Saint Peter Artwork by Gerard Van Honthorst ⋆ CAP 96816661

  • 1208
Item titleTable Face (Saint Peter)
CAP Record96816661
Type of ItemPainting
Available to: sale
Author / BrandGerard Van Honthorst
Material usedOST
Current OwnerBruno de Araújo
Current locationBrazil
CAP ConnectivityQR | NFC | URL
State Code760.856.627.896
Coded Seal in Bars63447870821
External QR Code*0000049*
Color CodeTo consult ...
Applicant's Code01000010 01110010...

CAP: 96816661 – Saint Peter – Gerard van Honthorst

Owner’s Statement:

Wonderful baroque fabric | rare & antique frame sale *** realistic painting ***

Monalisa Effect | it seems he looks at you, a relic, a work of art signed in the lower right corner (it was part of a private collection alongside works by important artists.) This work of art is a sure investment!

Baroque painting, which I believe to be from the seventeenth, eighteenth century, without a frame I could not identify the signature or the date, probably it was bought in Europe | Italy | Note: on the back is a writing in pencil 56c the painting is preserved with small damages like holes and tears | original work, without restoration | oil paint on canvas | unfortunately a few years, the screen was folded and later stored.

Screen size only: 39 cm high x 30 cm wideShort and impressive like no screen ever seen.

It was evaluated orally in the state | It can be restored, identified and framed, where it would probably be a work of Constantino Brumidi, (currently certified by PRONEC as a work of Gerard Van Honthorst).

*** Wonderful family story ***
The story told by my grandmother is that the same was acquired by my great-grandfather in Italy is believed to have been made to order, may have been acquired also in an auction, but surely was acquired as payment of a promise made to Jesus, by the Your Cure | tuberculosis. Commander Remo Cesaroni (1900 to 1968) | @rcesaroni.

The family believed that the image portrayed an apostle of Jesus Christ. According to images of the statues of St. Peter’s Basilica | Vatican, maybe it could be: I bet Pedro and or maybe the apostle Paulo. However, according to information from the comments, it may be the holy Padre Pio of Pietrelcina (patron saint of Italy), for the history of my great-grandmother.

I particularly believed that it was the face of the mathematician Galileo Galilei, however, after analyzing the museum itself in Italy, that possibility was ruled out! However, according to some information, it can be the mathematician Archimedes of Syracuse (Greek physicist, engineer, inventor, astronomer and mathematician).

Feel and see with your own eyes and soul!
This beautiful canvas deserves to be restored, framed and added to its beautiful exhibition! And it can be all yours !!!

The work will be delivered by hand and the purchase in the state of São Paulo, purchases made in Brazil, will be sent via Post and outside the country by Fedex Express, packaged properly for transportation! You track the delivery through the site, in total security, because the shipment will be covered against theft and or loss!

It can also be taken off in São José dos Campos – SP.

It is accepted: 100% in Bitcoin and or other virtual currencies | market value, as well as other works of art, automobiles, real estate, boats, installments and proposals.

Positive Card:
As a testimony of his own family, this work of art belonged to Comendador Remo Cesarone, born in Italy, working as an actor in his native land.

He came to São José do Campos inland from São Paulo in Brazil at the beginning of the year to treat tuberculosis.

Thanks to the dedication of his doctor and personal friend Dr. Nelson D’Ávila, he was cured of his illness and continued in the city, living in a house in the street that today bears his name.

In 1933 opened the first hotel of the city, the San Remo, located in Largo da Matriz. At the same time he began to dedicate himself to astronomy. He built the Galileo Galilei Observatory in 1943.

The observatory had state-of-the-art equipment at the time. Its building was demolished and today the space is occupied by a residential building.

Remo was also passionate about the carnival, he was always present in parades and carnival dances. He also liked to dress up as Santa Claus and go out giving candy to the kids for Christmas.

For this he turned his car in a sleigh and went out through the streets of the city. In the 60’s, the entrepreneur built the Planetary Cinema, a mixed film and planetarium.

