Lot 3
3
Antonio Rimpatta (active central Italy and Naples, early 16th century)
No VAT will be charged on the hammer price, but VA… Read more A View from the Spanish Steps Hidden beside the Spanish steps, the sophisticated Roman collection assembled by Signora Maria Angiolillo has borne silent witness to Roman intellectual, cultural and political life over the last 50 years. A celebration of l'art du vivre, the remarkable series of salotti reflect a truly international taste with a distinctive Italian flair. In every direction, one's eye is drawn to works of Rococo whimsy and Neoclassical restraint, understated opulence and technical virtuosity, united by a free and refreshingly modernist creative spirit; it is a treasure trove that has remained hidden for almost half a century. The remainder of the collection, A View from the Spanish Steps, will be auctioned at Christie's King Street on 15th July. From the Collection of Maria Angiolillo (lots 3, 44 & 45)
Antonio Rimpatta (active central Italy and Naples, early 16th century)

Christ as the Man of Sorrows

Details
Antonio Rimpatta (active central Italy and Naples, early 16th century)
Christ as the Man of Sorrows
oil on panel
17½ x 12½ in. (45 x 31.8 cm.)
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis. Please note Payments and Collections will be unavailable on Monday 12th July 2010 due to a major update to the Client Accounting IT system. For further details please call +44 (0) 20 7839 9060 or e-mail info@christies.com

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Lot Essay

We are grateful to Professor Andrea De Marchi for proposing the attribution on the basis of photographs.

Antonio Rimpatta, or da Rimpacta, trained in Bologna where he was influenced by Francesco Francia. Before moving to Naples, he travelled and worked extensively in central Italy, absorbing the character and style of many painters, such as Antoniazzo Romano and Perugino, and attaining an 'eclectic and somewhat academic formula' (F. Zeri, Italian Paintings in the Walters Art Gallery, Baltimore, 1976, I, p. 202). The panel has traditionally been attributed to Francesco de Bianchi-Ferrari.

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