MARCELLO VENUSTI (Como 1512 - 1515 - Rome). "Calvary". Oil on panel. We thank Mrs. Francesca Parrilla for her help in the expertise of the piece. Measurements: 24 x 15,5 cm; 47,5 x 41 cm (frame). It is a painting belonging to the circle of Marcello Venusti, which is deduced from the aesthetics with which the work has been conceived, which starts from a realistic pictorial language, very influenced by the art of sculpture, with a great symbolic sense that allows us two readings, the symbolic and the realistic. There is importance for the detail, with a meticulous description of the objects, nothing escapes the eye of the painter, and in this case despite the sobriety of the scene, the treatment of the cross, and the skull that lies at the feet present a delicate detailed treatment, refinement is also abandoned, real beings appear without idealistic intention. In this particular case the piece presents a great compositional similarity with the piece "Christus am Kreuz", which belongs to the collection of paintings of the state of Bavaria. The German piece attributed to Marcello Venusti is dated between 1515 and 1579. Marcello Venusti was an Italian Mannerist painter active in Rome in the mid-16th century. A native of Mazzo di Valtellina, near Como, he is said to have been a pupil of Perino del Vaga. He is best known for a scale oil copy (now Museo di Capodimonte, Naples) of Michelangelo's Last Judgment in the Sistine Chapel, commissioned by Cardinal Alessandro Farnese, which was completed during the master's lifetime and met with his approval. This is the best record of what the fresco looked like before drapery was added to many of the nude figures in the 1560s, although Venusti discreetly adjusted some of the scale discrepancies between Michelangelo's figures. Several altarpieces for Roman churches, such as for the church of Santa Maria sopra Minerva, are also attributed to Venusti. We thank Ms. Francesca Parrilla for her help in the expertise of the piece.
Marcello Venusti (Mazzo di Valtellina 1510 - Roma 1579) bottega di San Giovanni Battista Olio su tela 65 x 49 cm L'opera riprende il dipinto del Venusti conservato nella chiesa di S. Caterina dei Funari a Roma. Ebbe un'iniziale formazione padana attratto da Leonardo e Correggio. Si spostò entrando nella bottega di Perin del Vaga, validissimo allievo di Raffaello Sanzio. All'urbe vide e approfondì altresì la grandiosità dell'espressione pittorica di Michelangelo Buonarroti e l'eleganza di Sebastiano del Piombo. E' ricordato anche per aver tradotto pittoricamente alcuni disegni del Buonarroti. L'opera più preziosa di Marcello Venusti, conservata al Museo Nazionale di Capodimonte di Napoli, è il Giudizio universale della Cappella Sistina che egli copiò prima degli interventi di Daniele da Volterra, permettendoci di conoscere la versione originale con le figure nude. Marcello Venusti (Mazzo di Valtellina 1510 - Rome 1579) workshop of Saint John the Baptist Oil on canvas 65 x 49 cm The artwork is based on a painting by Venusti preserved in the church of S. Caterina dei Funari in Rome.
Marcello Venusti (Mazzo di Valtellina 1510 - Roma 1579) bottega di San Giovanni Battista Olio su tela 65 x 49 cm L'opera riprende il dipinto del Venusti conservato nella chiesa di S. Caterina dei Funari a Roma. Ebbe un'iniziale formazione padana attratto da Leonardo e Correggio. Si spostò entrando nella bottega di Perin del Vaga, validissimo allievo di Raffaello Sanzio. All'urbe vide e approfondì altresì la grandiosità dell'espressione pittorica di Michelangelo Buonarroti e l'eleganza di Sebastiano del Piombo. E' ricordato anche per aver tradotto pittoricamente alcuni disegni del Buonarroti. L'opera più preziosa di Marcello Venusti, conservata al Museo Nazionale di Capodimonte di Napoli, è il Giudizio universale della Cappella Sistina che egli copiò prima degli interventi di Daniele da Volterra, permettendoci di conoscere la versione originale con le figure nude. Marcello Venusti (Mazzo di Valtellina 1510 - Rome 1579) workshop of Saint John the Baptist Oil on canvas 65 x 49 cm The artwork is based on a painting by Venusti preserved in the church of S. Caterina dei Funari in Rome.
