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soldSep. 18, 2023Jacopo Antonio Negretti, also called “Palma il Giovane” (1544/48 – 1628), Magdalena Treats Christ's Wound after the Demoction of the Cross
Est: €1,500 - €3,000The small format picture shows the scenery in the dark, late evening lighting according to the biblical account. The body of Christ is depicted, surrounded by Mother Mary, Saint John, whose head appears behind Christ's shoulder, Joseph of Arimathea with a long beard and Mary Magdalene, who takes care of the side wound of Jesus with a cloth. In the background the Calvary with the crosses still erected with the two thieves and the city of Jerusalem. Despite the darkened colouring, the Mannerist colors are particularly evident in the light violet dress of the Magdalena. The hairstyle is immediately reminiscent of Venetian painting by Veronese and the young Tintoretto. The painter, called "Il Giovane" to distinguish him from his great-uncle Palma Vecchio, probably first studied with his father, practiced copying after Titian at the age of 16 and was soon discovered by the Duke della Rovere of Urbino. From 1570 in Venice, he was influenced by Tintoretto. The master is considered an important pioneer of the early Venetian Baroque. A sepia drawing by the artist “Beweeping Christ”, which is in the Städel Museum in Frankfurt, shows a compositional relationship. Furthermore, the representation of the bearded old man here in the picture on the left is closely related to the "Portrait of the Sculptor Alessandro Vittoria" in the Kunsthistorisches Museum Vienna (around 1600/1605)
Fine Antiques Prague s.r.o.sold
Jun. 16, 2023Palma il Giovane. – S. Masou Rinaldi.
Est: €250 - €400Palma il Giovane. – S. Masou Rinaldi. Palma il Giovane. L’opera completa. Mailand 1984. 501 S., 36 Farbabb. u. illustriertes Werkverzeichnis, 800 Abb. im Tafelteil. Olwd., Schutzumschlag, Orig.-Schuber. Stempelexlibris Joseph Clemens Prinz von Bayern.
Schneider-Henn
soldJun. 16, 2023Palma il Giovane.
Est: €1,000 - €2,000Palma il Giovane. (Jacopo Palma, 1544-1628), oder Umkreis. Wohl Altersporträt Tizian (um 1488-1576). Zeichnung. Tuschfeder und Tuschpinsel, Sepia, rotbraun laviert, sehr dünnes Bütten. Hochoval, 7,7:6,2 cm, Papierformat 12,7:8,5 cm. Die Chronik zu Palma di Giovane kommt der Zuschreibung entgegen. Er hat das künstlerische Vermächtnis seines Onkels Palma il Vecchio (1480-1528), ausgebildet in Konkurrenz mit seinem venezianischen Landsmann Tizian, zu neuer Blüte weitergeführt, in Orientierung an dem Werk Tizians und in Verehrung des Meisters: Er war 16 Jahre alt, als er ein Bild von Tizian kopierte, und nach dem Tod Tizians erwarb er aus dessen Atelier ein unfertiges Gemälde seiner Hand, das er vollendete. Ihn für das vorliegende Porträt in Anspruch zu nehmen, ist nächstliegend, auch im stilistischen Vergleich. Die Identität des Dargestellten mag auch aus A. Carraccis graphischer Wiederholung eines Tizian’schen Selbstporträts (Berlin, Staatl. Museen Preussischer Kulturbesitz) deutlich machen (unsere Dokumentationsabbildung), auch der Pelzumhang ist in unsere Originalzeichnung übernommen. Abweichend von den bisher bekannten Bildnissen stellt sie uns den Meister nahezu en face vor. Die insgesamt elf Porträts im Werkverzeichnis von H. E. Wethey (The Paintings of Titian, II, The Portraits, London 1971, S. 179-181), einschließlich spätere Nachbildungen, folgen den Selbstbildnissen in einer Drehung des Kopfes mit Betonung auf Seitenblick. – Einige kleinere Stockflecken im weißen Rand, eckfleckig unten links, knapper Papierverlust rechte obere Ecke, Knickfalte durchgehend vom oberen bis in den rechten Rand mit kurzer Berührung der Zeichnung.
