Sofonisba Anguissola Paintings & Artwork for Sale | Sofonisba Anguissola Art Value Price Guide

Dec. 18, 2023
ATTRIBUTED TO SOFONISBA ANGUISSOLA Cremona (1527) / Palermo (1625) "Portrait of Isabel de Valois"
Est: €22,500 - €30,000
Oil on canvas attached to board On the back, Wax seal and inventory number (165) from an old collection. Measurements: 47.5 x 36.5 cm
Ansorena
Oct. 17, 2023
ANGUISSOLA SOFONISBA (1530 - 1625) - Scope of. Child bitten by a shrimp
Est: €1,500 - €2,500
ANGUISSOLA SOFONISBA (1530 - 1625). Scope of. Child bitten by a shrimp. 26,50 x 20,50 cm.
Capitolium Art
Jun. 29, 2023
Sofonisba Anguissola Ritratto di Daulo Dotto de Dauli
Est: €3,000 - €4,000
reca iscrizione in alto a destra: \DAULUS DOCTUS / DE DAULIS / MDVXXX\"
Cambi Casa d'Aste
Nov. 29, 2022
Portrait of King Phillip II in copper oval, circle of Sofonisba Anguissola (Cremona, c. 1535-Palermo, 1625), 16th - 17th century
Est: €2,000 - €2,500
Oil on copper, framed measurements: 15 x 13.5 cm. Copper measures: 9 x 7.5 cm. Origin: important private collection, Spain
Templum Fine Art Auctions
Sep. 22, 2022
Sofonisba Anguissola, um 1530 Cremona – 1625 Palermo
Est: €80,000 - €100,000
Portrait von vier Kindern Öl auf Leinwand. Doubliert. 103 x 102 cm. In reichlich mit Akanthusblatt verziertem vergoldetem Rahmen. Beigegeben Ausarbeitung von Marco Tanzi, Cremona, 2022. Dicht nebeneinander stehen in zeitgenössischer Kleidung vor unbestimmtem Hintergrund vier etwa gleichgroße Kinder, die den Betrachter allesamt anblicken. Als Frau war Anguissola zu ihrer Zeit noch eine Außenseiterin in dem von Männern beherrschten Beruf. Dank der Förderung Ihres Vaters jedoch, brachte sie es so weit, dass sie Hofmalerin bei Philipp II von Spanien wurde und Lehrerin der Königin Isabella von Valois. Deswegen, vor allem aber wegen ihres intimen Malstils waren ihre Werke besonders begehrt. Schon früh reiste sie nach Rom, wo sie Michelangelo vorgestellt wurde, der ihr Talent direkt erkannte, und nach Mailand, wo sie den Herzog von Alba malte. König Philipp von Spanien ermöglichte ihr eine aristokratische Heirat; später zog sie dann nach Sizilien, dann nach Pisa und Genua. In dem hier angebotenen Gemälde sieht man sehr schön, wie das zärtliche Wesen der Kinder sich in ihrem Lächeln widerspiegelt – eine Eigenart, die viele Zeitgenossen faszinierte. (†) Provenienz: Königshaus Hannover, Marienburg. Sotheby‘s, Kunstwerke des Königlichen Hauses Hannover, Schloss Marienburg, 5.-15. Oktober 2005, Lot 494. Mit einer vorgeschlagenen Datierung um 1590. Anmerkung 1: Sofonisba Anguissola wurde um 1532 in Cremona in der Lombardei als ältestes von sieben Kindern geboren. Ihr Vater Amilcare Anguissola war ein Vertreter des genuesischen Kleinadels. Ihre Mutter Bianca Ponzone stammte ebenfalls aus einer wohlhabenden Familie mit adeliger Herkunft. Ihre Mutter starb, als Sofonisba gerade einmal vier oder fünf Jahre alt war. Amilcare Anguissola ermutigte alle seine Töchter (Sofonisba, Elena, Lucia, Europa, Minerva und Anna Maria), ihre Talente zu entwickeln. Vier ihrer Schwestern wurden Malerinnen, aber Sofonisba war bei weitem die begabteste und schließlich auch die einzige der Schwestern, deren Name bis heute überdauert. Ihr aristokratischer Vater sorgte dafür, dass Sofonisba und ihre Schwestern eine vielseitige Ausbildung erhielten. Sofonisba war 14 Jahre alt, als er sie zusammen mit ihrer Schwester Elena zu Bernardino Campi zur Ausbildung schickte, einem angesehenen Portrait- und religiösen Maler aus Sofonisbas Heimatstadt Cremona. Anmerkung 2: Von Anguissola sind mehrere Kinderbildnisse bekannt, die als Vergleich herangezogen werden. Eines wurde am 31. Mai 1929 bei Cassirer Helbing in Berlin unter Lot 10 versteigert und befindet sich heute in der Sammlung J. Spiridon in Paris. Besonders jedoch ein Gemälde mit drei nebeneinander befindlichen Gemälden in der Sammlung Lord Methuen in Corsham zeigt deutlich, dass die Zuschreibung unseres Gemäldes an Anguissola augenfällig ist. Ein weiteres Portrait mit zwei Kindern befindet sich im Allen Memorial Art Museum in Oberlin und ist als Tondo gearbeitet. (13305110) (13) Sofonisba Anguissola, ca. 1530 Cremona – 1625 Palermo PORTRAIT OF FOUR CHILDREN Oil on canvas. Relined. 103 x 102 cm. Accompanied by elaboration by Marco Tanzi, Cremona, 2022. (†) Provenance: Royal House of Hanover, Marienburg. Sotheby’s, works of art from the Royal House of Hanover, Marienburg Castle, 5 - 15 October 2005, lot 494 with a suggested creation date of ca. 1590. Notes: Several portraits of children by Anguissola are known, which can be used to draw comparisons. One was sold at auction on 31 May 1929 at Cassirer Helbing in Berlin under lot 10 and is now held at the J. Spiridon Collection in Paris. A portrait of three children held at the Lord Methuen Collection in Corsham clearly shows that the attribution of our painting to Anguissola is obvious. Another example is a portrait of two children in tondo format held at the Allen Memorial Art Museum in Oberlin.
