Francesco Gonin (1808–1889), Attribuito - Santa Cecilia all’organo

Francesco Gonin (1808–1889), attributed to

“Santa Cecilia at the organ”
Turin, circa 1850–1860
Oil on canvas

Dimensions: 56 x 45 cm in a contemporaneous frame
Canvas: 41.5 x 32.5 cm

Description and style

The painting depicts Saint Cecilia, patron saint of music, seated before the keyboard of an organ. The young saint is shown in profile, hands resting on the keys and the face turned upward, in an attitude of ecstatic contemplation. The musical action thus seems to transform into a spiritual experience: Cecilia does not look at the instrument, but directs her gaze toward a transcendent source outside the composition.

The figure emerges prominently from the dark, gathered interior background. The white garment, enhanced by gilded borders and ornaments and by small touches of red, constitutes the main luminous point of the work; the red headdress and the large red-brown cloak introduce a warm chromatic note that accentuates the devotional and scenographic character of the representation.

The language appears to be linked to the mid‑19th century Piedmontese Romantic-Academic painting, in which elements of neoclassical culture and purist aesthetics coexist with a more theatrical and sentimental sensibility. It is precisely a territory in which Francesco Gonin operated: his training combines neoclassicism, purist Raphaelism, 17th‑century tradition, and a strong scenographic experience gained in the Turin theater world.

Particularly significant, in relation to the attribution, is the treatment of the face: regular profile, light complexion, elongated neck, and especially the ecstatic gaze directed upward. The ministerial card for Gonin’s Saint Cecilia kept in Turin emphasizes the proximity of the saint’s face to the figure of Hope painted by the artist in the Maurizian Basilica in 1858–1859.

Condition Report

The work presents in a good general state of conservation for its age, with evident natural aging phenomena.

From examination there is widespread cracking of the painting surface, particularly evident in the skin tones of the face and in the dark areas of the background. There are superficial abrasions, small losses or impoverishment of the paint film, and uneven varnish. The surface also shows a general patina and probable superficial deposits that tend to reduce legibility especially in the darker zones.

The flesh tones, the hands, and the garment retain good legibility and numerous fine painterly passages. The gilded and red ornaments of the garment remain clearly perceptible. The organ area and the barely perceptible figure in the background are darker, likely accentuated by varnish alteration and natural tonal variation of the pigments.

The canvas appears overall stable; however, it is not possible to assess any relining, patches, inscriptions on the back, or older structural interventions, which would require examining the reverse of the work. The gilded frame, presumably nineteenth-century or at least historically associated with the painting, shows normal abrasions, darkening, minor losses, and wear to the gilding.

*** Note on photographs

Some of the photographs accompanying this entry were produced professionally using controlled artificial lighting with a studio spotlight to ensure better legibility of the work and to allow more precise observation of the painting surface, figurative details, and color.

Note on the frame:

The frame is supplied with the work as a courtesy and is not part of the sale. Any imperfections, losses, or damage to the frame, including during transport, shall not constitute grounds for dispute or for compensation regarding the artwork.

- Certificate of rightful provenance and Expertise
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