Oil on the table In this work attributable to Jacopo Palma the Elder, Venus and Cupid abandon themselves in an expression of sublime beauty, intertwining their bodies in a composed embrace. The goddess of love, with her divine majesty, envelops the young Cupid with an affectionate but measured maternal tenderness, while the gaze of both merges in a union that oscillates between desire and complicity. The chromatic tones, nuanced and vibrant with light, reveal the quintessence of amorous ecstasy, the purest, almost sacred form of emotional fullness reachable through love. A depiction of Venus and Cupid, of larger size, it is preserved in the Fitzwilliam Museum in Cambridge. The characters are the same but the poses and sensuality of the best-known work are emphasized, creating a composition that differs from the painting in question. Despite this, it is possible to identify some common elements between the two works attributed to Palma the Elder, Cupid's arrow, the soft golden hair of Venus and the draping of the fabrics. Furthermore, the physiognomic details of the characters dialogue in a similar way with much more famous works by the artist. The angular nose of the goddess of love and her tapered fingers recall those of the portrait of Francesco Querini preserved in the Pinacoteca Querini Stampalia in Venice. Very delicate and beautiful painting whose state of conservation is good but, through observation of the surface with the Wood's Lamp, one can notice the various pictorial retouches it has undergone in the past. ASOR Studio
LA BELLA Öl auf Leinwand. 29 x 21 cm. In ornamental reliefiertem Rahmen. Vor abgeschattetem Grund das Hüftportrait der Schönheit, deren Darstellung einst Tizian zugeschrieben wurde, bis das nun im Museo Thyssen Bornemisza befindliche Gemälde als ein besonders feines Portrait von Palma Il Vecchio erkannt wurde. (1390729) (13)
JACOPO NEGRETTI, CALLED PALMA IL VECCHIO (SERINA, NEAR BERGAMO C. 1480-1528 The Madonna and Child with Tobias and the Angel oil on canvas, transferred from panel 20 x 27 3/8 in. (51 x 69.5 cm.)
Attributed to Jacopo Palma il Vecchio (Serina circa 1479-1528 Venice) The Madonna and Child before a landscape oil on panel 52 x 66.8cm (20 1/2 x 26 5/16in).
JACOPO NEGRETTI, PALMA IL VECCHIO (SERINA, NEAR BERGAMO C. 1480-1528 VENICE) The Madonna and Child with Saint John the Baptist and a female saint, probably... oil on panel 25 1/8 x 35 1/4 in. (63.8 x 89.5 cm.)
Jacopo de Negreto Palma Il Vecchio (1480-1528) Attributed to, 'Portrait of an old man', unsigned, pen drawing. 11 x 10 cm. Provenance: Condamin, Paris. Gabriëlse Collection, Middelburg - Monaco.
AFTER JACOPO PALMA IL VECCHIO (BORN CIRCA 1479-1528), ITALIANPORTRAIT OF A WOMAN CALLED LA BELLA, CIRCA 1518-1520Oil on canvas40 x 34.5 in — 101.6 x 87.6 cmProvenance:Gardner Auctions, label verso;Estate of Ruth Wolfe, Ontario Note:The original version of this portrait, painted around 1518-1520, measuring 95 x 80 cm, is now in the Thyssen-Bornemisza Collection in Madrid, Inv. no. 310 (1959.2).Estimate: $1,200—1,800
After Jacopo Palma Il Vecchio (1480 - 1528) "La Bella". With Illegible inscription verso. Oil/Canvas. Sight Size: 24.25 x 19.25 in. Overall Size: 33.25 x 28.25 in.
JACOPO PALMA IL VECCHIO 1480 Serina Alta (Serina bei Bergamo) - 1528 Venedig (attr./Schule) MARIA MIT CHRISTUSKIND, HL. ELISABETH UND JOHANNESKNABEN Öl auf Leinwand (doubl.). 36 x 46,5 cm. Verso: Gutachten, Rom, 1922. Min. rest. Rahmen. Das Bild stammt aus dem 'INVENTARIO PATRIMONIALE OGGETTI D'ARTE, MOBILI E QUADRI APPARTENENTI ALL 'ECC. MA CASA BRANCIFORTE'. Rückseitig ist hierzu ein römisches Gutachten von Prof. Luigi Belotti vom 19.10.1922 angebracht. Das Gemälde wird der Schule um Palma il Vecchio zugeschrieben und als mögliches Werk des Künstlers selbst beschrieben: 'QUADRO APPARTENENTE ALLA SCUOLA DI PALMA IL VECCHIO: PROBABILE OPERA DEL MAESTRO.'