(Mazzo di Valtellina circa 1512–1579 Rome) The Entombment of Christ, oil on canvas laid down on panel, 74 x 56.5 cm, framed Provenance: Collection of Jean-Baptiste Le Ragois de Bretonvilliers, Paris; Collection of Philippe II (1674–1723), Duke of Orléans, Paris, after 1712; by descent within the House of Orléans to Louis-Philippe-Joseph (1747–1793), Duke of Orléans, Palais Royal, Paris; from whom acquired by Viscount Joseph Édouard Sébastien de Walckiers de Tronchiennes (1758–1837), on behalf of François-Louis-Jean-Joseph, Marquis de Laborde-Méréville (1761–1801), who exported the painting to London in July 1792; acquired by Michael Bryan on behalf of a syndicate of three noblemen – Francis Egerton (1736–1803), 3rd Duke of Bridgewater, his nephew George Granville Leveson-Gower (1758–1833), 2nd Marquess of Stafford and his nephew-in-law Frederick Howard (1748–1825), 5th Earl of Carlisle, in 1792, sale by private contract of the Orléans’ Italian Pictures, Bryan’s Gallery, Schomberg House, London, 26 December 1798, lot 100 (as Sebastiano del Piombo); where acquired by Francis Egerton (1736–1803), 3rd Duke of Bridgewater, for 200 guineas, in 1798; by descent to his nephew George Levenson-Gower (1758–1833), 2nd Marquess of Stafford, Bridgewater House, London, in 1803; by descent to his son Francis Egerton (1800–1857), 1st Earl of Ellesmere, Bridgewater House, London, in 1833; by descent within the family; sale, Christie’s, London, 18 October 1946, lot 127 (as ‘Sebastiano del Piombo. Supposed to have been designed by Michelangelo. Originally transferred from a panel to canvas: transferred again to a new canvas and lined in 1899’), sold to Rocker; with Koetser Gallery, London; where acquired by the present owner Documented: Inventaire de M.re Jean-Baptist Le Ragois de Bretonvilliers, Archives nationales, Minutier central, XII, 312, 19 Octobre 1712: ‘une descente de croix de Sebastian del Piombo’ Engraved: by Robert de Launay, in: Abbé de Fontenai (ed.), Galerie du Palais Royal gravée d’après les Tableaux des different Ecoles qui la Composent: Avec un abrégé de la Vie des Peintres & une description historique de chaque tableau, Paris 1786 (as Sebastiano del Piombo after a drawing by Michelangelo); J. Young, A catalogue of the collection of pictures, of the most noble the Marquess of Stafford, at Cleveland House, London, containing an etching of every picture, and accompanied with historical and biographical notices, vol. I, London 1825, p. 7, cat. no. 11, engraved p. 6 (as Sebastiano del Piombo) Exhibited: London, Cleveland House, periodically since 1806 (as Sebastiano del Piombo); London, Bridgewater House, formerly Cleveland House, The Bridgewater and Ellesmere collections of Pictures, 1897, cat. no. 31 (as Sebastiano del Piombo) Literature: L. F. Dubois de Saint-Gelais, Description des tableaux du Palais Royal, avec la vie de peintres à la tete de leurs Ouvrages. Dédiée à Monseigneur le duc d’Orléans. Premier Prince du Sang, Paris 1727, pp. 447–448 (as ‘Sebastien de Venise, 2 pieds 4 pouces sur 1 pieds 10 pouces’); J. Britton, Catalogue raisonné of the pictures belonging to the most honourable the Marquis of Stafford, in the Gallery of Cleveland House, London 1808, pp. 37–38, cat. no. 27 (as Sebastiano del Piombo); W. Young Ottley, Engravings of the most noble the Marquis of Stafford’s collection of pictures, in London, arranged according to schools, and in chronological order with remarks on each picture, vol. I, London 1818, p. 8, no. 10 (as Sebastiano del Piombo […] assisted by the advise of Michelangelo); W. Buchanan, Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution, vol. I, London 1824, p. 54, no. 2 (as ‘Sebastian del Piombo’); C. M. Westmacott, British Galleries of Painting and Sculpture, comprising a general historical and critical catalogue, London 1824, pp. 184–185, cat. no. 27 (as Sebastiano del Piombo); s. a., Catalogue of the Bridgewater and Ellesmere Collections of Pictures, exhibition catalogue, London 1897, p. 6, cat. no. 31 (as Sebastiano del Piombo, ‘supposed to be designed by Michel Angelo Buonarotti’) We are grateful to Francesca Parrilla for endorsing the attribution of the present painting and for her help in cataloging this lot. Only recently rediscovered, the present painting by Marcello Venusti relates to a design by Michelangelo: The inventory of Michelangelo’s Roman house in 1564, shortly after the artist’s death, records ‘un grande cartone con disegnata una Pietà e nove figure non finite’ [‘a large cartoon with a drawn Pietà and nine unfinished figures’]. This subject was probably created to be painted by Sebastiano del Piombo, as the two artists often worked together. However, as Sebastiano del Piombo’s version appears to be lost, Venusti’s interpretation of the subject constitutes a fundamental source of information about Michelangelo’s prototype. This work is of significance, as Parrilla has observed, because of a pentiment in Christ’s left hand which suggests that it is the primary version by the artist. The present painting has a prestigious provenance, as it once formed part of the famous collection of Philippe II d’Orléans in Paris. Philippe II, Duke of Orléans was regent of France during the minority of Louis XV who formed a significant and important collection of over 500 paintings, mostly acquired between 1700 and his death in 1723. After the French Revolution the collection was sold by Louis Philippe of Orléans, Philippe Égalité, and most of it was acquired by an English group of buyers led by Francis Egerton, 3rd Duke of Bridgewater.