Schneider-Henn
soldJun. 15, 2023JACOPO DI ANTONIO NEGRETTI DIT PALMA LE JEUNE (VENISE 1544-1628) Saint Jean
Est: €100,000 - €150,000JACOPO DI ANTONIO NEGRETTI DIT PALMA LE JEUNE (VENISE 1544-1628) Saint Jean Baptiste huile sur toile 205,5 x 117 cm. (80 3/4 x 46 1/8 in.)
Christie's
soldMay. 23, 2023Jacopo Palma il giovane (1548 - 1628) - attributed
Est: €3,800 - €7,600Cain and Abel. Oil on canvas. In possibly original period frame. A monumental version of the existing smaller and less detailed version of the painting in the Kunsthistorisches Museum Vienna from the same subject. Especially the fruits, fire place and landcape are in our version richer executed. 123 x 178 cm.
Deutsch Auktionen
soldMay. 18, 2023JACOPO NEGRETTI detto PALMA IL GIOVANE
Est: €3,000 - €5,000(Venezia, 1548/50 ; 1628) San Girolamo Olio su tela, cm 46,5X71 Il dipinto è un prodotto della primissima maturità di Jacopo Negretti, riconducibile al nono decennio, quando il pittore si misura con gli esempi dell'ultimo Tiziano, di Jacopo Tintoretto e Jacopo Bassano. L'esecuzione è a guisa di bozzetto, con pennellate veloci, brani a 'risparmio' e un sapiente uso del 'non finito', aspetti che evidenziano l'abilità pittorica dell'autore e la sua personalissima interpretazione della grande maniera veneziana. La connotazione espressiva e naturalistica del santo, denota la sua ispirazione dal vero e il volto trova similitudini con il Ritratto di vecchio appartenente alla Pinacoteca di Brera, in cui si coglie la medesima intensità espressiva di memoria tizianesca in chiave fortemente naturalistica (Cfr. S. Mason, Pinacoteca di Brera. Scuola veneta, Milano 1990, pp. 182-185, n. 98a). L'estetica dell'opera è da cogliere quindi nei diversi passaggi a velatura, nei pigmenti preziosi e negli impasti rapidi impiegati nel delineare la struttura dei panneggi. L'ambientazione all'aperto presenta anch'essa influenze tintorettesche e di Paolo Fiammingo e delinea il fondale creando un'efficace profondità scenica. Il dipinto è corredato da una scheda critica di Filippo Pedrocco. Bibliografia di riferimento: S. Mason Rinaldi, Palma il Giovane. L'opera completa, Milano 1984, ad vocem Palma il Giovane 1548-1628. Disegni e dipinti, catalogo della mostra a cura di S. Mason Rinaldi, Milano 1990, ad vocem
Wannenes Art Auctions
soldMay. 04, 2023Jacopo Negretti (Venezia 1544 - 1628), detto Palma il Giovane, Autoritratto
Est: €15,000 - €30,000Sono noti agli studi due ritratti di Jacopo Negretti, detto Palma il Giovane per non confonderlo con il celebre prozio pittore Palma il Vecchio. Un primo autoritratto giovanile, nella veste dell'elegante e spavaldo pittore è quello datato al 1580 circa oggi conservato alla Pinacoteca di Brera. Il secondo è un ritratto probabilmente opera di Jacopo Bassano, databile al 1681 e acquistato l'anno seguente da Cosimo III de Medici e oggi conservato nel Corridoio vasariano. La perfetta aderenza fisiognomica e i tratti della maturità sono riscontrabili anche nella derivazione veneta dello stile del dipinto, molto attento all'esperienza della ritrattistica di Tiziano e Tintoretto.