FOLLOWER OF JACOPO PALMA IL VECCHIO (BORN CIRCA 1479-1528), ITALIANSACRA COVERSAZIONE (THE MADONNA AND CHILD WITH WITH SAINTS CATHERINE AND JOHN THE BAPTIST)Oil on canvas18.5" x 27" — 47 x 68.6 cm.Estimate: $3,000—5,000
(Italy, 1479-1528, 17th century or earlier)Portrait of Woman with Red Drape, unsigned, oil on canvas, 31 x 24-3/8 in.; fine 17th century or style, carved, reticulated and parcel gilt reverse profile frame with open stick, leaf and acorn decoration, some losses of paint at edges, areas with overcleaning with possible losses to hair, craquelure, top edge and at neck with retouch, other scattered light retouch; frame with repairs and pest damage. Provenance: Manfrin Collection, Venice (label verso)
PALMA IL VECCHIO, JACOPO 1480 bei Bergamo - Venedig 1528 (Schule) Sacra Conversazione Öl auf Leinwand, 36 cm x 46,5 cm, verso datiertes Gutachten von Prof. Luigi Bellotti vom 19.10.1922, min. rest., Rahmen.
Jacopo Palma, 1480 - 1528, zug. PORTRAIT EINES HERREN VOR LANDSCHAFTLICHEM HINTERGRUND Öl auf Holz. 46,4 x 37,5 cm. Halbbildnis nach rechts, der Blick nach rechts in die Ferne gerichtet, über hoher Stirn braunes Haar, das zum Rücken herabzieht. Das weiße, in Falten gelegte Hemd am Oberrand mit Goldbrokatborte gesäumt, an der linken Schulter wird die Rotfarbe des Mantels sichtbar, dessen Innenfutter sich mit dem aufgeschlagenen Revers dunkel zeigt. Im Hintergrund weite, zum Horizont führende Landschaft mit ins Blaue ziehender Gebirgskette unter hellblauem, nach oben hin dunkler werdendem, klarem Himmel. Hervorragende Erfassung der Physiognomie und feine malerische Ausführung. 1961 rest. In gutem Zustand. Einige Restaurierpartien im Himmel sowie im Mantel und im Gesicht. Provenienz: Conte Robilant-Mocenigo, Venedig. Contini Bonacossi, Florenz. Das Gemälde entstammt der Samuel H. Kress Collection. Ausstellung: National Gallery of Art, Washington DC (307), 1941 - 1952. William Rockhill, Nelson Gallery of Art, Kansas City, Mo 1952 - 1960. Literatur: Preliminary catalogue, 1941, S. 37 (dort Catena zugewiesen). Katalog von W. E. Sueda, 1952, S. 44 (Zuweisung an Bellini). Abgebildet und aufgeführt im Katalog Italian Paintings 15th to 16th century, Catalogue by Fern Rusk Shapley, S. 174, Kat.Nr. 357 mit Abb. 415, (1961, S. 58 als Bellinie zugeschrieben) dort im Katalog mit weiterer Literatur bzw. Provenienzangabe: Coral Gables, Joe and Emily Lowe Art Gallery, University of Florida seit 1961. Anmerkung: In der Vergangenheit wurde das Gemälde gewöhnlich Bellini zugeordnet. In der jüngeren Forschung wird vor allem aufgrund der landschaftlichen Wiedergabe das Werk Palma d. J. zugeschrieben, die Datierung wird zwischen 1510 und 1515 angenommen. Der Einfluss von Giorgone ist deutlich spürbar. In der Literatur wurde die Verbindung des Dargestellten mit der Memmo-Familie diskutiert. Bernard Berenson schrieb das Bild Catena zu (in seinem Werk: Italienische Maler der venezianischen Schule, Band 1, 1957, S. 31). Die Zuschreibung an Bellini erfolge auch durch G. Fiocco, R. Longhi, R. van Marle, F. M. Perkins sowie A. Venturi. Dagegen wiesen H. Titze und E. Titze-Conrat das Werk Catena zu. W. E. Suida vermutete das Werk als von der Hand Palmas, dagegen war F. Heinemann (Giovanni Bellini und E. I. Bellliani, Band 1, 1962, S. 103) der Meinung, dass das Werk von Bellini stammt, beeinflusst von Palma Vecchio. (8909722) Jacopo Palma, 1480 - 1528, attributed to Portrait of a Man in Front of a Landscape Oil on panel. 46.4 x 37.5 cm. Restored in 1961. In good condition. Provenance: Conte Robilant-Mocenigo, Venice. Contini Bonacossi, Florence. The painting came from the Samuel H. Kress Collection. Exhibition: National Gallery of Art, Washington DC (307), 1941 - 1952. William Rockhill, Nelson Gallery of Art, Kansas City, MO 1952 - 1960. Literature: Preliminary catalog, 1941, S. 37 (attributed there to Catena). Catalog by W. E. Sueda, 1952, pg. 44 (attribution to Bellini). Depicted and listed in the catalog "Italian Paintings 15th to 16th century", Catalog by Fern Rusk Shapley pg. 174, cat. no. 357 with image. 