CARLO CALIARI (attr.)(Venezia 1570-Venezia 1596). Oil painting on canvas depicting ''THE JUDGMENT OF SOLOMON''. Late 16th century. In a non-contemporary frame. CARLO CALIARI (attr.)(Venezia 1570-Venezia 1596). Dipinto olio su tela raffigurante''IL GIUDIZIO DI SALOMONE''. Fine XVI secolo. In cornice non coeva.
Carlo Caliari (1570-1596), Mary with the Christ Child between Angels, pen and brown ink over black chalk, brown wash on paper, old mounting, there old inscription to Veronese, upper corners trimmed, 11.3 x 14.8 cm,
(Venice 1569–1596) The Adoration of the Shepherds, signed and dated in the centre: MD/XCV/CARLO CALIARI/V.E., oil on canvas, 79 x 64.5 cm, framed Provenance: Thomas James Holmes Culverwell of Litfield House, Clifton, Bristol (1840–1926); Leslie James Culverwell (1897-1969); thence by descent to the present owner Carlo Carliari, called Carletto, was the youngest and most talented son of one of the most celebrated 16th century Venetian artists, Paolo Caliari, called Paolo Veronese (1528–1588). Carletto initially trained in his father’s studio and his apprenticeship then continued in the workshop of Francesco Bassano (1549–1592), although it is believed to have been more of a partnership, between 1585–1587. After Veronese’s death in 1588, Carletto joined his brothers Benedetto and Gabriele, forming the Haeredes Paili Calieri Veronensis and continuing his father’s workshop. Carletto died at the age of twenty-six in 1596. The present work can be compared to Carletto Carliari’s Angelica and Medoro (see fig.1) from the Barbieri collection in Padua, and sold at the Dorotheum (23 October 2018, lot 17, for Carlo Caliari’s works are characterised by a specific precision and delicacy, which set him apart from the gestural sweep of his father’s large-scale paintings. What Carletto lacks in grand gestures, however, he makes up for in localised charm. Signed works by Carliari can be seen in the Prado, Madrid, the Uffizi and the Pitti, Florence and the Gallerie dell’Accademia in Venice.
Caliari (Carlo, 1570-1596). Head of an Old Man, black and white chalk * Attributed to Carlo Caliari (1570-1596). Head of an Old Man, black and white chalk on pale blue-grey laid paper with thin black ink border, sheet size 14 x 11.9 cm (5 1/2 x 4 3/4 ins), modern double-sided card window mount (bears pencil inscription 'Carlo Caliari 1570-1576 ? and 'Christie's 1/3/57 302LK'), framed and glazed (43 x 35 cm) QTY: (1) NOTE: Provenance: Christie's, 1 March 1957, with stock number 302LK; purchased by Professor Ray Pahl (1935-2011) from Shelton, 26 January 1976; thence gifted to the present owner. The present attribution to Carlo Caliari was put forward by Francis Russell, Old Master specialist and Deputy Chairman, Christie's UK.
