Italian school (XIX) - Studio di corazze e armature rinascimentali

Italian Painter of the 19th Century “Study of Renaissance armor and armors” (from a nucleus of three works/studies) Second half of the 19th century, circa 1850–1880 Pictorial technique on a fibrous support applied to a wooden panel in a wooden frame Measurements: 47 x 31.6 cm in an era-made frame Description The work depicts, isolated on a neutral avana-colored background, two torso armor elements inspired by Renaissance models, represented frontally with particular attention to the structure and the systems of assembly. On the left is a complex bust protecion, consisting of a rigid, shaped upper part and a lower articulated area made up of a succession of overlapping metal blades. The small rivets, dark straps, buckles and gilded borders are accurately described. The strongly shaped and raised upper profile emphasizes the historical and decorative character of the artifact. On the right is depicted a second armor element, more compact and rounded, characterized by a pronounced central ridge and broad metal surfaces modeled through light-dark transitions. Again the edge is underscored by a brown-gold band. The palette is deliberately restrained: ferrous grays, greens and desaturated blues describe steel, while ochers and browns highlight profiles, straps and finishes. Small touches of light on the rivets simulate the metal reflections. The background is essentially left without setting, giving the composition the appearance of a study panel or antiquarian repertoire. This element is also important in relation to the other two works in the series: they do not appear to be conceived as narrative scenes, but rather as a true figurative catalog of historical weapons and armor, probably derived from observations of ancient specimens or from nineteenth-century illustrated repertoires. The descriptive character suggests a possible use for study, antiquarian, decorative purposes or related to historical reconstruction. Support and conservation status Photographs show that the pictorial surface does not necessarily appear to have been executed directly on the wood: in the absence of material examination, it seems prudent to describe it as a painting technique on a fibrous support applied to a wooden panel. The support shows widespread patina of time, stains and superficial alterations; in the lower left corner there is evident a loss of the surface coating, with exposure of the underlying layer. There are also abrasions, small marks and inhomogeneities compatible with age and with the nature of the object. The legibility of the two armors remains good nonetheless. The simple brown wooden frame, similar to that of the other elements of the series, helps confirm the unitary nature of the nucleus. *** Note on photographs Some of the photographs accompanying this card were professionally taken with controlled artificial lighting, using a studio spotlight, to ensure better readability of the work and allow for a more precise observation of the surface, figurative details and chroma. The frame is provided with the work as a courtesy and does not constitute a substantial part of the sale. Any imperfections, deficiencies or damages to the frame, including those arising from transport, cannot therefore be a reason for dispute or compensation regarding the work. - Certificate of rightful provenance and Expertise - Insured shipping and electronic invoicing

Estimate:£338.54

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