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Michele Da Verona

(1470 -  1536 )
MICHELE DA VERONA Dispute Between Poseidon And Athena For Supremacy Over Attica

Sotheby's
Jan 29, 2015
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Variants on Artist's name :

Verona Da Michele

 

Along with Michele Da Verona, our clients also searched for the following authors:
Pietro Perugino, Boccaccio Boccaccino, Defendente Ferrari, Girolamo Marchesi Da Cotignola, Giacomo Raibolini Francia, Joachim Patenir, Pieter Aertsen
Artworks in Arcadja
5

Some works of Michele Da Verona

Extracted between 5 works in the catalog of Arcadja
 Michele Da Verona - Dispute Between Poseidon And Athena For Supremacy Over Attica

Michele Da Verona - Dispute Between Poseidon And Athena For Supremacy Over Attica

Original
Estimate:

Price:

Gross Price
Lot number: 135
Other WORKS AT AUCTION
Description:
Michele da Verona

VERONA 1470 - CIRCA 1544

DISPUTE BETWEEN POSEIDON AND ATHENA FOR SUPREMACY OVER ATTICA

tempera on panel, transfered to canvas and laid down on panel

58 1/4 by 70 1/8 in.; 148 by 178 cm.

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Saleroom Notice

Provenance

With Mietke Galerie, Vienna, 1906;

Stefan von Auspitz collection, Vienna, by 1925 to at least 1931 (1931 inventory no. 1258 as \“Carpaccio, Das Trojanische Pferd (Fiocco Carpaccio Tf. II\”));

With Kurt Walter Bachstitz, The Hague, acquired from the trustee in bankruptcy of the above by 1938;

Private collection, Vaduz, 1969 - 1978;

Anonymous sale, London, Sotheby's, 8 July 1987, lot 25 (as Lazzaro Bastiani);

Anonymous sale, London, Philips, 11 December 2001, lot 114 (as Lazzaro Bastiani);

Anonymous sale, Zurich, Koller, 20 - 23 March 2007, lot 3006;

Where acquired by Alana collection;

From whom acquired by the present owner.

Exhibited

Vaduz, Fürstliche Liechtensteinische Gemäldegalerie, 1969 - 1973;

Zurich, Pfäffikon, Venezianische Kunst in der Schweiz und in Leichtenstein, 18 June - 27 August 1978, no. 52.

Literature

G. Ludwig and P. Molmenti, Vittore Carpaccio, La vita e le opere, Milan 1906, pp. 28-29 (as Lazzaro Bastiani);

A. Venturi, Storia dell'Arte Italiana, Milan 1907, vol. V, p. 282 (as Carpaccio);

R. van Marle, The Development of the Italian Schools of Painting, The Hague 1923-1938, vol. XVIII, pp. 179, 182, 326, note 1 (as possibly Lazzaro Bastiani);

B. Berenson, "Nove pitture in cerca di un'attribuzione", in Dedalo, V, 1924-1925, pp. 601-642, 688-722, 745-775;

G. Fiocco, Carpaccio, Milan 1931, pp. 15, 57, reproduced plate II (as Carpaccio);

R. Longhi, "Per un catalogo del Carpaccio", in Vita Artistica, III, no. 1, 1932, ed. 1968, p. 75;

G. Fiocco, "I pittori marchigiani a Padova nella prima metà del quattrocento", in Atti del Reale Istituto Veneto di Scienze, Lettere ed Arti, XCL, 1931-1933, p. 116-117;

G. Fogolari, "Pre' Sebastiano Bastianni, suo padre Lazzaro e il Carpaccio", in Rivista di Venezia, vol. XI, 1932, pp. 279-296 (as Carpaccio);

G. Perocco, L'Opera completa del Carpaccio, Milan 1967, p. 117, cat. no. 114;

M. Natale, Venezianische Kunst in der Schweiz und in Liechtenstein, exhibition catalogue, Zurich 1978, p.93, cat. no. 52 (as Venetian School);

G. Passavant, "Venezianische Kunst in der Schweiz und in Liechtenstein, Austellung in Pfäffikon, Seedamm-Kulturzentrum (18 June - 27 August 1978) und Genf (Musée d'art et d'histoire (8 September - 5 November 1978)", in Kunstchronik, XXXII, no. 5, p. 175;

