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Lot n° 10

MINIATURE. NOGARI Paris (attributed...

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[MINIATURE]. [NOGARI Paris (attributed to) (active in Rome, c. 1536-1601).
Assumption of the Virgin.
Italy, almost certainly Rome, [last quarter of the 16th century].
Gouache and gold on vellum, antique frame, traces of blue paper pasted on the back, white parchment on the reverse.
Dimensions: 231 x 181 mm.
Miniature attributed by E. De Laurentiis and published in: E. De Laurentiis, "Miniature devozionali tra Italia e Spagna nel tardo Cinquecento: da Giulio Clovio a Francesco da Castello", in Cesare Franchi detto il Pollino, Miniatore (Perugia 1555-1595), Rome, 2020, pp. 153-193, see pp. 168-171, figure 18.
On the back of the frame, a typewritten vignette laminated and dated 15 September 1954 with the stamp of the Parisian expert Jean Thesmar: "I, the undersigned, declare that the gouache on vellum opposite, measuring Height 0 m 23; Width 0 m 18, representing an "Ascension of the Virgin" is an original work by Pietro Berrettini, known as Pietro da Cortona (1596-1669), whose monogram is embraced in the lower right corner. This gouache of good quality is in perfect condition. A second, more recent pencil inscription reads "Giambattista Castello dito il Genovese circa 1547-1637/39". There is no stylistic evidence to corroborate Jean Thesmar's analysis. However, there are many stylistic elements that might have led us to believe that this was a work by Castello.
The eleven apostles (with the exception of Thomas, according to the oriental tradition reported by John Damascene) watch in amazement as the Virgin Mary rises to heaven in prayer, accompanied by cherubs in a thick cloud. The scene takes place inside a building in which there is a marble tomb decorated with a putto's head, open and filled with flowers. The art of this second half of the Italian Cinquecento tends towards the Baroque, with here a grisaille treatment of the figures with draperies enhanced with bright, even acidulous colours, showing a certain mannerism.
The Cinquecento witnessed a real craze for illumination, no longer just as illustrations in manuscripts, but now as small independent compositions for wealthy patrons. The most renowned miniaturist of the time was the Peruginian Cesare Franchi, known as "Il Pollino" (Perugia, ca. 1555?-1595), who offered Roman patrons miniatures painted on parchment as an alternative to "traditional" painting. His collaborator was Paris Nogari, a Roman painter of wall paintings, mentioned by Giulio Mancini around 1617-30. The proximity of the present miniature to those of Cesare Franchi betrays an intense collaboration between the two miniaturists.
The early life of Paris Nogari (c. 1536-1601) seems somewhat obscure, as no information has been discovered before the period in which he collaborated with Raffaellino Motta da Reggio (c. 1575), who was younger than he was but often considered his master. Karel van Mander (see Van verscheyden Italiaensche Schilders..., in Het Schilder-Boeck (Haarlem, 1618), trans. it. M. Vaes, Appunti di Carel van Mander su vari pittori italiani suoi contemporanei, in Roma, IX (1931), 5, p. 345) reports that Nogari, whom he knew when he collaborated with Motta in the Vatican palaces, "had a beautiful manner". Baglione (1642, p. 87) says of Nogari that he was "one of those young men who imitated the manner of Raffaellino da Reggio" active during the pontificate of Gregory XIII (elected in 1572).
Paris Nogari painted several frescoes in Rome. His more recent critical fortune began only with the studies of Scavizzi (1960) and especially Strinati (1980), which illustrated the specific characteristics of his style. Motta and Nogari were part of the great group of painters led first by Lorenzo Sabatini and then by his son Mario, who was responsible for decorating the loggias and other rooms in the Vatican. Nogari appears to have been the author of five of the fifteen monumental allegorical figures in monochrome (Silence, Promptitude, Assiduity, Mansuetude and Strength) in the former Swiss Guards' Hall (1582). In 1578, he was welcomed at the Academy of Saint Luke. In this context, he worked alongside artists such as Cesare Nebbia (Orvieto, 1536-1614), with whom he collaborated under the pontificate of Sixtus V.
Several of these collective undertakings made Paris Nogari a prolific artist. His works can be found in several churches, including the church and convent of Trinità dei Monti (1579-1584), with, among others, Christ before Pilate and Histories of the Passion in the Orsini chapel; at Santa Maria dei Monti, at San Giovanni Laatran (the Benediction Lodge and the transept murals), at Santa Maria Maggiore (Chapel of the Nativity, 1587), at Santa Maria del Trastevere (c. 1588-89), at Santa Susanna with Martyrdom of St. Felicity of Rome and her se

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