Telearte
soldMay. 03, 2023Jacopo Negretti, called Palma il Giovane
Est: €50,000 - €70,000(Venice 1549–1628) Adoration of the Magi, oil on canvas, 136.2 x 205.8 cm, framed Provenance: sale, Sotheby’s, New York, 31 January 2014, lot 410 (as Palma il Giovane); Collection of Ramon Osuna, Washington D.C.; sale, Freeman’s, Philadelphia, 22 February 2022, lot 7 (as Palma il Giovane); where acquired by the present owner We are grateful to Giorgio Fossaluzza for confirming the attribution and for his help in cataloguing the present lot. This work has been dated by Fossaluzza to 1600–1605, when Palma il Giovane was influenced by the works of Jacopo Tintoretto, but using a clearer colour scheme similar to Titian’s palette and following Veronese’s application of bright light paint effects. The size, horizontal orientation and iconography of this painting suggest that the work was commissioned for private devotion and it can be compared to Palma il Giovane’s Adoration of the Shepherds in the Pushkin Museum, Moscow (inv. no. Ж-2715). Born into a family of artists which included his father, Antonio Palma (circa 1510–1575), his great-uncle Palma il Vecchio (1549–1628) and his uncle, Bonifacio de’ Pitati, called Bonifacio Veronese (1487–1553), Palma il Giovane enjoyed a long and illustrious career. His precocious talent was recognised by Guidobaldo II della Rovere, Duke of Urbino, who called the young painter to his court when he saw him in 1564, aged only fourteen, copying the Martyrdom of Saint Lawrence by Titian. It is believed that he also travelled to Pesaro and then to Rome before returning to Venice in 1574, where he may have worked in the studio of Titian. After the death of Jacopo Tintoretto (1518–1594), Palma became one of the leading painters in Venice. Demonstrating the high reputation he enjoyed, he was commissioned to complete the Pietà left unfinished by Titian (Gallerie dell’Accademia, Venice) upon which Palma proudly applied the inscription ‘QUOD TITIANVS INCHOATVM RELIQUIT PALMA REVERENTVR ABSOLVIT DEOQ. DICAVIT OPVS’ [‘That which Titian left unfinished, Palma completed with reverence, dedicating the work to God’] – thereby evidently identifying himself as the heir to Titian’s artistic supremacy in the city.
Dorotheum
soldApr. 29, 2023Jacopo Antonio Negretti, also called “Palma il Giovane” (1544/48 – 1628), Magdalena Treats Christ's Wound after the Demoction of the Cross
Est: €4,000 - €6,000A copy of an expertise by Prof. Alessandro Delpriori, Matelica, is enclosed. The small format picture shows the scenery in the dark, late evening lighting according to the biblical account. The body of Christ is depicted, surrounded by Mother Mary, Saint John, whose head appears behind Christ's shoulder, Joseph of Arimathea with a long beard and Mary Magdalene, who takes care of the side wound of Jesus with a cloth. In the background the Calvary with the crosses still erected with the two thieves and the city of Jerusalem. Despite the darkened colouring, the Mannerist colors are particularly evident in the light violet dress of the Magdalena. The hairstyle is immediately reminiscent of Venetian painting by Veronese and the young Tintoretto. The painter, called "Il Giovane" to distinguish him from his great-uncle Palma Vecchio, probably first studied with his father, practiced copying after Titian at the age of 16 and was soon discovered by the Duke della Rovere of Urbino. From 1570 in Venice, he was influenced by Tintoretto. The master is considered an important pioneer of the early Venetian Baroque. A sepia drawing by the artist “Beweeping Christ”, which is in the Städel Museum in Frankfurt, shows a compositional relationship. Furthermore, the representation of the bearded old man here in the picture on the left is closely related to the "Portrait of the Sculptor Alessandro Vittoria" in the Kunsthistorisches Museum Vienna (around 1600/1605)
Fine Antiques Prague s.r.o.
