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Carlo, Carletto Caliari

(1570 -  1596 )
CALIARI Carlo, Carletto Le Nozze Mistiche Di Santa Caterina

Wannenes Art Auctions
Nov 29, 2018
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Artworks in Arcadja
44

Some works of Carlo, Carletto Caliari

Extracted between 44 works in the catalog of Arcadja
Carlo, Carletto Caliari - Angelica And Medoro

Carlo, Carletto Caliari - Angelica And Medoro

Original
Estimate:

Price:

Gross Price
Lot number: 17
Other WORKS AT AUCTION
Description:
Carlo Caliari, called Carletto Caliari (Venice 1570–1596) Angelica and Medoro, inscribed on the trunk: Angelica Me…, oil on canvas, 77.5x108.5cm, framed Provenance: Mario Barbieri collection, Padua (as Alvise Benfatto del Friso); thence by descent to the present owner Literature: C. Ridolfi, Le maraviglie dell\’arte, 2nd edition, Padua 1837, p. 85; C. Crosato Larcher, Per Carletto Caliari, in: Arte Veneta, 21, Venice 1967, pp. 108-109, fig. 119; T. Dalla Costa, Paolo Veronese e la bottega. Le botteghe dei Caliari, in: Paolo Veronese. L\’illusione della realtà, exhibition catalogue, ed. by P. Marini/B. Aikema, Verona 2014, p. 324 We are grateful to Thomas Dalla Costa for his help in cataloguing this lot. Carlo Caliari, called Carletto, was the youngest and most talented son of Paolo Veronese (1528–1588) and the present picture is a significant example of his oeuvre. Born in 1570, Carletto was initially trained in his father\’s workshop, where he was also influenced by the teaching of his uncle Benedetto (1538–1598). His apprenticeship then continued in the workshop of Francesco Bassano (1549–1592), although it is believed to have been more of a partnership, between 1585–1587. After Veronese died in 1588, Carletto joined Benedetto and his brother Gabriele, forming the \‘Haeredes Pauli Caliari Veronensis\’ and continuing his father´s workshop. Carletto unfortunately died at only twenty-six years of age in 1596. The subject of Angelica and Medoro is taken from the epic poem Orlando furioso by Ludovico Ariosto (1516). Medoro, a follower of the Saracen leader Dardinello, is seriously wounded after attempting to rescue the body of his Prince from the Christian camp. Angelica, daughter of the king of China, heals his wounds and then falls in love with him and the poem goes on to recount of Angelica and Medoro\’s union as they visit forest groves carving their names on trees and rocks. Carletto represents the moment when the two lovers are carving their name into a tree trunk, while one putto is seated on the left with a torch and a sheep and another putto is walking towards them holding a goat. The painting, with its landscape of animals and flowers and rich details, bears a close relationship to the works of both his father and the Bassano family. In fact, while the underlying forms of the figures of the protagonists are clearly connected with Veronese\’s oeuvre, the very detailed landscape, the diverse presence of other animals (goats and sheep, but also a couple of ducks and two birds), reveal the influence of the Northern artists and of the Bassano school. In spite of this, the silver glare of the colours, together with the details in the foliage and the treatment of the hair and adornment, sets it apart from his father\’s work, and are more typical of Carletto\’s own style. If we must give credit to Carlo Ridolfi (see literature), Carletto executed this painting when he was only seventeen-years old, therefore the Angelica and Medoro would represent one of his earliest independent works. It seems likely that around 1587-88, just before his death, Paolo Veronese helped Carletto establish an independent market for his own paintings (Dalla Costa 2014, p. 324), in some cases also working on his early works (S. Gritt, Like a mirror that shows his idea…: Interaction in the Veronese Workshop, in: Paolo Veronese. A Master and His Workshop in Renaissance Venice, exhibition catalogue, ed. by V. Brilliant and F. Ilchman, Sarasota 2012, pp. 230-232). Therefore, we cannot exclude the idea that Veronese retouched and improved some of the more high quality parts of the present painting too, such as the drapery of the two main figures and Medoro\’s intense face. According to Ridolfi, Angelica and Medoro was acquired and taken to Germany by a \‘cavalier oltramontano\’ (a foreign gentleman), together with a canvas showing the Death of Adonis. It is undeniable that this composition obtained immediate success, as confirmed by Aegidius Sadeler\’s engraving taken from this painting (see fig. 1). Moreover, another version of the painting is known to be in Prague, at the Narodni Galerie, Stenberg Palace: the two canvases differ in format and the present painting is richer in details. The present lot also reveals a greater delicacy of touch, which is revealed in its looser and fresher brushstrokes, thus leading to the deduction that the Czech painting is a later variant. The provenance of the present painting is not fully clear, although it is likely to be the one mentioned by Ridolfi taken north of the Alps by the \‘foreign gentleman\’. In fact, it returned to Italy in the 1960s, when it entered the Barbieri collection in Padua (see literature, Crosato Larcher 1967-68, p. 108). Specialist: Mark Mac Donnell
Carlo, Carletto Caliari - The Vision Of Saint Helena

