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Paolo Veronese

Italy (Verona 1528 -  Venezia 1588 ) Wikipedia® : Paolo Veronese
VERONESE Paolo Christ In Glory

Palais Dorotheum
Oct 18, 2016
Find artworks, auction results, sale prices and pictures of Paolo Veronese at auctions worldwide.
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Variants on Artist's name :

Heredis Pauli

Caliari, Il Veronese Paolo

Caliari Paolo Veronese

 

Artworks in Arcadja
411

Some works of Paolo Veronese

Extracted between 411 works in the catalog of Arcadja
Paolo Veronese - Studies Of Seated Men, One Reading A Book

Paolo Veronese - Studies Of Seated Men, One Reading A Book

Original
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Lot number: 3
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Paolo Caliari, called Veronese (Verona 1528-1588 Venice) Studies of seated men, one reading a book with number 'D. 68.' (recto) and with inscription '[R]odelin alla Rimina / anulario sferatico/ Coverte dorade del breviary[o] / la madalena -- / bossolo per otton navigari / penna di architetto -- / Calamario da viaggio / Canolla alla Todescha / [C]arta no\’natta / una scaletta da pittor' pen and brown ink, fragmentary watermark 3¾ x 7 5/8 in. (9.5 x 19.3 cm) Contact Client Service info@christies.com New York +1 212 636 2000 London +44 (0)20 7839 9060 infoasia@christies.com Asia +852 2760 1766
Paolo Veronese -  The Coronation Of The Virgin

Paolo Veronese - The Coronation Of The Virgin

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Lot number: 225
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Workshop of Paolo Caliari, called Veronese (Verona 1528–1588 Venice) The Coronation of the Virgin, oil on canvas, 123x188cm, framed Provenance: Private collection, Rome; art market, Italy; where acquired by the present owner Literature: T. Pignatti, Veronese. L\’opera completa, Venice 1976, vol. I, p. 195, mentioned under no. A202, vol. II, fig. 889 (under \’opere attribuite\’) Specialist: Mark Mac Donnell
Paolo Veronese - The Baptism Of Christ

Paolo Veronese - The Baptism Of Christ

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Lot number: 41
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Paolo Caliari, called il Veronese (Verona 1528–1588 Venice) The Baptism of Christ, oil on canvas, arched top, 48x34.5cm, framed Provenance: Private European Collection Literature: G. M. Pilo, Paolo Veronese e il tema del Battesimo di Gesù Cristo, in: M. Gemin (ed.), Nuovi studi su Paolo veronese, Venice 1990, pp. 402-405, ilustrated p. 402, no. 304; T. Pignatti, F. Pedrocco, Veronese, Milan 1995, vol. I, pp. 239-240, mentioned under cat. no. 137, illustrated The present small canvas is the preparatory sketch for the Baptism of Christ, which was kept in the sacristy of the church of the Redentore, Venice. The altarpiece was commissioned from Paolo Veronese by Bartolomeo Stravazino, who is depicted in the bottom right of the painting with his son Giovanni, and was located in the chapel dedicated to Saint John the Baptist near the Capuchin church on the Giudecca. The church had been consecrated in 1561 and was later demolished to make room for the new church of the Redentore, designed by Andrea Palladio. This canvas represents the genesis of the first poetic idea for the altarpiece, and its importance is determined mainly by the fact that Veronese is not known to have made other similar “sketches” but just a few reference “models” for larger compositions. The present painting shows how Veronese had initially thought about a partially different format and composition compared to the definitive version. In fact, in this oil sketch, it is possible to see more background on the right and a single cherub above the dove. The freshness and spontaneity of the canvas reveals the pictoral quality of Veronese, whose quick strokes depict the figures with great liveliness, as can be seen in the heads of the angels on the right, on the portraits of the patrons and from the complementary brown and purple illuminating Christ and his white loincloth. The commission of the large altarpiece of the Baptism of Christ for the old church of the Redentore, just like its “first idea” hereby presented, represents a significant stage in Paolo Veronese’’’’’’’’s artistic journey. It was painted by Caliari during a period of great activity, from the great decorative work in the church of San Sebastiano in Venice and the famous frescoes of Villa Barbaro in Maser. Veronese returned to the subject of the Baptism on several occasions and it enabled him to create harmonious compositions in which human figures and nature were balanced, and the example of the church of the Redentore is one of the first examples
Paolo Veronese - Christ In Glory

Paolo Veronese - Christ In Glory

Original
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Lot number: 27
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Paolo Caliari called il Veronese (Verona 1528–1588 Venice) Christ in Glory, inscribed: Ego et pater/unum sumus, oil on canvas laid down on panel, 42 x 30 cm, framed