soldMar. 31, 2023JACOPO PALMA IL GIOVANNE, Workshop
Est: CHF900 - CHF1,200JACOPO PALMA IL GIOVANNE, Workshop (1548/50 Venice 1628) Study of Saint Jerome. Pen and brush and brown ink. 18.7 x 12.7 cm. Provenance: - With Kunsthandlung Artaria, Vienna, inventory catalogue, winter 1930/31. - Sale Dorotheum, Vienna, Auktion Artaria, 7/8 April 1933 Lot 186 (as Jacop Palma Il Giovane, attributed). - Swiss private collection. --------------- JACOPO PALMA IL GIOVANNE, Werkstatt (1548/50 Venedig 1628) Studie zum Hl. Hieronymus. Feder und Pinsel in Braun. 18,7 x 12,7 cm. Provenienz: - Kunsthandlung Artaria, Wien, Lagerkatalog, Winter 1930/31. - Dorotheum, Wien, Auktion Artaria, 7./8. April 1933 Lot 186 (als Jacop Palma Il Giovane, zugeschrieben). - Schweizer Privatsammlung. ---------------
Koller Auctions
soldMar. 30, 2023Jacopo Antonio Negretti, auch genannt „Palma il Giovane“, 1544/48 – 1628
Est: €8,000 - €10,000MAGDALENA VERSORGT DIE WUNDE CHRISTI NACH DER KREUZABNAHME Öl auf Kupfer. 25 x 19,3 cm. Gerahmt. Beigegeben eine Expertise von Prof. Alessandro Delpriori, Matelica, in Kopie. Das kleinformatige Bild zeigt die Szenerie in der dunklen, spätabendlichen Beleuchtung entsprechend der Bibelschilderung. Dargestellt ist der Leichnam Christi, umgeben von Mutter Maria, dem Heiligen Johannes, dessen Haupt hinter der Schulter Christi erschient, Josef von Arimathäa in langem Bart sowie der Maria Magdalena, die sich mit einem Tuch der Seitenwunde Jesu annimmt. Im Hintergrund der Kalvarienberg mit den noch aufgerichteten Kreuzen mit den beiden Schächern sowie die Stadt Jerusalem. Trotz abgedunkeltem Kolorit kommt die manieristische Farbigkeit vor allem im hellvioletten Kleid der Magdalena deutlich zur Geltung. Die Frisur erinnert sogleich an die Venezianische Malerei etwa des Veronese, wie auch des jungen Tintoretto. Der Maler, „Il Giovane“ genannt, um ihn von seinem Großonkel Palma Vecchio abzusetzen, studierte vermutlich zuerst bei seinem Vater, übte sich bereits 16-Jährig in Kopien nach Tizian und wurde alsbald vom Herzog della Rovere von Urbino entdeckt. Ab 1570 in Venedig, ließ er sich von Tintoretto beeinflussen. Der Meister gilt als bedeutender Wegbereiter des Venezianischen Frühbarock. Kompositionelle Verwandtschaft zeigt eine Sepiazeichnung des Künstlers „Beweinung Christi“, die sich im Frankfurter Städel Museum befindet. Ferner ist die Darstellung des bärtigen Alten hier im Bild links eng verwandt mit dem „Bildnis des Bildhauers Alessandro Vittoria“ im Kunsthistorischen Museum Wien (um 1600/1605). A.R. (1351759) (11)
Hampel Fine Art Auctions
soldMar. 25, 2023PALMA, Jacopo II (*um 1548 Venedig †1628 ebd),
Est: -PALMA, Jacopo II (*um 1548 Venedig †1628 ebd), Paar Kupferstiche, Jesus im Tempel, Druck des 17. Jh. Oder später, in der Platte je drucksign., Blattmaß 11,5 x 17,5 bzw 11 x 17,5 cm, Kartonmontage
zeitGenossen Antiquitäten - Kunst - Design
soldMar. 22, 2023Jacopo Antonio NEGRETTI, dit PALMA il Giovane Venise, 1544 - 1628 Danaé Toile
Est: €120,000 - €150,000Jacopo Antonio NEGRETTI, dit PALMA il Giovane Venise, 1544 - 1628 Danaé Toile Signée 'JACOBUS PALMA / F.' en haut à droite Danaë, canvas, signed, by Palma il Giovane h: 116 w: 162,50 cm Provenance : Chez Baroni, Paris, en 1956 (selon la Fototeca Zeri, n° 44032) ; Chez Salocchi, Florence, en 1956 (selon la Fototeca Zeri, n° 44032) ; Collection particulière, Lyon Bibliographie : Rodolfo Pallucchini, 'Tiziano', Florence, 1969, vol. I, p. 208-209, vol. II, repr. fig. 641 Nicola Ivanoff et Pietro Zampetti, 'Giacomo Negretti dit Palma il Giovane', Bergame, 1980, p. 549-551, repr. (dimensions erronées) Stefania Mason Rinaldi, 'Palma il Giovane: l'opera completa', Milan, 1984, p. 100, n° 205, repr. fig. 228 Francesca