MARCELLO VENUSTI Mazzo di Valtellina h. 1515 - Rome 1579 Christ crucified with the Virgin Mary, Saint John the Evangelist, Mary Magdalene and angels Oil on panel Measurements 24 x 16 cm This work constitutes an important example in the pictorial production of Marcello Venusti during the second half of the 16th century. Born in Lombardy, his artistic relevance stands out for the transposition of Michelangelo Buonarroti's compositional models from drawing to painting. After his apprenticeship in Mantua he moved to Rome under the protection of Cardinal Alexander Farnese, nephew of Pope Paul III. At these early dates he worked on the pictorial decoration of the Castel Sant'Angelo and the New Church of San Pedro. Among Venusti's Roman works, a small-format copy of the Universal Judgment (Museo Nazionale di Campodimonte, Naples) stands out, a unique testimony of the close artistic relationship and friendship between the old master and the young Lombard painter. Venusti's job consisted of painting the drawings that Buonarroti left him. In this way Venusti quickly gained the acceptance of numerous nobles and high ecclesiastical dignitaries who commissioned small devotional paintings from him. The work in question is the result of the union of three important drawings made by Michelangelo during the last years of his life, when he came into contact with “gli spirituali” of Viterbo: The Living Christ on the Cross (British Museum, London) made for the Marchioness of Pescara, Vittoria Colonna, and two more coppers with The Virgin and Saint John Mourning at the Feet of the Cross (Louvre Museum, Paris). Starting from the Michelangelo prototype, Venusti made certain variants of the Crucifixion theme, adding and subtracting according to his own criteria. The most outstanding testimonies are preserved in the Museo di Casa Buonarroti in Florence and in the Jesuit College of Campion Hall in Oxford. This work differs from the other examples already mentioned by the figure of Mary Magdalene. Among Michelangelo's studies there is a piece in the royal collections of Windsor Castle (inv. 12761) where Mary Magdalene appears blurred, but an arm can still be seen around the cross and her body kneeling on the ground , in front of San Juan Evangelista. Probably other drawings by Buonarroti also featured the figure of Mary Magdalene at the foot of the cross, but unfortunately they have not survived to this day, so the only testimony is that transposition in Venusti's painting. The silhouette of the Magdalena is of great theatricality and dynamism; His arms open towards the sky as he points to the ignominious Cross, as do the Virgin and one of the angels. I could tell you that the presence of Magdalena is not a forced addition by Venusti, but is the result of the study of a drawing by Michelangelo, in which the woman is presented in harmony with the other characters. In the cathedral of Santa María de la Redonda in Logroño there is a panel attributed in the past to Michelangelo, recently attributed to a Flemish artist. The Logroño version still presents the Virgin frontally and not in profile as in the previous copy. The news provided by biographers Giorgio Vasari and Giovanni Baglione about Venusti's fame said that he had specialized in painting “small things” and that he sent them to Spain. This testimony is related to the devotional commissions of illustrious figures: “Macello made many works for various princes, and for other people, and particularly to send to Spain, because his way of painting was very devout, diligent and lazy” (Baglione 1642) . Furthermore, the delicate chromatic range perfectly reflects the artist's style, a characteristic already praised by his colleagues, as demonstrated by the written words of the Spanish ambassador Don Juan de Zuñiga in the famous letter sent in 1578 to King Philip II, where his admiration is expressed. “to give colors” in Marcello's works. We thank Dr. Francesca Parrilla, a great expert in Venusti's work, for her help in cataloging this work (a recent study of the painting is attached).
CHRISTUS AM KREUZ Öl auf Holz. 29,5 x 21 cm. In vergoldetem Rahmen. Der in leichter S-Form am aufgerichteten Kreuz hängende Christus, lediglich mit einem weißen Tuch um die Hüften, im Dreinageltypus, oberhalb seines Kopfes die Inschrift „I.N.R.I.“, zu Fuße des auf einem kleinen Hügel stehenden Kreuzes ein Schädel und zwei gekreuzte Knochen. Diese verkörpern die vorchristliche Menschheit, die mit Adam und Eva durch den Sündenfall und die Vertreibung aus dem Paradies in der Unterwelt des Todes gefangen liegt. Darstellung vor nächtlichem Hintergrund mit blutrot umrandeten Vollmond in der linken oberen Ecke. Rest. (13804213) (18)
The painting reproduces a composition by Michelangelo famous in the 16th century, which he drew around 1538–1541 for Vittoria Colonna (1492–1547) and which is now in the Isabella Stewart Gardner Museum in Boston. Vittoria Colonna and Michelangelo cultivated a deep friendship with intensive intellectual exchanges. The Pieta was spread in drawings, engravings, and painted copies. Giulio Bonasone created an engraving after Michelangelo's Pieta for Vittoria Colonna in 1546. Marcello Venusti made a name for himself through copies after Michelangelo, e.g. a reduced version in oil of his Last Judgment in the Sistine Chapel and small oil painting after a crucifixion, which is now in the British Museum in London and which Michelangelo also drew for Vittoria Colonna. Oil on panel. Partially parquetted. After the composition by Michelangelo Buonarroti, Isabella Stewart Gardner Museum, Boston.The Virgin is seated on a ledge dressed in a reddish garment and white head covering against a beige-brown background. Notes: A slightly bigger but almost identical motif by the artist was offered for sale at auction including a “Pietà with Two Angels” at Christie‘s on 15 April 2008 in New York, lot 10
Venusti, Marcello (Attribution) - Pietà with two angels (Mazzo di Valtellina c. 1512-1579 Rome) Sitting Mary with raised hands and head turned upwards into the light, while the body of Jesus is lifted onto her lap by two angels. Oil/wood, partly parquetry. 98 x 72.5 cm; in simple frame. - Painting version of a drawing by Michelangelo for Vittoria Colonna (1492-1547). // Venusti, Marcello (Attrib.) Pietà mit zwei Engeln (Mazzo di Valtellina um 1512-1579 Rom) Sitzende Maria mit erhobenen Händen und nach oben ins Helle gerichtetem Haupt, während der Leichnam Jesu von zwei Engeln auf ihren Schoß gehoben wird. Öl/Holz, teils parkettiert. 98 x 72,5 cm; in einfachem Leistenrahmen. - Gemäldeversion einer Zeichnung von Michelangelo für Vittoria Colonna (1492-1547).
