Carlo Bononi (1569? - 1632) - Madonna col Bambino
\Artist: Carlo Bononi (1569? - 1632)
Technique: olio su rame\Signature: Expertise Emilio Negro\Dimensions: 58_12_52_cm
Carlo Bononi (Ferrara, 1569? – 1632) Madonna col Bambino Oil on copper, 18 x 14 cm. Expert’s report by Emilio Negro. Size of Renaissance temple-style frame: 48 x 42 x 8. 2 cm. BROWSE CATALOGUE (copy link) : https: //www. sfogliami. it/fl/241189/3tv3uqgjenr7xrk8cdpd6ttj35dy417#page/48 Please note: Publication of the catalogue of works from the Intermidiart collection. Expertise by Emilio Negro, certificate of warranty and lawful origin. With a handcrafted wooden Renaissance temple-style box frame with an oil gilded and black lacquered background, entirely handcrafted at our workshop ‘A Putìa Beddra’, Sicily (with certificate of warranty) . A splendid antique oil painting on copper, from the 17th century, depicting Our Lady with Child. The work has been traced back to the catalogue of the Ferrara painter Carlo Bononi (Ferrara, 1569? – 1632) by the Bolognese historian Emilio Negro, who wrote: " . . . This interesting painting is in good condition and depicts Mary sitting in the clouds holding the undressed Baby Jesus on her legs (the innocent ostentatious nudity of the Saviour served to show devotees her dual nature: earthly and at the same time divine) ; the scene takes place in a golden proscenium, in the middle of which the two protagonists are portrayed. It is well known that this kind of images within a limited field, the so-called "Sacred conversations", had wide popularity especially during the sixteenth century and the following century, while among the stylistic features evident from a first look at this essential composition stand out the tenderly calm gestures of the protagonists, the synthetic and composed drapery, the warm colours used to paint the clothes and the complexions. These stylistic features are significant indicators of the work of a talented Italian painter who starts from the most captivating Renaissance figurative culture and the last Manner widespread in the sixteenth century in northern Italy. In this pleasant copper work we highlight the skilled conduct of a master with an accurate style, enriched by a soft chiaroscuro, qualities that are typical of the artists linked to the great painters of Ferrara, such as Dosso Dossi and above all Bastarolo (Giuseppe Mazzuoli) : an artist who uses a rich paint, glazed and enlivened by warm and balanced colours, also derived from the knowledge of the works of Paolo Veronese and Bassano. Therefore, with regard to the articulated visual training of the author of our Madonna and Child, we highlight the pleasantly composing manner of a painter from Ferrara, active during the fervent decades between the sixteenth and seventeenth century, clearly inspired by the best Venetian and Padanian inventions of the sixteenth century, reworking them however with originality and grace. It is these considerations, which cannot be avoided, to allow to connect this work to the modus pingendi of Carlo Bononi (Ferrara, 1569 ac. – 1632) , a master of Mannerist training who was probably a pupil of Bastarolo, while at the end of the sixteenth century he had the opportunity to stay nearby in Bologna, where he credibly frequented the major exponents of the renowned Carracci school; this gave Bononi the opportunity to reinvigorate his figurative culture and, later on, to carry out important commissions, such as the altarpiece depicting the Ascension of the Virgin for the church of S. Salvatore. At the beginning of the seventeenth century Bononi lived in Rome, where his painting approached the effective reinterpretation of the tenebrismo of Michelangelo da Caravaggio, but also of the neo-venetismo of Annibale Carracci (which is evident in the essential yet effective schemes of his compositions) . After having carried out numerous commissions throughout Italy, Carlo became a point of reference for the celebrated Ferrara school and later consolidated his credit as an artist with a stay in the city of Fano, where he painted the canvas with a Miracle of St. Patergnano for the eponymous church. To confirm the proposal made, it will therefore be enough to compare the Madonna and Child in question with other works attributed to the debutant Bonone: first of all the oil grisaille on paper depicting the Nativity of Mary (Vienna, Dorotheum, 3 October 2001, n. 445) , the panel with the penitent Magdalene (Munich, Hampel Kunstauktionen, 26 June 2014, n. 293) , but also the Allegory of Justice and the Allegory of Temperance (private collection, see E. Negro & M. Pirondini, in Arte emiliana dalle raccolte storiche al nuovo collezionismo, Modena, 1989, p. 78, nn. 50-51) , all compositions that are stylistically similar to the copper work in question, since they highlight a flowy painting, dipped in a captivating mixture of Emilian and Venetian influences: typical qualities of the best early works of Carlo Bononi (quote from Expertise by Emilio Negro, Bologna) ”. The copper is in rather good overall condition considering its age, the surface has a patina and the paint is dirty, oxidised and uneven. Some scattered restorations and peeling and oxidation of the surface emerged under Wood’s lamp, nothing truly relevant. Copper size: 18 x 14 cm. The work is placed in a beautiful handmade wooden frame, a Renaissance temple-style reproduction, gilded and lacquered black, made in a workshop for this work (frame size: approx. 48 x 42 x 8. 2 cm) . The painting comes with a certificate of lawful origin. Any costs for customs clearance shall be borne by the receiver. Origin: private collection. Publication: \tunpublished; \t. I Miti e il Territorio nella Sicilia dalle mille culture. “INEDITA QUADRERIA” general catalogue of the paintings in the collection of the series “I Miti e il territorio”, 2nd edition, Editore Lab_04, Marsala, 2022. The painting is complete with a beautiful handcrafted frame of good workmanship (commercial value about €800) , offered as a gift. 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 request for Certificate of Free Circulation (European Community) or Export Certificate (Extra-EU Transport) at the export office (Territorial Superintendency) 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: Carlo Bononi (1569? - 1632)