Its walls were decorated with figures and gods and scenarios referring to the sidereal space. The cinema was considered to be of a high standard, with its comfortable chairs and the high quality audio and image for the time.

The Planetary Cinema worked where today is the parking of a supermarket.

Really a noble man and above all suspicion the Commander Remo Cesarone in his life always sought for integrity and honesty, being professionally recognized as Astronomer, Commander, Actor, Entrepreneur, Carnivalesque, Philanthropist and Artist.

In the image above we can see Commander Remo Cesarone landing for a photograph in one of his art exhibitions, presenting himself clearly on a publicity board as “astronomer and artist” in a beneficent action worthy of the straightforward character he built throughout the trajectory of his life.

Negative Sheet:

The work needs restoration, but its current condition can represent a superior value in front of a restored work. The restorer must be as well evaluated as the work itself, according to the interest of each acquirer, otherwise it is not against this work and this CAP certification was issued by the grandson of the owner of the work, the Commander Remo Remo Cesarone and any discrepancies that disagree with regard to its integrity, can be notified on this same page, the warning icon arranged just above the main image or in the comments at the bottom of this page.

Attention: Evaluators, authors and professionals may benefit if they present evidence that may be added to this certification, or by images, videos, audio, testimonials and the like, proving the authenticity and veracity of this information or denying them, placing the work on your certification above any suspicion.

First pontiff of the Catholic Church is St. Peter or St. Peter the Apostle or also as Pope St. Peter, where the Catholic Church regards the Apostle Peter as the first Bishop of Rome and therefore his first Pope. He would be, according to Catholicism, the holder of the longest pontificate in history: about thirty-seven years.


Every artist besides his signature has a visual identity that is perceived in the strokes and touches of his brushes, as if they were a fingerprint of each artist in particular, so the PRONEC auditors found very similar traits with the works of Gerrit Van Honthorst, where in a great example would be the painting that exhibits the profile of Pope St. Peter. See the similarities between the works …

Below, in the second image a work also very similar of St. Peter, but this version was not concluded by Gerrit Van Honthorst, but by Peter Paul Rubens and both knew each other, exchanged experiences and techniques of painting, where their works had an affinity in where only an expert with much knowledge could distinguish their works from each other, a fact that also happened with Gerrit Van Honthorst‘s brother, Willem van Honthorst, who, in addition to mastering the same technique, still signed the same name for having the same surname.

The great truth is that there are thousands of paintings and works of art lost in their own history, there are many artists who collect paintings and various works, many artists have graduated and others have left us, but many have not signed and many have left their signatures in their almost unreadable, so finding and finding an oil painting on an old canvas is often more than an art on your wall, it is almost an adventure that leads you to solve a great mystery and as you you understand the story and why that piece was created. With the work of art of this certification CAP – Certificate of Authenticity PRONEC, is nothing different, according to the statement of the current owner, the family understands, that, the same work would be over 100 years and would probably be Constantino Brumidi dated 1805 to 1880, but we feel it to disappoint them and we will from now on tell of who this work is and why we believe and affirm this our concept. Come on …

It starts at the signing of the work …

In the signatures above, where we expose them in different shades to facilitate the evaluation and perception of the touch of their brushstrokes, we can conclude on the first impression that it is illegible in its entirety, in the first capital letter it is calculated to be a “B “in the last three we see two t’s an i, or” TTi “, among hundreds of names of artists that we have in records with these characteristics until we select some type Bartolomeo Passarotti or Camillo Bagazzotti, see how it would look in the example below …

The signatures of the artists began to prevail during the beginning of the Renaissance, Renaissance or Renaissance, which is a period of European history, covering the space between the fourteenth and seventeenth centuries and marking the transition from the Middle Ages to modernity, saw the production of arts shift from guild and cooperative systems to a celebration of individual creativity, meaning a signature became a perfect way to differentiate its talent from that of smaller colleagues.