The painting reproduces a composition by Michelangelo famous in the 16th century, which he drew around 1538–1541 for Vittoria Colonna (1492–1547) and which is now in the Isabella Stewart Gardner Museum in Boston. Vittoria Colonna and Michelangelo cultivated a deep friendship with intensive intellectual exchanges. The Pieta was spread in drawings, engravings, and painted copies. Giulio Bonasone created an engraving after Michelangelo's Pieta for Vittoria Colonna in 1546. Marcello Venusti made a name for himself through copies after Michelangelo, e.g. a reduced version in oil of his Last Judgment in the Sistine Chapel and small oil painting after a crucifixion, which is now in the British Museum in London and which Michelangelo also drew for Vittoria Colonna. Oil on panel. Partially parquetted. After the composition by Michelangelo Buonarroti, Isabella Stewart Gardner Museum, Boston.The Virgin is seated on a ledge dressed in a reddish garment and white head covering against a beige-brown background. Notes: A slightly bigger but almost identical motif by the artist was offered for sale at auction including a “Pietà with Two Angels” at Christie‘s on 15 April 2008 in New York, lot 10
Pietà Öl auf Holz. 97 x 73 cm. Im Zentrum die sitzende Gottesmutter mit rotem Gewand und weit ausgebreiteten Armen, mit ihrem Kopf gen Himmel blickend. Vor ihr unterhalb ihres Schoßes der vom Kreuz genommene nackte Jesus nur mit einem braunen Lendentuch bekleidet, dessen Arme von zwei seitlich stehenden Engeln gehalten werden. Auf seinem Leib die deutlich erkennbaren Stigmata. Am Boden links die liegende Dornenkrone sowie die daneben befindlichen Kreuznägel. Malerei in manieristischer Manier in harmonischer Farbgebung mit gekonnt gesetzter Lichtführung. Vereinzelt rest., minimale Retuschen. (13406521) (18)
The painting reproduces a composition by Michelangelo famous in the 16th century, which he drew around 1538–1541 for Vittoria Colonna (1492–1547) and which is now in the Isabella Stewart Gardner Museum in Boston. Vittoria Colonna and Michelangelo cultivated a deep friendship with intensive intellectual exchanges. The Pieta was spread in drawings, engravings, and painted copies. Giulio Bonasone created an engraving after Michelangelo's Pieta for Vittoria Colonna in 1546. Marcello Venusti made a name for himself through copies after Michelangelo, e.g. a reduced version in oil of his Last Judgment in the Sistine Chapel and small oil painting after a crucifixion, which is now in the British Museum in London and which Michelangelo also drew for Vittoria Colonna. Oil on panel. Partially parquetted. After the composition by Michelangelo Buonarroti, Isabella Stewart Gardner Museum, Boston.The Virgin is seated on a ledge dressed in a reddish garment and white head covering against a beige-brown background. Notes: A slightly bigger but almost identical motif by the artist was offered for sale at auction including a “Pietà with Two Angels” at Christie‘s on 15 April 2008 in New York, lot 10
MARCELLO VENUSTI (c.1515-1579), Attribué Piéta Huile sur cuivre. Dimensions : 23.5 x 18 cm Peintre maniériste italien du 16ème siècle, élève de Perino del Vaga à Rome où il est proche du groupe réformiste gli Spiritualisti. Après un séjour à Gènes, il décore plusieurs églises dont celles de la Trinité-des-Monts (1553) et Saint-Jean-de-Latran. Venusti sera connu pour des copies de tableaux de petit format de Michel-Ange dont Le Jugement dernier, commandé par le Cardinal Alessandro Farnese.
(Como, 1512 - Roma 1579) San Simeone Olio su rame, cm 17X22,7 Di origini lombarde, Marcello Venusti è noto quale allievo di Perin del Vaga a Roma ma fu Michelangelo a forgiarne lo stile. Le sue creazioni, infatti, sembrano prendere a modello le opere del principale interprete del Rinascimento, se non addirittura facendo uso dei cartoni originali come avviene nel caso dell'Annunciazione in San Giovanni in Laterano. Venusti divenne presto uno dei maggiori divulgatori dello stile michelangiolesco, realizzando soprattutto piccoli dipinti che furono elogiati da Giorgio Vasari. Bibliografia di riferimento: R. Forcellino, Michelangelo, Vittoria Colonna e gli spirituali, Roma, 2009, pp. 63-158, 242-47 F. Patrilla, M. Pirondini, Michelangelo a colori. Marcello Venusti, Lelio Orsi, Marco Pino, Jacopino del Conte, catalogo della mostra, Roma, 2019, ad vocem
The painting reproduces a composition by Michelangelo famous in the 16th century, which he drew around 1538–1541 for Vittoria Colonna (1492–1547), and which is now in the Isabella Stewart Gardner Museum in Boston. Vittoria Colonna and Michelangelo cultivated a deep friendship with intensive intellectual exchanges. The Pieta was spread in drawings, engravings, and painted copies. Giulio Bonasone created an engraving after Michelangelo's Pieta for Vittoria Colonna, in 1546. Marcello Venusti made a name for himself through copies after Michelangelo (e.g. a reduced version in oil of his Last Judgment in the Sistine Chapel and small oil painting after a crucifixion), which is now in the British Museum in London and which Michelangelo also drew for Vittoria Colonna. Oil on panel. Partially parquetted. After the composition by Michelangelo Buonarroti, Isabella Stewart Gardner Museum, Boston. The Virgin is seated on a ledge dressed in a reddish garment and white head covering against a beige-brown background. Notes: A slightly bigger but almost identical motif by the artist was offered for sale at auction, including a “Pietà with Two Angels” at Christie‘s on 15 April 2008 in New York, lot 10
Oil on copper, cm. 44,5x33. Framed COMPARISON LITERATURE: Intorno a Marcello Venusti, curated by B. Agosti e G. Leone, Soveria Mannelli 2016; Michelangelo a colori, exhibition catalogue, curated by F. Parrilla, with collaboration of M. Pirondini, Roma, 2019 - 2020. PROVENANCE: private collection, Rome
VENUSTI MARCELLO (1510 - 1579). Follower of. Study of a male nude. At the back study of two candlestick holder angels, in pen and dark sepia ink. Cm 15,70 x 25,70.
