Antonio Gionima (1697-1732) - (Attr. a) - Madonna leggente
\Artist: Antonio Gionima (1697-1732) - (Attr. a)
Technique: olio su tela ovale, cm. 31 x 22,5\Signature: Not signed\Dimensions: 55_10_50_cm
SCHOOL OF GIUSEPPE MARIA CRESPI (Bologna, 1665 - 1747) Attributed to ANTONIO GIONIMA (Venice, 1697 – Bologna, 1732) “Madonna leggente” Oil on oval canvas, 31 x 22. 5 cm. Antique (?) gilded frame from the XIX century circa, frame size: approx. 46 x 38 x 6 cm. Notes: not signed. With certificate of warranty and lawful origin. Work with gilded frame of the XIX century (?) (flaws) : Wonderful antique painting – intended perhaps for private devotion or for an amateur, given the small size – depicting an iconographic subject that takes up an uncommon scheme in the 17th-18th century. The painting, oil on canvas, from the 18th century, depicts a reading Madonna and evokes the style of the works painted by Giuseppe Maria Crespi. The work bears a collector's attribution to the workshop of Giuseppe Maria Crespi. For the quality and characteristics of style has been traced – from a well-known Italian auction house – to the hand of the painter – of Venetian origin, but of Bolognese school – Antonio Gionima (Venice, 1697 – Bologna, 1732) , where the general characteristics of the image, the colours and the typology of the face would seem pertinent to the artist's manner. Revealed by the light, the half-length figure emerges from the shadows of the background, caught in a three-quarters almost frontal, while turning her gaze towards the book at the bottom right. She stands out with her physical presence, composed within oval profiles and characterized by the decisive features of the face which contrast with the psychological distance from the viewer, marked by the tempered expression and by the gaze that flees downwards, avoiding any contact, as if suddenly attracted by something that is not part of our universe. Born in Venice in 1697 into a family of painters, Antonio Gionima soon moved to Bologna, his mother's hometown. Trained in the workshop of Aureliano Milani, he probably inherited his first public commission, the stories of San Domenico for the church of S. Maria Mascarella, delivered in 1719. At the departure of the master for Rome, precisely in that year, he moved to the workshop of Giuseppe Crespi, who procured him an important commission for the Gozzadini family. In the following years, Gionima was active for churches and confraternities of Bologna, and for the major families of the city, who disputed the sacred and profane inventions with which, after updating the stylistic code of his first masters, the artist tried his hand at scenes with several figures and intensely theatrical taste, completely in line with the "barocchetto" proposed in the same years by Giuseppe Marchesi and Francesco Monti, with which he has sometimes been confused. Splendid addition to his catalogue, small in numbers by virtue of the short life of the artist, but not irrelevant in the panorama of the Bolognese eighteenth century, the painting offered here is not reflected in the rare documents that refer, as is natural, to the public activity of the painter nor in the list, a summary, of the works of private destination drawn up by his first biographer, Canon Luigi Crespi (Felsina pittrice. Vite de' Pittori bolognesi, III, Bologna 1769, pp. 234-236) . Crespi himself recalls the extraordinary talent of Gionima as a draftsman: ". . . he wonderfully drew with toccalapis and watercolour, lighting his drawings with a spirit and a ease that could not be craved more . . . (1769, cit. , p. 235) and concluded his "life" by recalling, in the appendix to the list of works on canvas "the drawings, then, that he made, are many and mostly watercolour and lighted, and those who have them keep them, and for all reason, very dear" The canvas is in fair overall condition, given its age, the pictorial surface has a patina. Some scattered restorations and loss of colour emerged under Wood’s lamp. Some scattered restorations and peeling emerged under Wood’s lamp. The painting has been relined, there are no conservation issues and the canvas does not seem to require restoration. In natural light, there is a fine craquelure consistent with the painting’s age. Oval canvas size: 32 x 22. 5 cm. The painting is sold with a gilded XIX century frame (frame size: approx. 46 x 38 x 6 cm, with flaws) . Origin: private collection. Publication: \t. Unpublished; \t. I MITI E IL TERRITORIO nella Sicilia dalle mille culture. INEDITA QUADRERIA general catalogue of the paintings in the collection of the cycle ‘I Miti e il territorio’, Editore Lab_04, Marsala, (now printing, 2021) . We guarantee accurate packaging with outer wooden crate and inner bubble wrap / cardboard / polystyrene (packaging cost: approximately €100. 00) and tracked shipping (€100. 00 Italy) . For export, the work is subject to a new request for Certificate of Free Circulation (European Community) or Export Certificate (Extra-EU Transport) at the export office (Soprintendenza del Territorio) with additional times and costs (€300/€500, all inclusive: shipping, packaging, and export documents) . The original documents (including the catalogue, will be sent separately after receiving payment from Catawiki) . The shipment may be delayed by a few days/weeks for logistical and administrative reasons.
