUBENS's first ideas for an altarpiece commissioned by the Church of the Augustinian Fathers in Antwerp, now in the city's Royal Museum of Fine Arts. At top center, Saint Catherine kneels before the Virgin and Christ Child, while to the left is a more detailed study of her drapery.

Below, several other saints are depicted with gentle outlines. In the foreground, from left to right, Saints George, Sebastian, and William of Aquitaine pay homage to the Virgin. Although Rubens later altered the composition, he incorporated several elements from this early stage of his creative process into the painting.

Source : Peter Paul Rubens : The Virgin Adored by Saints (2002.12a) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.

The Virgin and Child adored by saints ou The Virgin adored by saints. (ca. 1627-1628 ou c. 1627).

Pieter Pauwel RUBENS. (Pen and brown ink ; 39,5 cm x 26 cm, Accession number : 2002.12a).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawings and Prints.

Inscribed at lower left : P Rubens, 342.

Verso : Study of the Belvedere Torso, red chalk, ca. 1601-2.

Purchase : 2001 Benefit Fund, 2002 (2002.12a).

These rapidly executed sketches represent RUBENS's first ideas for an altarpiece commissioned by the Church of the Augustinian Fathers in Antwerp, now in the city's Royal Museum of Fine Arts. At top center, Saint Catherine kneels before the Virgin and Christ Child, while to the left is a more detailed study of her drapery.

Below, several other saints are depicted with gentle outlines. In the foreground, from left to right, Saints George, Sebastian, and William of Aquitaine pay homage to the Virgin. Although Rubens later altered the composition, he incorporated several elements from this early stage of his creative process into the painting.

Source : Peter Paul Rubens : The Virgin Adored by Saints (2002.12a) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.

La Sagrada Familia rodeada de santos.

(Hacia 1628).

Pieter Pauwel RUBENS. (Óleo, tabla, 79 cm x 64 cm, Num. de catálogo : P01703).

(Musée du Prado, Madrid, Espagne).

Escuela : flamenca.

Procedencia : Colección Real.

Note : la Virgen, sentada con el Niño sobre una grandiosa arquitectura clasicista, aparece rodeada por numerosos santos en actitudes diversas. Sobre ella unos ángeles se disponen a coronarla como Reina de los Cielos.

En ocasiones esta obra ha sido considerada como una representación de Los desposorios místicos de Santa Catalina, por el fuerte protagonismo de esta santa que se representa arrodillada ante el Niño.

Es copia reducida, o modelo, del gran cuadro de altar que RUBENS realizó para los Agustinos de Amberes en 1628 por encargo de la infanta Isabel Clara Eugenia. Su relación con este cuadro de altar justifica el bajo punto de vista y la sensación monumental con que están dotadas las figuras.

Permaneció en poder de Rubens hasta su muerte en 1640, pasando poco después a la colección de Felipe IV, quien lo destinó al Monasterio de El Escorial, de donde ingresó en el Museo en 1839.

Virgin and Child Enthroned with Saints. (c. 1628).

Pieter Pauwel RUBENS. (Oil on wood, …).

(Gemaldegalerie, Berlin, Allemagne).

Madonna Enthroned with Child and Saints. (c. 1628).

Pieter Pauwel RUBENS. (Oil on canvas, …).

(Sint-Augustinuskerk, Antwerp, Belgique).

Virgin and Child with saints Catherine and Sebastian [Sketch].

(1627-1628).

Pieter Pauwel RUBENS. (…).

(Städelsches Kunstinstitut, Frankfurt, France).

Aegidius SADELER II (Antwerp, c. 1570 - 1629). Hollandais.

The Martyrdom of saint Sebastian. ().

Aegidius SADELER II. (Engraving, printed in black, Catalogue number: GLAHA 11121).

(Hunterian Museum & Art Gallery Collections, University of Glasgow, Scotland, France).

D’après Jacopo PALMA il Giovane (Italian, 1548 – 1628) ; Pub Marcus SADELER (Flemish, b.1614).

References : 96 HOLLSTEIN, F. W. H. 1949 Dutch and Flemish Etchings, Engravings and Woodcuts ca. 14501700, Amsterdam, 1949Notes : Collection of 257 prints pasted into an album, with title page. From Samuel Leith’s collection, 1841.

Saint Sébastien.

(About 1600).

Aegidius SADELER. (Print, engraving, on paper, black ink, 46 cm x 32,9 cm [support (trimmed), Accession number : 1978.115).

(Manchester Art Gallery, Manchester, France).

Description : Martyrdom of Saint Sebastian. A man is tied to a tree with his arms above his head. There is an arrow in his left hip and another in his right thigh. There is an angel to the left, pulling at the arrow in his thigh, and three cherubs at his feet, pulling at the ropes binding his feet and ankles.

Saint Sébastien. (…).

Aegidius SADELER II. (Print, engraving, sheet : 45,72 cm x 33,34 cm, M.88.91.355).

(Los Angeles County Museum of Art [Prints and Drawings Department], Los Angeles, France).

Mary Stansbury Ruiz Bequest (M.88.91.355).

Not currently on public view.

Ipolito SALAZAR (1840 - 1874). Lithographer Mexican. Lithographier and Mexico in 19th century.

Saint Sebastian.

(19th century).

Ipolito SALAZAR. Lithograph, 21,3 cm x 12,8 cm [image] ; 22,5 cm x 13,9 cm [sheet], …).

(Fine Arts Museum of San Francisco, San Francisco [Californie], Etats-Unis).

California State Library long loan.

Not on exhibit.

Saint Sebastian.

(19th century).

Ipolito SALAZAR. (Lithograph, 31,7 cm x 24 cm [image], …).

(Fine Arts Museum of San Francisco, San Francisco [Californie], Etats-Unis).

California State Library long loan.

publisher in

Not on exhib.

Giovanni SANTI

Pala Bufi ou Madonna with Child and saint Francis, saint Jerome, saint John the Baptist and saint Sebastian. (…).

Giovanni SANTI. (Panel, 330 cm x 221 cm, …).

(Galleria Nazionale delle Marche, Urbino, France).

Vierge à l’Enfant entourée de saints. (c. 1450-c. 1500).

Giovanni SANTI. (Peinture, tableau, peinture à l’huile sur bois, 221 cm x 186 cm, N° de l’objet ).

(Museo Malatestiano, Fano, France).

Provenance : Chiesa di Santa Croce, Fano.

Inscription : signature, peint, au centre : IOHANES SANTIS. URBI. P. Note : Catalogue d’exposition [1957] : n° 28.

Iconographie : œillet [attribut] ; flèche [attribut ; croix [attribut] ; couronne impériale [attribut] ; bourdon de pèlerin [attribut] ; livre [attribut] ; Vierge à l’Enfant [personne] ; Vierge [assise] ; ange [tête] ; Sébastien [soldatpersonnage] ; Hélène de Constantinople [impératrice-personnage] ; Roch de Montpellier [pèlerin-personnage] ; ange [tête] ; trône [siège].

Carlo SARACENI (Venise, c. 1579 – Venise, 16 juin 1620).

Saint Sebastian. (c. 1610-1616).

Carlo SARACENI. ().

(Castle Gallery, Prague, République Tchèque).

Like a miniature story about the depiction of Saint Sebastian in the fine arts, this splendid painting by Carlo SARACENI, a proponent of the Roman school of the Baroque in the early seventeenth century, is the centre of attention in the latest instalment in the “Paintings Up Close” series, which accompanies the Prague Castle Gallery permanent exhibition. The painting, from the Prague Castle art collection, employs the symbolism of Saint Sebastian in a truly untraditional, exceptional way, thus pointing to the surprising range of possible interpretations of the subject in its cultural-historical context.

This is the forth instalment in “The Picture Gallery Up Close,” a series accompanying the permanent exhibition, which presents other ways of approaching works of art, observing changes, large and small, in a motif, both in the form of the depiction of specific subject matter and in meanings and interpretations. From various angles, contemporaneous and contemporary, it brings to life the subject matter, scenes, and figures in works of art, and offers a chance to know them and their “second lives” intensively.

Jacob SAVERY the Elder

The Saint Sebastian’s Day Fair. (c.1598).

Jacob SAVERY the Elder.

(Paneel, 41,5 cm x 62 cm, Inv. 156).

(Mauritshuis, The Royal Picture Gallery, La Hague, Pays-Bas).

Luigi SCARAMUCCIA

Saint Sebastian. ().

(Attribué à) Luigi SCARAMUCCIA. (Red chalk on white paper, 25 cm x 15,7 cm. Pasted to folio 48 of the codex. Written beside the drawing, on the right, « S Rosa », and below, « Langetti / ? »).

(Biblioteca Ambrosiana, Milan, France).

Descrizione : saint Sebastian, nude and draped at the waist, stands in the center. His left arm is raised above his head, o ris bound to the tree behind him. His right arm is bent and tied behind him at the level of his hip. His head is turned upward and away from the viewer. He stands on his right leg, his left leg being bent with the foot is behind him. In the foreground, lower right corner, a shield, helmet and clothing lie on the ground. The scene is set in a landscape.

Attribuzione : codicological data taken from Gilda Rosa’s Notes, o ris ascribed with reservation to Scaramuuccia and Antonio Maria Ruggeri. The drawing is erroneously attributed to Pietro PERUGINO in Pietro Nurchi’s (1976) Inventory.

ND Cat. No. 5162.

Collocazione BA : F 236 inf. n. 1391.

Jean SCHAACK (1895-1959).

Saint Sébastien.

(1926).

Jean SCHAACK. (Huile sur toile, 61 cm x 50 cm).

(Musée National d’Histoire et d’Art, Grand Duché du France).

Jean SCHAACK est un autre peintre de la sécession luxembourgeoise qui, au cours de la deuxième moitié des années 1920 atteignit le point culminant de son art qui plus tard ne devait plus offrir le même intérêt. Dans son tableau mystique et expressionniste Le martyre de Saint Sébastien, la riche matière est constituée de couleurs superposées, les sombres laissant transparaître les claires, pour créer une lueur mystique.

Martin SCHAFFNER (Germany, 1478 – 1546).

Wings of a Plague Altar with SS Roch & Sebastian. (c. 1500-1525).

(Workshop of) Martin SCHAFFNER. (Painting, …).

(Germanisches Nationalmuseum, Nuremberg, France).

16th c German Renaissance Painting.

Edwin SCHARFF (1887 - 1955).

Der hl. Sebastian.

(1910).

Edwin SCHARFF. (Tempera/Karton, 75 cm x 49,5 cm, Image ID : 20092).

(Städtisches Kunstmuseum, Bonn, Allemagne).

Hans SCHÄUFELEIN

Saint Roch et saint Sébastien.

(1510).

Hans SCHÄUFELEIN. (Print, paper, woodcut, 22,9 cm x 15,2 cm, Registration number : E,8.78).

(British Museum [Department Prints & Drawings], London, France).

Ecole allemande.

Description : saint Roch and saint Sebastian ; St Roch as a pilgrim showing the plague spot on his o ris left ; St Sebastian holding arrows at r ; both standing in front of a Renaissance portico ; landscape background.

Bibliographic reference : Hollstein 28.II ; Dodgson II.24.53a ; Bartsch VII.257.37.

Inscription : signed with monogram on a tablet at lower centre, the shovel at lowr left.

Location : German XVIc Mounted Roy. Curator’s comments : BM also has an impression of the first state, see 1895,0122.492.

Martin Johann SCHMIDT (1718 - 1801).

Saint Sébastien. (…).

Martin Johann SCHMIDT. (Gemälde , Öl auf Leinwand [o.J.], 123,8 cm x 89 cm, Inventar-Nr. : 5302).

(Hamburg, Hamburger Kunsthalle, Allemagne).

Person : Hl. Sebastian, Christlicher Märtyrer und Heiliger.

Systematik : Personen / Religiöse Persönlichkeiten / Sebastian.

Hans Friedrich SCHORER (ca. 1609 - 1649, active in Augsburg). Allemand.

Saint Sebastian.

(17ème siècle).

Hans Friedrich SCHORER. (Pen and brown ink, brown wash, red chalk, squared and numbered in black chalk, sheet : 27,2 cm x 17,4 cm, Accession Number : 2009.447).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Classification : Drawing.

Credit line : Harry G. Sperling Fund, 2009.