Alberti, "Bizzarri componimenti e straordinarie invenzioni: la Danaé de Tintoret, une peinture comique", in 'Studiolo. Revue d'histoire de l'art de l'Académie de France à Rome', 2009, p. 15-17, fig. 7 Commentaire : Afin d'éviter l'accomplissement de l'oracle qui lui prédisait qu'il serait tué par son petit-fils, Acrisios, roi d'Argos, enferme sa fille Danaé dans une tour d'airain pour l'empêcher d'enfanter. Mais Jupiter, amoureux de la prisonnière, réussit à s'introduire auprès d'elle, sous la forme d'une pluie d'or. De leur union naît Persée1. Notre tableau illustre une scène d'un érotisme fou, d'une audace que seule la légèreté des mœurs vénitiennes pouvait alors justifier. La splendeur des coloris, la nudité sans concession de Danaé et la pluie d'or - il s'agit ici plus d'une éruption que d'une pluie…- nous offrent un spectacle savoureux qui exalte nos sens. Jacopo Negretti, fils et élève d'Antonio Palma, est surtout l'héritier de son grand-oncle Palma il Vecchio. Avec Giorgione, Bellini et le jeune Titien, ce dernier a participé à renouveler la peinture vénitienne dans les premières années du XVIe siècle. Venise est un foyer d'intense production où la concurrence bat son plein au milieu du XVIe siècle et cela motive sans doute le jeune Palma à partir pour Rome afin d'élargir ses horizons artistiques loin de la lagune sur laquelle règnent en maîtres trois pinceaux : Titien, Tintoret et Véronèse. Imprégné par la puissance plastique de Michel-Ange lors d'un séjour de 8 ans entre 1560 et 1568, Palma revient à Venise et rapidement trouve l'occasion de " déverser " son talent sur des milliers de mètre carrés de toiles : l'incendie du palais des doges en 1577 est un drame pour la politique et les finances publiques mais une chance pour les arts. C'est en effet avec une ambition démesurée et un budget sans limites que l'ensemble des décors doivent être à nouveau conçus. Les peintres y trouvent un terrain de jeux formidable et Palma y participe largement. A l'apogée de sa carrière, il est le peintre favori de la République de Venise et il se voit confier la plupart des grands chantiers de la Sérénissime. Palma le Jeune eut sans doute l'occasion d'examiner des répliques postérieures ou des gravures d'après la Danaé de Titien commandée par Philippe II et datée de 1553 (Madrid, musée du Prado, fig. 1). C'est en tout cas que ce laisse penser, selon Stefania Mason Rinaldi(op. cit., p. 100), la position de notre Danaé, dans le sens inverse de celle de Titien. Cette historienne date notre toile des dernières années du 'Cinquecento', comme l'atteste stylistiquement le dessin en rapport conservé à la Graphische Sammlung de Stuttgart (fig. 2) mais aussi les coloris vénitiens lumineux de la génération précédente qui laisseront place chez le peintre à des recherches de tonalités clair-obscures dans les premières années du 'Seicento'. En cette fin du XVIe siècle, Palma reste dans la pure tradition vénitienne marquée par les rouges cramoisis de Tintoret. Dans sa 'Vénus et l'amour' présentée en vente en 2007² le peintre utilise une composition proche de la nôtre, dans un format similaire et utilisant la même palette. Titien ou Palma repoussent les limites de la décence et pourtant seuls les mots d'élégances, équilibre et beauté surgissent du spectacle de leurs Danaés. 1. Apollodore, 'Bibliothèque', II, 4. 2. Vente anonyme ; Zurich, Koller, 23 mars 2007, n° 3017, huile sur toile, 141 x 201 cm, adjugé CHF 390 000. Estimation 120 000 - 150 000 €
Artcurial
soldDec. 17, 2022JACOPO NEGRETTI, Salita al calvario, Olio su tela
Est: €2,000 - €3,000JACOPO NEGRETTI detto PALMA IL GIOVANE (Cerchia di) (Venezia 1544 - 1628) Salita al calvario Olio su tavola Cornice in legno laccato ed ebanizzato. cm 45 x 57.