Technique: olio su rame\Signature: Expertise Emilio Negro\Dimensions: 58_12_52_cm
Carlo Bononi (Ferrara, 1569? – 1632) Madonna col Bambino Oil on copper, 18 x 14 cm. Expert’s report by Emilio Negro. Size of Renaissance temple-style frame: 48 x 42 x 8. 2 cm. BROWSE CATALOGUE (copy link) : https: //www. sfogliami. it/fl/241189/3tv3uqgjenr7xrk8cdpd6ttj35dy417#page/48 Please note: Publication of the catalogue of works from the Intermidiart collection. Expertise by Emilio Negro, certificate of warranty and lawful origin. With a handcrafted wooden Renaissance temple-style box frame with an oil gilded and black lacquered background, entirely handcrafted at our workshop ‘A Putìa Beddra’, Sicily (with certificate of warranty) . A splendid antique oil painting on copper, from the 17th century, depicting Our Lady with Child. The work has been traced back to the catalogue of the Ferrara painter Carlo Bononi (Ferrara, 1569? – 1632) by the Bolognese historian Emilio Negro, who wrote: " . . . This interesting painting is in good condition and depicts Mary sitting in the clouds holding the undressed Baby Jesus on her legs (the innocent ostentatious nudity of the Saviour served to show devotees her dual nature: earthly and at the same time divine) ; the scene takes place in a golden proscenium, in the middle of which the two protagonists are portrayed. It is well known that this kind of images within a limited field, the so-called "Sacred conversations", had wide popularity especially during the sixteenth century and the following century, while among the stylistic features evident from a first look at this essential composition stand out the tenderly calm gestures of the protagonists, the synthetic and composed drapery, the warm colours used to paint the clothes and the complexions. These stylistic features are significant indicators of the work of a talented Italian painter who starts from the most captivating Renaissance figurative culture and the last Manner widespread in the sixteenth century in northern Italy. In this pleasant copper work we highlight the skilled conduct of a master with an accurate style, enriched by a soft chiaroscuro, qualities that are typical of the artists linked to the great painters of Ferrara, such as Dosso Dossi and above all Bastarolo (Giuseppe Mazzuoli) : an artist who uses a rich paint, glazed and enlivened by warm and balanced colours, also derived from the knowledge of the works of Paolo Veronese and Bassano. Therefore, with regard to the articulated visual training of the author of our Madonna and Child, we highlight the pleasantly composing manner of a painter from Ferrara, active during the fervent decades between the sixteenth and seventeenth century, clearly inspired by the best Venetian and Padanian inventions of the sixteenth century, reworking them however with originality and grace. It is these considerations, which cannot be avoided, to allow to connect this work to the modus pingendi of Carlo Bononi (Ferrara, 1569 ac. – 1632) , a master of Mannerist training who was probably a pupil of Bastarolo, while at the end of the sixteenth century he had the opportunity to stay nearby in Bologna, where he credibly frequented the major exponents of the renowned Carracci school; this gave Bononi the opportunity to reinvigorate his figurative culture and, later on, to carry out important commissions, such as the altarpiece depicting the Ascension of the Virgin for the church of S. Salvatore. At the beginning of the seventeenth century Bononi lived in Rome, where his painting approached the effective reinterpretation of the tenebrismo of Michelangelo da Caravaggio, but also of the neo-venetismo of Annibale Carracci (which is evident in the essential yet effective schemes of his compositions) . After having carried out numerous commissions throughout Italy, Carlo became a point of reference for the celebrated Ferrara school and later consolidated his credit as an artist with a stay in the city of Fano, where he painted the canvas with a Miracle of St. Patergnano for the eponymous church. To confirm the proposal made, it will therefore be enough to compare the Madonna and Child in question with other works attributed to the debutant Bonone: first of all the oil grisaille on paper depicting the Nativity of Mary (Vienna, Dorotheum, 3 October 2001, n. 445) , the panel with the penitent Magdalene (Munich, Hampel Kunstauktionen, 26 June 2014, n. 293) , but also the Allegory of Justice and the Allegory of Temperance (private collection, see E. Negro & M. Pirondini, in Arte emiliana dalle raccolte storiche al nuovo collezionismo, Modena, 1989, p. 78, nn. 50-51) , all compositions that are stylistically similar to the copper work in question, since they highlight a flowy painting, dipped in a captivating mixture of Emilian and Venetian influences: typical qualities of the best early works of Carlo Bononi (quote from Expertise by Emilio Negro, Bologna) ”. The copper is in rather good overall condition considering its age, the surface has a patina and the paint is dirty, oxidised and uneven. Some scattered restorations and peeling and oxidation of the surface emerged under Wood’s lamp, nothing truly relevant. Copper size: 18 x 14 cm. The work is placed in a beautiful handmade wooden frame, a Renaissance temple-style reproduction, gilded and lacquered black, made in a workshop for this work (frame size: approx. 48 x 42 x 8. 2 cm) . The painting comes with a certificate of lawful origin. Any costs for customs clearance shall be borne by the receiver. Origin: private collection. Publication: \tunpublished; \t. I Miti e il Territorio nella Sicilia dalle mille culture. “INEDITA QUADRERIA” general catalogue of the paintings in the collection of the series “I Miti e il territorio”, 2nd edition, Editore Lab_04, Marsala, 2022. The painting is complete with a beautiful handcrafted frame of good workmanship (commercial value about €800) , offered as a gift. 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 request for Certificate of Free Circulation (European Community) or Export Certificate (Extra-EU Transport) at the export office (Territorial Superintendency) 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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