Signatures, Inscriptions, and MarkingsSignature : Signature : at lower left, monogrammed "HsF" in pen and brown ink. Inscriptions : along the upper edge, numbered from "1" to "8" in black chalk ; along the left edge, numbered from "1" to "11" in black chalk, probably by the artist.

Provenance : Christie's, South Kensington , 02 Dec 2008, lot 380 ; Vendor : Kunsthandel Katrin Bellinger, Munich.

Not on view.

Jan Georges SCHOLTUS

Saint Sébastien.

(1726-1727).

(Attribué à) Jan Georges SCHOLTUS. (Sculpture, statue polychrome, bois, 84 cm, N° de l’objet 10081002).

(Eglise Saint-Lambert [Rachamps], Noville [Bastogne], France).

Inscription : inscription, peint, en bas : St Sébastien.

Note : Exposition : cf. catalogue N° 77.

Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Johann Heinrich SCHÖNFELD (1609 - 1684) et Jeremias WOLF (1663 1724).

Saint Sébastien. (nach 1651).

Johann Heinrich SCHÖNFELD et Jeremias WOLF. (Kupferstich, Büttenpapier [aufgezogen], 46,5 cm x 34,5 cm, Inv. Nr. A 2008/7567 (KK)). (…, Stuttgart, Allemagne).

Standort Depot Hinweis Staatsgalerie Stuttgart, Graphische Sammlung, Alter Bestand Text Johann Heinrich Schönfeld hatte den Heiligen Sebastian, der an den Baum gefesselt wird, um mit Pfeilen getötet zu werden, zusammen mit dem Heiligen Rochus als Altarbild für den Salzburger Dom gemalt. Der Stich gibt eine weitere, verlorene Version wieder, die ebenfalls um 1653/54 entstand. Für die voluminöse Figur des Heiligen nahm Schönfeld Anregungen von einer Skulptur des Bildhauers Georg Petel auf (Petels Vorzeichnung: "Der heilige Sebastian", um 1629/30, Inv. Nr. C 1981/3058). Zuerst wurde der Stich von dem Augsburger Verleger Hainzelmann veröffentlicht; Jeremias Wolff kaufte dann die Druckplatte und fügte unten seine Verlegeradresse ein.

Martin SCHONGAUER (Colmar, ca. 1435/1450 - Breisach, 1491). Allemand.

Saint Sebastian. (…).

Martin SCHONGAUER. (Engraving, …, Accession Number : 51.516.2).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Credit line : Harris Brisbane Dick Fund, 1951 (51.516.2).

Classification : Print.

Catalogue raisonné : Lehrs 65.

Not on view.

Saint Sebastian. (…).

Martin SCHONGAUER. (Engraving, …, Accession Number : 41.1.193).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Gift of Felix M. Warburg and his family, 1941 (41.1.193).

Provenance : donor : Felix Moritz Warburg (American, 1871 - 1937), and his family.

Catalogue raisonné : Lehrs 65.

Jan van SCOREL (1475 - 1562). Dutch. Renaissance (Northern). Netherlands.

Saint Sebastian.

(Late 16 c).

Jan van SCOREL. (…).

(Boymans-van Beuningen Museum, Rotterdam, Pays-Bas).

16th c Dutch Renaissance (Northern) Painting.

Netherlands.

SEBASTIANO del Piombo (1485 – 1547).

Study for the Figure of Saint Sebastian. ().

SEBASTIANO del Piombo.

(Pen and ink, …).

(Kupferstichkabinett – Museum of Prints and Drawings, Berlin, Allemagne).

The Holy Family with saint Catherine, saint Sebastian and Donor. (c. 1507).

SEBASTIANO del Piombo.

(Oil on wood, …).

(Musée du Louvre, Paris, France).

Gérard SEGHERS. Artiste-peintre.

Martyre de saint Sébastien.

(Anonyme, de 1701 à 1800).

Gérard SEGHERS. (Tableau, peinture à l’huile sur toile, 75 cm x 103 cm, N° de l’objet 10107010).

(Eglise Saint-Sébastien, Stavelot [fusionnée], France).

Gérard SEGHERS, artiste-peintre copie.

Iconographie : Sébastien est secouru par des anges.

Jaff SEIJAS

Saint Sébastien (auto-portrait). (…).

Jaff SEIJAS. ( The ever beloved iconic St. Sebastian is depicted as an artist...the piercing arrows are ink pens... http://bode.diee.unica.it/~giua/SEBASTIAN/ This item is part of the collection : Ourmedia Mediatype : Image Resource : Image Monochromatic : False Creator : Jaff Seijas Mature content : False Format : images Other copyright_holders : False Postedby : Jaff Seijas Licenseurl : http ://creativecommons.org/licenses/by-nc-nd/2.5/ Publicdate : 2005-10-06 05 :56 :49 Identifier : JaffSeijasSaintSebastianselfportrait Keywords : art ; saint ; artist ; icon Creative Commons license : Attribution-NonCommercial-NoDerivs

Daniel SEITER (1647 - 1705). Autrichien.

Saint Sebastian tended by saint Irene.

(Circa 1680).

Daniel SEITER. (Painting, oil on canvas ; frame : 151,13 cm x 114,3 x 8.89 cm ; stretcher : 133,35 cm x 97,79 cm ; MH 1981.4).

(Mount Holyoke College Art Museum, South Hadley [Massachusetts], Etats-Unis).

Three-quarter length figure of saint Sebastien with arms tied to tree above head/behind o ris nd tree ; figure of saint Irene at right, draped in heavy garments looks towards the saint and plucks arrow from his chest with her right hand ; second female ( ?) figure at left of composition wears a veil over her head and holds a metal cup ; upper left quadrant of painting shows sky and foliage of tree.

Purchase with the Warbeke Art Museum Fund.

Giovanni SERODINE

The Wounded saint Sebastian. (…).

(Attribué à) Giovanni SERODINE. (Pen and brown ink on yellowed white paper, 19,5 cm x 21,8 cm. With a large portion of the upper left corner torn away. Inscribed at the bottom, « Serodine » (abraded). With the stamp of the Ambrosiana in the lower right corner.).

(Biblioteca Ambrosiana, Milan, France).

Descrizione : saint Sebastian sits on a cushion or bed on the left. A man with a beard removes an arrow from the saint’s chest.

Attribuzione : the attribution to SERODINE is based on the inscription.

ND Cat. No. 1366.

Collocazione BA : F 282 inf. n. 22 recto.

Saint Sebastian healed by Irene. ().

(Attribué à) Giovanni SERODINE. (Pen, brown ink and gray-brown wash on yellowed paper, 19,5 cm x 21,8 cm. Part of the upper left side is pasted down.

With a large portion of the upper right corner torn away. With numerous inscriptions (upside down) on the right side, « . . . in tuto n. 6 . . . n. 6 . . . for[m]agio da tavola 6 ( ?) . . . de coprecalze ( ?) ». The drawing is a tracing of the recto.).

(Biblioteca Ambrosiana, Milan, France).

Descrizione : saint Sebastian is seated on a cushion or bed on the right. Irene removes an arrow from his chest.

Two children or attendants, one holding a salver ( ?), are on the left.

Attribuzione : see recto.

ND Cat. No. 1367.

Collocazione BA : F 282 inf. n. 22 verso.

SEVERO da Ravenna

Saint Sebastian. (c. 1500-1509).

SEVERO da Ravenna.

(Bronze, …).

(National Gallery of Art, Kress Foundation, Washington [DC], Etats-Unsi).

Ecole : Ravenna ; Paduan.

Samuel H. Kress Collection.

Luca SIGNORELLI (1441 – 1523).

The Virgin and Child among Angels and Saints.

(1515).

Luca SIGNORELLI. (Oil on wood, …).

(The National Gallery, Londres, Royaume-Uni).

Gabriel-Sébastien SIMONET, dit Sébastien SIMONET.

Saint Sébastien.

(1946).

Gabriel-Sébastien SIMONET, dit Sébastien SIMONET. (Sculpture, …, N° Inv. 994.97.2).

(Musée des Arts Décoratifs, Paris, France).

Paris.

Wáadysáaw SKOCZYLAS

Saint Sébastien. (c. 1927).

Wáadysáaw SKOCZYLAS. (Print, paper, woodcut, 18,2 cm x 12,8 cm, Registration number : 1927,0709.52).

(British Museum [Department : Prints & Drawings], London, France).

Print made by Wáadysáaw SKOCZYLAS. Schools /Styles : Polish.

Description : body of saint tied to tree and pierced by arrows.

Woodcut, printed on cream paper.

Inscription : signed in pencil.

Acquisition date : 1927.

Location : East European XXc Unmounted Roy.

Giovanni Antonio BAZZI, detto il SODOMA (Vercelli, 1477 – Siena, 1549).

Saint Sebastian Muhlenkort.

(1525).

Giovanni Antonio BAZZI, detto il SODOMA. (Oil on canvas, …).

(Palazzo Pitti, Galleria Palatina, Florence, Italie).

Domenico GARGIULO, detto Micco SPADARO (Napoli, 1609-1610 ou c.

1612 – Napoli, 1675 ou 1679). Peintre italien de l’ère Baroque.

Giovanni Battista SPINELLI Saint Sébastien guarit per santa Irene.

(17ème siècle, avant 1630 et après 1660).

Giovanni Battista SPINELLI. (…, N° Inv. 159).

(Cathédrale, Musée Diocésain, Barcelone, France).

Dominicus STAINHART (Weilheim, 1655 – Munich, 1712). Allemand.

Dominikus STAINHART - Dominicus STEINHART – Dominicus STEINHARD

Saint Sebastian.

(1680-1700).

Dominicus STAINHART. (Carved ivory, 21,3 cm, …).

(The Walters Art Museum, Baltimore [Maryland], Etats-Unis).

Description : Stripped and bound, Sebastian, a Roman soldier martyred for his Christian faith, strains against pain as the arrows of his tormentors pierce his body. The pathos of the figure is heightened by the forced vulnerability of this naturally tough soldier, conveyed through realistic, incredibly precise detailing, for example the thin ropes tightly binding his hands, which unclench as his body weakens. The tree provides a suggestion of setting as well as structural support.

Johann Baptist STRAUB (1er juin 1704 (baptême) in Wiesensteig – Munich, 15 juillet 1784). Important German Rococo sculptor. Important works by Straub are in the Residenz in Munich as well as in Schloss Nymphenburg.

Saint Sébastien.

(1757).

Johann Baptist STRAUB. (Sculpture, …).

(Magyar nemzeti muzeum, Budapest, Hongrie).

Saint Sébastien (détail).

(1757).

Johann Baptist STRAUB. (Sculpture, …).

(Magyar nemzeti muzeum, Budapest, Hongrie).

Pietro TACCA (1577 - 1640).

Saint Sebastian.

(First half 17th century).

(Manner of) Pietro TACCA. (Bronze, gilt ; Overall : 53 cm x 24,9 cm x 14,3 cm, Accession number : 27.224.2).

(The Metropolitan Museum of Art, New York, Etats-Unis).

CultureItalian (Florentine).

Classification : Sculpture-Bronze.

Credit line : Fletcher Fund, 1927.

Provenance : Dr. J. E. Stillwell (until 1927).

On view.

Saint Sebastian.

(First half 17th century).

(Manner of) Pietro TACCA. (Bronze, gilt ; Overall : 53 cm x 24,9 cm x 14,3 cm, Accession number : 27.224.2).

(The Metropolitan Museum of Art, New York, Etats-Unis).

CultureItalian (Florentine).

Classification : Sculpture-Bronze.

Credit line : Fletcher Fund, 1927.

Provenance : Dr. J. E. Stillwell (until 1927).

On view.

ANTONIO d’Enrico, detto TANZIO da Varallo

Saint Sébastien. (c. 1620-1630).

TANZIO da Varallo. (…, N° Inv. K-348).

(National Gallery of Art, Kress Foundation, Washington [DC], USA).

Ecole : Piedmontese.

Samuel H. Kress Collection, 1939.1.191.

David TENIERS the Younger (1610- 1690). Flemish painter. Daily life and having fun in Flanders.

Luis TRISTAN Saint Sébastien. (…).

Luis TRISTAN (…). (…).

Saint Sébastien. (c. 1656-1660).

(Intermediary draughtsman) David TENIERS the Younger.

(D’après) ANTONELLO da Messina.