Benedetto Trionfante Casa d’Aste
soldDec. 13, 2022NEGRETTI DETTO PALMA IL GIOVANE JACOPO (1548 - 1628) Portrait of an old woman
Est: €8,000 - €12,000NEGRETTI DETTO PALMA IL GIOVANE JACOPO (1548 - 1628). Portrait of an old woman. At the back it shows the ancient writing ""Tintoretto G"" and inventory number 215 Thanks to Enrico Lucchese for confirming the authenticity of the work after live viewing. Cm 39,00 x 47,50.
Capitolium Art
soldDec. 07, 2022Attributed to Palma Il Giovane (c.1544/48-1628): St. Mary Transported to Heaven
Est: $1,500 - $2,500Ink on paper, unsigned. 4 1/4 x 8 1/2 in. (sheet), 10x 14 in. (frame). Property from a Prominent Collector
Stair
soldDec. 05, 2022Entourage de Jacopo II Palma (c.1544/48-1628)
Est: CHF400 - CHF600Entourage de Jacopo II Palma (c.1544/48-1628) Etude d'homme au drapé, lavis sur papier, 28x19 cm
Geneve Encheres
soldNov. 29, 2022JACOPO NEGRETTI DETTO PALMA IL GIOVANE (VENEZIA 1549 - 1628) CERCHIA DI
Est: €2,500 - €3,500Jacopo Negretti detto Palma il Giovane (Venezia 1549 - 1628) cerchia di San Girolamo Olio su tela 108 x 77 cm Riconducibile all'ambito veneto del XVII secolo cresciuto all'ombra di Palma il Giovane, il dipinto in questione deriva da una dispersa composizione del maestro veneziano, nota grazie ad un'incisione realizzata dall'incisore di Hendrik Goltzius. Grazie alle fonti antiche apprendiamo che San Girolamo fu molto presente nella produzione di Palma, anche se molti dipinti di questo soggetto oggi risultano perduti. Jacopo Negretti detto Palma il Giovane fu figlio d’arte: il padre Antonio Palma fu un pittore, così come lo zio del padre, il noto Palma il Vecchio, nonché lo zio, Bonifacio de’ Pitati detto Bonifacio Veronese, fratello della madre. La sua formazione si arricchì grazie al soggiorno romano, durato ben quattro anni e coronato da importanti commissioni. Le sue due fonti d’ispirazione restarono comunque evidentemente veneziane: Tintoretto e Tiziano. Del primo colse soprattutto la veemenza scenica delle rappresentazioni che spesso seguono linee vorticose, mettendo in luce il suo impeto creativo e la sua animata fede. I temi biblici, come in Tintoretto, sono sempre rappresentati mentre si compie l’avvenimento centrale, e l’osservatore si trova così nel mezzo di una narrazione sospesa di cui conosce un finale che non si è ancora verificato. Con il maestro cadorino ebbe un rapporto diretto, essendo stato nella sua bottega come aiuto piuttosto che come allievo. Il dato è riportato da Boschini: "[...]che pure anco hebbe fortuna di godere degli eruditi precetti di Tiziano”. Il contatto con l’anziano maestro gli permise di conoscere approfonditamente la sua tecnica realizzativa, tant’è che gli fu affidato il compito di completare la Pietà, oggi all’Accademia, rimasta incompiuta per la sopraggiunta morte del Tiziano. Jacopo Negretti called Palma the Younger (Venice 1549 - 1628) circle of St. Jerome Oil on canvas 108 x 77 cm This painting derives from a dispersed composition by the Venetian master, known thanks to an engraving made by the engraver of Hendrik Goltzius. Thanks to ancient sources we learn that St. Jerome was very present in the production of Palma, even if many paintings of this subject are now lost.