The painting reproduces a composition by Michelangelo famous in the 16th century, which he drew around 1538–1541 for Vittoria Colonna (1492–1547) and which is now in the Isabella Stewart Gardner Museum in Boston. Vittoria Colonna and Michelangelo cultivated a deep friendship with intensive intellectual exchanges. The Pieta was spread in drawings, engravings, and painted copies. Giulio Bonasone created an engraving after Michelangelo's Pieta for Vittoria Colonna in 1546. Marcello Venusti made a name for himself through copies after Michelangelo, e.g. a reduced version in oil of his Last Judgment in the Sistine Chapel and small oil painting after a crucifixion, which is now in the British Museum in London and which Michelangelo also drew for Vittoria Colonna. Oil on panel. Partially parquetted. After the composition by Michelangelo Buonarroti, Isabella Stewart Gardner Museum, Boston.The Virgin is seated on a ledge dressed in a reddish garment and white head covering against a beige-brown background. Notes: A slightly bigger but almost identical motif by the artist was offered for sale at auction including a “Pietà with Two Angels” at Christie‘s on 15 April 2008 in New York, lot 10
(Como, 1512 - Roma 1579) Crocifissione Olio su tela, cm 81X53 Di origini lombarde, Marcello Venusti è noto quale allievo di Perin del Vaga a Roma, ma fu Michelangelo a forgiarne lo stile. Le sue creazioni, infatti, sembrano prendere a modello le opere del principale interprete del Rinascimento, se non addirittura facendo uso dei cartoni originali come avviene nel caso dell'Annunciazione in San Giovanni in Laterano. Venusti divenne presto uno dei maggiori divulgatori dello stile michelangiolesco, realizzando soprattutto piccoli dipinti che furono elogiati da Giorgio Vasari. Una delle composizioni più fortunate e diffuse dall'artista e dal suo atelier fu la crocifissione, che trova ispirazione da tre disegni di Michelangelo: il celebre Cristo vivo sulla Croce commissionato da Vittoria Colonna oggi conservato al British Museum di Londra e i due fogli oggi al Louvre raffiguranti la Madonna e San Giovanni. Bibliografia di riferimento: R. Forcellino, Michelangelo, Vittoria Colonna e gli spirituali, Roma, 2009, pp. 63-158, 242-47 F. Patrilla, M. Pirondini, Michelangelo a colori. Marcello Venusti, Lelio Orsi, Marco Pino, Jacopino del Conte, catalogo della mostra, Roma 2019, ad vocem
Circle of Marcello Venusti (Italian, 1512/1515-1579) "The Crucifixion" oil on wood panel with cradled board backing, after Michelangelo's drawing for Vittoria Colonna, verso with various labels with numbers unsigned. Framed. 17-1/4" x 10-7/8", framed 22-3/4" x 17-1/2"
PIETÀ MIT ZWEI ENGELN Öl auf Holz. Teilparkettiert. 97,5 x 73 cm. Anbei ein Gutachten von Dr. Alessandro Delpriori, o. J. Nach der Komposition von Michelangelo Buonarroti im Isabella Stewart Gardner Museum, Boston. Vor beige-braunem Hintergrund die auf einem Absatz sitzende Madonna in rötlichem Gewand und weißer Kopfbedeckung. Auf einem beigen Tuch in ihrem Schoß, mit dem Oberkörper liegend, der Leichnam des vom Kreuz abgenommenen Jesus Christus. Oberhalb ihrer Brust hat sie ein schwarzes Band gebunden, an dem die kleine Figur eines Puttokopfes mit Flügeln befestigt ist. Sie hat ihre Arme erhoben und weit auseinandergebreitet und schaut mit leicht geschlossenen, vom Schmerz erfüllten Augen nach oben gen Himmel. Hinter ihrem Haupt ist der Himmelsbereich heller erleuchtet. Der in ihrem Schoß liegende Jesus ist nur mit einem Tuch um die Hüfte bekleidet, seine Arme liegen über den Beinen Mariens und werden jeweils auf der linken und rechten Seite von einem Engel gehalten. Deutlich erkennbar sind seine Stigmata an den Händen, am Fuß und an seiner Seite, sowie einige Blutstropfen an der Stirn, auf der er die Dornenkrone getragen hat, die auf der linken Seite am Boden, zusammen mit drei Nägeln, seinen Marterwerkzeugen liegt. Malerei in der typischen Manier des Künstlers, in harmonischer Farbgebung. Retuschen. Anmerkung: Ein vergleichbares, jedoch größeres, fast identisches Motiv des Künstlers wurde auch auf Auktionen angeboten, darunter eine „Pietà with Two Angels“ bei Christie´s am 15.04.2008 in New York unter der Lotnummer 10. (1252092) (18) Marcello Venusti, ca. 1515 Como – 1579 Rome PIETÀ WITH TWO ANGELS Oil on panel. Partially parquetted. 97.5 x 73 cm. Enclosed an expertise by Dr Alessandro Delpriori, n. d. After the composition by Michelangelo Buonarroti, Isabella Stewart Gardner Museum, Boston.The Virgin is seated on a ledge dressed in a reddish garment and white head covering against a beige-brown background. Notes: A slightly bigger but almost identical motif by the artist was offered for sale at auction including a “Pietà with Two Angels” at Christie‘s on 15 April 2008 in New York, lot 10.
