Carlo Dolci (1616-1687), Circle of - Madonna Addolorata (Mater Dolorosa)
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€ 200
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Selected by Giulia Santoro
Specialised in 17th century Old Master paintings and drawings with auction house experience.
Estimate € 1,200 - € 1,500
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The oil on canvas painting Madonna Addolorata (Mater Dolorosa), circa 1750–1780, attributed to Circolo di Carlo Dolci, Italy, 85 by 71 cm in a carved frame, sold by Galleria and with frame.
AI-assisted summary
Description from the seller
Madonna Addolorata (Mater Dolorosa)
Carlo Dolci (1616-1687) Ambito di
Periodo: circa 1750–1780
- Oil on canvas
- Tuscan-Fiorentine scope of the second half of the 18th century
- Measurements: 85 x 71 cm in frame
Painting: 73 x 60 cm
The painting depicts the Virgin of Sorrows, represented bust-length and isolated against a dark background. The head, slightly inclined, is wrapped in a wide mantle in blue-green tones; a golden halo underscores its sacredness.
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 brought to 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 spoken by Simeon during the Presentation of Jesus in the Temple: “and a sword shall pierce through your own soul” (Luke 2:35).
The presence of a single sword returns the representation to the most essential iconography of the Mater Dolorosa, focused on the Virgin’s spiritual participation in Christ’s Passion.
Stylistic analysis
The stylistic approach echoes the famous Florentine Baroque model of the 17th century, in particular the devotional compositions elaborated by Carlo Dolci (Florence, 1616–1686) and subsequently disseminated through his workshop, the circle, and the artists who continued his figurative fortune.
The reference to the Dolcian culture is particularly legible in the conception of the face: the elongated oval, lowered eyes, absorbed expression, small mouth, and the pose of restrained suffering belong to that repertoire of intense religiosity and intimate spirituality that is one of the most recognizable elements of Dolci’s sacred production.
Also the choice to almost completely 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 reverse shows a wooden support structure and a canvas with a regular weave.
Paint film: widespread and marked craquelure, with varying pattern across fields. Irregularities and areas of greater material buildup are present.
Surface: shows unevenness, patina, and probable previous conservation interventions, repaints and retouches.
Varnish: apparently altered and non-homogeneous in some areas; presence of old oxidized varnishes
Overall state: fair, considering the age, technique, and conservation history, with opportunity for specialist examination of the paint film.
Frame
The work is housed in a molded wooden frame with an imitation marbleization decoration in ochre and brown tones and a thin inner gilded edge. The frame shows abrasions, finish wear, small holes, corner cracks and traces of ancient insect attacks.
The reverse shows a wooden structure assembled using traditional techniques, with a metal hanging system. old frame, plausibly from the 18th–19th century
*** Photographic note
Some photographs of the work were taken with the help of professional studio lighting and spotlights to allow better legibility 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 for illustration and documentary purposes only.
The frame is provided free of charge as a courtesy with the work and must therefore be considered an accessory, not included in the painting’s economic evaluation. Due to the natural fragility of antique and gilded frames, any damage, flaking, breakage, or losses of parts of the frame that occur during transport or shipment cannot be the subject of refund, compensation, or dispute regarding the value of the work. The packing will nevertheless be prepared with the utmost care to ensure, as far as possible, safe transport.
Insured shipping
Attribution Expertise
*** For historical interest reasons the work cannot be shipped outside the European Community / insured shipment 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) Ambito di
Periodo: circa 1750–1780
- Oil on canvas
- Tuscan-Fiorentine scope of the second half of the 18th century
- Measurements: 85 x 71 cm in frame
Painting: 73 x 60 cm
The painting depicts the Virgin of Sorrows, represented bust-length and isolated against a dark background. The head, slightly inclined, is wrapped in a wide mantle in blue-green tones; a golden halo underscores its sacredness.
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 brought to 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 spoken by Simeon during the Presentation of Jesus in the Temple: “and a sword shall pierce through your own soul” (Luke 2:35).
The presence of a single sword returns the representation to the most essential iconography of the Mater Dolorosa, focused on the Virgin’s spiritual participation in Christ’s Passion.
Stylistic analysis
The stylistic approach echoes the famous Florentine Baroque model of the 17th century, in particular the devotional compositions elaborated by Carlo Dolci (Florence, 1616–1686) and subsequently disseminated through his workshop, the circle, and the artists who continued his figurative fortune.
The reference to the Dolcian culture is particularly legible in the conception of the face: the elongated oval, lowered eyes, absorbed expression, small mouth, and the pose of restrained suffering belong to that repertoire of intense religiosity and intimate spirituality that is one of the most recognizable elements of Dolci’s sacred production.
Also the choice to almost completely 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 reverse shows a wooden support structure and a canvas with a regular weave.
Paint film: widespread and marked craquelure, with varying pattern across fields. Irregularities and areas of greater material buildup are present.
Surface: shows unevenness, patina, and probable previous conservation interventions, repaints and retouches.
Varnish: apparently altered and non-homogeneous in some areas; presence of old oxidized varnishes
Overall state: fair, considering the age, technique, and conservation history, with opportunity for specialist examination of the paint film.
Frame
The work is housed in a molded wooden frame with an imitation marbleization decoration in ochre and brown tones and a thin inner gilded edge. The frame shows abrasions, finish wear, small holes, corner cracks and traces of ancient insect attacks.
The reverse shows a wooden structure assembled using traditional techniques, with a metal hanging system. old frame, plausibly from the 18th–19th century
*** Photographic note
Some photographs of the work were taken with the help of professional studio lighting and spotlights to allow better legibility 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 for illustration and documentary purposes only.
The frame is provided free of charge as a courtesy with the work and must therefore be considered an accessory, not included in the painting’s economic evaluation. Due to the natural fragility of antique and gilded frames, any damage, flaking, breakage, or losses of parts of the frame that occur during transport or shipment cannot be the subject of refund, compensation, or dispute regarding the value of the work. The packing will nevertheless be prepared with the utmost care to ensure, as far as possible, safe transport.
Insured shipping
Attribution Expertise
*** For historical interest reasons the work cannot be shipped outside the European Community / insured shipment 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
Sold with frame
Yes
Sold by
Gallery
Attribution
Circle of
Artist
Carlo Dolci (1616-1687)
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
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