415, (1961, pg. 58 attributed to Bellini), in the catalog with further references and information of provenance: Coral Gables, Joe and Emily Lowe Art Gallery, University of Florida since 1961. Note: In the past the painting was commonly classified as being made by Bellini. However, recent research suggests, because of how the landscape was represented, that the painting was made by Palma the Younger and it is assumed to have been painted between 1510 and 1515. Bernard Berenson attributes the painting to Catena (in his work "Italienische Maler der venezianischen Schule", volume 1, 1957, pg. 31). The attribution to Bellini was also made by G. Fiocco, R. Longhi, R. van Marle, F. M. Perkins, as well as A. Venturi. On the other hand however, H. Titze and E. Titze-Conrat attribute the work to that of Catena. W. E. Suida suspected that it was painted rather by Palma. Then again, F. Heinemann ("Giovanni Bellini und E. I. Bellliani," volume 1, 1962, pg. 103) was of the opinion that it was made by Bellini, influenced by Palma Vecchio.
Circle of PALMA IL VECCHIO, JACOPO (Serinalta circa 1479 - 1528 Venice ) The Holy Family. Oil on panel. 57 x 77.5 cm. PALMA IL VECCHIO, JACOPO (UMKREIS) (Serinalta um 1479 - 1528 Venedig) Heilige Familie. Öl auf Holz. 57 x 77,5 cm.
Circle of Jacopo Negretti, called Jacopo Palma il Vecchio (Serina c.1480-1528 Venice) The mystic Marriage of Saint Catherine oil on panel, laid down on panel 58.3 x 50.2 cm.
Attributed to Jacopo Negretti, Palma il Vecchio (Serina, nr. Bergamo c. 1480-1528 Venice) Sacra Conversazione: The Madonna and Child with Saints Mary Magdalene, Peter and Peter Martyr oil on panel 29¾ x 41 3/8 in. (75.5 x 105.1 cm.)
THE PROPERTY OF A PRIVATE COLLECTOR A 'SACRA CONVERSAZIONE': THE MADONNA AND CHILD WITH SAINTS JOHN THE BAPTIST AND A FEMALE SAINT (PROBABLY SAINT CATHERINE) measurements note 25 by 35 1/2 in.; 63.5 by 90.2 cm. oil on panel, the reverse with a drawing of a child (see Fig. 1) PROVENANCE Francis I (1708-1765) Grand Duke of Tuscany, then Holy Roman Emperor; Thence by descent to his son-in-law Ferdinando I (1751-1825), King of the Two Sicilies, whose seal is affixed to the reverse (see Fig. 2); William Dickinson, M.P. of Kingweston, Somerset (died in Naples, January 19, 1837), whose seal is affixed to the reverse (see Fig. 3); Mons.e Falconet, Naples (according to an old label on the reverse); Anonymous sale, London, Sotheby's, July 3, 1991, lot 16, where acquired for £198,000 ($317,053) by Roy Fisher, New York; Sold from the Estate of Roy Fisher, New York, through Silvano Lodi, to the present owner. NOTE Palma il Vecchio's premature death in 1528 cut short a promising artistic career which had barely spanned two decades but which established him as one of the leading artists of the High Renaissance in Venice. After the death of Giorgione in 1510 and of Giovanni Bellini in 1516, Palma's studio became the leading workshop in the city and demand for paintings in his style remained high even after his death, once his chief pupil Bonifacio de' Pitati had taken over his master's workshop. Palma's only competition in the 1510s was the younger Titian (only five years his junior) but whereas Palma's style was rooted in the Venetian Renaissance tradition, Titian soon came to be regarded as a great innovator, particularly after painting his Assumption in the church of Santa Maria Gloriosa dei Frari (1516-18). A number of similarities can be drawn between the two artists' works, particularly those produced in the second decade of the 16th century, and they both turned to similar subjects during this period. Palma specialised in painting idealised and often provocative portraits of courtesans, either half-length or reclining, and indeed his Flora in the National Gallery, London, probably served as inspiration for Titian's painting of the same subject in the Uffizi, Florence. The genre in which Palma excelled, however, was that of the "sacra conversazione"; literally a "holy conversation" involving the Madonna and Christ Child with saints. These works were painted for wealthy patrons and were intended for private devotion in a domestic environment. The figures are normally shown half-length, the Madonna and Child painted on the same scale as the figures venerating them, and they all