Giovanni Cariani Sold at Auction Prices

GIOVANNI BUSI DETTO IL CARIANI - (attribuito a)

(attribuito a) Madonna con Bambino, San Bartolomeo e Santa Lucia Olio su tavola 55x83,5 cm

Madonna con Bambino, San Bartolomeo e Santa Lucia

Madonna con Bambino, San Bartolomeo e Santa Lucia Olio su tavola 59,5x79 cm; firmato sul taglio laterale del libro "IO.CARI.P.". La raffigurazione si struttura da destra, delinenando la Vergine seduta mentre regge sul braccio sinistro il Bambino, mentre sorveglia con dolcezza il suo volgersi verso le foglie che sporgono. Su un piano leggermente arretrato, una giovane fanciulla che potrebbe essere ricondotta a Santa Lucia. A sinistra un uomo di giovane età, i cui attributi consentono di identificare in San Bartolomeo Martire. La composizione, ambientata nel paesaggio, dispone la Sacra Conversazione secondo un andamento semicircolare, a partire dalla Vergine con il Bambino, contraddistinta da una certa monumentalità e fisicità terrena, sino a San Bartolomeo, secondo un'articolata sintassi di gesti e sguardi di marcata unitarietà. Sul taglio laterale della Bibbia si individua la firma dell'autore, in caratteri capitali bruni: "IO.CARI.P.", ossia Iohannes Carianus Pinxit, Giovanni Cariani dipinse. Esercitata su tavola, costituita da un'unica asse, preparata al recto e al verso, la pittura è gestita su un fondo scuro, steso sopra la perparazione sottilissima chiara. Rispondente alle esigenze di una committenza privata, il dipinto assolve una funzione devozionale secondo una originale cifra stilistica. Una struttura della figurazione limpida e fluida, classica negli equilibri formali, che ambienta la Madonna con Bambino e i Santi Bartolomeo e Lucia nella libertà del paesaggio, costituito quasi per intero dal movimento delle nubi in cielo, evocando, senza rappresentarlo nel dipinto, lo sguardo del committente. Opera corredata da studio critico a cura della dott.ssa Elena Chiesa, qui in parte ripreso.

Giovanni Cariani, um 1485 San Giovanni/ Bianco – 1547 Venedig, zugeschrieben

Eigentlich Giovanni Busi, venezianischer Maler, erstmals 1509 erwähnt, dessen Werk eindeutig Einfluss von Giovanni Bellini, Palma il Vecchio  und Lorenzo Lotto zeigt. Später Hinwendung zu Giorgione, Tizian und Dosso Dossi.DAS WUNDER DES EIFERSÜCHTIGEN EHEMANNS Öl auf Leinwand. Doubliert. 69 x 58 cm. In Prunkrahmen. Das vorliegende Gemälde geht auf ein gleichnamiges Fresko von Tizian zurück, datierbar auf 1511 und Teil des Zyklus der „Wunder des Heiligen Antonius von Padua“ in der Scuola del Santo in Padua. Das Gemälde zeigt die Geschichte einer Frau, die zu Unrecht des Ehebruchs beschuldigt und von ihrem eifersüchtigen Ehemann erstochen wird. Im Zentrum der Ehemann in wertvollem, glänzendem, rot-weiß gestreiftem Gewand mit roten Schuhen hat seinen rechten Arm mit dem Dolch erhoben, um auf die am Boden zusammengesunkene und bereits verwundete Frau erneut einzustechen. Die am Boden Liegende, in einem gelbgold und weiß glänzendem Kleid mit langen blonden Haaren hat voller Dramatik ihren rechten Arm erhoben, um den Stich abzuwehren. Eine weitere kleinere Darstellung zeigt sich im rechten Hintergrund in der Nähe eines Hauses: Der durch seine rot-weiße Kleidung gekennzeichnete Ehemann kniend vor dem Heiligen Antonius und seinen zwei Begleitern, als er die Wahrheit herausgefunden hat und den Heiligen um Vergebung bittet, welcher die Frau daraufhin auferweckt. Die Darstellung ist höchst realistisch und glaubwürdig, frei von Hinweisen auf das wundersame Ereignis wie göttliche oder übernatürliche Erscheinungen. Erzählerische Darstellung in harmonischer Landschaft, sodass der Schwerpunkt auf dem drastischen Geschehen liegt, nicht zuletzt besonders betont durch die Kleidung der beiden Hauptfiguren. Literatur: Rodolfo Pallucchini, Francesco Rossi, Giovanni Cariani, Bergamo 1983, Text und Abbildung A62. Gian Alberto Dell'Acqua, I pittori bergamaschi dal XIII al XIX secolo. Il Cinquecento, Bd. 1, Bergamo 1975, S. 292, Nr. 54, S. 302, Abb. Nr. 3. (1341142) (18) Giovanni Cariani, ca. 1485 San Giovanni / Bianco - 1547 Venice, attributed THE MIRACLE OF THE JEALOUS HUSBAND Oil on canvas. Relined. 69 x 58 cm. The present painting is based on a fresco of the same name by Titian, datable to 1511 and part of the cycle of The Miracles of Saint Anthony of Padua in the Scuola del Santo in Padua. Literature: Rudolfo Aluccini, F. Rossi, Giovanni Cariani, Editione Promossa dal Credito Bergamasco 1983, text and ill. A62. Gian Alberto Dell’Acqua, I pittori bergamaschi dal XIII al XIX secolo. Il Cinquecento, vol. 1, Bergamo 1980, p. 292, no. 54, p. 302, ill. no. 3.