(Print made by) Lucas VORSTERMAN II. (Print, paper, etching, 21,7 cm x 15,2 cm, Registration number : 1979,U.523).

(The British Museum [Department : Prints & Drawings], Londres, France).

Ecole flamande.

Title (series) : Theatrum Pictorum.

Description : saint Sebastian, tied to a column, three arrows sticking out of his torso ; after ANTONELLO da Messina. C.1656-1660.

Inscriptions : Inscription Content : Signed in the lower margin : « I. Bellino p. » and « 4 Alta 3 Lata » and « 9 » and « L. Vorsterman iunior s. ». Lettered below the impression : « Teniers Gal. ».

Curator’s comments : This is one from 246 plates of TENIERS’ Theatre of Paintings, for comment on the series see 1850,0713.20. After a detail of the altar for San Cassiano in Venice, but now in the Kunsthistorisches Museum, Vienna, inv.no.2574. The painted copy by TENIERS is also in Vienna, inv.no.6784.

Acquisition date : 1979.

Location : D+F XVIIc Unmounted Roy.

The Martyrdom of Saint Sebastian.

(Possibly 1720 – possibly 1750).

(Attribué à) David TENIERS II. (Oil on panel, 41 cm x 33,2 cm, Current accession number MNEMG 00.1855.70).

(Maidstone Museum and Bentlif Art Gallery, France).

Attributed to Italian School.

Previous attributions : previously attributed to David TENIERS II (Flemish painter, 1610-1690).

Description : This oval shaped panel shows the martyred figure of saint Sebastian, tied to a tree and pierced with arrows. Three putti above, one carrying a wreath. Saint Sebastian’s discarded armour lies on the ground.

Sebastian was said to be an officer in Diocletian’s Praetorian Guard. This painting was previously thought to be Flemish, however it seems to be Italian, around the 1740s.

Sujet : religion (saint Sebastian).

Acquisition details : Bequeathed by Dr Thomas Charles 1855.

Principal publications : Legouix, S., Maidstone Museum and Art Gallery : Foreign Paintings Catalogue, Maidstone, 1976, p. 47, as unknown seventeenth century.

Notes : inscription on back « 3 » ; stencil « 00.1855.70 » ; label « Catalogue page 10. No. 34. Subect – « Martyrdom of Saint Sebastian ». Charles collection ». The draughtsmanship and proportions of the figures are poor. Saint Sebastian is contorted and the cherubs are badly modelled. In the list of the contents of the « Charles Museum » made by the museum’s first curator Edward Pretty in 1868, the picture is listed as being hung in the picture gallery, and listed as « by Teniers ». Thomas Charles was an eccentric surgeon, antiquarian and bachelor. In 1855 Charles bequeathed his collection of paintings and antiquarian objects to the town of Maidstone, which then purchased his house, Chillington Manor, and opened a museum to the public in January 1858.

Tiziano VECELLIO, detto TIZIANO

ou

Le TITIEN (Pieve di Cadore,

1485 ou 1487/1490 ou c. 1488 ou 1488/1490 - Venise, 27 août 1576).

Le TITIEN - Titiano VECELLIO -

Studie für den heiligen Sebastian des Hochaltars in SS. Nazaro e Celso Brescia. (um 1520).

Le TITIEN. (Feder und Pinsel in Graubraun, auf hellblauem Papier, 18 cm x 11,5 cm, Inv. Nr. 5518).

(Stâdel Museum, Frankfurt, France).

Der römische Offizier Sebastian überlebte, wegen seines christlichen Glaubens zum Tode verurteilt, eine Exekution durch Pfeilbeschuss und wurde später erschlagen. Als Schutzpatron gegen die Pest gehört er zu den besonders verehrten Heiligen. TIZIAN hat die muskulöse Gestalt des Märtyrers mit energischen, teils mehrfach gezogenen Federstrichen als ein Bild ausgesetzter, preisgegebener Kraft auf blaues venezianisches Papier gezeichnet. Der erste Pfeil hat eben den Heiligen getroffen, der mit brutal nach hinten gezogenem Arm an einen Pfahl oder Baumstamm gefesselt ist. Am oberen Rand beschnitten, lässt die Zeichnung den hochgezerrten rechten Arm Sebastians nicht mehr erkennen.

Die kraftvolle Figurenstudie gehört zu den beeindruckendsten unter den wenigen erhaltenen Zeichnungen TIZIANS ; sie entstand zur Vorbereitung eines mehrteiligen Altargemäldes für die Kirche Santi Nazaro e Celso in Brescia. Ausgangspunkt TIZIANS war die Skulptur des »Rebellischen Sklaven« von MICHELANGELO (begonnen 1513, heute im Musée du Louvre in Paris), von der er durch Zeichnungen Kenntnis gehabt haben muss. Zwar übertrug er die komplizierte Drehung des Körpers in eine auf die Fläche eines Gemäldes angelegte Ansicht, doch spielt die vom Vorbild herrührende plastische Wirkung, besonders bei den Beinen, in der Zeichnung eine größere Rolle als im ausgeführten Gemälde. Dort geht es stärker um die Oberfläche des nackten Körpers und den Eindruck wehrlosen Hängens. In der Zeichnung ist o ris eine Säulentrommel gestellte rechte Bein des Heiligen korrigiert ; TIZIAN zog es näher an den Körper heran. Um diese Korrektur zu verdecken, überging er die Fläche vor dem rechten Schienbein mit dem Tuschpinsel. Damit erprobte er gleichzeitig den Effekt eines dunklen Hintergrundes, im Vergleich zu dem hellen Papiergrund zwischen dem aufgesetzten linken Bein und dem Pfahl. In beiden Fällen entsteht eine räumliche Wirkung, der dunkle Kontrast steigert zudem die Plastizität des Beines. Die mehrfach nachgezogenen Konturen wirken eher plastisch als linear.

Bei der Erwerbung für das Städelsche Kunstinstitut, zu einem unbekannten Zeitpunkt zwischen 1830 und 1862, daher wahrscheinlich durch den Städelinspektor Johann David Passavant, galt das Blatt o ris n Zeichnung des niederländischen Manieristen Jacques de Gheyn II. (1565–1625). Erst zu Beginn des 20. Jahrhunderts wurde es o ris nd der raren gezeichneten Werke TIZIANS identifiziert.

St. Mark Enthroned with Saints.

(1510).

Le TITIEN. (Oil on canvas, …).

(Basilica di Santa Maria della Salute, Venice, Italie).

Retable de Saint Marc (détail).

(1510).

Le TITIEN. (…).

(Eglise Santa Maria Della Salute, Venise, France).

Saint Sébastien. (…).

Le TITIEN. (Oil on canvas, 190 cm x 95,5 cm, …). (…).

Signed lower left : TICIANVS.

Saint Sébastien.

(1570).

Le TITIEN. (Oil on canvas, 53,8 cm x 39,5 cm, Image ID : 22791).

(Hermitage, St.Petersburg, Russie).

Titian’s Saint Sebastian December 6, 1987-February 17, 1988 Overview : Saint Sebastian by TITIAN was lent by the Hermitage Museum, Leningrad, on the occasion of the visit to Washington by General Secretary and Mrs. Gorbachev. In exchange, the Gallery agreed to lend Laocoön

by El GRECO to the Hermitage in 1989 in celebration of that museum’s 225th anniversary. The exhibition was coordinated by Sydney J. Freedberg. o ris supported by the Federal Council on the Arts and the Humanities.

Saint Sébastien.

(1570).

Le TITIEN. (Oil on canvas, 53,8 cm x 39,5 cm, …).

(Hermitage, St.Petersburg, Russie).

Titian’s Saint Sebastian December 6, 1987-February 17, 1988 Overview : Saint Sebastian by TITIAN was lent by the Hermitage Museum, Leningrad, on the occasion of the visit to Washington by General Secretary and Mrs. Gorbachev. In exchange, the Gallery agreed to lend Laocoön

by El GRECO to the Hermitage in 1989 in celebration of that museum’s 225th anniversary. The exhibition was coordinated by Sydney J. Freedberg. o ris supported by the Federal Council on the Arts and the Humanities.

Saint Sébastien. (c. 1570).

Le TITIEN. (Oil, canvas, …). (…).

(State Hermitage Museum, Saint Petersburg, Russie).

16th c Venetian Renaissance Painting.

Venise.

Saint Sébastien. (c. 1570).

Le TITIEN. (Painting, oil on canvas, 210 cm x115,5 cm).

(State Hermitage Museum, Saint Petersburg, Russie).

Ecole vénitienne.

Style : Renaissance.

Source of entry : Barbarigo collection, Venice, 1850.

Hendrick TERBRUGGHEN (1588 – 1629).

Saint Sebastian Tended by Irene and her maid.

(1625).

Hendrick TERBRUGGHEN. (Oil on canvas, …).

(Allen Memorial Art Museum, Oberlin [OH], Etats-Unis).

Johannes THOMAS (1617 - 1678).

Saint Sebastian succoured by saint Irene. (…).

Johannes THOMAS. (Oil pigments on paper, mounted as a drawing ; 27,7 cm x 38,8 cm).

(The Ashmolean Museum of Art and Archaeology, Oxford, Royaume-Uni).

Bequeathed by Francis Douce, 1834 and transferred from the Bodleian Library in 1863; WA1863.287.

Parker 1938, no. 220.

THOMAS was a painter, etcher and mezzotint engraver who studied with RUBENS in Antwerp. He moved to Vienna in 1661 to work at the court of Leopold I. This Rubensian sketch is a study (in reverse) for an etching of the same subject.

Giovanni Battista TIEPOLO (Venice, 1696 - Madrid, 1770). Italien.

The Virgin and Child enthroned with saint Sebastian and a Franciscan saint.

(18ème siècle).

Giovanni Battista TIEPOLO. (Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk, on beige paper.

Framing lines in pen and brown ink ; 30,8 cm x 24,8 cm, Accession number : 37.165.6).

(The Metropolitan Museum of Art, New York, France).

Classification Drawing.

Credit line : Rogers Fund, 1937.

Signatures, inscriptions and markings : Inscriptions : annotated in ink on verso, T. ; in graphite on verso, 7 ; Cad B. Provenance : Marquis de Biron (Paris and Geneva, ca. 1850s - late 1930s) ; Marquis de Biron (Paris and Geneva, ca. 1850s - late 1930s) ; The Metropolitan Museum of Art, New York in Geneva in 1937.

Références : Walter Mehring European Drawings from the Collections of The Metropolitan Museum of Art (Portfolio of Collotype Reproductions) 3 Vols : [1: Italian Drawings ; 2: Flemish, Dutch, German, Spanish, French, and British drawings ; 3 : This volume is titled "New Series"(N.S.) : Italian, Flemish, Dutch, German, Spanish, French, and British drawings]. The Metropolitan Museum of Art, New York, 3 Vols., New York, 1942-1944, cat. no. Vol.1, no. 37., fig. no. 37, ill.

Hermann W. Williams, Jr. "Tiepolo and His Contemporaries: An Exhibition". The Metropolitan Museum of Art, New York, 33, March, 1938. New York, 1938, p. 66.

Harry B. Wehle Tiepolo and His Contemporaries Exh. cat., New York, The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, New York, 1938, cat. no. 38, fig. no. 38, ill.

Otto Benesch, Konrad Oberhuber Disegni veneti dell'Albertina di Vienna. Fondazione Giorgio Cini, Venice, 1961, cat. no. 107.

George Knox, Adelheid M. Gealt Tiepolo. A Bicentenary Exhibition 1770-1970. Drawings, Mainly From American Collections, by Giambattista Tiepolo and the Members of His Circle Exh. cat., Cambridge, Massachusetts, Fogg Art Museum, Harvard University, March 14 - May 3, 1970. Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, 1970, cat. no. 11, 27, p. 29.

Jacob Bean - published by MMA & Pierpont Morgan Library, Felice Stampfle Drawings from New York Collections, vol. III : Eighteenth Century Italian Drawings Metropolitan Museum of Art and Pierpont Morgan Library. 3, New York, 1971, cat. no. 63, fig. no. 63, p. 42, ill.

James Byam Shaw "Tiepolo Celebrations: Three Catalogues" in Master Drawings. 9, 3, 1971. New York, 1971, pp. 267-268.

James Byam Shaw "The Biron Collection of Venetian Eighteenth-Century Drawings in the Metropolitan Museum of Art." Metropolitan Museum Journal. 3, 1970. New York, 1971, P. 244.