Provenance: probably Giovanni (Jan) Rienst collection, Venice, before 1646; probably Gerard Reynst collection, Amsterdam after 1646; Private collection, Zurich, circa 1991; Private European collection Literature: probably C. Ridolfi, Meraviglie dell´Árte, 1648, ed. by D. von Hadeln, vol I, Berlin 1914, p. 340; T. Pignatti, F. Pedrocco, Veronese. Catalogo completo, Florence 1991, p. 325, n. 263 (as Paolo Veronese); T. Pignatti, F. Pedrocco, Veronese, Milan 1995, vol. II, p. 499-500, n. 401 (as Paolo Veronese). We are grateful to Mauro Lucco for confirming the attribution and his help in cataloguing the present painting. The present painting is almost certainly the painting mentioned by Ridolfi in his biography of Veronese (see literature) where it is recorded in the collection of Giovanni Reynst in Venice. There was \“a risen Saviour, a small picture, shown wrapped in a linen drape, surrounded by a crown of flying spirits, with an inscription held by some of them, which reads: Ego et pater unum sumus (I and the Father are one); for which he intends many gems of inestimable value\’\’\’\’\’\’\’\’ \‘Salvatore risorto in picciolo quadro involto in un panno lino, à cui fan corona molti spiritelli volanti, con un breve sostenuto da alcuni di loro con l\’\’\’\’\’\’\’\’ali iscritto: \“Ego & pater unum sumus\”; che si pon dire tante geme d\’\’\’\’\’\’\’\’inestimabil valore\’\’\’\’\’\’\’\’. Giovanni, or rather Jan, Reynst was a successful merchant. He was originally from Amsterdam where he was born in 1601, and he settled in Venice in 1625. Before 1633 he attained the monopoly on commerce in salt between Spain and Lombardy via Venice, thereby circumventing the Genoese. In the meantime, he had also begun to form an important collection of old master and contemporary paintings. The dedication letter of Ridolfi\’\’\’\’\’\’\’\’s Meraviglie dell\’\’\’\’\’\’\’\’Arte is dated 25th June 1646: evidently the volume was offered to a patron who was as important for his connections in the international art market as for those in trade. Indeed the author allows us to understand that a second and equally important art collection belonged to the patron\’\’\’\’\’\’\’\’s brother, Gerard Reynst in Amsterdam. Jan Reynst died unexpectedly on 26th July 1646, and his brother in Holland inherited his whole collection; however, twelve years later Gerard also died and consequently the whole collection was dispersed over the next fifteen years. Documentation does not provide further information about when the present painting was sold. At the time of von Hadeln\’\’\’\’\’\’\’\’s commentary on Ridolfi\’\’\’\’\’\’\’\’s text in 1914, the painting was believed lost, as it also was at the time of Teresio Pignatti\’\’\’\’\’\’\’\’s monograph on Veronese in 1976 (see: T. Pignatti, Veronese, Milan 1976, vol. I, p. 232; and 2nd edition with F. Pedrocco, Veronese, Milan 1995, vol. I, p. 499, tav. 401). However, the present small canvas only re-emerged from a Swiss private collection at the end of the 1980s, and it was then recorded by Pedrocco in his monograph on the artist (see: F. Pedrocco, Veronese. Catalogo completo dei dipinti, Florence 1991, p. 325, tav. 263). He specifically identified the picture as probably the one recorded by Ridolfi. It seems logical that the 17th century text specifically cites the text from the Gospel according to John (17:22): \‘Ego & pater unum sumus\’\’\’\’\’\’\’\’, which is extremely rare in the visual arts, and has seemingly never been used previously in relation to the resurrection. Moreover, Ridolfi\’\’\’\’\’\’\’\’s description perfectly records what is represented in the present painting. The composition appears to closely relate to the Resurrection of Christ in the Hermitage, Saint Petersburg (inv. 2545), as well as the painting in the Gemäldegalerie, Dresden (inv. 235) where Christ is shown enclosed by a luminous mandorla, wrapped in an ample fluttering mantle with his arms parted to form a cross. Both are works that belong to the early 1570s. However, the present work´s overall composition is formally less compact: the brush strokes, textures and gesture appear looser, as characterised by his work of the 1580s, where less importance is given to those qualities of strict volumetric definition that had prevailed previously. In Lucco´s opinion Pedrocco (see literature) was correct in comparing the present work to the Resurrection at Westminster Hospital, London and the altarpiece at San Francesco della Vigna, Venice, thereby dating the present work to Veronese\’\’\’\’\’\’\’\’s final years.
Paolo Veronese - A Sibyl.

Paolo Veronese - A Sibyl.

Original
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Lot number: 3404
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Description:

CAGLIARI, PAOLO det. VERONESE

(Verona 1528 - 1588 Venedig), UMKREIS

Sybille.

Schwarze Kreide, weiss gehöht, auf blau eingefärbtem Bütten. 20,5 x 13,5 cm. Gerahmt

CIRCLE OF CALIARI, PAOLO called VERONESE

(Verona 1528 - 1588 Venice)

A Sibyl.

Black chalk, heightened with white, on blue laid paper. 20.5 x 13.5 cm. Framed.
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