Carlo Francesco Nuvolone (1609–1662), Cerchia di - Assunzione della Vergine

Circle of Carlo Francesco Nuvolone (Milan, around 1609 – 1662) “Assumption of the Virgin” Lombardy, 17th century circa 1650–1670 Dimensions: 98.5 x 82 cm in frame Canvas: 86 x 70 cm Attribution note The work presents stylistic elements coherent with the painting culture of Carlo Francesco Nuvolone and his circle, in particular in the typology of the Virgin, in the softness of the modeling, in the palette and in the treatment of the draperies. The attribution to the circle should be regarded as a critical proposal based on the examination of the available photographic documentation and could be further refined through direct examination of the work, diagnostic investigations and specialist comparisons. Stylistic analysis The work appears to be attributable to the Lombard painting culture of the 17th century, with significant contact elements with the language developed in Milan by Carlo Francesco Nuvolone and the artists surrounding his workshop. Particularly indicative is the construction of the female figure. The Virgin’s face displays a full and delicately idealized physiognomy. The modeling is achieved through soft chiaroscuro transitions, without a rigid delimitation of the contours. The eyes turned upward, the small and slightly open mouth, the full oval of the face and the sentimental and ecstatic expression find significant echoes in Carlo Francesco Nuvolone’s female and Marian production. The same sensitivity emerges in the treatment of the flesh tones, characterized by light and warm hues that gradually emerge from the half-shade. Frame The painting is accompanied by a molded and gilded wooden frame. There are signs of wear, abrasions of the gilding, small cracks and traces of previous interventions. From the photographic documentation it is not possible to establish with certainty the contemporaneity of the frame with the canvas. It also appears to have undergone changes and adaptations over time. The frame should therefore be considered an accessory element and not determinant for attribution. Condition Report Overall conservation status: fair/good for its age. The surface shows widespread old craquelure, generally consistent with the natural aging of the materials. There are localized abrasions, small losses and irregularities of the painting surface. Some areas may have undergone previous cleaning operations, with possible thinning of the original glazes. In the dark areas and the background, the presence of old restorations and retouches cannot be ruled out. The varnish surface also appears susceptible to alteration and may contribute to the current reduction in chromatic depth in some areas. - Expertise and certificate of lawful provenance - Text and documentation prepared by an antiquarian appraiser The frame is supplied free of charge with the work and must therefore be considered an accessory element, not included in the painting’s economic evaluation. Due to the natural fragility of antique gilded frames, any damage, detachment, breakage or loss of parts of the frame occurring during transport or shipment cannot be object of reimbursement, compensation or dispute regarding the painting’s value. The packing will nevertheless be prepared with the utmost care to ensure, as far as possible, safe transport. Shipping insured and secure packing Transport insurance at the estimated value *** For historical interest reasons, the work cannot be shipped outside the European Community

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