Busi, Giovanni de': Studienblatt mit Handstudien und einem Reiter in Rüstung

Umkreis. Studienblatt mit Händen und einem Reiter in Rüstung. Rötel auf graugrünem Papier, verso Beinstudien. 21,5 x 28 cm. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Giovanni de' Busi, called Giovanni Cariani, Judith with the Head of Holofernes

The biblical heroine Judith is here depicted as a young woman proudly displaying the head of her defeated enemy. She is dressed in a white blouse, red vest and a red cloak and stands behind a stone balustrade bearing the inscription “PRO LIBERANDA PATRIA”. Behind her head we see the green foliage of a laurel tree and to the right and left of this a landscape background. Paola Dessy has attributed the painting to Giovanni Cariani, an artist from Bergamo who was active in Venice and was taught there by Giorgione (op. cit., p. 50). This attribution was later confirmed by Rodolfo Pallucchini in his monograph on the artist, in which he described the work as follows: “A work in the style of Giorgione which clearly displays the influence of Sebastiano del Piombo; beautifully and solemnly painted, with an excellent eye for colour. The female figure displays the characteristic facial features - the strong chin and unmistakeable form of the eyes – that became somewhat of a leitmotif in the depiction of female figures by Cariani until around 1519 (see the Albani portraits). The solid manner of painting and the penchant for rustic figures are also emblematic of Cariani's works during this time.” (op. cit., p. 27-29) This period coincided with a longer stay in Bergamo which the artist undertook from 1517 to 1523. Pallucchini's date has also been confirmed by Francesco Rossi who placed this work together with Cariani's “Allegory of a Venetian Victory” (the Terruzzi collection, Bordighera), in the historical context of the Peace of Noyon in 1516 (op. cit., p. 132, no. 57). However, Brigitte Reineke considers this work to be a portrait, which would contradict the patriotic mood, although she agrees with the date of 1519. We would like to thank Dr Simone Facchinetti for this catalogue entry.

Giovanni Busi (ambito)

Saint Paul oil on wood, 34,5by26cm. in a coeval gilt wood frame

Giovanni Busi (ambito)

Saint Paul oil on wood, 34,5by26cm. in a coeval gilt wood frame

Giovanni Busi detto il Cariani (Fuipano al Brembo 1485 - Venezia 1547), cerchia di, Madonna con Bambino, San Giuseppe, San Giovanni e San Sebastiano

olio su tavola, cm 80x126, in cornice nera e oro

GIOVANNI CARIANI, (ITALIAN C. 1485 - AFTER 1547), PORTRAIT OF A GENTLEMAN, HALF-LENGTH, HOLDING A PORTRAIT OF A LADY

GIOVANNI CARIANI (italian c. 1485 - after 1547) PORTRAIT OF A GENTLEMAN, HALF-LENGTH, HOLDING A PORTRAIT OF A LADY Oil on canvas 27 1/2 x 23 1/4 in. (69.9 x 59.1cm) provenance: M. Nierwenhump, 1833. Christie's, London, sale of May 10, 1833, lot 33 (as by Giorgione, to Norton). Captain E. Spencer-Churchill, Northwick Park. Christie's, London, sale of May 28, 1965, lot 20 (to Brod). With Brod Gallery, London, 1965. With Galerie Fischer, Lucerne, 1967. The Collection of Dr. Hilary Koprowski and Dr. Irena Koprowska. literature: A Catalogue of the Pictures, Works of Art, etc. at Northwick Park, Blockley: 1864, cat. no. 61 (as Nicolo Casa). B. Berenson, Italian Pictures of the Renaissance; Venetian School, London: 1957, p. 55. B. Berenson, Pitture Italiani del Rinascimento; La scuola veneta, Florence: 1958, p. 57. P. Dessy, Giovanni Busi detto Cariani, University of Padua Theses, Padua: 1960-1, p. 158. A. Ballarin, "Pittura veneziana nei musei de Budapest, Dresda, Praga, Varsavia", Arte Veneta magazine, 22, 1968, p.57. G. Bolaffi et al., Cariani Giovanni, in Dizionario enciclopedico Bolaffi dei pittori e degli incisori italiani, Turin: 1972, p. 60. R. Pallucchini, F. Rossi, Giovanni Cariani, 0 133, cat. no. 60, fig. 4 . note: Cariani was active in Bergamo and Venice, and may have trained with Giorgione (c. 1477-8 -1510) and was strongly influenced by Palma Il Vecchio (c. 1479-1528) and Titian (1485-1576). Bernard Berenson first proposed the attribution to Cariani in 1957. Alessandro Ballarin agreed with Berenson, suggesting a date for this portrait of 1510-15, and referenced the portrait's Giorgionesque character.