Olio su rame. cm 32,2x22,5. In vecchia cornice dorata cm 39,5x29,5. Il soggetto venne reiterato più volte dall'autore, talvolta aggiungendo le figure dei dolenti, oppure isolando la figura di Cristo sulla croce contro uno sfondo scuro, raramente con un paesaggio con rovina antica sullo sfondo come nella versione presente.
Ancient paintings - Olio su tavola, H cm 43.5x28.5 Riprende l’opera “La Madonna del Silenzio”, derivante da un disegno di Michelangelo, conservata alla Pinacoteca Nazionale Barberini della quale ci sono molte versioni.
olio su tavola, cm 32x43, Intorno al 1555, il pittore manierista Marcello Venusti eseguì, ispirandosi ad un disegno di Michelangelo, un’ “Annunciazione” per la Sagrestia Vecchia della basilica di San Giovanni in Laterano a Roma, all’origine di numerose copie autografe e di bottega. Il progetto grafico michelangiolesco, menzionato dal padre delle Vite Giorgio Vasari, è stato individuato dagli studiosi, a fronte di un controverso dibattito, nel cartonetto oggi presso il Gabinetto dei Disegni e delle Stampe delle Gallerie Fiorentine. L’opera è corredata dall’expertise del Prof. Mario Bucci.
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Mazzo di Valtellina, Sondrio, circa 1512–1579 Rome) The Pietà with two Angels, signed center right (under Mary’s foot): M.B. INVENTOR / MARCELLVS VENVSTA / .F., oil on panel, 123.5 x 89.5 cm, framed Inscribed on the reverse: Orig.le de Michiel Angel Bonarrota and collection mark of Sebastián Gabriel de Borbón (with the initials S. and G. mounted by a crown) Provenance: possibly Collection of José de Madrazo y Agudo (1781-1859); Collection of the Infante Sebastián Gabriel de Borbón y Braganza (1811-1875), Madrid; by inheritance to his son Pedro de Alcántara de Borbón y Borbón, Duke of Dúrcal (1862-1892); his sale, Hotel Drouot, Paris, 3 February 1890, lot 51 (as Marcello Venusti); Collection of J. Schmidt-Paganini, Basel; sale, Vogler Auktionen, Basel, Autumn auction 2007, lot 359 (as Marcello Venusti); Private collection, Switzerland; sale, Christie’s, New York, 15 April 2008, lot 10 (as Marcello Venusti); where acquired by the present owner Documentation: Archivo General de Palacio, Palacio Real de Madrid, Historical section, 123, Galería de Pinturas del Serenísimo Señor Ynfante Don Sebastian Gabriel, 1835, no. 106: ‘Otro en tabla de 4 pies y 5 pulgadas de alto, por 3 pies y 3 pulgadas de ancho. La Virgen sentada, mirando al cielo y con los brazos aviertos, tiene al Señor muerto en su regazo y sostenido por dos ángeles. Restaurado por don Juan Rivera. Tiene marco tallado y dorado… Marcelus Venusta (firmado)’ Exhibited: Trento, Museo Diocesano Tridentino, L’uomo del concilio, 4 April - 26 July 2009, no. 29; Milan, Castello Sforzesco, D’après Michaelangelo, 30 September 2015 - 10 January 2016, cat. no. 74; Forlì, Musei San Domenico, L’Eterno e il Tempo, tra Michelangelo e Caravaggio, 10 February -17 June 2018, no. 33 Literature: K. Frey, Die Handzeichnungen des Michelagniolos Buonarroti, Berlin 1909-11, II, p. 59; C. de Tolnay, Michelangelo’s Pietà: compositions for Vittoria Colonna, in: Princeton University Art Museum 1953, 2, 12, pp. 44-62, in part. p. 45f., note 3, no. 10, p. 53, fig. 10; C. de Tolnay, Michelangelo. The Final Period, Princeton 1960, p. 267, no. 348, ill.; G. W. Kamp, Marcello Venusti. Religiöse Kunst im Umfeld Michelangelos, Egelsbach 1993, p. 124, no. 34, ill. p. 257; J. M. Ruiz Manero, Obras y noticias de Girolamo Muziano, Marcello Venusti y Scipione Pulzone en España, in: Archivo español de arte, 68, 1995, 272, pp. 372 and note 37; M. Forcellino, Michelangelo, Vittoria Colonna e gli “spirituali”. Religiosità e vita artistica a Roma negli anni Quaranta, Rome 2009, p. 119–120, p. 154 mentioned under note 208; R. Pancheri, in: L’uomo del concilio. Il cardinale Giovanni Morone tra Roma e Trento nell’età di Michelangelo, ed. by R. Pancheri/D. Primerano, exhibition catalogue, Trento 2009, pp. 214-215, no. 29; A. Forcellino, La Pietà di Ragusa, in: Annali della Scuola Normale Superiore di Pisa. Classe di lettere e filosofia, 2010, 5, 2/1, p. 127, p. 382, fig. 36; K. Herrmann Fiore, in: L’ ultimo Michelangelo. Disegni e rime attorno alla Pietà Rondanini, ed. by A. Rovetta, exhibition catalogue, Milan 2011, mentioned under no. 3.15, p.191, note 3; S. Capelli, Le copie pittoriche della Pietà di Michelangelo per Vittoria Colonna: Marcello Venusti e i copisti anonimi. Attribuzioni e precisazioni, in: Studi Romani, 61, 2013, p. 131–135, no. 7, pl. XIV, fig. 2; A. Rovetta, in: D’après Michelangelo, ed. by A. Alberti/A. Rovetta/C. Salsi, exhibition catalogue, Venice 2015, p. 289, p. 291, cat. 74; Michelangelo a colori. Marcello Venusti, Lelio Orsi, Marco Pino, Jacopino del Conte, ed. by F. Parrilla, exhibition catalogue, Rome 2019, p. 94-95, fig. 3 We are grateful to Francesca Parrilla for confirming the attribution of the present painting on the basis of a digital photograph and for her help in cataloguing this lot. This painting relates, with some minor variants, to Michelangelo´s celebrated drawing of the Pietà in the Isabella Stewart Gardner Museum, Boston (inv. no. 1.2.o/16). The drawing is mentioned by Vasari in his biography of Michelangelo in the 1568 edition of