What happens is that Gerard van Honthorst dated from 1592 to 1656 or Gerrit van Honthorst in the 18th century was nicknamed “Gherardo delle notti” and came into widespread use as a Renaissance painter many of his works did not carry the signature on his forehead and even if this happened the signature was quite different from the one presented in the present work, let us compare Honthorst signature with that of Constantino Brumidi and that of Camillo Bagazzotti

No need to be an expert to differentiate these signatures, we know that people as well as artists over time undergo changes in their signatures, whether by age, maturity, temperament and even by the difference of their brushes, but we have another detail to about the signing of the work, below …

It is worth mentioning that we did not have access to the work and therefore we did not directly perform a graphic technique, so that we could affirm with 100% of truthfulness, certainly this step may be the primordial one to elevate the value of this work in many digits, or not, however technically with what we have in hand, the first suspicion is that this paint is not the same used in the process of creation of the work, not even made by the same author, observe in the image of the work the traces in its details, not actually accreditations that an artist with such precision in detail has reproduced his own signature with such illegibility, not that this is a rule.

Note that it is possible to find difficulties even in locating the pastel tone used in the signature in the context of the work, so we gather the facts and consider until proven otherwise that Gerard van Honthorst would be the author of the work “Face Frame” or “Saint Peter” as we rename it, where in fact the current signature is only a clue, HonthorstGerard van Honthorst or Gerrit van Honthorst, does not begin with “B” but in its nickname dated in the 18th century took the TTi in the the end of his name, as “Gherardo delle Notti” which in a direct and abridged way would be pronounced as Gherardo Notti in a quick pronunciation, either by an Italian or even by a Brazilian, would thus sound in the abbreviation with Berardo notti, Berarnotti. It may seem somewhat curious and suspicious the conclusion, and should be really re-evaluated the work physically and this can greatly value this work of art, since the signature is not a fake, but as said, it is just a clue who would be the author.

Back of the Work – Verso da Obra

Considering the beautiful history of Comendador Remo Cesarone and his relationship with the arts, we believe that he acquired this work without signature, but the seller informed him that it was a work of art of Gherardo Notti and was understood as Berarnotti, so he took note and by recommendation doubled the work by putting it in a pocket, thus avoiding customs or loss problems, fulfilling his promise as reported by his wife and great-grandmother of the applicant for this certification, where she said that it was acquired by her husband Remus Cesarone in Italy, where she believes it was made to order, but which may also have been acquired in an auction, as we believe, she also stated that surely this work was acquired as payment for a promise made to Jesus for the healing of Tuberculosis of Remo.

It may have occurred that someone else had signed, not being Commander Remus Cesarone, but it is evident that whoever tried to sign, wanted to express the signature in the following format, without the intention of falsifying, only with the intention of doing something for the his identification, something that the author himself should have done, signed the work, but he did not do so because it was in a Renaissance period, this work being dated between 1592 and 1656, having currently in 2019, date of this certification, more than 363 years.

This work is available for the acquisition of new investors, and you can use the field of contacts on the side or request support directly from the PRONEC team, thus making your acquisition a safe negotiation in a lasting investment, it really is a unique opportunity to those who promote this investment.


Disclaimer: All results related to this item represent the opinion of one or more curators. They are based on studies and research may or may not be inserted into this content, which in most cases represents our best attempt to classify and authenticate this item. Since views can change over time and new information, they can be made available in this same certification, which can also change ownership, being transferred to the new owner by recording a history of the item. PRONEC – National Program for Education and Culture reserves the right to change its determination of authenticity based on the review of new current information. PRONEC and its executives, employees, agents, predecessors and successors do not and in no way are responsible for or consider, as they did, Economies, representations, expressed or implied, whether of authorship, use, procedure, period, culture, source, origin or condition of genuine with respect to the item identified herein, including, without limitation, any verbal attestation made in respect of the certified item by PRONEC prior to or after the issuance of this certification, with respect to PRONEC which or CAP – PRONEC Certificate of Authenticity, Customer hereby releases or PRONEC from any liability or damage, whether qualified for actual or consequential, arising out of or related to the issuance of this Certificate, concluding its validation with its own signature with a version 100% anti-fraud CAP certification, which must accompany the PRONEC tamper-resistant item and its mini CAP certification, the at the same time, facilitating connectivity to access this online CAP certification.

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