C. Volpe, "Il polittico di San Clemente di Marco Zoppo", in E. Verdera y Tuells ed., El Cardinal Albornoz y el Colegio de España, Bologna and Zaragoza 1979, p. 74 (as attributed to Jacopo da Valenza);

S. Lilie, Was Einmal war. Handbuch der enteigneten Kunstsammlungen Wiens, Vienna, 2003, p. 135;

M. Vinco, "Gli inizi di Michele da Verona", in Proporzione, Annali dalla Fondazione di Roberto Longhi, IX-X, 2008-2009, p. 43-46, reproduced fig. 52 (here and henceforth as Michele da Verona);

M. Vinco in M. Boskovits ed., The Alana Collection, Italian Paintings and Sculptures from the Fourteenth to Sixteenth Centuries, vol. II, Florence 2011, pp. 186-192, cat. no. 29, reproduced pp. 187-189, figs. 1-4.

The rare and somewhat enigmatic subject of this impressive painting had long eluded scholars until a cleaning in 2008 revealed details confirming Federico Zeri\’\’s assertion that the scene depicted was the Dispute between Athena and Poseidon for Supremacy over Attica.

1

According to the account of Apollodorus in the Greek and Ovid in the Latin, Zeus sent the twelve gods of Olympus to judge a contest that would settle a dispute between Athena and Poseidon, both of whom claimed Attica as their own.

2

At the center of the composition is the horse, conjured by Poseidon\’\’s trident as a gift for the Athenians and the olive tree brought forth by Athena. The goddess was deemed triumphant and Attica was renamed Athens in her honor. The key to the subject\’\’s identification was the discovery of the wings at Mercury\’\’s feet, previously covered by old overpaint, revealing him as the messenger announcing the decision of the Olympians.

3

The classically intellectual and obscure subject, matched with the imposing scale suggest this painting was intended to form part of a decorative cycle for a private studiolo.

4

Much like its subject, the identity of this painting\’\’s author had been confused in earlier literature. Published as by Vittore Carpaccio and Lazzaro Bastiani for many years (see Provenance and Literature), Mattia Vinco corroborated the tentative proposals of Roberto Longhi and Licia Collobi that the painting is in fact by Michele da Verona.
5
Michele was a major proponent of Venetian styles in the terraferma, incorporating the developments of Carpaccio and Bastiani, introduced to Verona by Francesco Bonsignori.
6
Given the striking perspective of this painting, in certain respects its prime emphasis, it would seem logical to date to the 1490s, the period Michele was looking toward Carpaccio in Venice and his focus on perspective themes.
7
The \“ostentatious use of perspective\” in this painting appears at first to be typically Venetian, yet the idiosyncratic treatment of the landscape is emblematic of Michele da Verona\’\’s style. As Mattia Vinco writes,

\“They are characterized by the low line of the horizon and a natural world reduced almost to the semblance of a giardino all\’\’ italiana, extensively cultivated, geometrically ordered and strongly humanized.\”
8

1. Oral communication by Federico Zeri, M. Natale, under Literature, p. 93. 2. Apollodorus, Biblioteca, 3,14,1; Ovid, Metamorphosis, 6, 70-82. 3. M. Vinco 2011, under Literature, p. 186. 4. Ibid., p. 190. 5. Ibid., p. 186. 6. Ibid., p. 190. 7. Ibid. p. 190. 8. Ibid., p. 191.
 Michele Da Verona - Saint Jerome Reading In The Wilderness

Michele Da Verona - Saint Jerome Reading In The Wilderness

Original -
Estimate:

Price:

Gross Price
Lot number: 70
Other WORKS AT AUCTION
Description:
Michele di Zenone, called Michele da Verona (Verona c. 1470-after 1536) Saint Jerome reading in the wilderness oil on panel 19 x 14 in. (48.2 x 35.6 cm.)
G. Fiocco, Carpaccio, Novara, 1958, fig. 114d, with incorrect Thyssen-Bornemisza provenance. G. Perocco, L'opera completa del Carpaccio, Milan, 1967, p. 117, no. 140.
 Michele Da Verona - Saint Jerome

