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Paolo Caliari, detto Il Veronese (1528-1588), cerchia d - Carnefice di Gesù Cristo

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\Artist: Paolo Caliari, detto Il Veronese (1528-1588) , cerchia d
Technique: olio su tela, cm. 30 x 24\Signature: Not signed\Dimensions: 38_5_32_cm
PAOLO CALIARI, known as IL VERONESE [scope] (Verona, 1528 - Venice, 1588) Executioner of Jesus Christ Oil on canvas, cm. 30x24 Frame size, cm. 38 x 32 x 5 approx. NOTES: Publication of the catalog of works from the Intermidiart collection. Certificate of Guarantee and Lawful Origin. Work with antique (?) worked and gilded frame (defects) : This delicate image is placed in a stylistic context between the end of the sixteenth century and the beginning of the seventeenth century in Veneto and offers interesting questions about the illustrative models that inspired the author. The style of the work immediately evokes the models of a master where he perceived the influences dictated by the Venetian school of Veronese. The canvas, in fact, bears a collector's attribution in the circle of Paolo Caliari, known as Il Veronese (Verona, 1528 - Venice, 1588) , here taken with caution due to the scarce information on the work, it being understood that the general characteristics of the image , the colors and the typology of the face would seem pertinent to the Venetian master's manner. We cannot exclude from our investigation the hypothesis that the author could be one of his pupils or artists close to the master. Veronese is a great exponent of Venetian painting and was trained in a school that even before the Renaissance had the value of form and elegance. His first training takes place under the guidance of several masters. He will then enter into close collaboration with them and therefore carry on the sixteenth-century tradition. Among these artists are Paolo Antonio Badile, Battista Zelotti, Giov. Antonio Fasolo (Vicenza) , Paolo Farinati and Bruciasorci. He also feels the influences of Correggio and Parmigiana belonging to Emilian and Brescian painting, and those of the Roman and Mantuan circles (frescoes in the Palazzo del Tè) . We know for certain that the Veronese was formed outside the lagoon city. The Veronese was not influenced by the two great Venetian artists who were his contemporaries (but older) , namely Titian and Tintoretto, and has a calmer and more serene spirit than these. However, in the last period of his activity he will feel the charm of Robusti's light in the "Mars and Venus" (seat of the Italian Embassy in London) where the rapid and decisive touches give the painting effects of brightness and energy. The canvas - in a good state of legibility - presents an interesting direction of light and quality. The work in question is - probably - a fragment of a larger painting, executed between the end of the sixteenth and the beginning of the seventeenth century, and represents the tormentor or executioner of Jesus Christ during the passion of Christ. The figure portrayed here is half-length, kneeling, with the back knotted and covered below by a white sheet. The clear and harmonious chromaticism, the scenographic strength of the composition, even the intense drama of the subject represented in a sacred context, are peculiarities present in the works of Veronese, where his painting - as in our case - was powerful and extraordinarily strong communicative, capable of influencing the artistic production of many contemporaries and entire generations of artists, wherever he was called to work. With regard to its state of conservation, the canvas is in quite good general condition considering the age of the painting, the pictorial surface has a patina. We note - in Wood's light - some scattered restorations and some slight unveiling and oxidation of the pictorial surface, however nothing really relevant. There are no problems of a conservation nature and the original canvas has an old re-lining, which does not seem to need any intervention. In sunlight, a craquelé is visible in relation to the time. The frame may have been replaced at the time of the relining. As mentioned above, the canvas could be a fragment of a larger painting. The measurements of the canvas are cm. 30 x 24. The painting is sold with a – probably – ancient (?) gilded and worked frame (frame size approx. 38 x 32 x 5 cm, presence of defects) . "The frame shown in the photos above has been added to the artwork by the seller or a third party. The frame is provided to you at no additional cost so it is ready to display as soon as it arrives. The frame is included as a gift courtesy and is not considered an integral part of the artwork. Therefore, any potential damage to the frame that does not affect the artwork itself will not be accepted as a valid reason to open a claim or request cancellation of the order . " Provenance: Coll. private Publication: Unpublished; Myths and the Territory in Sicily with a thousand cultures. UNPUBLISHED QUADRERIA general catalog of the paintings of the collection of the cycle “Myths and the territory”, Publisher Lab_04, Marsala, 2022. We also guarantee accurate packaging with bubble wrap / cardboard / polystyrene (packaging cost approximately € 50. 00) and tracked shipping (€ 50. 00 Italy) . For export, the work is subject to a request for a Certificate of Free Movement (European Community) or Export Certificate (Extra-Community Transport) , at the export office (Superintendence of the territory) with the times and costs incurred ( € 200 / € 500, all included: shipping, packing in wooden crate and particular exports) . The shipment may be delayed by a few days / week for logistical and administrative reasons.