DAS GASTMAHL DES HERODES Öl auf Leinwand. Doubliert. 57 x 106 cm. In reich verziertem Rahmen. Die vielfigurige Szene ist kulissenhaft aufgebaut. Ein Vorhang auf der rechten Seite ist kunstvoll, in vielen tiefen Falten gelegt, zur Seite geschoben. Rechts ist König Herodes in erschreckter Pose zu sehen. Neben ihm Salome, die den Kopf von Johannes dem Täufer verlangt hatte, nachdem Herodes ihr die Erfüllung jedes Wunsches zugesichert hatte. Caliari, italienischer Renaissance-Künstler, war jüngster Sohn des Paolo Veronese. Er übernahm Veroneses Werkstatt und widmete sich den vielfigurigen Bankettgemälden. Der Maler dieses Gemäldes hat sich sicherlich von Caliari beeinflussen lassen, vor allem in der präzisen Ausführung und der Komposition der Szene. (1370921) (19)
DAS GASTMAHL DES HERODES Öl auf Leinwand. Doubliert. 57 x 106 cm. In reich verziertem Rahmen. Die vielfigurige Szene ist kulissenhaft aufgebaut. Ein Vorhang auf der rechten Seite ist kunstvoll, in vielen tiefen Falten gelegt, zur Seite geschoben. Rechts ist König Herodes in erschreckter Pose zu sehen. Neben ihm Salome, die den Kopf von Johannes dem Täufer verlangt hatte, nachdem Herodes ihr die Erfüllung jedes Wunsches zugesichert hatte. Caliari, italienischer Renaissance-Künstler, war jüngster Sohn des Paolo Veronese. Er übernahm Veroneses Werkstatt und widmete sich den vielfigurigen Bankettgemälden. Der Maler dieses Gemäldes hat sich sicherlich von Caliari beeinflussen lassen, vor allem in der präzisen Ausführung und der Komposition der Szene. (1370921) (19)
The Property of a Gentleman Carlo Caliari, called Carletto Venice 1567/70 - 1592/96 The penitent Magdalene in a landscape signed lower centre: CARLO CALIARI. / VERONESE. F oil on canvas, in a Northumberland carved and gilt wood frame unframed: 126.4 x 97.7 cm.; 49¾x 38½ in. framed: 172.5 x 139 cm.; 67⅞ x 54¾ in. Bid on Sotheby's
Königin Tomyris mit dem Haupt des Kyros Öl auf Leinwand. Doubliert. 58 x 106 cm. In dekorativem Rahmen. In einem großen Saal ihres Palastes, dessen übergroße Ausmaße bei der Sicht durch zwei Rundbögen zu erahnen sind, steht Königin Tomyris unter dem Baldachin ihres Thrones mit Dienerinnen und zwei kleinen Knappen, die ihre Schleppe halten. Sie trägt ein wert- und prachtvolles langes Gewand, teils mit Goldstickerei und im Bodenbereich mit Hermelin besetzt, zudem ist der Rand ihrer Schleppe mit Gold und Edelsteinen besetzt; unterhalb ihrer freien Brust ein goldener Gürtel und auf ihrem Haupt eine Krone auf einem schwarzen Schleier und eine Perlenkette oberhalb ihrer Stirn. Vor ihr im Saal eine Gruppe von Soldaten, teils in Rüstung und mit Waffen, denen sie sich mit geöffnetem Mund zuwendet. Vor den beiden Stufen zu ihrem Thron ein Bediensteter, der den Kopf des Perserkönigs Kyros aus einer blutgefüllten, goldenen Schale hebt. Mit Handgestus soll sie den Soldaten gesagt haben, dass sie nun ihre Warnung, ihn (Kyros) mit Blut zu sättigen, erfüllt habe. Der Perserkönig Kyros hatte nämlich versucht, mit seinem Heer ihr Reich zu erobern. Äußerst qualitätvolle, figurenreiche Malerei mit vielen Details, die an Arbeiten des Paolo Veronese (1528-1588) erinnert. (1291861) (18) Carlo Caliari, 1570 Venice – 1596 ibid., attributed QUEEN TOMYRIS WITH THE HEAD OF CYRUS Oil on canvas. Relined. 58 x 106 cm. Exquisite painting with many figures and details, reminiscent of works by Paolo Veronese (1528-1588).
Attributed to CARLO CALIARI detto CARLETTO CALIARI (1570 Venice 1596) Study of a hand. Black chalk, heightened in white and red, on blue prepared laid paper. Old inscription lower right in pen and brown ink: Carlett. C.; verso old numbering in pen and brown ink: C.C. No.53. 7.6 x 10.4 cm. --------------- CARLO CALIARI detto CARLETTO CALIARI (ZUGESCHRIEBEN) (1570 Venedig 1596) Handstudie. Schwarze Kreide, weiss und rot gehöht, auf blau grundiertem Bütten. Unten rechts mit brauner Feder alt bezeichnet: Carlett. C.; verso mit brauner Feder alt nummeriert: C.C. No.53. 7,6 x 10,4 cm.