GIOVANNI DE' BUSI, CALLED CARIANI | Portrait of a gentleman, half length, holding a portrait of a lady

oil on canvas

GIOVANNI DE' BUSI, CALLED CARIANI | Christ Carrying the Cross

oil on canvas

Giovanni Cariani (c. 1485-1547), Circle of, Madonna with Saints

Oil on panel with original mortise and tenon Italy, 1st half of 16th century Circle of Giovanni Cariani, actually Giovanni Busi (c. 1485-1547) - Italian painter of the Venetian School Dimensions: 80 x 126 cm Parcel-gilt wooden frame: 101 x 147 cm Good condition Madonna and Child surrounded by the Saints Sebastian, John the Baptist and another saint; Giovanni Cariani had numerous imitators during his lifetime, as he was one of the most important painters of the Venetian School in the early 16th century Estimate by Auctionata Expert: 12,000 Euro Giovanni Cariani (c. 1485-1547) created numerous Madonna depictions, which are often characterized by a succession of saints, in whose center is depicted Maria with the child. A similar composition of the Madonna and child, which holds the right arm outstretched, can be found, for instance, at the Pinacoteca dell Accademia Carrara in Bergamo. In addition, the present painting shows similarity in the choice of the image detail, which zooms the sitters close to the viewer. Condition: The painting is in good condition according to age. The varnish has been renewed. The color surface shows minor framing marks, typical craquelure and material-related horizontal cracks in the center. The panel is slightly convex. The inspection under UV light reveals a major area of retouching to the face of the Madonna and punctual old and recent touch-ups to the other figures and the background. The frame is slightly worn. The dimensions of the painting are 80 x 126 cm, while the frame measures 101 x 147 cm. Giovanni Cariani (ca. 1485-1547) Giovanni Cariani, actually Giovanni Busi, is documented in Venice since 1509. There he received probably his artistic training. The majority of his early works, which mainly show the influence of Giovanni Bellini, Palma il Vecchio, Lorenzo Lotto and Sebastiano del Piombo, is lost or not yet identified. From 1515, his works are more oriented towards Giorgione, Titian and Dosso Dossi. In 1517 Cariani joined the painters' guild of Venice. In his late work, he became one of the most important painters of Venice. In addition to works in the lagoon city, he created numerous paintings in his native Bergamo. Works by Cariani are now in some of the most important museums worldwide, including the Rijksmuseum in Amsterdam, the Berlin Gemäldegalerie, the National Galleries of Dublin, Edinburgh and London, the J. Paul Getty Museum in Los Angeles, the Alte Pinakothek in Munich, the Louvre, the Hermitage in St. Petersburg and the Kunsthistorische Museum in Vienna. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

Giovanni Cariani (c. 1485-1547), Circle of, Madonna with Saints

Oil on panel with original mortise and tenon Italy, 1st half of 16th century Circle of Giovanni Cariani, actually Giovanni Busi (c. 1485-1547) - Italian painter of the Venetian School Dimensions: 80 x 126 cm Parcel-gilt wooden frame: 101 x 147 cm Good condition Madonna and Child surrounded by the Saints Sebastian, John the Baptist and another saint; Giovanni Cariani had numerous imitators during his lifetime, as he was one of the most important painters of the Venetian School in the early 16th century Estimate by Auctionata Expert: 16,000 Euro Giovanni Cariani (c. 1485-1547) created numerous Madonna depictions, which are often characterized by a succession of saints, in whose center is depicted Maria with the child. A similar composition of the Madonna and child, which holds the right arm outstretched, can be found, for instance, at the Pinacoteca dell Accademia Carrara in Bergamo. In addition, the present painting shows similarity in the choice of the image detail, which zooms the sitters close to the viewer. Condition: The painting is in good condition according to age. The varnish has been renewed. The color surface shows minor framing marks, typical craquelure and material-related horizontal cracks in the center. The panel is slightly convex. The inspection under UV light reveals a major area of retouching to the face of the Madonna and punctual old and recent touch-ups to the other figures and the background. The frame is slightly worn. The dimensions of the painting are 80 x 126 cm, while the frame measures 101 x 147 cm. Giovanni Cariani (ca. 1485-1547) Giovanni Cariani, actually Giovanni Busi, is documented in Venice since 1509. There he received probably his artistic training. The majority of his early works, which mainly show the influence of Giovanni Bellini, Palma il Vecchio, Lorenzo Lotto and Sebastiano del Piombo, is lost or not yet identified. From 1515, his works are more oriented towards Giorgione, Titian and Dosso Dossi. In 1517 Cariani joined the painters' guild of Venice. In his late work, he became one of the most important painters of Venice. In addition to works in the lagoon city, he created numerous paintings in his native Bergamo. Works by Cariani are now in some of the most important museums worldwide, including the Rijksmuseum in Amsterdam, the Berlin Gemäldegalerie, the National Galleries of Dublin, Edinburgh and London, the J. Paul Getty Museum in Los Angeles, the Alte Pinakothek in Munich, the Louvre, the Hermitage in St. Petersburg and the Kunsthistorische Museum in Vienna. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

