Lot 186
  • 186

Giacomo Negretti, called Palma il Giovane

Estimate
25,000 - 35,000 GBP
bidding is closed

Description

  • Giacomo Negretti, called Palma Il Giovane
  • The assumption
  • oil on canvas

Provenance

Cardinal Decio Azzolino (1623-89), Rome;
Don Livio Odescalchi, Castello di Bracciano;
Eduard Safarik Collection, Rome, from 1976;
Accquired by the present owner September 2002.

Exhibited

Salzburg, The Melancholy of Venice. 17th-century paintings from the Luigi Koelliker collection, Milan, previously the Eduard Safarik collection, 21 November 2003 - 1 February 2004, pp. 62-65, cat. no. 10.

Literature

S. Mason Rinaldi, Palma il Giovane, l'opera completa, Milan 1984, p. 106, cat. no. 245, reproduced p. 226, plate 101;
E.A. Safarik, The Melancholy of Venice. 17th-century paintings from the Luigi Koelliker collection, Milan, previously the Eduard Safarik collection, exhibition catalogue, Salzburg 2003, pp. 62-65, cat. no. 10.

Condition

"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's. The painting is lined and has been recently cleaned and restored. The paint layer is stable and flat. There has been a reduction of earlier pin prick paint losses throughout the surface, under Ultra-violet light these are detectable, and some slight blistering to the robe of the male figure lower right. Generally in a well preserved condition with a paint surface that saturates satisfactorily. The colours are strong and the paint texture is in good original condition. Offered in a plain moulded gilt wood frame in good condition."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Catalogue Note

This beautiful Assumption has been dated by Mason Rinaldi (see Literature) to circa 1590, perhaps the most successful period of Palma's long career. The last of the great Venetian mannerists, Palma here displays many of the stylistic techniques he inherited from Tintoretto.  The focus around a strong central movement can be compared to a Resurrection, in the church of San Zulian, Venice1 and Mason Rinaldi compares the positioning of the disciples and the fine use of foreshortening to a Crucifixion from circa 1589-90 in the church of Sant'Elpidio a Mare, Ascoli Piceno.2


1. Mason Rinaldi, under Literature,  p. 134, cat. no. 495, reproduced p. 212, plate 69.
2. Idem, p. 110 cat. no 277, reproduced p. 225, plate 100.