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\Artist: Paolo Caliari, detto Il Veronese (1528-1588) , cerchia d
Technique: olio su tela, cm. 30 x 24\Signature: Not signed\Dimensions: 38_5_32_cm
PAOLO CALIARI, known as IL VERONESE [scope] (Verona, 1528 - Venice, 1588) Executioner of Jesus Christ Oil on canvas, cm. 30x24 Frame size, cm. 38 x 32 x 5 approx. NOTES: Publication of the catalog of works from the Intermidiart collection. Certificate of Guarantee and Lawful Origin. Work with antique (?) worked and gilded frame (defects) : This delicate image is placed in a stylistic context between the end of the sixteenth century and the beginning of the seventeenth century in Veneto and offers interesting questions about the illustrative models that inspired the author. The style of the work immediately evokes the models of a master where he perceived the influences dictated by the Venetian school of Veronese. The canvas, in fact, bears a collector's attribution in the circle of Paolo Caliari, known as Il Veronese (Verona, 1528 - Venice, 1588) , here taken with caution due to the scarce information on the work, it being understood that the general characteristics of the image , the colors and the typology of the face would seem pertinent to the Venetian master's manner. We cannot exclude from our investigation the hypothesis that the author could be one of his pupils or artists close to the master. Veronese is a great exponent of Venetian painting and was trained in a school that even before the Renaissance had the value of form and elegance. His first training takes place under the guidance of several masters. He will then enter into close collaboration with them and therefore carry on the sixteenth-century tradition. Among these artists are Paolo Antonio Badile, Battista Zelotti, Giov. Antonio Fasolo (Vicenza) , Paolo Farinati and Bruciasorci. He also feels the influences of Correggio and Parmigiana belonging to Emilian and Brescian painting, and those of the Roman and Mantuan circles (frescoes in the Palazzo del Tè) . We know for certain that the Veronese was formed outside the lagoon city. The Veronese was not influenced by the two great Venetian artists who were his contemporaries (but older) , namely Titian and Tintoretto, and has a calmer and more serene spirit than these. However, in the last period of his activity he will feel the charm of Robusti's light in the "Mars and Venus" (seat of the Italian Embassy in London) where the rapid and decisive touches give the painting effects of brightness and energy. The canvas - in a good state of legibility - presents an interesting direction of light and quality. The work in question is - probably - a fragment of a larger painting, executed between the end of the sixteenth and the beginning of the seventeenth century, and represents the tormentor or executioner of Jesus Christ during the passion of Christ. The figure portrayed here is half-length, kneeling, with the back knotted and covered below by a white sheet. The clear and harmonious chromaticism, the scenographic strength of the composition, even the intense drama of the subject represented in a sacred context, are peculiarities present in the works of Veronese, where his painting - as in our case - was powerful and extraordinarily strong communicative, capable of influencing the artistic production of many contemporaries and entire generations of artists, wherever he was called to work. With regard to its state of conservation, the canvas is in quite good general condition considering the age of the painting, the pictorial surface has a patina. We note - in Wood's light - some scattered restorations and some slight unveiling and oxidation of the pictorial surface, however nothing really relevant. There are no problems of a conservation nature and the original canvas has an old re-lining, which does not seem to need any intervention. In sunlight, a craquelé is visible in relation to the time. The frame may have been replaced at the time of the relining. As mentioned above, the canvas could be a fragment of a larger painting. The measurements of the canvas are cm. 30 x 24. The painting is sold with a – probably – ancient (?) gilded and worked frame (frame size approx. 38 x 32 x 5 cm, presence of defects) . "The frame shown in the photos above has been added to the artwork by the seller or a third party. The frame is provided to you at no additional cost so it is ready to display as soon as it arrives. The frame is included as a gift courtesy and is not considered an integral part of the artwork. Therefore, any potential damage to the frame that does not affect the artwork itself will not be accepted as a valid reason to open a claim or request cancellation of the order . " Provenance: Coll. private Publication: Unpublished; Myths and the Territory in Sicily with a thousand cultures. UNPUBLISHED QUADRERIA general catalog of the paintings of the collection of the cycle “Myths and the territory”, Publisher Lab_04, Marsala, 2022. We also guarantee accurate packaging with bubble wrap / cardboard / polystyrene (packaging cost approximately € 50. 00) and tracked shipping (€ 50. 00 Italy) . For export, the work is subject to a request for a Certificate of Free Movement (European Community) or Export Certificate (Extra-Community Transport) , at the export office (Superintendence of the territory) with the times and costs incurred ( € 200 / € 500, all included: shipping, packing in wooden crate and particular exports) . The shipment may be delayed by a few days / week for logistical and administrative reasons.

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Italy
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