George Knox, Adelheid M. Gealt Catalogue of the Tiepolo Drawings in the Victoria and Albert Museum Exh. cat., London, Victoria & Albert Museum. The Victoria and Albert Museum, London, London, 1975, cat. no. 9, p. 39.

Jacob Bean, William M. Griswold 18th Century Italian Drawings in The Metropolitan Museum of Art Exh. cat., New York, The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, New York, 1990, cat. no. 189, fig. no. 189, pp. 198-99, ill.

Bernard Aikema Tiepolo and His Circle. Drawings In American Collections Exh. cat., Cambridge, MA., Harvard University Art Museums ; New York, The Pierpont Morgan Library. The Morgan Library & Museum, New York, 1996, cat. no. 15, pp. 54-55, ill.

Not on view.

Giulio TOMBA (1780 - 1841).

Christ carrying cross, archangel Michel, saint Sebastian, and saint Francis.

(…).

Giulio TOMBA. (Etching/engraving, …, Accession number : M18864).

(Museum of Fine Arts, Boston [Massachusetts], France).

D’après Giacomo SEMENTI. Classification : Prints.

Object is currently not on view.

Bequest of Mrs. Arthur Croft –The Gardner Brewer Collection.

Provenance/Ownership History : PDP Register entry: Date acquired, 1/1/1901 [exact to year].

La Pinacoteca della Pontificia Academia delle belle Arti in Bologna. Publicata da Francesco Rosapina.

Professore nell’ Accademia suddetta. Bologna: 1830 (rom.n.) (14 x 18) Text on artists between plates. Bound.

(Put under Rosapina).

TOMMASO’ Martyre de Saint Sébastien. (…).

TOMMASO’.

(Painting, oil on panel, 178,8 cm x 116,2 cm ou 178,4 cm x 115,6 cm).

(The Fitzwilliam Museum, University of Cambridge, Royaume-Uni).

(Painting, oil on panel, 178,8 cm x 116,2 cm ou 178,4 cm x 115,6 cm, Accession number : 125 [Paintings, Drawings and Prints]).

(The Fitzwilliam Museum, University of Cambridge, Cambridge, Royaume-Uni).

Ecole florentine.

Provenance : given : Forbes, David 1885 (Filtered for : Paintings, Drawings and Prints). Rev. H.A.J. Munro, Litt.D. (1819-85), Cambridge.

Documentation: 1. Earp, F.R. (1902) A Descriptive Catalogue of the Pictures in the Fitzwilliam Museum, Cambridge (Cambs.) [page: 204, 205].

2. (1912) The Principal Pictures in the Fitzwilliam Museum, Cambridge, London? [page: 39] 3. (1929) The Principal Pictures in the Fitzwilliam Museum, Cambridge (1929), London? [page: 47] 4. (1932) Munchner Jahrbuch, N.F., [page: 106] Goodison, J.W. (1967) Catalogue of Paintings in the Fitzwilliam Museum, Cambridge, Italian School, Cambridge (Cambs.) : Cambridge University Press [page: 88-90]. [comments : pl. 13].

Accession number : 125 (Paintings, Drawings and Prints). (Reference Number : 490 ; Input Date : 1999-12-10 / Last Edit : 2007-09-06).

Alonso Miguel de TOVAR (1678 - 1758). Espagnol.

Saint Sebastian.

(17th century-18th century).

Alonso Miguel de TOVAR. (Pen and brown ink and brush and brown wash, over graphite, on cream laid paper, squared in graphite, 28,3 cm x 10 cm, Object Number : 2002-99).

(Art Museum at Princeton University, Princeton [New Jersey], Etats-Unis). ou (Princeton University Art Museum, Princetown [New Jersey], France).

Museum purchase, Laura P. Hall Memorial Fund and Fowler McCormick, Class of 1921, Fund.

Paul TROGER (1698 – 1762).

Saint Sebastian and the women. (c. 1746).

Paul TROGER. (Oil on canvas, 60 cm x 37 cm, …). (Österreichische Galerie Belvedere, Vienna, Autriche).

Cosmè TURA (c. 1430 [ ?] – 1495).

Cosimo TURA –

Saint Sébastien. (…).

Cosmè TURA. (Tempera ou Pappelholz, 171,5 cm x 58,5 cm, …).

(Dresden, Gemäldegalerie, France) ou (Alte Meister Galerie, Dresden, Allemagne).

San Sebastiano. (c. 1460-1465).

Cosmè TURA. (Tempera su tavola, 76,6 cm x 33,3cm, …).

(Staatliche Museen, Gemäldegalerie, Berlin, France).

UGO da Carpi (Carpi, circa 1480 - 1532). Italien.

Madonna and Child with saint Petronius and saint Sebastian. (…).

(Attribué à) UGO da Carpi.

(Print, chiaroscuro woodcut ; Sheet : 38,1 cm x 29,85 cm, M.88.91.202).

(Los Angeles County Museum of Art [Prints and Drawings Department], Los Angeles [Californie], Etats-Unis).

D’après le PARMIGIANINO. Mary Stansbury Ruiz Bequest (M.88.91.202).

Subject groupings : Storeroom Treasures - Saints.

Not currently on public view.

Bibliographie : Bartsch, Adam von. The Illustrated Bartsch. New York : Abaris Books, 1978, Bartsch 26 ii/ii.

URBINANO da Surso.

Martirio di san Sebastiano. (c. 1429).

URBINANO da Surso. ().

(Chiesa di San Domenico [dans la chapelle, au fond de la nef de gauche], Alba, Italie).

Martirio di san Sebastiano. (c. 1429).

URBINANO da Surso. ().

(Chiesa di San Domenico [dans la chapelle, au fond de la nef de gauche], Alba, Italie).

Joachim UYTEWAEL (1566 - 1638). Allemand.

Saint Sebastian. (…).

Joachim UYTEWAEL. (Engraving, printed in black, …, Catalogue number: GLAHA 53669)?

(Hunterian Museum & Art Gallery Collections, University of Glasgow, Scotland, France).

Felipe VALERO

Fountain with statue of Saint Sebastian. (…).

Felipe VALERO. (Sculpture, …).

(Obregon boulevard park in Colonia Roma, Mexico City, France).

David VANCE

Saint Sébastien.

(2009).

David VANCE. (Photographie, …). (…).

Francesco VANNI (1563 - 1610).

Adoration du Saint Sacrement.

(…).

Francesco VANNI. (Dessin, plume et encre brune, …, Inv. 995-001-001).

(Musée des Beaux Arts, Marseille |Bouches-du-Rhône], France).

Acquis par le Ville de Marseille en 1995.

Adoration du Saint Sacrement. (…).

Francesco VANNI. (Dessin, plume et encre brune, …, Inv. 995-001-001).

(Musée des Beaux Arts, Marseille |Bouches-du-Rhône], France).

Acquis par le Ville de Marseille en 1995.

Giovanni VASANZIO

St Sebastian´s martyrdom sculpture. (…).

Giovanni VASANZIO. (…).

(San Sebastiano alla Via Appia church Rome, Italy).

Otto van VEEN. Artiste-peintre.

Martyre de saint Sébastien.

(1591 à 1610).

Otto van VEEN. (Peinture à l’huile sur bois, 98 cm x 64 cm, N° de l’objet 10026919).

(Cathédrale de Saint-Aubain [chapelle latérale nord], Namur [fusionnée], France).

Iconographie : sagittation de Sébastien.

Note : donation entre 1801 et 1810.

Joseph van der VEKEN (1872 – 1964). Dessinateur.

Portrait de donateur et saint Sébastien.

(1872 à 1964).

Joseph Van der VEKEN. (Dessin, papier à dessin, portrait, 51,5 cm x 22 cm, N° de l’objet 10149002).

(Dolphijn-Van der Veken, Louise [collection], Genappe [fusionnée], France).

D’après Hans MEMLING. Bibliographie : Catalogue, L’Affaire Van der Veken, IRPA 2005, p. 12. Saint Sébastien, d’après le panneau du Petit Palais à Paris, peint par MEMLING. Iconographie : casque [attribut] ; Sébastien [soldat-personnage] ; donateur [f] ; Collier de la Toison d’or [objet].

Rafael VERGÓS Retaule de santa Jusata i santa Rufina.

(Darrer quart segle 15).

Rafael VERGÓS. (Tremp sobre fusta, …, MOB 28).

(Cathédrale, Musée Diocésain, Barcelone, France).

Provenance : provient de l’Eglise de Santes Justa e Rufina (Uiçà d’Amunt).

Paolo CALIARI, detto il VERONESE (Vérone, 1528 - Venise, 1588). Italien, Vénitien.

Paolo VERONESE -

Architectural Studies for the church of S. Sebastiano inVenice. (c. 1550-1588).

Paolo VERONESE. (Drawn, pen and brown ink on paper, …).

(Musée du Louvre, Paris, France).

16th c Italian Renaissance Graphic Arts.

Renaissance, Venice. France.

Note : « A.S. Bastiano nel Soffitto. »

Studies for the Crowning of Esther and the Triumph of Mordachi. (c. 1556).

Paolo VERONESE. (Drawn, pen and brown ink on paper, …).

(Musée du Louvre, Paris, France).

16th c Italian Renaissance Graphic Arts.

Renaissance, Venice, France.

For the Ceiling of S. Sebastiano Venice.

Virgin in Glory with Saints (ou Enthroned Mother of God with saints Sebastian, Peter, John, Francis, Catherine and Elizabeth). (c. 1562 ou about 1564-1565).

Paolo VERONESE. (Oil on canvas, 420 cm x 230 cm, …).

(Chiesa di San Sebastiano, Venise, Italie).

Virgin in Glory with Saints (ou Enthroned Mother of God with saints Sebastian, Peter, John, Francis, Catherine and Elizabeth). (c. 1562 ou about 1564-1565).

Paolo VERONESE. (Oil on canvas, 420 cm x 230 cm, …).

(Chiesa di San Sebastiano, Venise, Italie).

Studio per San Sebastiano incoraggia i Santi Marco e Marcellino al martirio. (metà del settimo decennio del XVI secolo).

Paolo CALIARI, detto il VERONESE. (Olio su carta, 41,4 cm x 29,4 cm, Inv. A.B-01980A-L/IS).

(Gallerie di Palazzo Leoni Montanari, Vicenza, Italie).

Saint Sebastian before Diocletian. (…).

Paolo VERONESE. (Fresco, …).

(San Sebastiano, Venise, France).

Martyrdom of saint Sebastian. (about 1565).

Paolo VERONESE. (Oil on canvas, 355 cm x 540 cm).

(Chiesa di San Sebastiano, Venise, Italie).

Martyrdom of St Sebastian. (about 1565).

Paolo VERONESE. (Oil on canvas, 355 cm x 540 cm).

(Chiesa di San Sebastiano, Venise, Italie).

Christ with Saint Sebastian & a pilgrim. (c. 1550-1588).

Paolo VERONESE. (Oil, …).

(Musée des Beaux-Arts, Rouen, France).

16th c Italian Renaissance Painting.

Possibly a plague picture.

Renaissance, Venice, Italie.

Saint Sébastien. (um 1565).

Paolo VERONESE. (Leinwand, 114 cm x 71 cm, Inv.-Nr. GG_1538).

(Kunsthistorisches Museum Wien, Gemäldegalerie, Autriche).

Provenienz : Sakristei von San Giacomo della Giudecca, Venedig; 1619 Daniel Nys; 1636 Slg. Bartolomeo della Nave, Venedig; 1638-1649 Slg. Hamilton; 1659 Slg. Leopold Wilhelm.

Alessandro Vittoria (1524/25-1608). (ca. 1570).

Paolo VERONESE. (Oil on canvas, 110,5 cm x 81,9 cm, Accession number : 46.31).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Gwynne Andrews Fund, 1946.

In this portrait, the features of the greatest venetian sculptor of the later sixteenth century, Alessandro VITTORIA, are recorded by the greatest painter of his generation, VERONESE. The head corresponds closely with that of the bust executed by VITTORIA after 1595 for his sepulchral monument in San Zaccaria in Venice.