Carlo CALIARI Venise, 1570 - 1596 Visages de femmes Trois dessins au crayon noir et à la sanguine sur papier bleu dans un même montage Annotés ''Carletto C.'' dans le bas 14,50 x 9,5 cm (5,71 x 3,74 in.), 14,50 x 10,30 cm (5,71 x 4,05 in.) et 14,50 x 10,30 cm (5,71 x 4,05 in.) Studies of women''s faces, black and red chalk on blue paper, a set of 3, inscribed, by C. Caliari Provenance : Probablement collection Sagredo-Borghèse (selon Nikos Dhikeos qui l''aurait acquis d''un membre de la famille de Boissieu) ; Collection Nikos Dhikheos ; Acquis auprès de ce dernier par l''actuel propriétaire ; Collection particulière, Lyon Commentaire : Carlo Caliari est le fils de Paolo Caliari dit le Veronese. Il est envoyé par son père travailler dans l''atelier de Bassano. Nos dessins, qui empruntent beaucoup à l''art de Bassano, font partie d''un groupe d''études de têtes assez homogène, qui portent presque toutes l''annotation ''Carletto C.'' dans le bas (voir vente anonyme ; Londres, Sotheby''s, 1er juillet 1971, n°27 et 31). La plupart de ces dessins proviennent de la collection dite " Sagredo-Borghese " dont une grande partie a été ramenée en France, à Lyon, par Jean-Jacques de Boissieu au début du XIXe siècle.
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Venice 1570–1596) The Presentation of Christ in the Temple, oil on panel, 78.5 x 97 cm, framed Provenance: sale, Sotheby’s, New York, 30 January 1998, lot 231 (as Attributed to Paolo Veronese); sale, Christie’s, London, 7 July 2010, lot 207 (as Studio of Paolo Veronese); Private collection, Austria; where acquired by the present owner
Scuola veneta, seconda metà del sec. XVI VERGINE ANNUNCIATA olio su tela, cm 128x95 Venetian school, second half of 16th century THE VIRGIN ANNUNCIATE oil on canvas, cm 128x95 La tela qui offerta può essere accostata ai modi di Carletto Caliari (Venezia, 1570 - 1596).
CARLETTO CALIARI; Sohn, Schuler und Mitarbeiter des Paolo Veronese. "DIE FINDUNG MOSIS" Renaissance Painting "The Finding of Moses" Oil on Canvas -- Dimensions: Image Size: H: 24 inches: W: 37.25 inches ---
Carlo Caliari, called Carletto Veronese (Venice 1570-1596) Portrait of a man, bust length (recto); Study of a draped woman... black and colored chalks (recto); black chalk (verso) 10 ¾ x 8 ¾ in. (27.5 x 19.5 cm)
(Venezia, 1570 - 1596) Le nozze mistiche di Santa Caterina Olio su tela, cm 62,5X53,5 Il dipinto, già attribuito a Paolo Caliari detto il Veronese, è stato ricondotto al catalogo di Carletto Caliari da Claudio Strinati. L'immagine è una elaborazione della tela oggi custodita al National Museum of Wester Art di Tokio, qui elaborata con maggiore aderenza alle novità. In tal senso si percepisce la volontà, in cui la tradizione veronesiana sembra modellarsi a sensibilità compositive bassanesche e modulazioni cromatiche debitrici al gusto di Palma il Giovane che si innestano sul substrato di Paolo. Bibliografia di riferimento: D. H. von Hadeln, 'Carlo Ridolfi, Le maraviglie dell'arte ovvero le vite degli illustri pittori veneti e dello Stato descritte da Carlo Ridolfi', Berlino 1914, I, p. 343 e 361 L. Crosato Larcher, 'Per Carletto Caliari', in 'Arte Veneta', 21 (1967), p. 108 T. Pignatti, F. Pedrocco, 'Veronese', Milano 1995, ad vocem
Scuola veneta, seconda meta del sec. XVI VERGINE ANNUNCIATA olio su tela, cm 128x95u La tela qui offerta puo essere accostata ai modi di Carletto Caliari (Venezia 1570 - 1596). venetian school, seconda meta del century XVI Virgin oil on canvas, cm 128x95u La tela qui offerta puo essere accostata ai modi di Carletto Caliari (Venezia 1570 - 1596).