the Vite and he states that the drawing was sent as a present to Vittoria Colonna: ‘[…] e le disegnò Michelagnolo una Pietà in grembo alla Nostra Donna con due angioletti, mirabilissima’ [‘and Michelangelo drew for her an admirable Pietà in the lap of Our Lady with two young angels’] (see Vasari 1568, ed. 1966-1987, vol. VI, 1987, p. 112). Marcello Venusti arrived in Rome during the 1540s following a sojourn in Mantua. He was highly regarded in the circle of the Farnese, especially for his ability to make painted replicas after the ‘inventions’ of Michelangelo, while introducing a personal element to each of his works. He had the ability to combine a range of influences, gained during his training, such as Raphaelesque references, a sentimentalism derived from Lombardy, as well as a quality of elegance derived from Perino del Vaga, while other stylistic qualities he added subsequently when he was in Rome, such as the monumentality of Michelangelo, which at times was received through the filter of Sebastiano del Piombo. In this painting the Madonna is seated at the foot of the cross with her arms raised and her palms turned to the heavens in a gesture expressing profound pain. The body of Christ is supported in his mother’s lap and by two cherubs either side of her, supporting Christ’s arms, thereby creating a geometrically balanced composition. The soft passage of light and shade modelling Christ’s body giving the figure a sculptural quality. Behind the figures, the mountainous landscape with scattered towns and hamlets is an invention of Marcello Venusti’s imagination. On the left is a group of houses around a church at the foot of the mountains, while to the right a walled town with a characteristic gate is shown: such elements reoccur regularly in Venusti´s work. The inscription ‘M.B. INVENTOR / MARCELLVS VENVSTA / .F.’ also recorded by the scholar Karl Frey in 1909, corroborates Venusti’s authorship. Among the earlier painted replicas of Michelangelo’s Pietà, is the version in the Galleria Borghese, Rome, that has traditionally been attributed to Marcello Venusti, however recently this has been assigned to the Sienese painter, Marco Pino (1521-1583; see cat. 8 by M. S. Bolzoni, in: Michelangelo a Colori, 2019). Provenance: This painting is cited in the inventory of the Infante Don Sebastián Gabriel de Borbón y Braganza (1811-1875) and his mark, ‘SG’ beneath a crown, appears on the panel’s reverse. The dimensions given in the Infante’s inventory of 1835 accord with those of the present painting (see Ruiz Manero 1995, p. 372, note 37 for the inventory citation; Capelli 2013, p. 133). Following the advice of the painter and later director of the Museo del Prado, José de Madrazo (1781-1859), Sebastián Gabriel assembled an exceptional collection of paintings. Madrazo owned a Crucifixion by Venusti after Michelangelo’s famous drawing which is now in the British Museum, and it highly probable that the Spanish painter advised the Infante on the acquisition of the present painting. The Infante’s collection was broken up and sold at auction after his death, thereby one of the most important Spanish collections of the nineteenth century was dispersed. Technical analysis by Gianluca Poldi: The painting is executed on a thick panel with two horizontal thin crossbars. Only a thin outline of accurate underdrawing can be seen by IR reflectography, despite the transparency of the paint film to IR radiation, and no changes have been detected. Venusti probably used a cartoon to transfer the composition precisely on to the white ground by means of pouncing or a carbon-copy method, retracing the outline of the figures and elements with an ink that is highly transparent to IR radiation, such as iron-gall ink. He appears subsequently to have accurately cancelled the first trace before colouring the panel. Non-invasive spectroscopic analyses carried out on many points of the painting demonstrate the particularly rich palette used by Venusti and his unusual choices, such as the pigment mixtures. The palette includes a high-quality natural ultramarine (lapis lazuli) in the blue areas of the sky, in the most distant mountains and in the Virgin’s cloak. Azurite is used, on the contrary, mixed with some lead-based yellow, to obtain the bluish-green in the closer mountains and in the meadows, while in the green-brownish areas of the rocks and mountains some smalt blue was also used, and this has discoloured which is typical for this cobalt glass-based pigment in siccative oil. Verdigris is employed in a glaze over the earths and ochre of the soil. A carmine-type red lake was used in the Virgin’s dress and in the right Angel. Some small touches of blue were put as glazes on the Virgin’s dress, with a specific technique. The flesh tones are based on a mixture of lead white with vermillion and iron oxides, together with abundant black in the shadows, in a way that is reminiscent of the technique of Sebastiano del Piombo. Numerous shades embellish the refined colour of this painting on panel, which are created by the alternation of impasto and glazing techniques, with only a few reliefs such as in the lights of the angel’s head in the centre of the belt on the Virgin’s breast.