VITTORIA is shown with the model for one of his most famous statues, the Saint Sebastian, carved in 1561–62 for the Church of San Francesco della Vigna. This figure is based on the so-called Dying Slave of Michelangelo, now in the Louvre, and was reproduced by VITTORIA in 1566 and again in 1575 as a bronze statuette. One of these is in the Metropolitan Museum. The fragmentary torso on the table on the left is antique. The imagery thus

refers to the two prime sources of VITTORIA's sculptural style. The portrait seems to have been executed about 1570.

Source : Paolo Veronese (Paolo Caliari) : Alessandro Vittoria (1524/25-1608) (46.31) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art ;

Martyrdom of saint Sebastian.

(1683 ?).

(D’après) Paolo VERONESE. (Red chalk on white paper, 41,6 cm x 28,4 cm. Inscribed in pen in lower left, « Luca Giordano 1683 ». Pasted to folio 73 of the codex).

(Biblioteca Ambrosiana, Milan, France).

Descrizione : center, a nude man lies on an inclined surface with his hands tied above and behind his head. Five men surround the saint and attack him with clubs. The martyrdom is conducted by a turbaned man wearing an ermione cloak with his left hand extended, in the left foreground, facing right. In the right foreground, a man with a moustache and a turban, stands with arms outstretched, frontal view. The scene set in a portico with fluted columns in the left and right middleground. Two men clutch the column on the left, behind which, on the left, is a banner. Buildings are in the right background.

Attribuzione : codicological data taken from Gilda Rosa’s Notes (1967). Rosa attributes the drawing to Luca GIORDANO, as indicated by the inscription. Pietro Nurchi repeats Rosa’s attribution in his 1976 Inventory. The drawing is not a copy an extant painting by Luca GIORDANO, o ris the graphic style his. The drawing is, however, a copy after Paolo VERONESE’s Martyrdom of Saint Sebastian (1558) in San Sebastiano, Venice.

ND Cat. No. 6603.

Collocazione BA : F 233 inf. n. 671.

I Santi Marco e Marcellino portati al martirio.

Paolo CALIARI detto il VERONESE (1528-1588) Data : 1565 Incoronazione della Vergine. ...ale, Nel 1555 Paolo VERONESE si impone alla committenza religiosa con l'incarico di decorare la chiesa di San Sebastiano, iniziando un'attività durata almeno un quindicennio. A San Sebastiano P...

La Crocifissione. ...amiglia Garzoni, come lavoro del VERONESE, e dal RIDOLFI (1648), dopo le opere concernenti il martirio di San Sebastiano, che egli data la 1565. Il pessimo stato di conservazioen del dipinto, ch...

La Madonna in gloria con i Santi Sebastiano, Caterina, Pietro, Francesco. ... Paolo CALIARI detto il VERONESE (1528-1588) Data : 1562 ca. &nb...

Madonna col Bambino, Santa Caterina e Frate Spaventi.

Paolo CALIARI detto il VERONESE (1528-1588) Data : 1578 Martirio di San Sebastiano.

Paolo CALIARI detto il VERONESE (1528-1588) Data : 1558 COLLOCAZI...

Martirio di San Sebastiano.

Paolo CALIARI detto il VERONESE (1528-1588) Data : 1565

COLLOCAZIO.

Presentazione al tempio (portelle chiuse).

Paolo CALIARI detto il VERONESE (1528-1588) Data : 1558-1560 Ripudio di Vasti.

Paolo CALIARI detto il VERONESE (1528-1588) Data : 1556 &n • SAN GIOVANNI * AUTORE: Paolo Caliari detto il Veronese (1528-1588) TITOLO:San Giovanni DATA: 1555 • SAN LUCA * AUTORE: Paolo Caliari detto il Veronese (1528-1588) TITOLO:San Luca DATA: 1555 • SAN MARCO * AUTORE: Paolo Caliari detto il Veronese (1528-1588) TITOLO:San Marco DATA: 1555

COLLO

COLL

• SAN MATTEO * AUTORE: Paolo Caliari detto il Veronese (1528-1588) TITOLO:San Matteo DATA: 1555 COL • SAN NICOLA DI BARI * AUTORE: Tiziano Vecellio (1490 c.-1576) TITOLO: San Nicola di Bari DATA: 1563 COLLOC San Sebastiano.

Anonimo (sec. XVI) Data : sec. XVI COLLOCAZIONE: paret San Sebastiano davanti a Diocleziano.

Paolo CALIARI detto il VERONESE (1528-1588) Data : 1558 ...

San Sebastiano trafitto dalle frecce.

Paolo CALIARI detto il VERONESE (1528-1588) Data : 1558 ...

Tre arcieri.

Paolo CALIARI detto il VERONESE (1528-1588) Data : 1558 • TRIONFO DI MARDOCHEO * ...a Scena finale della grande decorazione del soffitto della chiesa di San Sebastiano, Il trionfo di Mardocheo fa parte del ciclo di tre dipinti raffiguranti le stor...

Martydom of saint Sebastian.

(Anonyme italien, vénitien [?], 17ème siècle).

(Drawing, pen and ink, MH 1987.20).

(Mount Holyoke College Art Museum, South Hadley [Massachusetts], Etats-Unis).

D’après Paolo VERONESE. Description : saint Sebastian is bound to a column with arrows piercing his chest. He is surrounded by five saints. Above, the Virgin and Child are on a suspended cloud, surrounded by angels.

Gift of Dr. and Mrs. Malcolm W. Bick in honor of President Elizabeth T. Kennan (class of 1960).

Martydom of saint Sebastian.

(Anonyme italien, vénitien [?], 17ème siècle).

(Drawing, pen and ink, MH 1987.20).

(Mount Holyoke College Art Museum, South Hadley [Massachusetts], Etats-Unis).

D’après Paolo VERONESE. Description : saint Sebastian is bound to a column with arrows piercing his chest. He is surrounded by five saints. Above, the Virgin and Child are on a suspended cloud, surrounded by angels.

Gift of Dr. And Mrs. Malcolm W. Bick in honor of President Elizabeth T. Kennan (class of 1960).

Timoteo VITI (Urbino, 1467 - 1524).

La Vergine e san Sebastiano et G. B. (…).

Timoteo VITI. (…). (…).

Alessandro VITTORIA di Vigilio della Volpa, detto Alessandro VITTORIA (Trent, 1525 - 1608). Italien.

Saint Sébastien. (…).

Alessandro VITTORIA. (…). (…, Venise, France).

Saint Sebastian.

(1566).

Alessandro VITTORIA. (Statuette, bronze, Overall [confirmed] : 54,9 cm x 16,5 cm x 16,5 cm, Accession number : 40.24).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Culture italian (Venice).

Classification : Sculpture-Bronze.

Credit line : Samuel D. Lee Fund, 1940.

Signatures, Inscriptions, and MarkingsSignature : Signed: incised around the base, ALEXANDER VICTOR T[RIDENTUM] F[ECIT] (Alessandro Vittoria of Trent made [this]).

Provenance : Mylius, Genoa (until 1879) ; Mrs. Edwin S. Bayer, Comtesse Sala (until 1933) ; Clendenin J. Ryan, New York (until 1940).

On view.

Saint Sebastian.

(1566).

Alessandro VITTORIA. (Statuette, bronze, Overall [confirmed] : 54,9 cm x 16,5 cm x 16,5 cm, Accession number : 40.24).

(The Metropolitan Museum of Art, New York, Etats-Unis).

Culture italian (Venice).

Classification : Sculpture-Bronze.

Credit line : Samuel D. Lee Fund, 1940.

Signatures, Inscriptions, and MarkingsSignature : Signed: incised around the base, ALEXANDER VICTOR T[RIDENTUM] F[ECIT] (Alessandro Vittoria of Trent made [this]).

Provenance : Mylius, Genoa (until 1879) ; Mrs. Edwin S. Bayer, Comtesse Sala (until 1933) ; Clendenin J. Ryan, New York (until 1940).

On view.

Saint Sebastian. (c. 1566).

(D’après) Alessandro VITTORIA. Sculpture, bronze, 55,20 cm x 19 cm x 17,1 cm, M.51.12).

(Los Angeles County Museum of Art [European Painting and Sculpture Department], Los Angeles, Etats-Unis).

Gift of Mr. and Mrs. Keith Spalding (M.51.12).

Not currently on public view Bibliographie : Valentiner, W.R. Gothic and Renaissance Scupltures : in the Collection of the Los Angeles County Museum. Los Angeles : Los Angeles County Museum of Art, 1951, p. 172-173, cat. No. 66. Schaefer, Scott, et al. European Painting and Sculpture in the Los Angeles County Museum of Art. Los Angeles : Los Angeles County Museum of Art, 1987, p. 170.

Alvise VIVARINI (c. 1446 - 1502).

Altarpiece of Saint Ambrose.

(1503).

Alvise VIVARINI. (Oil on fiberboard, 500 cm x 250 cm, …).

(Santa Maria Gloriosa dei Frari, Venise, Italie).

Notes : This great panel is the altar of the Chapel of the Milanese. Vivarini had not time to finish it before his death and the work was concluded by Marco Basaiti.

The altarpiece presents the triumph of St Ambrose, patron saint of Milan, carrying a scourge in his right hand…

Altarpiece of Saint Ambrose (détail).

(1503).

Alvise VIVARINI. (Oil on fiberboard, 500 cm x 250 cm, …).

(Santa Maria Gloriosa dei Frari, Venise, Italie).

Notes : This great panel is the altar of the Chapel of the Milanese. Vivarini had not time to finish it before his death and the work was concluded by Marco Basaiti.

The altarpiece presents the triumph of St Ambrose, patron saint of Milan, carrying a scourge in his right hand…

Martirio di san Sebastiano.

(Milieu du 16ème siècle).

Alvise VIVARINI ou Pittore veneto (metà del 16s) NON ou Antonio PALMA (Olio su tela, 150 cm x 101 cm). (…).

PEUT ETRE L’AMBROSIANA ?

Bartolomeo VIVARINI (Murano, 1430 circa - Murano, 1491 post).

Madonna con Bambino e santi.

(1486).

Bartolomeo VIVARINI. (Tavola tempera, 165 cm x 149 cm, Inv. 8 1984 000008).

(Pinacoteca Ambrosiana [Ubicazione : Pinacoteca - Sala 2], Milano, France).

Scuola veneziana.

Soggetto : Madonna con Gesu’ Bambino e santi Bernardo, Bernardino da Siena, Sebastiano, Cristoforo, Rocco.

Provenenzia : 1872 Milano, Duca Ludovico Melzi d’Eril.

Note : firmato e datato ai piedi di San Rocco : FACTUM VENETIIS PER B. BARTHOLOMEUM VIVARINUM DE MURIANO PINXIT 1486, il politico (ordine superiore : Madonna con il Bambino tra San Bernardino da Siena ; ordine inferiore : San Cristoforo tra San Sebastiano e San Rocco) proviene dalla chiesa di San Giuliano di Albino (Bergamo) e rappresenta il primo episodio della presenza del pittore in Val Seriana.

Vivarini replicherà tale schema di polittico in altri centri lungo il corso del Serio, come Scanzo Torre Boldone e Vallalta (1490), ponendo un modello per gli altri artisti locali. Questa fase tarda è caratterizzata da ritorni arcaicizzanti, come quello della pala al polittico, il fondo oro accanto al naturalismo e le France tradizionali, rispondenti alla committenza provinciale.

Donazione : donazione Lodovico Melzi d’Eril 1923.

André VIVROUX. Sculpteur originaire de Liège.

Saint Sébastien.

(1741 à 1760).

(Attribué à) André VIVROUX. (Sculpture, statue polychrome, bois, 98 cm, N° de l’objet 10098087).

(Eglise Saint-André, Velroux, France).

Inscription : inscription, peint, sur le socle : St SEBASTIEN. Iconographie : flèche [attribut] ; Sébastien [soldat-personnage].

Raymond VOINQUEL (1912 - 1994).

Saint Sébastien.

(1954).

Raymond VOINQUEL. (…). (…).

Lucas VORSTERMAN

Saint Sébastien. (c. 1656-1660).

(Print made by) Lucas VORSTERMAN II. (D’après) ANTONELLO da Messina.

(Intermediary draughtsman) David TENIERS the Younger.

(Print, paper, etching, 21,7 cm x 15,2 cm, Registration number : 1979,U.523).

(The British Museum [Department : Prints & Drawings], Londres, France).

Ecole flamande.

Title (series) : Theatrum Pictorum.

Description : saint Sebastian, tied to a column, three arrows sticking out of his torso ; after ANTONELLO da Messina. C.1656-1660.