Michele Da Verona - Saint Jerome

Original
Estimate:

Price:

Lot number: 153
Other WORKS AT AUCTION
Description:
Michele di Zenone, called Michele da Verona (Verona c. 1470-after 1536) Saint Jerome reading in the wilderness oil on panel 19 x 14 in. (48.2 x 35.6 cm.)
G. Fiocco, Carpaccio, Novara, 1958, fig. 114d, with incorrect Thyssen-Bornemisza provenance. G. Perocco, L'opera completa del Carpaccio, Milan, 1967, p. 117, no. 140.
Michele da Verona was a pupil of Domenico Morone, together with the latter\’\’\’\’s son, Francesco. He absorbed the legacy of Andrea Mantegna while in Morone\’\’\’\’s workshop, an influence that is evident throughout his career. He also showed a knowledge of Venetian painters of the time, such as Vittore Carpaccio, Giovanni Bellini and Antonello da Messina. A \‘maestro\’\’\’\’ by 1497, his first signed and dated painting is the monumental Crucifixion of 1501 for the church of San Giorgio in Braida, Verona, now in the Pinacoteca di Brera, Milan. We are grateful to Professor Mauro Lucco for proposing the attribution on the basis of photographs, and for dating the picture to the first decade of the 16th century.
 Michele Da Verona - A Cavalry Skirmish Between Christians And Turks

Michele Da Verona - A Cavalry Skirmish Between Christians And Turks

Circle
Estimate:

Price:

Gross Price
Lot number: 104
Other WORKS AT AUCTION
Description:
Circle of Michele da Verona (Verona c. 1470-1536/44)
A cavalry skirmish between Christians and Turks
oil on canvas
41½ x 96¼ in. (105.4 x 244.4 cm.)
Provenance
Karl I of Liechtenstein, First Prince of Liechtenstein, Duke of Troppau and Jägerndorf (1569-1627), and by descent; in the Garden Palace at Rossau by 1873 (when recorded as being there by Falke, loc. cit.); moved to Schloss Eisgrub, Lednice, Bohemia, by 1888; taken to Vienna in November 1892, until November 1942, when returned to Schloss Eisgrub, until October 1944, when moved to Schloss Moosham, Unternberg, Lungau, until February 1945, when moved to Schloss Vaduz, Liechtenstein, where displayed on the entrance wall of the Südrondell Saal until 2006.
Literature
Sammlungskatalog, 1805, MS, Schloss Vaduz, Liechtenstein, no. 436, as a work purchased by Karl I, First Prince of Liechtenstein, Duke of Troppau and Jägerndorf (1569-1627).
J. Falke, Katalog der Fürstlich Liechtensteinischen Bilder-Galerie im Gartenpalais der Rossau zu Wien, Vienna, 1873, p. 130, no. 1120.
A. Kronfeld, Führer durch die Fürstlich Liechtensteinsche Gemäldegalerie in Wien, Vienna, 1931, p. 195, no. A 1120.
B. Berenson, Italian pictures of the Renaissance, Oxford, 1932, p. 364, as 'L. (?)' under Michele da Verona (i.e., possibly a late work by Michele da Verona).
R. van Marle, The Development of the Italian Schools of Painting, The Hague, 1935, vol. XVII, p. 181.
B. Berenson, Italian Pictures of the Renaissance. A list of the principal artists and their works, with an index of places: Central Italian and North Italian Schools, New York, 1968, I, p. 272, as 'L. (?)' under Michele da Verona (i.e., possibly a late work by Michele da Verona).
Exhibited
Vaduz, Engländergebäude, Waffen aus vier Jahrhunderten. Aus den Sammlungen Seiner Durchlaucht des Regierden Fürsten von Liechtenstein, 1952.
Vaduz, Liechtensteinisches Landesmuseum, 1972.
Lot Notes
This unusually ambitious secular canvas was tentatively attributed by Berenson to Michele da Verona as a late work. Like Michele's certain works, this reveals a strong Venetian influence.
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