Girolamo GIOVENONE (Barengo (Novara) c. 1490-Verceil... - Lot 42 - Gros & Delettrez

Lot 42
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70000 - 90000 EUR
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Result : 70 000EUR
Girolamo GIOVENONE (Barengo (Novara) c. 1490-Verceil... - Lot 42 - Gros & Delettrez
Girolamo GIOVENONE (Barengo (Novara) c. 1490-Verceil 1555) Virgin and Child Walnut panel, one board, not parquet flooring 76.6 x 45cm Old restoration Fronton of the frame detached on one side Etat : Revers : traces of insect galleries xylophages Surface picturale : visible cracks, restoration mainly in the Virgin's coat. Inscription : In classical letters on the edge of the neckline of the dress of the vierge : AVE MARIA GRATIA Against a backdrop of mountainous landscape punctuated by architectural complexes emerging on a bright sky, the Virgin holding the Child sits on the ground as the Virgin of Humility, while two angels flying crown her. Behind this group, Saint Joseph lies down on the grass. In the foreground on the left, the young Saint John the Baptist holds the lamb, symbol of Christ, with his right hand, while on the left he hands a bunch of grapes to the Child. The two toddlers are totally naked. Christ encloses in his left hand a rounded shape that could be a complementary Eucharistic bread of the grape bunch. Unknown from critical literature, this painting should be placed in Girolamo Giovenone's catalogue of works. From a family of Piedmontese artists whose father was " maestro di legname " (cabinetmaker) and the painters brothers, Girolamo worked mainly in Verceil in the family workshop. The Dispute of Jesus with the Doctors signed and dated 1513 (Jacksonville, Florida, Cummer Gallery of art) and the altarpiece of the Buronzo family dated 1514 (Turin, Galleria Sabauda n°39) are the first known documents of the painter's activity where his artistic personality is affirmed. It is thought, however, that he had to train in Verceil with Martino Spanzotti, who was active in this city between 1481 and 1498, and in the presence of a companion from maître : Defendente Ferrari de Chivasso. Girolamo's career oscillated between the influences of the latter artist with whom he worked between 1500 and 1510 and those of Gaudenzio Ferrari - who was
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