Lucas Aste
soldNov. 19, 2022PALMA, Jacopo II (*um 1548 Venedig †1628 ebd),
Est: -PALMA, Jacopo II (*um 1548 Venedig †1628 ebd), Paar Kupferstiche, Jesus im Tempel, in der Platte je drucksign., Blattmaß 11,5 x 17,5 bzw 11 x 17,5 cm, Kartonmontage
zeitGenossen Antiquitäten - Kunst - Design
soldNov. 15, 2022Palma il Giovane, Venice 1544 - 1628 Venice, Attributed, Sacra Conversazione with Donors
Est: €6,000 - €8,000Palma il Giovane Venice 1544 - 1628 Venice, Attributed "Sacra Conversazione with Donors" Oil on canvas, relined 146 x 87 cm, with frame 169 x 103 cm This painting depicts a so-called Sacra Conversazione, with saints engrossed in conversation, here even acting as intercessors. It is in the style of the Venetian School and inscribed on the pedestal under the feet of the Madonna with the date 1595, followed by: "INT(ercessorum) ADI(utrix) 8. NOVEMBRIS MORS". Mary functions here as the mediator of someone who died on 8 November 1595, as the skull as a symbol of the Memento Mori further emphasises. The hermit and church father Jerome, who is typically depicted as an elderly man with a long white beard, is used as an intercessor. One hand of his rests on the shoulder of the kneeling man, while the other hand is raised in a speaking gesture. He is looking at the Madonna, who in turn is looking down at the couple. The couple does not take any notice of the saints but is turned towards the viewer, as is the presumed donor on the right half of the picture. The saints' attention leads to the conclusion that one person of the couple on the left or both have died, for whom the presumed donor on the right has now commissioned this work. The scene is set in an architectural setting with a purple curtain motif; the blue sky is reflected in Mary's cloak, emphasising the heavenly sphere in which the saints move. Mary and Child are depicted elevated; the mother is shown in typical Venetian fashion in blue and pink robes and with a white veil wrapped around her head. The luminous nimbus sets her apart from her son and Jerome, both of whom only have a filigree nimbus. She is bent forward with her naked child on her lap, referring to the mortal couple with two outstretched fingers in a gesture of speech or blessing. The man and the woman are depicted in the fashionable costume of Venice in the last quarter of the 16 th century: the woman wears an embroidered red dress, pearl jewellery and curls piled high, while the man wears a long coat lined with ermine fur and a moustache and chin beard. The man on the right could be a relative of the couple (possibly a son?) who had himself depicted in the painting in a more reserved manner as a donor. There are great similarities to the oeuvre of Jacopo Negretti, also called Jacopo Palma Il Giovane, (1548/50-1624), especially to the 1605 painting of Madonna with Saint Benedict and other saints in the church of San Zaccaria or the 1590 depiction of the Annunciation in the choir of the church of the Madonna dell'Orto, both in Venice. Especially the facial physiognomy of Mary, the fine curls of the infant Jesus and the hair of the mortal woman are strongly related to and show the painter's orientation towards Tintoretto's style, as well as his attachment to Venetian Renaissance painting. The typical vertical, upwardly rounded form, the bright colours, as well as the heavenly window are further characteristic features of Palma Il Giovane's works.