CARLO CALIARI detto Carletto (figlio minore di Paolo veronese) (1570-1596) 'San Marco protegge dall'alto la città di Venezia' olio in splendida cornice in legno intagliato e dorato cm. 97x138
zugeschrieben. Die Anbetung der Hirten. Feder in Braun über schwarzem Stift, braun und grau laviert, weiß gehöht, auf blauem Bütten. 30,4 x 16 cm. Unten rechts alt bez. (unleserlich): "Scuola di ... ziano (?)", verso mit einer alten Sammlerparaphe "S.P. no. 21". Wz. Kleine Krone.
ATTRIBUE A CARLETTO CALIARI (VENISE La mort de la Vierge pierre noire, plume et encre brune, lavis brun, rehauts de blanc, coin inférieur gauche coupé 20 x 24.6 cm.; on joint six dessins: a. Ecole italienne de la fin du XVIIe siècle, Martyr de saint Pierre, d'après Van Dyck (pl. 2) b. Ecole française du XVIIe siècle, Etude de personnages, d'après Titien (pl. 2) c. Attribué à Giovanni Bilivert, Martyr d'un saint (pl. 2) d. Suiveur de Antonio Tempesta, Choc de cavalerie (pl. 2) e. Entourage de Giuseppe Cesari, dit Cavalier d'Arpino (1568-1640), Groupe de personnages, d'après Raphaël (pl. 3) f. Entourage de Benvenuto Tisi, Il Garofalo, Saint Jean-Baptiste prend congé de ses parents (pl. 3) (7)
CARLETTO CALIARI (VENISE 1570-1596) Trois figures sur un nuage: étude pour un Festin des Dieux pierre noire, plume et encre brune, lavis brun rehaussé de blanc sur papier bleu 23.8 x 20 cm.
CARLO CALIARI, CALLED CARLETTO VENICE 1567/70 - 1592/96 THE PENITENT MAGDALENE IN A LANDSCAPE signed lower center: CARLO CALIARI./ VERONESE. F oil on canvas, in an elaborate Italian carved and gilt wood frame 49 3/4 by 38 1/2 in.; 126.4 by 97.7 cm.
THE PROPERTY OF A LADY OF TITLE THE PENITENT MAGDALENE IN A LANDSCAPE measurements note 126.4 by 97.7 cm.; 49 3/4 by 38 1/2 in. signed lower centre: CARLO CALIARI./ VERONESE. F oil on canvas, in an elaborate Italian carved and gilt wood frame PROVENANCE Casa Lante, Rome, from which acquired by the brothers Pietro (1760-1833) and Vincenzo Camuccini (1771-1844), for their collection in Rome; Sold by Vincenzo's son, Giovanni Battista Camuccini, as part of a group of 74 pictures to Algernon Percy (1792-1865), 4th Duke of Northumberland, in 1853; Thence by family descent at Alnwick Castle until sold by Hugh Algernon Percy (1914-1988), 10th Duke of Northumberland; With Thomas Agnew & Sons Ltd., London, from whom purchased by the father of the present owner in the 1950s. EXHIBITED Newcastle, 1887, no. 825 (lent by Algernon George Percy, 6th Duke of Northumberland). LITERATURE T. Barberi, Catalogo ragionato della Galleria Camuccini in Roma descritto da Tito Barberi, unpublished MS. catalogue of c.1851 held in the Alnwick Castle Archives, listed under "Camera Quarta", no. 1; G. Waagen, Galleries and Cabinets of Art in Great Britain, London 1857, p. 469 (as "CARLO CAGLIARI.-The repentant Magdalen. Signed. From the Casa Lante. A good picture for him"); A. Graves, A Century of Loan Exhibitions 1813-1912, vol. V, second addenda and indexes, London 1915, p. 2226; Helen, 8th Duchess of Northumberland, Catalogue of Pictures in the Collection of the Duke and Duchess of Northumberland, privately printed in 1930, cat. no. 56, reproduced plate 39, and also reproduced in a photograph taken by the Duchess (no. 15), as hanging in the Music Room at Alnwick Castle. NOTE The son of Paolo Veronese, Carlo Caliari (called Carletto) was the most talented member of his father's workshop. His paintings are stylistically similar to those of his father's but Carletto's painting technique is less confident and arguably more delicate: the hair of the Magdalene and putti as well as the foliage and vegetation in the present work are fine examples of this. The painting has much in common with Veronese's mature works and parallels can also be found in Carletto's own ~uvre: the saint's upper body is extremely close to that of the Magdalene in Carletto's