Carlo, Carletto Caliari - The Vision Of Saint Helena

Original
Estimate:

Price:

Gross Price
Lot number: 157
Other WORKS AT AUCTION
Description:
Carlo Caliari, Carletto Caliari (Venice 1570-1596) The Vision of Saint Helena oil on canvas 22½ x 18¼ in. (49.3 x 38.2 cm.)
Anonymous sale [G. Appleby]; Christie's, London, 15 May 1959, lot 149, as Veronese (26 gns.) Anonymous sale; Christie's, London, 14 May 1965, lot 74, as Veronese. The Hon. Patrick Lindsay (1928-1986), and by descent to the present owner.
We are grateful to Professor Peter Humfrey for confirming the attribution after inspection of the original.
Carlo, Carletto Caliari - The Penitent Magdalene In A Landscape

Carlo, Carletto Caliari - The Penitent Magdalene In A Landscape

Original
Estimate:

Price:

Lot number: 297
Other WORKS AT AUCTION
Description:
LOT 297
THE PROPERTY OF A GENTLEMAN
CARLO CALIARI, CALLED CARLETTO
VENICE 1567/70 - 1592/96
THE PENITENT MAGDALENE IN A LANDSCAPE
signed lower center: CARLO CALIARI./ VERONESE. F
oil on canvas, in an elaborate Italian carved and gilt woodframe
80,000—120,000 USD
measurements note
49 3/4 by 38 1/2 in.; 126.4 by 97.7 cm.
signed lower center: CARLO CALIARI./ VERONESE. F
Casa Lante, Rome, from which acquired by the brothers Pietro(1760-1833) and Vincenzo Camuccini (1771-1844), for theircollection in Rome;Sold by Vincenzo's son, Giovanni Battista Camuccini, as part of agroup of 74 pictures to Algernon Percy (1792-1865), 4th Duke ofNorthumberland, in 1853;Thence by descent in the family at Alnwick Castle until sold byHugh Algernon Percy (1914-1988), 10th Duke of Northumberland;With Thomas Agnew & Sons Ltd., London, from whom purchased by aprivate collector in the 1950s;Thence by descent and anonymously sold ("The Property of a Lady ofTitle"), London, Sotheby's, 5 July 2006, lot 43, and acquiredshortly afterwards by the present collector.
Newcastle, 1887, no. 825 (lent by Algernon George Percy, 6thDuke of Northumberland).
T. Barberi, Catalogo ragionato della Galleria Camuccini inRoma descritto da Tito Barberi , unpublished MS. catalogue ofcirca 1851 held in the Alnwick Castle Archives, listed under"Camera Quarta", no. 1;G. Waagen, Galleries and Cabinets of Art in Great Britain ,London 1857, p. 469 (as "CARLO CAGLIARI.-The repentant Magdalen.Signed. From the Casa Lante. A good picture for him");A. Graves, A Century of Loan Exhibitions 1813-1912 , vol. V,second addenda and indexes, London 1915, p. 226;Helen, 8th Duchess of Northumberland, Catalogue of Pictures in theCollection of the Duke and Duchess of Northumberland, privatelyprinted in 1930, cat. no. 56, reproduced plate 39, and alsoreproduced in a photograph taken by the Duchess (no. 15), ashanging in the Music Room at Alnwick Castle.
The son of Paolo Veronese, Carlo Caliari (called Carletto) wasthe most talented member of his father's workshop. His paintingsare stylistically similar to those of his father, but Carletto'spainting technique is arguably more delicate: the hair of theMagdalene and putti as well as the foliage and vegetation inthe present work are fine examples of this. The painting has muchin common with Veronese's mature works and parallels can also befound in Carletto's own oeuvre: the saint's upper body is extremelyclose to that of the Magdalene in Carletto's altarpiece ofVirgin and Child in glory with Saints in the Uffizi,Florence.1 He used the figure again, in reverse, for hisHagar in the Wilderness in the John & Mable RinglingMuseum of Art, Sarasota, which was formerly ascribed to Veronese onthe basis of a preparatory drawing attributed tohim.2 This painting was amongst 74 pictures from the Camuccinicollection in Rome, sold to Algernon Percy, 4th Duke ofNorthumberland, in 1853. The whole collection cost 125,000 Romanscudi , and included masterpieces by Raphael, Bellini,Guercino and Reni amongst others.3 The collection wasformed by the two brothers Pietro and Vincenzo Camuccini, both