Hampel Fine Art Auctions
May. 13, 2022
AMBIT OF SOFONISBA ANGUISSOLA (Cremona, 1532 -Palermo, 1625)
Est: €3,000 - €4,000
Portrait of an Elderly Gentlewoman Oil on canvas, 34x29. Framed
Bertolami Fine Art s.r.l.
Oct. 14, 2021
ATTRIBUTED TO SOFONISBA ANGUISSOLA (CREMONA C. 1532-1625 PALERMO) Portrait
Est: $20,000 - $30,000
ATTRIBUTED TO SOFONISBA ANGUISSOLA (CREMONA C. 1532-1625 PALERMO) Portrait of Catalina Micaela, Duchess consort of Savoy (1567-1597), bust-length... oil on canvas 23 ½ x 18 in. (59.5 x 46.3 cm.)
Christie's
Jun. 16, 2021
Sofonisba Anguissola (Cremona 1535 - Palermo 1625), attribuito a, Ritratto di monaca con breviario
Est: €8,000 - €10,000
olio su tela, cm 61,5x51
Cambi Casa d'Aste
Jun. 15, 2021
SOFONISBA ANGUISSOLA (cerchia di)
Est: €500 - €800
(Cremona, 1531 - Palermo, 1625) Ritratto di giovane Olio su tela, cm 42X34
Wannenes Art Auctions
Jun. 02, 2021
Sofonisba Anguissola: Portrait of a Child
Est: €35,000 - €45,000
ANGUISSOLA, SOFONISBA ca. 1535 Cremona - 1625 Palermo Title: Portrait of a Child. Technique: Oil on wood. Measurement: 37 x 28cm. Frame/Pedestal: Framed. Verso: Old inscriptions on the panel. Certificate: M. Tanzi, Cremona, 23.02.2021, is available. Provenance: Private ownership, Switzerland. The painting shows a boy in half-portrait wearing an elegant black velvet dress trimmed in gold with numerous buttons and a thin belt at the waist, while on his shoulders he wears a coat from which the collar and cuffs of white lace peek out. In the lower part of the picture, one can glimpse a pair of wide, gold-striped trousers. In his right hand the child holds a pair of gloves, while in his left hand he holds the hilt of a sword, possibly indicating that his family belonged to the military nobility. The face, framed by thinning reddish hair, is lit by a proud and intense gaze; a hint of a smile seems to express the knowledge of his rank despite his young age. The forms are shaped by a soft, delicate chiaroscuro and the figure stands out without complacency, thanks to the skilful play of colour contrasts, which are not overemphasised, on a beautiful neutral grey-brown background varied by shadows. The dazzling portrait shows the typical features of courtly portrait painting between the seventh and eighth decades of the 16th century. In particular, the painterly peculiarities and some stylistic details allow us to attribute the work to the Cremonese painter Sofonisba Anguissola, who had long left her training in her native city behind at the time of the present painting's creation and was already beyond the important period at Philip II's court in Madrid, where she learned the dictates of court portraiture. It is in fact a work that can be placed in the first sojourn in Sicily, where Sofonisba arrived in 1573 with full honours and - thanks to the monarch's generosity - a rich dowry, to marry Fabrizio Moncada, governor of Paternò. There is not much information about this chapter of Sofonisba's activity - which was quite short, considering that she became a widow in April 1578 - but the research of recent years has made it possible to refer with certainty to the large panel with the Madonna dell'Itria, donated to the Franciscan monastery of Paternò on 25 June 1579 and now in the church of Santissima Annunciata. The morphology of the Virgin's face shows particular similarities with the features of our child, such as the typical shell shape of the eyes and the representation of the nose and mouth. These features are found in a wide range of Anguissola's figures: from the Nun of Southampton from 1551, to Massimiliano Stampa, in the Cook Collection in Richmond, to the Three Boys at Corsham Court, where the hair of the one standing in the middle is painted with the same light and fine brushstroke, to Alessandro Farnese from the National Gallery of Ireland in Dublin, who shows the same proud posture as our boy. It is then the portraits of the Genoese years that show further affinities with the present portrait, such as the Infanta Caterina Micaela Duchess of Savoy now in the Prado, the other of the same Infanta, with fur collar and veiled head, in the Stirling Collection of Pollok House, in Glasgow. Our painting belongs to the typology of semi-portraits of this period between Madrid and Genoa, in which the physiognomic characterisation of the sitter is not accentuated on the basis of the naturalistic dictates learned in youth at Cremona, nor does it revel in the embalming