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\Artist: Antonio Gionima (1697-1732) - (Attr. a)
Technique: olio su tela ovale, cm. 31 x 22,5\Signature: Not signed\Dimensions: 55_10_50_cm
SCHOOL OF GIUSEPPE MARIA CRESPI (Bologna, 1665 - 1747) Attributed to ANTONIO GIONIMA (Venice, 1697 – Bologna, 1732) “Madonna leggente” Oil on oval canvas, 31 x 22. 5 cm. Antique (?) gilded frame from the XIX century circa, frame size: approx. 46 x 38 x 6 cm. Notes: not signed. With certificate of warranty and lawful origin. Work with gilded frame of the XIX century (?) (flaws) : Wonderful antique painting – intended perhaps for private devotion or for an amateur, given the small size – depicting an iconographic subject that takes up an uncommon scheme in the 17th-18th century. The painting, oil on canvas, from the 18th century, depicts a reading Madonna and evokes the style of the works painted by Giuseppe Maria Crespi. The work bears a collector's attribution to the workshop of Giuseppe Maria Crespi. For the quality and characteristics of style has been traced – from a well-known Italian auction house – to the hand of the painter – of Venetian origin, but of Bolognese school – Antonio Gionima (Venice, 1697 – Bologna, 1732) , where the general characteristics of the image, the colours and the typology of the face would seem pertinent to the artist's manner. Revealed by the light, the half-length figure emerges from the shadows of the background, caught in a three-quarters almost frontal, while turning her gaze towards the book at the bottom right. She stands out with her physical presence, composed within oval profiles and characterized by the decisive features of the face which contrast with the psychological distance from the viewer, marked by the tempered expression and by the gaze that flees downwards, avoiding any contact, as if suddenly attracted by something that is not part of our universe. Born in Venice in 1697 into a family of painters, Antonio Gionima soon moved to Bologna, his mother's hometown. Trained in the workshop of Aureliano Milani, he probably inherited his first public commission, the stories of San Domenico for the church of S. Maria Mascarella, delivered in 1719. At the departure of the master for Rome, precisely in that year, he moved to the workshop of Giuseppe Crespi, who procured him an important commission for the Gozzadini family. In the following years, Gionima was active for churches and confraternities of Bologna, and for the major families of the city, who disputed the sacred and profane inventions with which, after updating the stylistic code of his first masters, the artist tried his hand at scenes with several figures and intensely theatrical taste, completely in line with the "barocchetto" proposed in the same years by Giuseppe Marchesi and Francesco Monti, with which he has sometimes been confused. Splendid addition to his catalogue, small in numbers by virtue of the short life of the artist, but not irrelevant in the panorama of the Bolognese eighteenth century, the painting offered here is not reflected in the rare documents that refer, as is natural, to the public activity of the painter nor in the list, a summary, of the works of private destination drawn up by his first biographer, Canon Luigi Crespi (Felsina pittrice. Vite de' Pittori bolognesi, III, Bologna 1769, pp. 234-236) . Crespi himself recalls the extraordinary talent of Gionima as a draftsman: ". . . he wonderfully drew with toccalapis and watercolour, lighting his drawings with a spirit and a ease that could not be craved more . . . (1769, cit. , p. 235) and concluded his "life" by recalling, in the appendix to the list of works on canvas "the drawings, then, that he made, are many and mostly watercolour and lighted, and those who have them keep them, and for all reason, very dear" The canvas is in fair overall condition, given its age, the pictorial surface has a patina. Some scattered restorations and loss of colour emerged under Wood’s lamp. Some scattered restorations and peeling emerged under Wood’s lamp. The painting has been relined, there are no conservation issues and the canvas does not seem to require restoration. In natural light, there is a fine craquelure consistent with the painting’s age. Oval canvas size: 32 x 22. 5 cm. The painting is sold with a gilded XIX century frame (frame size: approx. 46 x 38 x 6 cm, with flaws) . Origin: private collection. Publication: \t. Unpublished; \t. I MITI E IL TERRITORIO nella Sicilia dalle mille culture. INEDITA QUADRERIA general catalogue of the paintings in the collection of the cycle ‘I Miti e il territorio’, Editore Lab_04, Marsala, (now printing, 2021) . We guarantee accurate packaging with outer wooden crate and inner bubble wrap / cardboard / polystyrene (packaging cost: approximately €100. 00) and tracked shipping (€100. 00 Italy) . For export, the work is subject to a new request for Certificate of Free Circulation (European Community) or Export Certificate (Extra-EU Transport) at the export office (Soprintendenza del Territorio) with additional times and costs (€300/€500, all inclusive: shipping, packaging, and export documents) . The original documents (including the catalogue, will be sent separately after receiving payment from Catawiki) . The shipment may be delayed by a few days/weeks for logistical and administrative reasons.
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