altarpiece of Virgin and Child in glory with Saints in the Uffizi, Florence.1 He used the figure again, in reverse, for his Hagar in the wilderness in the John & Mable Ringling Museum of Art, Sarasota, which was formerly ascribed to Veronese on the basis of a preparatory drawing attributed to him.2 This painting was amongst 74 pictures from the Camuccini collection in Rome, sold to Algernon Percy, 4th Duke of Northumberland, in 1853. The whole collection cost 125,000 Roman scudi, and included masterpieces by Raphael, Bellini, Guercino and Reni amongst others.3 The collection was formed by the two brothers Pietro and Vincenzo Camuccini, both of whom were dealers, restorers and painters in their own right. From 1851 the pictures hung in the 16th-century Palazzo Cesi in Rome and Tito Barberi's manuscript catalogue of the collection should be read as a visitor's guided tour of the palazzo, listing the pictures in each room. The Carletto is mentioned as hanging in the "Camera Quarta", no. 1, and Barberi notes a few biographical anecdotes along with a brief description of the painting.4 The provenance in the typed manuscript is given as "Casa Sante" but it is probably a mis-transcription of Barberi's original handwriting and should read "Casa Lante", as noted by Waagen. Algernon Percy, 4th Duke of Northumberland, enjoyed a successful career in the Navy, rising to the ranks of Commander and Admiral by the time he retired. He travelled extensively in Europe, Africa and the East, and it was after a trip to Italy that he decided to undertake the restoration of Alnwick Castle, with the help of the celebrated italian architect Commendatore Luigi Canina (director of the Musei Capitolini in Rome) and of Giovanni Mantiroli after Canina's death in 1856. Building work began in circa 1854 and it was apparently "in order to complete its character of an Italian Renaissance palace" that the Duke had negotiated the purchase of the Camuccini collection the previous year.5 The painting remained at Alnwick for the latter half of the 19th and into the 20th century where it hung in the Music Room, as is proven by its presence in a photograph taken circa 1930 by Helen Magdalen, 8th Duchess of Northumberland (1886-1965), wife of Alan Ian Percy (1880-1930), 8th Duke of Northumberland. 1. L. Crosato Larcher, "Per Carletto Caliari", in Arte Veneta, vol. XXI, 1967, p. 113, reproduced fig. 126. 2. P. Tomory, Catalogue of The Italian Paintings before 1800. The John & Mable Ringling Museum of Art, Sarasota 1976, pp. 82 and 84, cat. no. 80, reproduced p. 83. 3. Details of the transaction are listed in a letter from Emil Braun to the Duke on 19th September 1853, although the pictures did not arrive until 1856. The collection included: Raphael's Madonna of the Pinks (National Gallery, London); Giovanni Bellini's Feast of the Gods (National Gallery of Art, Washington); Guercino's Esther before Ahasuereus (University of Michigan Museum of Art, Ann Arbor); and Reni's Crucifixion (Alnwick Castle). See N. Penny, "Raphael's 'Madonna dei Garofani' rediscovered", in The Burlington Magazine, vol. CXXXIV, no. 1067, February 1992, pp. 76ff.. 4. "Carlo Caliari detto Carletto figlio a Paolo Veronese: nacque nel 1570, morì nel 1596. La Maddalena. Sul sasso su cui sta inginocchiata la Santa leggesi Carlo Carliari Veronese F. Era di Casa Sante. Rari sono i dipinti di quest' artista, che nella corte sua vita in scarso numero ne condusse, sebbene quando rimase orfano all'età di 18 anni, fosse tale nell'arte, da poter compire alcuni lavori, dal padre lasciati imperfetti. Fini i brevi e laboriosi giorni consunto da soverchie fatighe". 5. Helen, 8th Duchess of Northumberland, see Literature, p. 27.
![CALIARI Carlo (attribué à), 1570-1596 [IT]. La Sainte Famille avec sai](https://stageimg.invaluable.com/housePhotos/Galartis/19/597219/H4530-L105867229.jpg)