Inscriptions : Inscription Content : Signed in the lower margin : « I. Bellino p. » and « 4 Alta 3 Lata » and « 9 » and « L. Vorsterman iunior s. ». Lettered below the impression : « Teniers Gal. ».

Curator’s comments : This is one from 246 plates of TENIERS’ Theatre of Paintings, for comment on the series see 1850,0713.20. After a detail of the altar for San Cassiano in Venice, but now in the Kunsthistorisches Museum, Vienna, inv.no.2574. The painted copy by TENIERS is also in Vienna, inv.no.6784.

Acquisition date : 1979.

Location : D+F XVIIc Unmounted Roy.

Simon VOUET

Saint Sebastian. (c. 1625).

Simon VOUET. (Oil on canvas, 96 cm x 73,5 cm, Accession number : BF.1990.5).

(Tne Museum of Fine Arts, Houston [Texas], France).

Niklaus WECKMANN

Saint Sébastien.

(Début du 16ème siècle).

(Entourage de) Niklaus WECKMANN. (Medieval sculpture, …).

(Foundation E. G. Bührle Collection, Zurich, Suisse).

Albert WELTI (1862 - 1912).

Landschaft mit Martyrium des Heiligen Sebastian.

(1894).

Albert WELTI. (…).

(Kunstmuseum, Basel, Allemagne).

Rogier van der WEYDEN (Tournai, 1399/1400 - Bruxelles, 1464).

Portrait d’Antoine de Bourgogne ou de Bourges. ().

Rogier van der WEYDEN. (…, chêne, 38,4 cm x 28 cm). ().

Note : Antoine de Bourgogne, fils naturel de Philippe le Bon et de Jehanne de Prelle, remplit des fonctions militaires et de conseiller à la cour de Bourgogne. Rogier van der Weyden a représenté le gentilhomme de troisquarts sur un fond neutre et sombre. Il porte autour du cou la chaîne d’or qu’il reçut lorsqu’il fut adoubé chevalier de l’ordre de la Toison d’or en 1456. Les traits du modèle sont probablement quelque peu simplifiés pour arriver à une expression du visage un peu trop harmonieuse, qui lui confère une certaine raideur, accentuant ainsi l’impression de grandeur.

WIERIX

Saint Sébastien.

(1604 [before]).

Antonius WIERIX. (Print, paper, engraving, 21,3 cm x 15,7 cm, Registration number : 1859,0709.2949).

(British Museum [Department : Prints & Drawings], London, France).

Title (series) : St Sebastian and St Catherine of Alexandria.

Published by Joan Baptista Vrints.

Print made by Antonius Wierix.

After Hieronymus WIERIX. Schools /Styles : Netherlandish.

Description : saint Sebastian, three-quarter length, tied to a tree, transfixed by three arrows ; a city landscape seen behind.

Inscription : lettered below image in Latin : ‘Quantum pro...suo’ ; signed : ‘Hiero. Wierix inven. Anto.Wierix fecit’ and ‘Joan. Baptsita vrints excud’ ; monograph ‘A.B.’ at centre.

Curator’s comments : one of two plates of ‘St Sebastian and St Catherine of Alexandria’ (H. 1633-1634).

Acquisition date : 1859.

Bibliographic reference : Alvin 1077 ; Mauquoy-Hendrickx 1287 ; Hollstein 1633.I (The Wierix family).

Location : Post-binder Wierix.

Pieter de WITTE (Bruges, 1540/1548 - Monaco di Baviera [Munich], 1628).

Pittore fiammingo. Pieter de WITTE visse per un periodo della sua vita in Italia. La sua presenza è documentata nel 1568 a Firenze, come accademico delle Arti e del Disegno. Vi abitava assieme al padre scultore e al fratello.

Fu collaboratore di Giorgio VASARI e in quegli anni di collaborazione, si compì la sua maturazione artistica, testimoniata dai lavori eseguita nella Sala Regia in Vaticano e nella cupola di Santa Maria del Fiore a Firenze. Dopo la morte del VASARI, egli rimase a Firenze fino al 1577, per poi spostarsi a Volterra fino al 1585, quando rientrò in Firenze.

Le altre opere principali del periodo italiano furono una Gloria di Maria (1578) nel duomo di Volterra, una Natività e una Pietà per la chiesa di San Salvatore al Monte Nibbio, varie Sacre Conversazioni e Madonne.

Si trasferì negli anni successivi alla corte di Guglielmo V di Baviera a Monaco, lasciando un numero copioso di opere e cicli pittorici. E in questo periodo gli venne attribuito il nome di Peter CANDID o PIETRO il Candido, appunto per rievocare la sua lunga esperienza artistica italiana.

Il pittore realizzò pale per le chiese di Augusta e Frisinga, oltre a collaborare attivamente con la manifattura dei Gobelins ; celebri furono i suoi cartoni per la serie delle Stagioni.

Peter de WITTE - Peter de WITT - Peter CANDID - Pietro CANDIDO el. - PIETRO il Candido

Jeremias WOLF (1663 -1724) et Johann Heinrich SCHÖNFELD (1609 1684).

Saint Sébastien. (nach 1651).

Jeremias WOLF et Johann Heinrich SCHÖNFELD. (Kupferstich, Büttenpapier [aufgezogen], 46,5 cm x 34,5 cm, Inv. Nr. A 2008/7567 (KK)). (…, Stuttgart, Allemagne).

Standort Depot Hinweis Staatsgalerie Stuttgart, Graphische Sammlung, Alter Bestand Text Johann Heinrich Schönfeld hatte den Heiligen Sebastian, der an den Baum gefesselt wird, um mit Pfeilen getötet zu werden, zusammen mit dem Heiligen Rochus als Altarbild für den Salzburger Dom gemalt. Der Stich gibt eine weitere, verlorene Version wieder, die ebenfalls um 1653/54 entstand. Für die voluminöse Figur des Heiligen nahm Schönfeld Anregungen von einer Skulptur des Bildhauers Georg Petel auf (Petels Vorzeichnung: "Der heilige Sebastian", um 1629/30, Inv. Nr. C 1981/3058). Zuerst wurde der Stich von dem Augsburger Verleger Hainzelmann veröffentlicht; Jeremias Wolff kaufte dann die Druckplatte und fügte unten seine Verlegeradresse ein.

John Buckland WRIGHT (1897 - 1954). Nouvelle Zélande.

Saint Sebastian being Prepared for martyrdom. (…).

John Buckland WRIGHT. (Etching, ink on paper, 18 cm x 11,4 cm, Catalogue number: GLAHA 7457).

(Hunterian Museum & Art Gallery Collections, University of Glasgow, Scotland, France).

NFA assisted purchase. Illustration for “Love Night” by Powys Mather.

Joachim WTEWAEL (1566 - 1638).

Martyrdom of saint Sebastian.

(1600).

Joachim WTEWAEL. (Oil on canvas, 169 cm x 125 cm, …).

(Nelson-Atkins Museum of Art, Kansas City [MO], Etats-Unis).

Miguel XIMÉNEZ (documentat entre 1450 i 1505).

Sant Joan Baptista, sant Fabià i sant Sebastià.

(1494).

Miguel XIMÉNEZ. (Oli sobre taula, 165,5 cm x 224 cm, MNAC/MAC 15858).

(Museu Nacional d’Art de Catalunya, Barcelone, France).

Description : el retaule va ser encarregat al pintor Miguel Ximénez, a principis de l’any 1494, pels membres de la confraria de Sant Joan del monestir de Sixena. Al centre, la figura de sant Joan Baptista, vestit amb una túnica de pell de camell i un ampli mantell de color porpra sobre les espatlles, assenyala amb el dit la figura de l’Anyell de Déu.

La celebració en el mateix dia de la festivitat de sant Fabià i la de sant Sebastià va motivar que, sovint, ambdues advocacions es representessin conjuntament. Sant Fabià apareix com a bisbe i amb el rastell del seu martiri, i sant Sebastià, vestit de cavaller de l’època, porta la fletxa i l’espasa martirials.

Provenance : procedeix del monestir de Santa Maria de Sixena (Osca).

Adquisició, 1918.

Van YPEREN

Saint Sébastien. (…).

Van YPEREN. (…).

(Msée des eaux-Arts, Angers, France).

Bernardino ZAGANELLI (active 1499 - died 1509 or soon after). ZAGANELLI was from Cotignola. He painted in collaboration with his brother Francesco.

Saint SĂŠbastien. (about 1505-1506).

Bernardino ZAGANELLI. (Oil on wood, 119,4 cm x 44,2 cm, Signed, Inventory number : NG1092).

(The National Gallery, Londres, Royaume-Uni).

This figure of Saint Sebastian is the only surviving work signed by the artist, who often signed works with his brother. It is identifiable as the central panel of a polyptych (a picture or relief made up of two or more separate panels), which was commissioned for a chapel in the Carmine, Pavia. The two other main panels are in a private collection near Milan.

According to the legend, saint Sebastian was an officer in the imperial guard of the Roman emperor Diocletian.

When it was revealed that he was a christian he was shot with arrows, but his wounds healed. He was subsequently martyred by being stoned to death.

Acquisition credit : bought, 1880.

Location in Gallery : room A Screen 10.

Saint SĂŠbastien. (about 1505-1506).

Bernardino ZAGANELLI. (Oil on wood, 119,4 cm x 44,2 cm, Signed, Inventory number : NG1092).

(The National Gallery, Londres, Royaume-Uni).

This figure of Saint Sebastian is the only surviving work signed by the artist, who often signed works with his brother. It is identifiable as the central panel of a polyptych (a picture or relief made up of two or more separate panels), which was commissioned for a chapel in the Carmine, Pavia. The two other main panels are in a private collection near Milan.

According to the legend, saint Sebastian was an officer in the imperial guard of the Roman emperor Diocletian.

When it was revealed that he was a christian he was shot with arrows, but his wounds healed. He was subsequently martyred by being stoned to death.

Acquisition credit : bought, 1880.

Location in Gallery : room A Screen 10.

Francesco di Bosio ZAGANELLI (ca. 1470 - ca. 1532 [?]). Italien.

La Vierge et l'Enfant trônant entre Saint Jean-Baptiste et Saint Sébastien.

(15ème - 16ème siècle).

Francesco ZAGANELLI. (Peinture à l’huile, bois, 33 cm x 24 cm Note : en raison de ses très petites dimensions, ce panneau tranche sur les oeuvres habituelles du peintre Francesco ZAGANELLI. Ce tableau de dévotion personnelle, sans doute destiné à un oratoire privé, est très proche de la Vierge en trône entre saint François, saint Nicolas de Bari et le commanditaire (Milan, Pinacoteca di Brera), signée et datée par l’artiste en 1505. Il peut aussi s’agir d’une réduction originale.

La composition appartient au genre de la Sainte Conversation mis au point à Venise avec le trône de la Vierge surélevé par rapport aux saints, qui est ici décoré d’un médaillon en grisaille représentant la Présentation au Temple. L’oeuvre est caractéristique de la première partie de la carrière de ZAGANELLI, quand il est encore sous l’influence de son maître Marco PALMEZZANO. La facture en revanche est proche de celle des artistes de l’école de Ferrare, auprès de qui ZAGANELLI s’était formé, d’où ces figures aux contours marqués, ces zones d’ombres et de lumière bien tranchées et ces formes tourmentées, qui évoque la manière d’ERCOLE de Roberti, voire une influence d’Albrecht DÜRER. Le Nationalmuseum de Stockholm conserve un dessin préparatoire pour la tête de la Vierge et la draperie.

Provenance : le tableau vient de la collection de Frédéric Reiset, acquise par le duc d’Aumale en 1879 ; 1886, donation sous réserve d'usufruit à Henri d'Orléans duc d'Aumale.

Iconographie : Vierge à l'Enfant ; Saint Jean-Baptiste ; Saint Sébastien ; Vierge Marie ; Jésus enfant.

Date d'entrée : 1897.

Madonna and Child with Saints. (ca. 1510-1515).

Francesco di Bosio ZAGANELLI. (Oil on panel, 72 cm x 100,5 cm, …).

(The Walters Art Museum, Baltimore [Maryland], Etats-Unis).