GIOVANNI DE' BUSI, CALLED CARIANI | Portrait of a gentleman, half length, holding a portrait of a lady

oil on canvas

Attribuito a Giovanni Busi, detto

Attribuito a Giovanni Busi, detto Giovanni Cariani (Fuipiano al Brembo 1485 - Venezia 1547) San Francesco olio su tavola, cm 53,5 x 46,5 L'ipotesi attributiva avanzata per la presente opera si basa sul confronto con il dipinto di Cariani, San Francesco d'Assisi a Parigi, collezione privata, di analoghe misure e supporto (olio su tavola, cm 54 x 43, quest'ultima opera è stata resa nota da Francesco Rossi nel 2001, cfr. scheda di catalogo in Bergamo, l'altra Venezia: il Rinascimento negli anni di Lorenzo Lotto (1510-1530), a cura di F. Rossi, catalogo della mostra, Bergamo, Milano, 2001, cat. n. IV . 3, p. 156-157. Il taglio compositivo è il medesimo: campeggia a mezza figura il santo giovane, sullo sfondo una tenda verde scuro; stessa la tonsura, assai larga ed il saio grigio, fermato alla vita con un cordone. Francesco è intento a leggere un volume che è identificabile con un libro di preghiere per la caratteristica alternanza di inchiostro rosso e nero. Il volume presenta una raffinata decorazione ai piatti che racchiudono losanghe ed elementi geometrici oltre alle tipiche borchie e ai cantonali. Mentre nel dipinto parigino il santo è rivolto verso la sua destra ed ha lo sguardo concentrato sul testo, sorretto da entrambe le mani, in quello offerto nel lotto Francesco è rivolto verso sinistra con la mano destra sollevata in atto di benedire. L'esistenza di due versioni autografe di un soggetto simile sta ad indicare la fortuna votiva dell'immagine. Non è da escludere che il committente di queste opere possa essere un seguace del santo o anche a un frate francescano, come sembrerebbero alludere i tratti del volto del personaggio nel dipinto nel lotto che presentano i caratteri idealizzati di un ritratto. In base ha quanto osservato da Francesco Rossi per l'opera parigina, il dipinto offerto nel lotto è databile ai primi anni dell'attività veneziana di Cariani (cfr. per il modellato delle mani, cfr. Cristo portacroce a Bergamo, Accademia Carrara) o alla produzione bresciana del pittore, per la presenza della tenda come sfondo, tipica della pittura del Moretto.

Attribué à Giovanni de BUSI, dit CARIANI (1485 -

Attribué à Giovanni de BUSI, dit CARIANI (1485 - 1547) Portrait d'un jeune homme au béret Toile 63 x 49,5 cm (Restaurations) RM

Giovanni de' Busi, called Cariani

Giovanni de' Busi, called Cariani

Rest on the Return from Egypt

Giovanni Cariani (San Giovanni Bianco, near Fuipiano al Brembo c. 1485-after 1547 Venice) Rest on the Return from Egypt with initials and date 'P. P. M.DX.' (lower left) oil on canvas, unframed 24 x 25¼ in. (61 x 64.2 cm.)

Giovanni de' Busi, called Cariani San Giovanni Bianco circa 1485 - 1547 Venice , Portrait of a bearded gentleman, half length, wearing a black shirt and cape, holding gloves in his right hand and a lemon in his left, a landscape beyond oil on canvas,

Giovanni de' Busi, Giovanni Cariani (San Giovanni Bianco, Fuipiano al Brembo c. 1485-dopo il 1547

Giovanni de' Busi, Giovanni Cariani (San Giovanni Bianco, Fuipiano al Brembo c. 1485-dopo il 1547 Venezia) Cristo e la Veronica olio su tela 113 x 183.5 cm.