Tiberius Auctions
soldNov. 09, 2022Jacopo Negretti, called Palma il Giovane
Est: €30,000 - €40,000(Venice 1548–1628) The Adoration of the Shepherds, oil on canvas, 65 x 84 cm, framed Provenance: Private European collection We are grateful to Mauro Lucco for confirming the attribution after examining the present painting in the original. The present painting is a mature work by Palma il Giovane which Lucco has dated to circa 1610. It can be compared to the Adoration of the Magi in the Museo Sartorio, Trieste, also dated to circa 1610, in which the Virgin repeats a similar gesture with a raised right hand (see S. Mason Rinaldi, Palma il Giovane: l’opera completa, Milan 1984, cat. no. 316, fig. 415). The composition is similar to the Holy Family with Saint Catherine of Siena (circa 1615) conserved in the Pinacoteca dell’Accademia di Carrara, Bergamo (inv. no. 58AC00354). Born into a family of artists which included his father, Antonio Palma (circa 1510–1575), his great-uncle Palma il Vecchio (1549–1628) and his uncle, Bonifacio de’ Pitati, called Bonifacio Veronese (1487–1553), Palma il Giovane enjoyed a long and illustrious career. His precocious talent was recognised by Guidobaldo II della Rovere, Duke of Urbino, who called the young painter to his court when he saw him in 1564, aged only fourteen, copying the Martyrdom of Saint Lawrence by Titian. It is believed that he also travelled to Pesaro and then to Rome before returning to Venice in 1574, where he may have worked in the studio of Titian. After the death of Jacopo Tintoretto (1518–1594), Palma became one of the leading painters in Venice. Demonstrating the high reputation he enjoyed, he was commissioned to complete the Pietà left unfinished by Titian (Gallerie dell’Accademia, Venice) upon which Palma proudly applied the inscription: ‘QUOD TITIANVS INCHOATVM RELIQUIT PALMA REVERENTVR ABSOLVIT DEOQ. DICAVIT OPVS’ [‘That which Titian left unfinished, Palma completed with reverence, dedicating the work to God’] – thereby evidently identifying himself as the heir to Titian’s artistic supremacy in the city.
Dorotheum
soldNov. 03, 2022Jacopo Negretti (Venezia 1544 - 1628), detto Palma il Giovane, Autoritratto
Est: €35,000 - €50,000Sono noti agli studi due ritratti di Jacopo Negretti, detto Palma il Giovane per non confonderlo con il celebre prozio pittore Palma il Vecchio. Un primo autoritratto giovanile, nella veste dell'elegante e spavaldo pittore è quello datato al 1580 circa oggi conservato alla Pinacoteca di Brera. Il secondo è un ritratto probabilmente opera di Jacopo Bassano, databile al 1681 e acquistato l'anno seguente da Cosimo III de Medici e oggi conservato nel Corridoio vasariano. La perfetta aderenza fisiognomica e i tratti della maturità sono riscontrabili anche nella derivazione veneta dello stile del dipinto, molto attento all'esperienza della ritrattistica di Tiziano e Tintoretto.
Telearte
soldSep. 27, 2022Palma il Giovane (1548/50 â 1628)- attributed
Est: €1,800 - €3,600Palma il Giovane (1548/50 â 1628)- attributed, Cain slaying Abel in landscape in the backgound Adam and Eve and a goat by the fire, oil on canvas, framed, Lit: A smaller and with less details version existing at the Kunsthistorisches Museum in Vienna,Inventory number 1576, 125x180cm
Deutsch Auktionen
soldSep. 23, 2022JACOPO PALMA IL GIOVANE
Est: CHF1,500 - CHF2,000JACOPO PALMA IL GIOVANE (circa1548/50 Venice 1628) Study of a seated man with a writing tablet. Red and white chalk on blue laid paper. Inscribed lower right in pen and brown ink: Palme. 19.2 x 20 cm. Our thanks to Dr Maria Aresin for confirming the attribution on the basis of a photograph. --------------- JACOPO PALMA IL GIOVANE (um1548/50 Venedig 1628) Studie zu einem sitzenden Mann mit einer Schrifttafel. Rote und weisse Kreide auf blauem Bütten. Unten rechts mit brauner Feder bezeichnet: Palme. 19,2 x 20 cm. Wir danken Dr. Maria Aresin für die Bestätigung der Zuschreibung anhand einer Fotografie. ---------------
Koller Auctions
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