Saint Michel terrassant le démon, Naples, première moitié du XVIIIe siècle

W. Prohaska, N. Spinosa (dir.), Settecento Napoletano. Sulle ali dell'imperiale 1707-1734, cat. exp., Naples, 1994, p. 369.

Good condition overall. St Michael may have been painted originally. The tips of the wings restored, one wing reattached. His proper right arm and hand restored and reattached. His proper right foot with 3 joints visible where leg may have been rattached. Some minore worming at several places, with a few very fine fissures. The feathers on his helmetappears to have been reattached. The sword carved separately, and is probably later. Good quality carving, very finely modelled. Lucifer with old joints visible at several places, for exemple his proper left upraised arm carved separetely and his proper left leg as well. The toes of his proper left foot appear to be reattached. Some minore worming at several places, with a few very fine fissures. Very good quality of modelling and finely carved. The wooden globe probably later.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Cette représentation de Saint Michel terrassant le Démon se rapproche tout à fait du modèle napolitain établi au début du XVIIIe siècle par Lorenzo Vaccaro (1655-1706) pour la Chapelle San Gennaro. Le mouvement dramatique de la composition n'est pas sans rappeler les interprétations antérieures de ce sujet par un autre artiste actif à Naples, le peintre Luca Giordano (1634-1705), telles que les flamboyantes versions du Kunsthistorisches Museum de Vienne ou de la Gemäldegalerie de Berlin.