Olio su tavola, H cm 43.5x28.5 Riprende l'opera 'La Madonna del silenzio', derivante da un disegno di Michelangelo, conservata alla Pinacoteca nazionale Barberini della quale ci sono molte versioni. - Ancient paintings
MARCELLO VENUSTI (Mazzo di Valtellina, 1510 - Rome, 1579), ATTRIBUTED TO Holy Family with St. John the Baptist (Madonna of Silence) Oil on copper, cm. 27,2x21. Framed
Circle of Marcello Venusti (Italian, 1512/1515-1579) "The Crucifixion" oil on wood panel with cradled board backing, after Michelangelo's drawing for Vittoria Colonna, verso with various labels with numbers unsigned. Framed. 17-1/4" x 10-7/8", framed 22-3/4" x 17-1/2"
Attributed to Marcello Venusti (Italian, 1512-1579) The Flagellation of Christ oil on copper h:24.50 w:19 cm Other Notes: The composition derives from drawings by Michelangelo which he and Sebastiano del Piombo used for their 'Scourging of Christ' in San Pietro in Montorio in Rome. In the present painting, however, the head of Christ is facing in an opposite direction from the Rome painting and the floor and background columns are quite different.
Marcello Venusti (Como,1512 circa - Rome, 1579) Pietà Oil on copper, cm. 33x25. Framed The painting is accompanied by an expertise by Dr. Maurizio Marini that attributes the painting to Marcello Venusti.
*Marcello Venusti (1515/20-1579), Circle Annunciation Oil / Canvas, 113,5 x 90,5 cm Marcello Venusti has painted several images of the Annunciation after drawings of his friend Michelangelo. Provenance: South-German Collection
VENUSTI, MARCELLO (16TH CENTURY FOLLOWER) (c. 1512 Rome 1579) Christ and Rebecca at the Well. Oil on panel. 53 x 41 cm. Provenance: Swiss private collection. --------------- VENUSTI, MARCELLO (NACHFOLGER DES 16. JAHRHUNDERTS) (um 1512 Rom 1579) Christus und Rebekka am Brunnen. Öl auf Holz. 53 x 41 cm. Provenienz: Schweizer Privatbesitz.
FOLLOWER OF MARCELLO VENUSTI (italian 1512-1579)/span FLAGELLATION OF CHRIST Oil on copper 16 x 12 7/8 in. (40.6 x 32.7cm) provenance: /spanPrivate Collection, New York, New York.
Marcello Venusti (Como 1512/15-1579 Rome) The Holy Family (Il Silenzio) oil on panel 18 1/8 x 12¼ in. (46 x 31 cm.), including ¼ wooden frame on all sides
Marcello Venusti (Como 1512-1579 Roma) Santa Caterina d'Alessandria olio su tela 89,5x69 al retro, sulla tela, numero 648; sul telaio, i numeri 2.9.2 e 2.1.7; etichetta dell'inventario Cavalcabò
Circle of Marcello Venusti (Como ?1512/5-1579 Rome) Saint James the Less indistinctly inscribed 'Jacobus minor' (in the spandrels) oil on panel, unframed 40 x 20½ in. (101.6 x 52.1 cm.)
Marcello Venusti (Como 1512/15 - 1579 Rome / Roma), circle of / cerchia The Virgin and Child, oil on canvas, 49 x 41 cm, beautiful old carved and gilded frame, (Wo) Die Ausbietung der folgenden 32 (Katalognummer 205-236) Gemälde beginnt bei der Hälfte des unteren Schätzwerts. Die Gemälde werden, falls keine höheren Angebote erfolgen, ohne Limit, zu diesen Preisen zugeschlagen. Bidding for the following 32 paintings (lots 205-236) starts at half the lower estimate. These paintings, in case no higher offers are made, will be sold at these prices without reserve,.
ANNUNCIAZIONE measurements note 47 x 33.5 cm. olio su tavola PROVENANCE Hamilton Palace, Scozia (come da etichetta sul retro). NOTE La composizione di questa Annunciazione, nota anche nella versione della Galleria Nazionale d'Arte Antica di Roma, trae origine da un'invenzione di Michelangelo, che in diverse occasioni affidò al più giovane assistente la realizzazione in pittura di suoi disegni.
![VENUSTI Marcello (suiveur de), école ITALIENNE du XVIIème siècle [IT].](https://stageimg.invaluable.com/housePhotos/Galartis/19/597219/H4530-L105868344.jpg)