appear to co-exist in the same picture space, without the hierarchy so typical of Renaissance triptychs and polyptychs. Although Palma was a pioneer in the genre he often had recourse to Titian's works, as is the case here. The Madonna's pose and the overall composition, with four half-length figures set against a background and curtain, owe much to Titian's Sacra conversazione: the Madonna and Child with Saints George and Dorothy in the Museo del Prado, Madrid, which has been dated to circa 1515 (see H. Wethey, The Paintings of Titian. I. The Religious Paintings, London 1969, p. 109, cat. no. 65, reproduced plate 13). This concords with the opinion of Prof. Peter Humfrey who dates the present work to the second decade of the 16th century and has proposed a more specific date of execution of circa 1516-18 (see below). Indeed the painting may be compared to other "sacre conversazioni" by Palma dating from the period 1513-20: from his Madonna with Saints John the Baptist and Mary Magdalene of circa 1513, in which the Madonna and Child are centralised but which shares a similar cloudy sky (Accademia Carrara, Bergamo; see P. Rylands, Palma Vecchio, Cambridge 1992, p. 157, cat. no. 13, reproduced); to his Madonna and Child with Saints John the Baptist and Catherine of 1514-15 (Gemäldgalerie, Dresden; Rylands, op. cit., p. 163, cat. no. 20, reproduced) and Madonna and Child with Saints John the Baptist and Sebastian of 1516-18 (Muzeum Narodowe, Pozná; ibid., p. 172, cat. no. 31, reproduced), both of which include a similar John the Baptist. The female saint in the present work is probably to be identified with Saint Catherine of Alexandria, given her frequent association with John the Baptist and the inclusion of the martyr's palm, although the absence of her wheel makes the identification by no means certain. X-radiographs reveal numerous pentimenti throughout the painting: the head of the Baptist, for example, was altered numerous times before reaching its final position in profile; the martyr's palm held by the female saint originally pointed to the right but its direction was changed in order to provide a visual link between the Baptist and the Christ Child. The drawing on the reverse of the panel is mentioned by Dr. Peter Dreyer in an unpublished manuscript on Titian's drawings, as an autograph sketch by Palma il Vecchio (communication given to the owner in a letter, dated May 9, 2003). Since the drawing appears on the reverse of the panel it should be considered a preparatory sketch, and not an underdrawing for a painting that might have been planned on the verso (in which case the panel would also have been primed). The painting boasts an illustrious provenance for it once belonged to Francis I (1708-1765), Grand Duke of Tuscany and then Holy Roman Emperor. Francis was brought to Vienna aged fifteen and succeeded his father as Duke of Lorraine in 1729. At the end of the War of the Polish Succession Francis was persuaded by the Holy Roman Emperor to exchange Lorraine for the grand duchy of Tuscany, and so became Grand Duke. He married Maria Theresa of Austria on February 12, 1736, and she secured his election as Holy Roman Emperor, succeeding Charles VII, in 1745. They had sixteen children, their youngest daughter being the future queen consort of France, Marie Antoinette. Ferdinand I (1751-1825) was the third son of King Charles VII of Naples and Sicily and was crowned King of the Two Sicilies in 1759: as Ferdinand III of Sicily (1759-1816) and Ferdinand IV of Naples (1759-99; 1799-1806; 1815-16), although his reign up until 1812 was mainly dominated by his wife Maria Carolina of Austria, daughter of Maria Theresa, whom he had married in 1768. The attribution to Palma il Vecchio has been independently endorsed by both Prof. Peter Humfrey and Dr. Peter Dreyer (private communications to the owner). Humfrey dates it to circa 1513-20, and perhaps even more precisely to circa 1516-18. Dr. Philip Rylands, who knows knows the painting only from photographs, attributes it to the workshop of Palma. Keith Christiansen, who has seen the present painting firsthand, believes it to be an early work by Palma Vecchio.