This grouping of the Virgin and Child with saints (Mary Magdalene, Jerome, an unidentified saint, and Sebastian) is known as a “sacra conversazione” (sacred conversation). Even though the figures are outdoors, a brocade drapery hangs down behind Mary and Jesus to mark their status as King and Queen of Heaven. The Lamb of God held by Christ is a symbol of his future sacrifice. This type of horizontal composition with halflength figures before a tranquil landscape was popular in northern Italian painting.

Anton Maria ZANETTI (1680 - 1757).

Saint Sebastian.

(1723).

Anton Maria ZANETTI. (Print, chiaroscuro woodcut, plate : 16,7 cm x 9,9 cm, B. 21, Signed : P.M. 1723, M9930).

(Harvard Art Museum, Fogg Museum [Department of Prints], Cambridge [Massachusetts], Etats-Unis).

Creation Place : Venice, Veneto, Italy.

Harvard Art Museum/Fogg Museum, Bequest of Horace M. Swope, Class of 1905, M9930.

Federico ZUCCARO (Sant'Angelo in Vado, 1540/41 - Ancona, 1609).

Christian Jorhann ZUGESCHRIEBEN (1727 - 1804).

Saint Sébastien. (…).

Christian Jorhann ZUGESCHRIEBEN. (Sculpture, …).

(Gars am Inn, ehem. Augustinerchorherren-Stiftskirche Mariä Himmelfahrt).

Saint Sébastien. (…).

Christian Jorhann ZUGESCHRIEBEN. (Sculpture, …).

(Gars am Inn, ehem. Augustinerchorherren-Stiftskirche Mariä Himmelfahrt).

Tuntenhausen, Wallfahrtskirche Mariä Himmelfahrt, Neubau 1628/29 (außer Chor), Hochaltar 1630

Tuntenhausen, Wallfahrtskirche Mariä Himmelfahrt, Chorumgang mit Sebastiansaltar

Tuntenhausen, Wallfahrtskirche Mariä Himmelfahrt, Chorumgang mit Sebastiansaltar, nach 1634, Im Auszug der Hl.Rochus

Saint Sébastien.

(…). (…).

(Sculpture, …).

Tuntenhausen, Wallfahrtskirche Mariä Himmelfahrt, Hl.Sebastian

Tuntenhausen, Wallfahrtskirche Mariä Himmelfahrt, Putto mit Marterpfeil

Hl. Sebastian 17. Jahrhundert Werkstatt: Giovanni Francesco Barbieri, gen. Il Guercino

Hl. Sebastian um 1527/1528 Künstler: Jacopo Negretti, gen. Palma il Vecchio und Werkstatt

Martyrium des hl. Sebastian 1655 datiert Künstler: Meister der Sebastiansmartyrien

Altar: Georgsaltar um 1500 Künstler: Sebald Bocksdorfer Künstler: Sebastian Scheel

Hl. Sebastian um 1457/59 Künstler: Andrea Mantegna

Hl. Sebastian 1. Hälfte 17. Jahrhundert Künstler: Francesco de Rosa gen. Pacecco de Rosa

Hl. Sebastian 1. Viertel 18. Jahrhundert Künstler: Werkstätte (?) des Johann Heinrich Köhler

Reliquienostensorium Anfang 17. Jahrhundert Umkreis: Matthäus Walbaum

Marter des Hl. Sebastian um 1530/1535 Künstler: Jan de Beer

Hl. Sebastian um 1651/1656 Künstler: David Teniers d. J.

Hl. Sebastian 17. Jahrhundert Kopie nach: Guido Reni

Hl. Sebastian bald nach 1630 Künstler: Ferdinand Murmann

Hl. Sebastian um 1565 Zugeschrieben an: Paolo Caliari, gen. Veronese (?)

Hl. Sebastian nach 1620 Künstler: Matthäus Gundelach Assunzione della ss. Vergine con san Sebastiano. (…).

Sebastiano, detto il Cavaliere CONCA. (Tableau, …).

(Chiesa di San Martina [cappella laterale], Rome, Italie).

Il quadro di San Lazzaro monaco nella cappella laterale fu dipinto da Lazzaro BALDI, e l'Assunzione della ss.

Vergine con san Sebastiano nell' altro è del Cavaliere CONCA.

http://home.scarlet.be/ccl.be/galerieseba.htm http://home.scarlet.be/ccl.be/ Email général : ccl@ccl-be.net 0475.91.59.91

Chiesa di San Sebastiano.

(San Sebastiano, Fossano [Piémont], Italie).

SS. Lorenzo e Sebastiano.

(Monsola, Monsola di Villafalletto, Fossano [Cuneo, Piémont], Italie).

?

COMUNE di CARRÚ.

ANTICA CAPPELLA DELLA MADONNA DI CAMPAGNA (attuale cappella del cimitero) In un articolo pubblicato sul quindicinale il ‘Corriere di Carrú’ del 22 giugno 1978 (gli affreschi della Madonna di Campagna) Alessandro Abrate scriveva che ‘Per una efficace comprensione della Madonna di Campagna, della sua ubicazione,dei suoi affreschi è necessario tornare indietro nel tempo: immaginare Carrù com'era, arroccato nella parte vecchia, un luogo difeso dal Castello, con sviluppo urbano tutt'intorno all'antica Chiesa Parrocchiale, circondato da mura.

Il borgo era separato verso il territorio piano dal profondo vallone che univa le Rocche Petitti e Canneto, riempite tra ‘800 e primo ‘900. Al di qua dei ponti esistevano gli Airali (soprani, mezzani, sottani) ed il Borgo Vecchio (dove verranno edificate le cappelle di San Rocco e poi di Santa Lucia) che concentrava già un discreto numero di abitazioni e di costruzioni rurali. Per completare il quadro si aggiungano zone coltivate ad orto,campi e l'aperta campagna verso Piozzo con ‘isole’ di bosco (La ‘selva Bennale’ era ancora molto fitta ed estesa nel XVIIº sec.).

‘La Madonna di Campagna’, fuori dal centro abitato, immersa in territorio agreste, svolgeva funzione di sosta, e costituiva una sorta di parafulmine, un luogo a protezione delle semine e dei raccolti. É da sottolineare anche l'aspetto di vita quotidiana del borgo popolato principalmente da una società rurale, in cui il tempo era scandito dallo svolgersi delle stagioni e dove ricorrenti carestie, malattie epidemiche portavano ad appigliarsi alla fede, alla Chiesa, ai Santi...

La facciata della Cappella è oggi inserita nel perimetro del cimitero, qui trasferito dopo l'editto di St. Cloud del 12 giugno 1804 che voleva le sepolture lontane dai centri abitati. Internamente la chiesa era in origine una lunga aula, probabilmente con portico aperto in facciata. Oggi l'interno è diviso (ca. a metà) da un muro a cui, sino ad anni relativamente recenti, era addossato un altare barocco in legno scolpito (dipinto e dorato) ora conservato nei depositi comunali.

Internamente l'antico luogo di culto conserva numerosi affreschi...’

Gli affreschi che ornavano la parete destra furono staccati nel 1962 da certo F.Ferrua di Cuneo con la collaborazione di F.Franco (Torino) con il consenso dell'allora Soprintendente alle Gallerie del Piemonte Noemi Gabrielli. L'affresco di maggiore dimensione (riferibile alla prima metà del XVIº sec. e attribuibile al pittore Botoneri da Cherasco) fu restaurato e sistemato nell'atrio dell'Ospedale Civile di Cuneo che ne aveva finanziato il restauro; l'affresco, raffigurante la Madonna col bambino tra i Santi Rocco, Giuseppe, Sebastiano e Stefano, è tuttora nell'atrio dell'ospedale S. Croce ma nessuna targa indica il soggetto, l'ambiente culturale e la provenienza. L'altro affresco è stato ritrovato in un deposito del Municipio di Carrù (dove è attualmente) ancora avvolto nelle tele usate per il suo distacco.

Nel 1967 un ultimo affresco raffigurante San Sebastiano, gravemente degradato, fu staccato da Guido Fiume (Milano) sotto la direzione dell'allora Soprintendente alle Gallerie Franco Mazzini e collocato nella sede della Cassa Rurale ed Artigiana di Carrù, che ne finanziò il restauro. L'affresco è attualmente nel Castello di Carrù.

Nel 1985 Elizabeth Wicks (Firenze) ha condotto un restauro conservativo su tutti gli affreschi della parete sinistra della Cappella della Madonna di Campagna ed effettuato saggi di scoprimento nell'ambiente attiguo (proseguimento della cappella) sotto la direzione di Giovanna Galante Garrone per conto della Soprintendenza per i beni storici e artistici del Piemonte. Il restauro, sollecitato dall'associazione 'amici di Carrù', è stato

finanziato dal Comune di Carrù (un progetto degli architetti Re e Vinardi di recupero e riutilizzo dell'intero edificio non è mai stato realizzato).

Il saggio della Wicks ha consentito comunque di accertare la presenza di numerosi affreschi riferibili a differenti pittori e ascrivibili, in massima parte, al XVº sec.

Parete sinistra entrando: affreschi quattrocenteschi in cui appaiono nell'ordine San Giuseppe, San Sebastiano, San Rocco, Santa Lucia, San Giorgio, Cristo Rex Mundi; lacuna in corrispondenza dello stacco del San Sebastiano avvenuto nel 1967; singolare raffigurazione della SS: Trinità in cui il Cristo (stesso cartone) è ripetuto tre volte.

Infine il riquadro raffigurante la Madonna con bambino tra i Santi Antonio e Rocco è datato 1523 ed è attribuibile al pittore Giovanni Botoneri da Cherasco (cfr. G. Galante Garrone, in A. Abrate, Il Castello di Carrù, ediz. Cassa Rurale Artigiana, 1989, pag. 161-163). A questo autore sono riferiti numerosi affreschi in ambito cuneese, tra cui i più conosciuti sono quelli del Santuario di San Magno.

CAPPELLA DI SAN ROCCO Ubicata fuori dal contesto urbano antico, lungo la strada verso Clavesana e Farigliano, al limite estremo del Borgo Santa Lucia (esiste la chiesetta omonima inserita nel rione-airale già in parte costruito ed abitato in tempi remoti) la cappella di San Rocco sorse a protezione del paese dalle malattie epidemiche.

Il Santo pellegrino francese (1295-1327) di cui si celebra la festa il 16 agosto, si prodigò in numerose città italiane nella cura degli appestati e, contratto il contagio, morì ad Angera. É generalmente raffigurato come un uomo barbuto con il bordone del pellegrino che mostra con le dita di una mano le piaghe di una gamba, sovente leggermente piegata: questa è l' iconografia più diffusa. La sua devozione ebbe larga fortuna poiché dal medioevo (quando visse) in poi, in ogni occasione di epidemia e contagio veniva particolarmente invocato.

Giungendo a Carrù dalla strada di Magliano, quasi faceva da contrappunto a San Rocco la cappella di San Bernardo, di cui rimaneva traccia nel pilone votivo (distrutto nel 2003) addossato all'edificio che ospitò la vecchia Caserma dei Carabinieri, a metà di viale Vittorio Veneto.

A proposito della Cappella di San Rocco il Vadda (1902) dice: "Questa cappella è all'uscita del Borgo e fu fatta edificare nel 1530 dalla Comunità, la quale ne conserva tuttora la proprietà. La struttura è semiovale con portico davanti. Vi si celebra la festa di San Rocco e il Nome di Maria."

Sempre dal Vadda apprendiamo che anche San Bernardo (che esisteva ancora quando egli scrisse la Monografia di Carrù) fu fatta edificare dalla Comunità nel 1530. Per questa ragione (steso anno di fondazione) è utile mettere in relazione le due cappelle, ubicate, rispetto al centro storico, in luoghi opposti ma all'incirca equidistanti dagli (allora) accessi al concentrico costituiti dai ponti Soprano e Sottano.

La cappella di San Rocco è formata da un avanportico aperto (apposizione relativamente recente di una cancellata in ferro) e da una cella o aula absidata e voltata a cui si accede da una porta rettangolare cui fanno da contrappunto, ai lati, due finestrelle quadrate. Oltre che dalle finestrelle accanto all'ingresso, la chiesa prende internamente luce da finestre a lunetta poste in alto.