ofwhom were dealers, restorers and painters in their own right. From1851 the pictures hung in the 16th-century Palazzo Cesi in Rome andTito Barberi's catalogue of the collection (see Literature) shouldbe read as a visitor's guided tour of the palazzo , listingthe pictures in each room. The Carletto is mentioned as hanging inthe "Camera Quarta," no. 1, and Barberi notes a few biographicalanecdotes along with a brief description of thepainting.4 The provenance in the typed transcript isgiven as "Casa Sante" but it is probably a mis-transcription ofBarberi's original handwriting and should read "Casa Lante", asnoted by Waagen. Algernon Percy, 4th Duke of Northumberland, enjoyed a successfulcareer in the Navy, rising to the ranks of Commander and Admiral bythe time he reti
Casa Lante, Rome, from which acquired by the brothers Pietro(1760-1833) and Vincenzo Camuccini (1771-1844), for theircollection in Rome;Sold by Vincenzo's son, Giovanni Battista Camuccini, as part of agroup of 74 pictures to Algernon Percy (1792-1865), 4th Duke ofNorthumberland, in 1853;Thence by descent in the family at Alnwick Castle until sold byHugh Algernon Percy (1914-1988), 10th Duke of Northumberland;With Thomas Agnew & Sons Ltd., London, from whom purchased by aprivate collector in the 1950s;Thence by descent and anonymously sold ("The Property of a Lady ofTitle"), London, Sotheby's, 5 July 2006, lot 43, and acquiredshortly afterwards by the present collector.
Newcastle, 1887, no. 825 (lent by Algernon George Percy, 6thDuke of Northumberland).
T. Barberi, Catalogo ragionato della Galleria Camuccini inRoma descritto da Tito Barberi , unpublished MS. catalogue ofcirca 1851 held in the Alnwick Castle Archives, listed under"Camera Quarta", no. 1;G. Waagen, Galleries and Cabinets of Art in Great Britain ,London 1857, p. 469 (as "CARLO CAGLIARI.-The repentant Magdalen.Signed. From the Casa Lante. A good picture for him");A. Graves, A Century of Loan Exhibitions 1813-1912 , vol. V,second addenda and indexes, London 1915, p. 226;Helen, 8th Duchess of Northumberland, Catalogue of Pictures in theCollection of the Duke and Duchess of Northumberland, privatelyprinted in 1930, cat. no. 56, reproduced plate 39, and alsoreproduced in a photograph taken by the Duchess (no. 15), ashanging in the Music Room at Alnwick Castle.
The son of Paolo Veronese, Carlo Caliari (called Carletto) wasthe most talented member of his father's workshop. His paintingsare stylistically similar to those of his father, but Carletto'spainting technique is arguably more delicate: the hair of theMagdalene and putti as well as the foliage and vegetation inthe present work are fine examples of this. The painting has muchin common with Veronese's mature works and parallels can also befound in Carletto's own oeuvre: the saint's upper body is extremelyclose to that of the Magdalene in Carletto's altarpiece ofVirgin and Child in glory with Saints in the Uffizi,Florence.1 He used the figure again, in reverse, for hisHagar in the Wilderness in the John & Mable RinglingMuseum of Art, Sarasota, which was formerly ascribed to Veronese onthe basis of a preparatory drawing attributed tohim.2 This painting was amongst 74 pictures from the Camuccinicollection in Rome, sold to Algernon Percy, 4th Duke ofNorthumberland, in 1853. The whole collection cost 125,000 Romanscudi , and included masterpieces by Raphael, Bellini,Guercino and Reni amongst others.3 The collection wasformed by the two brothers Pietro and Vincenzo Camuccini, both ofwhom were dealers, restorers and painters in their own right. From1851 the pictures hung in the 16th-century Palazzo Cesi in Rome andTito Barberi's catalogue of the collection (see Literature) shouldbe read as a visitor's guided tour of the palazzo , listingthe pictures in each room. The Carletto is mentioned as hanging inthe "Camera Quarta," no. 1, and Barberi notes a few biographicalanecdotes along