Carlo Dolci (1616-1687), Circle of - Madonna Addolorata (Mater Dolorosa)
04
days
03
hours
48
minutes
30
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Current bid
€ 120
Reserve price not met
Expert
Selected by Giulia Santoro
Specialised in 17th century Old Master paintings and drawings with auction house experience.
Estimate € 1,600 - € 2,000
 | €120 | |
|---|---|---|
 | €110 | |
| €100 | |
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Madonna Addolorata (Mater Dolorosa), an 18th‑century oil on canvas painting from Italy attributed to Circolo di Carlo Dolci, sold with a frame.
AI-assisted summary
Description from the seller
Madonna Addolorata (Mater Dolorosa)
Carlo Dolci (1616-1687) Scope of
Period: circa 1750–1780
- Oil on canvas
- Tuscan-Fiorentine scope in the second half of the XVIII century
- Measurements: 85 x 71 cm in frame
Painting: 73 x 60 cm
The painting depicts the Vergine Addolorata (Our Lady of Sorrows), represented bust-length and isolated against a dark background. The head, slightly bowed, is wrapped in a wide mantle in blue-green tones; a golden halo emphasizes its sanctity.
The face, characterized by a regular oval, lowered eyelids, a slender nose, and a small mouth, expresses a composed and interiorized suffering. The hands are gathered at chest height in a gesture of contemplation and acceptance.
Diagonally across the composition runs a sword, a traditional iconographic attribute of the Mater Dolorosa and a reference to the prophecy pronounced by Simeon during the Presentation of Jesus at the Temple: “and a sword will pierce through your own soul also” (Luke 2:35).
The presence of a single sword returns the representation to the most essential iconography of the Mater Dolorosa, focused on the spiritual participation of the Virgin in Christ’s Passion.
stylistic analysis
The stylistic setting draws on the famous Florentine Baroque model of the 17th century, and in particular the devotional compositions elaborated by Carlo Dolci (Florence, 1616–1686) and later disseminated by his workshop, by the circle and by artists who continued his figurative fortune.
The reference to Dolci’s culture is particularly legible in the conception of the face: the elongated oval, the lowered eyes, the absorbed expression, the small mouth, and the restrained suffering belong to that repertoire of intense religiosity and intimistic spirituality that constitutes one of the most recognizable elements of Dolci’s sacred production.
Also the choice to almost entirely eliminate any narrative or environmental element, concentrating attention on the figure and its emotional state, belongs to the Florentine sixteenth-century devotional tradition.
Condition report
Support: canvas apparently stable; the verso shows a wooden support structure and a canvas with a regular weave.
Paint layer: widespread and marked cracking, with varying pattern across the different fields. Irregularities and zones of greater material accumulation are present.
Surface: shows irregularities, patina, and probable previous conservation interventions, overpaintings and retouches.
Varnish: apparently altered and non-uniform in some areas; presence of old oxidized varnishes
Overall state: fair, considering age, technique, and conservation history, with opportunity for expert control of the paint surface.
Frame
The work is set in a molded wooden frame with a marbleized imitation decoration in ochre and brown tones and a thin inner gilded profile. The frame shows abrasions, finish wear, small holes, corner cracks, and traces of ancient pest damage.
The verso shows a wooden structure assembled according to traditional techniques, with a metal hanging system. Old frame, presumably from the 18th to 19th century
*** Photographic note
Some photographs of the work were taken with the aid of professional studio lighting and spotlights to enhance readability of the composition, details, and painting material. This lighting may cause slight variations in color perception and brightness compared with direct viewing of the work. The photographs are intended solely for illustrative and documentary purposes.
The frame is provided free of charge as a courtesy with the work and should be considered an accessory element, not included in the painting’s monetary valuation. Due to the natural fragility of antique and gilded frames, any damage, detachment, breakage, or loss of parts of the frame occurring during transport or shipping cannot be subject to refund, compensation, or dispute regarding the value of the work. Packaging will, however, be prepared with the utmost care to ensure, as far as possible, safe transportation.
Shipped insured
Attribution Expertise
*** For historical interest, the work cannot be shipped outside the European Community / insured shipping in a wooden crate
Seller's Story
Magnolia Arte
Auctions · Works of Art · Expertise
Magnolia Arte was born from a passion for art and from the experience gained in study, selection and enhancement of works destined for collecting.
The auction house and gallery operates in the art market with particular attention to antique, modern and contemporary painting, offering carefully selected works for historical-artistic interest, quality and collectible value.
Each work is presented through a path of in-depth study that, where applicable, considers historical and stylistic context, attribution, condition, provenance and bibliographic and comparative references. For works that require it, studies, expertise and diagnostic deepening can also be prepared.
COLLECTING WITH DISCERNMENT
For Magnolia Arte, purchasing a work means entering into a relationship with a unique object, a witness of an era, of a culture and of the artist’s sensibility.
