Skip to content Home Viennese painter 1940s/1950s Three nude paintings Mixed media on paper 29 x 40 cm, with frame 51 x 63 cm Wiener Maler 1940er/50er Jahre Drei Aktgemälde Mischtechnik auf Papier 29 x 40 cm, mit More lots from this auction: 23. Tiberius Auction - Day 1 View all lots in this auction Lot 1: Madonna and Child with Saint Catherine Italy, c. 1450 Oil on wood 37.5 x 46.5 cm, with frame 39.5 x 48 cm Madonna mit Kind und Heiliger Katharina Italien, um 1450 Lot 10: Domenico Fetti Rome 1589-1623 Venice, attributed Lot and His Daughters Oil on canvas, relined 96 x 75 cm, with frame 115 x 98 cm Domenico Fetti was a prominent Italian painter of the early Baroque period who worked in Rome, Mantua, and Venice. He is considered one of the most important mediators between Roman naturalism and Venetian color painting. Fetti combined Caravaggio’s dramatic use of light with a finely nuanced, color-rich style influenced by the Venetian masters Titian and Veronese. His works are characterized by psychological depth, emotional immediacy, and a clear narrative structure—qualities that made him one of the defining artists of his time. The painting discussed here, attributed to Domenico Fetti, presumably depicts the biblical scene of Lot and his daughters (Genesis 19:30-36). After the destruction of Sodom and Gomorrah, Lot and his two daughters flee to a cave. Believing that the world has come to an end and that no men are left alive, the daughters get their father drunk in order to ensure the continuation of the human race through him. This ambivalent story, which oscillates between the breaking of a moral taboo and the preservation of the lineage, was frequently taken up in Baroque art as a symbol of temptation, guilt, and moral conflict. Against a dark background, a dense, emotionally charged scene unfolds in dramatic lighting. Two figures appear closely entwined: on the right, an older man in a brown robe tied at the shoulder, with striking facial features and a tall turban; on the left, a young woman who has draped her left arm around his shoulder and is holding out a chalice in the shape of a cornucopia to him with her right hand—presumably the wine with which Lot is being made drunk. Her gaze is intense, almost pleading, directed at him, while his face—marked by deep wrinkles and warm, earthy tones—is turned toward the viewer. The woman’s blue scarf contrasts with the delicate flesh tones of her face, which stands out in the light and is enlivened by rosy cheeks. The painting exhibits a remarkable intimacy that sets it apart from many other depictions of the subject. Often, both of Lot’s daughters are shown—one pouring wine while the other approaches her father. Here, however, only one daughter is present, almost bringing the vessel to her father’s mouth. This focus on two figures heightens the emotional intensity of the depiction. The man’s flushed face, a sign of wine consumption, already hints at his state of intoxication, while his gaze, directed toward the viewer, further underscores the moral ambivalence of the scene. The radiant blue of the daughter’s headdress deserves special attention, as it stands out vividly against the dark background and the warm flesh tones. In Baroque color iconography, blue was associated with purity, fidelity, and spiritualization, among other things. In this context, the color can be interpreted as a deliberate contrast to the depicted action, thereby reinforcing the scene’s ambivalence. The result is a work of great psychological depth and emotional tension, in which the moral dilemma of the biblical narrative is expressed through dramatic lighting, nuanced coloration, and an almost theatrical intimacy among the figures. Domenico Fetti Rom 1589-1623 Venedig, Lot 100: Alexandre Calame 1810-1864, attributed Landscape Oil on cardboard 20 x 33 cm, with frame 27.5 x 40.5 cm Alexandre Calame 1810 - 1864, Lot 101: The Pissling Siblings Biedermeier, 19th century Oil on canvas, relined 52.5 x 65 cm, with frame 67.5 x 79.5 cm Inscribed on the back of the stretcher and labeled Geschwister Pissling Biedermeier, 19. Lot 102: H. de Vaudoncourt France, early 19th century French Army Camp Oil on canvas 32.5 x 40.5 cm, with frame 49.5 x 50 cm Inscribed on the reverse Damaged H. de Vaudoncourt Frankreich, Anfang 19. Lot 103: Abraham Hulk 1813-1897 Beach scene with boats Oil on canvas, relined on a backing board 30 x 50.5 cm, with frame 39 x 59 cm Signed lower left Abraham Hulk 1813 - 1897 Strandszene mit Booten Lot 104: Ernst Kaiser 1803-1865 The Salzach Valley Oil on canvas, relined 53 x 82.5 cm, with frame 64.5 x 92.5 cm Signed lower right Ernst Kaiser 1803 - 1865 Das Salzachtal Lot 105: László Mednyánszky 1852-1919 River Landscape Oil on wood 20.3 x 26 cm, with frame 38 x 43.5 cm Signed lower right Certificate of authenticity from the Magyar Nemzeti Galéria included László Mednyánszky 1852 - 1919 Flusslandschaft Lot 106: László Mednyánszky 1852-1919 River Landscape Oil on cardboard 32.5 x 24.5 cm, 45 x 37 cm Signed lower right Certificate of authenticity from the Magyar Nemzeti Galéria included László Mednyánszky 1852 - 1919 Flusslandschaft Lot 107: Leon Abramovicz 1899-1978 Man and Woman Oil on cardboard 43 x 31 cm Catalog number B 161 on the reverse, estate stamp Leon Abramovicz 1899 - 1978 Mann und Frau Similar Nude lots HUBERT-FRANÇOIS GRAVELOT, 1699-1773 CHARLES-JOSEPH NATOIRE, 1700-1777 AUGUSTE RENOIR, 1841-1919 THE WOMAN, FOLD-OUT ANATOMICAL MODEL GUSTAV KLIMT, VIENNA 1862-1918 VIENNA ALFRED HRDLICKA, 1928-2009 ALFRED HRDLICKA, 1928-2009 ALFRED HRDLICKA, 1928-2009 ALFRED HRDLICKA, 1928-2009 ALFRED HRDLICKA, 1928-2009 Old design (v1) Back to new