with a brief description of thepainting.4 The provenance in the typed transcript isgiven as "Casa Sante" but it is probably a mis-transcription ofBarberi's original handwriting and should read "Casa Lante", asnoted by Waagen. Algernon Percy, 4th Duke of Northumberland, enjoyed a successfulcareer in the Navy, rising to the ranks of Commander and Admiral bythe time he retired. He travelled extensively in Europe, Africa andthe East, and it was after a trip to Italy that he decided toundertake the restoration of Alnwick Castle, with the help of thecelebrated Italian architect Luigi Canina (Director of the MuseiCapitolini in Rome) and, after Canina's death in 1856, of GiovanniMantiroli. Building work began in circa 1854 and it wasapparently "in order to complete its character of an ItalianRenaissance palace" that the Duke had negotiated the purchase ofthe Camuccini collection the previous year.5 Thepainting remained at Alnwick for the latter half of the 19th andinto the 20th century where it hung in the Music Room, as is provenby its presence in a photograph taken circa 1930 by Helen, Duchessof Northumberland (1886-1965), wife of Alan Ian Percy (1880-1930),8th Duke of Northumberland. 1. L. Crosato Larcher, "Per Carletto Caliari", in ArteVeneta , vol. XXI, 1967, p. 113, reproduced fig. 126.2. P. Tomory, Catalogue of The Italian Paintings before 1800.The John & Mable Ringling Museum of Art, Sarasota 1976, pp.82 and 84, cat. no. 80, reproduced p. 83.3. Details of the transaction are listed in a letter from EmilBraun to the Duke on 19th September 1853, although the pictures didnot arrive until 1856. The collection included: Raphael'sMadonna of the Pinks (National Gallery, London); GiovanniBellini's Feast of the Gods (National Gallery of Art,Washington); Guercino's Esther before Ahasuereus (Universityof Michigan Museum of Art, Ann Arbor); and Reni'sCrucifixion (Alnwick Castle). See N. Penny, "Raphael's'Madonna dei Garofani' rediscovered", in The BurlingtonMagazine , vol. CXXXIV, no. 1067, February 1992, pp.76ff..4. "Carlo Caliari detto Carletto figlio a Paolo Veronese: nacquenel 1570, morì nel 1596. La Maddalena. Sul sasso su cui stainginocchiata la Santa leggesi Carlo Carliari Veronese F. Era diCasa Sante (see note). Rari sono i dipinti di quest' artista, chenella corte sua vita in scarso numero ne condusse, sebbene quandorimase orfano all'età di 18 anni, fosse tale nell'arte, da potercompire alcuni lavori, dal padre lasciati imperfetti. Fini i brevie laboriosi giorni consunto da soverchie fatighe".5. Helen, 8th Duchess of Northumberland, see Literature , p.27.
Carlo, Carletto Caliari - Study Of The Torso And Head Of A Man Leaning To The Left, And Another Study Of A Shoulder

Carlo, Carletto Caliari - Study Of The Torso And Head Of A Man Leaning To The Left, And Another Study Of A Shoulder

Original
Estimate:

Price:

Lot number: 5
Other WORKS AT AUCTION
Description:
provenance from the so-called sagredo-borghese albums (though no longer laid down on the distinctive, inscribed backing) catalogue note this belongs to a stylistically consistent group of drawings, examples of which have often been associated with the name of bassano, but which terisio pignatti, roger rearick and others have more recently attributed to carletto caliari. as rearick has observed, a number of these were to be found within the ensemble of drawings attributed to the bassano family in the skippe collection (see sale, london, christie's, 21 november 1958, lots 17-33, "drawings by the bassano family"), and others were given to bassano on the basis of their having been inventoried under this name (b.b...) in the so-called sagredo-borghese albums, from which many, including this example, originated. rearick also, however, noted that some nude studies from this group can be directly connected with securely attributed paintings by carletto.
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