For this reason we accompany the collector not only in the choice, but also in the understanding and valorizations of the work, offering a direct, confidential and professional relationship.
Translated by Google TranslateMadonna Addolorata (Mater Dolorosa)
Carlo Dolci (1616-1687) Scope of
Period: circa 1750–1780
- Oil on canvas
- Tuscan-Fiorentine scope in the second half of the XVIII century
- Measurements: 85 x 71 cm in frame
Painting: 73 x 60 cm
The painting depicts the Vergine Addolorata (Our Lady of Sorrows), represented bust-length and isolated against a dark background. The head, slightly bowed, is wrapped in a wide mantle in blue-green tones; a golden halo emphasizes its sanctity.
The face, characterized by a regular oval, lowered eyelids, a slender nose, and a small mouth, expresses a composed and interiorized suffering. The hands are gathered at chest height in a gesture of contemplation and acceptance.
Diagonally across the composition runs a sword, a traditional iconographic attribute of the Mater Dolorosa and a reference to the prophecy pronounced by Simeon during the Presentation of Jesus at the Temple: “and a sword will pierce through your own soul also” (Luke 2:35).
The presence of a single sword returns the representation to the most essential iconography of the Mater Dolorosa, focused on the spiritual participation of the Virgin in Christ’s Passion.
stylistic analysis
The stylistic setting draws on the famous Florentine Baroque model of the 17th century, and in particular the devotional compositions elaborated by Carlo Dolci (Florence, 1616–1686) and later disseminated by his workshop, by the circle and by artists who continued his figurative fortune.
The reference to Dolci’s culture is particularly legible in the conception of the face: the elongated oval, the lowered eyes, the absorbed expression, the small mouth, and the restrained suffering belong to that repertoire of intense religiosity and intimistic spirituality that constitutes one of the most recognizable elements of Dolci’s sacred production.
Also the choice to almost entirely eliminate any narrative or environmental element, concentrating attention on the figure and its emotional state, belongs to the Florentine sixteenth-century devotional tradition.
Condition report
Support: canvas apparently stable; the verso shows a wooden support structure and a canvas with a regular weave.
Paint layer: widespread and marked cracking, with varying pattern across the different fields. Irregularities and zones of greater material accumulation are present.
Surface: shows irregularities, patina, and probable previous conservation interventions, overpaintings and retouches.
Varnish: apparently altered and non-uniform in some areas; presence of old oxidized varnishes
Overall state: fair, considering age, technique, and conservation history, with opportunity for expert control of the paint surface.
Frame
The work is set in a molded wooden frame with a marbleized imitation decoration in ochre and brown tones and a thin inner gilded profile. The frame shows abrasions, finish wear, small holes, corner cracks, and traces of ancient pest damage.
The verso shows a wooden structure assembled according to traditional techniques, with a metal hanging system. Old frame, presumably from the 18th to 19th century
*** Photographic note
Some photographs of the work were taken with the aid of professional studio lighting and spotlights to enhance readability of the composition, details, and painting material. This lighting may cause slight variations in color perception and brightness compared with direct viewing of the work. The photographs are intended solely for illustrative and documentary purposes.
The frame is provided free of charge as a courtesy with the work and should be considered an accessory element, not included in the painting’s monetary valuation. Due to the natural fragility of antique and gilded frames, any damage, detachment, breakage, or loss of parts of the frame occurring during transport or shipping cannot be subject to refund, compensation, or dispute regarding the value of the work. Packaging will, however, be prepared with the utmost care to ensure, as far as possible, safe transportation.
Shipped insured
Attribution Expertise
*** For historical interest, the work cannot be shipped outside the European Community / insured shipping in a wooden crate
Seller's Story
Magnolia Arte
Auctions · Works of Art · Expertise
Magnolia Arte was born from a passion for art and from the experience gained in study, selection and enhancement of works destined for collecting.
The auction house and gallery operates in the art market with particular attention to antique, modern and contemporary painting, offering carefully selected works for historical-artistic interest, quality and collectible value.
Each work is presented through a path of in-depth study that, where applicable, considers historical and stylistic context, attribution, condition, provenance and bibliographic and comparative references. For works that require it, studies, expertise and diagnostic deepening can also be prepared.
COLLECTING WITH DISCERNMENT
For Magnolia Arte, purchasing a work means entering into a relationship with a unique object, a witness of an era, of a culture and of the artist’s sensibility.
For this reason we accompany the collector not only in the choice, but also in the understanding and valorizations of the work, offering a direct, confidential and professional relationship.
Translated by Google TranslateDetails
Artist
Carlo Dolci (1616-1687)
Sold with frame
Yes
Sold by
Gallery
Attribution
Circle of
Title of artwork
Madonna Addolorata (Mater Dolorosa)
Technique
Oil painting
Signature
Not signed
Country of origin
Italy
Year
1750
Condition
Good condition
Height
85 cm
Width
71 cm
Period
18th century
Sold by