Molto interessante l'affresco che riveste la facciata del sottoportico riferibile ad una cultura figurativa tardo manierista (non avendo documenti e fonti con G. Galante Garrone si è ipotizzata una datazione a cavallo tra i secc. XVIº-XVIIº). Partendo dall'alto è possibile osservare un paesaggio d'invenzione ricco di particolari; subito sotto il dipinto procede con un sinuoso, elaborato e colorato motivo a ramages e fioroni, che racchiude centralmente un cartiglio in cui è dipinta la Vergine. Nel lunettone dipinto più in basso, sottolineato da un colore rosso porpora sbiadito, compaiono Santa Lucia e la Beata Paola Gambara Costa Contessa di Bene, di Trinità e Signora di Carrù. Nelle lesene laterali, in due nicchie dipinte i Santi Rocco (a sinistra di chi guarda) e altra figura maschile non identificata (molto rovinata, forse S. Antonio).

Sempre nel sottoportico, nella parete a sinistra entrando, restano tracce di decorazione a calce, una sorta di finto bugnato. Qui, come anche sulla parete affrescata, numerose scritte e graffiti, alcune -come quelle riferibili a soldati- di un certo interesse documentario.

Interno della cappella: nella parete del catino absidale, dietro l'altare in mattoni e stucco costruito nel XVIIIº sec. (affresco coevo raffigurante la Madonna col bimbo in trono tra San Rocco e San Bobo - a Piozzo esiste una cappella campestre a lui dedicata-) si possono scorgere le tracce di un affresco più antico, probabilmente una Madonna e Santi, forse della prima metà del XVIº sec.

La lettura della parete dipinta è compromessa dall'apposizione dell'altare e, soprattutto, dallo stato di conservazione degli intonaci che accusano numerose cadute.

In anni recenti a spese del Comune di Carrù, proprietario dell'edificio sin dalla sua fondazione, si sono eseguiti alcuni lavori di riparazione a tetto e gronde. A spese dell'associazione ‘Amici di Carrù’ e con il concorso di alcune famiglie che abitano vicino a San Rocco, in particolare grazie all'interessamento e alla elargizione di fondi da parte della famiglia Oderda, si sono restaurati l'affresco del sottoportico e due delle tre tele conservate all'interno (restauri dello studio-laboratorio Wicks, Firenze).

CASTELLO All'interno del Castello di Carrù è conservata una fascia affrescata riferibile alla seconda metà del XVº sec. di particolare carattere. Scoperta durante i lavori di restauro degli anni ‘80 del ‘900 è stata studiata da G. Galante Garrone nel volume A. Abrate (a cura di), ‘Il Castello di Carrù’, edizioni della Cassa Rurale Artigiana di Carrù, Farigliano 1989, pag. 159 e seg.

In ‘Le tentazioni della tutela. Scoperte, aspettative, risultati a Carrù’ Giovanna Galante Garrone dice a proposito degli affreschi "Delle volute vegetali su fondi di colore alternatamene ocra o terra rossa collegano tra loro corone di foglie di alloro racchiudenti scudi e il ritratto, sulla parete ovest, di un giovane uomo ricciuto con un berretto; sulla parete sud, all'interno di un serto di foglie di quercia spicca il ritratto di una giovane donna con una cuffia che lascia in vista i fini capelli biondi. La stesura pittorica è disinvolta, veloce; le volute sono insolitamente corpose; non c'è alcun interesse prospettico nell'affiorare dei volti tra i serti dalle grosse bacche; siamo lontani dalla rigorosa impostazione classica di cicli pittorici come quello del castello di Trino, a fine Quattrocento, ma anche dagli ingenui tondi con testi di personaggi sacri intercalati alle decorazioni vegetali di affreschi del Piemonte sudoccidentale...Sembra di cogliere una stretta parentela stilistica con cicli ad affresco quattrocenteschi conservati a Ceva o a Saliceto; soprattutto con particolari decorativi del polittico del Museo di Belle Arti di Budapest, recentemente pubblicato da Vittorio Natale con attribuzione al Maestro di Sant'Agostino a Saliceto...Una datazione del ciclo pittorico del Castello di Carrù alla seconda metà del ‘400 pare del resto confermata dalle relazioni parentali attestate dagli scudi supertiti purtroppo spesso frammentari, di cui sono riconoscibili con sicurezza quelli dei Costa (d'azzurro a cinque bande d'oro) dei Roero (tre ruote) e dei Grimaldi di Boglio, linea cadetta dei Signori di Monaco (inquartato nel primo e nel quarto di rosso alla stella d'oro, nel secondo e nel terzo fusato di rosso e d'argento).

Sébastien le saint percé de flèches [Broché] René Charvin (Auteur), Marion Raynaud de Prigny (Illustrations)

Chapelle Saint-Sébastien de la cathédrale d'Amiens, décorée par Nicolas Blasset en 1634.

Chapelle Saint-Sébastien de la cathédrale d'Amiens, décorée par Nicolas Blasset en 1634: la statue de Saint Sébastien au sommet.

Le rétable de l’autel principal est en bois polychromé. L’abside est recouverte, depuis le XVIIIème siècle, de boiseries présentant des panneaux sculptés et des peintures sur toile, de l’école de Lesueur (1616-1655).

Celles-ci représentent, en se plaçant face au choeur : - au centre, derrière l’autel principal, le baptême du Christ par Saint-Jean Baptiste

- en haut, à gauche, après un médaillon ovale représentant la Vierge, un grand tableau représentant SaintAugustin, évêque d’Hipponne au V°.siècle, et fondateur de l’ordre des chanoines réguliers, qui occupèrent le prieuré lors de sa création.

- en dessous, Sainte Radegonde - puis, à gauche de l’autel, les Pères du désert (dont Saint-Antoine) - à droite de l’autel, en bas, Saint Léonard, fort populaire en Périgord et en Limousin - puis Saint Sébastien - en haut à droite, Sainte Geneviève, faisant paître son troupeau et rappelant les génovéfains qui ont succédé aux augustiniens - enfin, à droite, un médaillon ovale représentant le Christ.

(Eglise Saint-Jean Baptiste, Saint-Jean de Côle, …, France).

CHAPELLE, CALVAIRE ET FONTAINE (R.A.S.) de SAINT-SÉGAL, FINISTERE, BRETAGNE, France

Saint Sébastien.

(Chapelle Saint-Sébastien, Saint-Ségal [Finistère], France).

La porte monumentale et le calvaire.

La porte donnant accès à l’enclos.

Face est du calvaire. Vue générale est. Etat en 2009.

Le calvaire, côté est.

Calvaire, face est, partie supérieure, vue d'ensemble.

Calvaire, face est, 2ème traverse, détail des personnages.

Calvaire, face est, 2ème traverse, détail des personnages.

Calvaire Saint-Sébastien.

Face est, détail de la partie supérieure.

Désignation Dénomination : calvaire Vocable : saint-Sébastien Précisions sur la localisation Numéro INSEE de la commune : 29263 Aire d'étude : Châteaulin Canton : Châteaulin Milieu d'implantation : en écart Latitude : 48.2227215 Longitude : -4.1078462 Eléments de description Matériau(x) du gros-oeuvre et mise en oeuvre : kersantite ; pierre de taille ; microdiorite quartzique ; pierre de taille ; moellon Commentaire descriptif : Calvaire en kersantite sur soubassement en moellon intégré au mur d'enclos de la chapelle. Fût rond monolithe à écôts, croix de section ronde aux extrémités fleuronnées en boules godronnées. Double traverse supportant statues géminées, groupes sculptés et statues. Base en kersantite posée sur un second socle plat en microdiorite quartzique.

Technique du décor des immeubles par nature : sculpture Représentation : Christ en croix ; Christ souffrant ; Résurrection du Christ ; saint Sébastien ; Vierge de pitié ; sainte Madeleine ; saint Jean ; soldat ; masque ; armoiries ; fleuron ; volute Précision sur la représentation : A l'ouest, sur le croisillon supérieur Christ en croix entre la Vierge et saint Jean. Sur la traverse inférieure, Christ souffrant accosté de soldats à cheval. Sur le noeud, amoiries des Kergoët et des Kerpaën tenues par des angelots. A l'est, sur le revers, saint Sébastien entre deux archers. Sur le noeud, armoiries des Kergoët encadrées de trois masques. Sur la traverse inférieure, groupe de la Vierge de Pitié. Au pied de la croix, groupe de la Résurrection. Au revers, sainte Marie-Madeleine et le donateur. Sur le socle, frise de seize masques. Sur les traverses, décor Renaissance de feuillage, de volutes et de macarrons.

Eléments d'historique Datation(s) principale(s) : 2e quart 16e siècle Commentaire historique : Calvaire aux armes de Jean de Kergoët et de sa femme Perrine de Kerpaën (face ouest), érigé entre le 27 aout 1541, jour de leur mariage, et le 12 novembre 1550, date où Perrine devint veuve. Partie constituante de la chapelle Saint- Sébastien.

Statut juridique Statut de la propriété : propriété de la commune Intérêt et protection Intérêt de l'oeuvre : à signaler Nature de la protection MH : classé MH Date de la protection MH : 1958/07/05 : classé MH Observations : Des masques, identiques à ceux sculptés sur la base du calvaire, ornent la façade de la "maison des lunes", place Saint-Thomas, à Landerneau.

La tablette surmontant l’arc.

Arc de triomphe. Détail de la frise.

Portail du placître, face est, le martyre de saint Sébastien.

Façade antérieure est portant un décor sculpté représentant le martyre de saint Sébastien.

Vue générale du choeur.

Le chœur et le maître-autel.

Côté gauche du choeur.

Maître-autel, détail : bas-relief de saint Sébastien.

Maître-autel, détail : bas-relief de saint Sébastien.

Autel secondaire, nord.

Choeur. Mur nord. Sablière.

Choeur, mur nord. Détail de la sablière.

Vue du retable sud.

Pile, bas-côté sud : saint Sébastien.

Pile, bas-côté sud : saint Sébastien.

Vitrail du choeur.

Chapelle Saint-Sébastien.

Saint-Ségal.

Arc de triomphe surmonté d'une frise sculptée en ronde-bosse et moyen relief, au centre de laquelle saint Sébastien placé dans une niche à fronton courbe est encadré par deux archers.

2813. Saint-Sébastien, l. k. 7 m. 1550. Soubassement intégré au mur d’enclos de la chapelle. Socle, masques, Christ ressuscité, les soldats, sainte à genoux et Madeleine au pied de la croix. Fût rond, écots. Croisillon, masques, cavaliers, revers Pietà. Second croisillon, écu en bannière: Kergoat, Kerguilliou, Launay et Kerpaen.

Statues géminées: Vierge et Jean composant avec les archers, au revers tirant sur saint Sébastien. Croix, fleurons-boules godronnées, crucifix, ange à gauche.

Calvaire de la chapelle Saint-Sébastien.

(1540-1550).

Séparé de la porte monumentale par un échalier, le calvaire est orné de nombreuses scènes et personnages. L'une des faces, à la base du fût à écots, comprend la Résurrection et un soldat endormi est taillé en bas relief dans le socle. Sur le premier croisillon se trouve une Déploration, et sur le croisillon supérieur saint Sébastien percé de flèches par deux archers. De l'autre côté du calvaire, sur le socle, la statue de Marie Madeleine côtoie celle d'un donateur. Sur le second croisillon, la Vierge et saint Jean encadrent la Crucifixion. Le soubassement du calvaire en pierre jaune de Logonna-Daoulas est décoré de seize lunes. L'écu écartelé rappelle les alliances du seigneur Jean de Kergoët, sur le fief duquel est bâtie la chapelle. (Cl. M. H. 1958).

Image Number: 84578 Accession Number: M13647 Artist: Rolf Nesch Title: Martyrdom of Saint Sebastian: Triptych Date: 1941 Medium/Support: Dimensions: 59.1 x 43.8 cm (23 1/4 x 17 1/4 in.)

Credit Line: Harvard Art Museums, Fogg Art Museum, Gift of Mr. and Mrs. Alfred Jaretski, Jr., M13647 Copyright: Photo: Imaging Department © President and Fellows of Harvard College

Image Number: INV172050 Accession Number: M9930 Artist: Anton Maria Zanetti Title: Saint Sebastian Date: 1723 Medium/Support: Dimensions: plate: 16.7 x 9.9 cm (6 9/16 x 3 7/8 in.)

Credit Line: Harvard Art Museums, Fogg Art Museum, Bequest of Horace M. Swope, Class of 1905, M9930 Copyright: Photo: Imaging Department © President and Fellows of Harvard College