of the portrait, as at the Spanish court. Rather, the painting gives way to a more minute and detailed taste for decorative detail, while the setting is the usual one, simplified as much as possible as in the portraits of the Madrid period. Anguissola was an accomplished portrait painter who achieved international fame very early on: in Cremona she followed the teachings of her masters Bernardino Campi and Bernardino Gatti and succeeded in creating works that bordered on the delightful, such as the family portrait in the Nivaagaards Malerisamling, the painting with the chess game in Posen and portraits, portraits that explore the psychology of the sitter and dare to go beyond the surface of the skin, like that of the Canon of Brescia. At the court of Philip II, on the other hand, we get lost in a whirlpool of painters portraying the same figures and copying the same model over and over again: The royal family was depicted by Anthonis Mor, Alonso Sánchez Coello, Juan Pantoja de la Cruz, Sofonisba and others, who created an impressive number of paintings that were largely identical. The "pintora" obviously manages to play with ease on different expressive and qualitative levels. Compared to the endless succession of self-portraits and the portraits of Anguissola's sisters, our figure is part of a rather smaller male repertoire of the artist. She reserves a less forceful and somewhat carefree characterisation, referring to an almost official idealisation, but not without leaving some room for irony. The present work is thus an important addition to the oeuvre of Sofonisba Anguissola's portraits, which can be dated to the painter's first stay in Sicily. Given the still relatively small number of works from this creative period, the portrayal of the young scion from a local family, yet to be identified by future research, is a great enrichment of this chapter. We are grateful to Marco Tanzi, Cremona, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph.
Van Ham Kunstauktionen
Dec. 10, 2020
Sofonisba Anguissola (Cremona 1532 - Palermo 1625), Ritratto di Badessa con rosario
Est: €10,000 - €15,000
olio su tela, cm 70,5x67 entro cornice coeva reca sul retro punzone in cera lacca attestante un'antica provenienza dalla collezione del principe Orlov
Cambi Casa d'Aste
Oct. 20, 2020
Sofonisba Anguissola (1535-1625)-attributed
Est: €500 - €1,000
Sofonisba Anguissola (1535-1625)-attributed, Portrait of an aristocratic child; oil on canvas, framed.
Deutsch Auktionen
Oct. 14, 2020
Sofonisba Anguissola (Cremona 1535 - Palermo 1625), attribuito a, Ritratto di monaca domenicana
Est: €800 - €1,200
olio su tavola, cm 23x17,5
Cambi Casa d'Aste
May. 26, 2020
Sofonisba Anguissola (Cremona 1532 - Palermo 1625) ambito di - circle of
Est: €2,900 - €4,000
Ritratto di nobildonna Olio su tela Portrait of a noble woman Oil on canvas Dimensioni :70 x 58,5 cm Di ottima qualità, l'opera, ha tutte le tipicità espressive della ritrattistica di Voet. Attivo a Roma tra il 1663 e il 1679, opera anche a Milano nel 1680, a Firenze nel 1671, infine tra 1672 e il 1684 a Torino. Ritrattista di estrema qualità e ambitissimo dalla nobiltà ha lasciato ampia testimonianza della sua arte soprattutto a Roma. La nostra opera si può comparare alla "Galleria delle belle" ovvero all'ampia serie di ritratti femminili ritraenti le donne dei più nobili casati romani, oggi visibile, in larga parte, presso Palazzo Farnese di Ariccia.
Lucas Aste
Jun. 27, 2019
Attributed to Sofonisba Anguissola (Cremona, c. 1535 - Palermo, 1625)
Est: €22,500 - €26,000
Attributed to Sofonisba Anguissola (Cremona, c. 1535 - Palermo, 1625) "Portrait of the Infanta Catherine Michelle of Spain" Oil on canvas. Circa 1585. This painting must be a three-quarter length version of the portrait of the Infanta which is kept at the Prado Museum. Sofonisba Anguissola, born in Cremona to a noble family, received artistic and musical training, becoming so renowned that from 1559 and for 15 years she worked at the Spanish court in Madrid as a portrait artist, painting tutor and lady in waiting to Elizabeth of Valois, third wife of Philip II of Spain. When the queen died, the appreciation the monarch had for the painter was so great that she continued at court in charge of the education of the two infantas; the eldest, Isabella Clara Eugenia and the younger, Catherine Michelle. Around 1573 she returned to Italy, after having married a Sicilian nobleman, although the ties she had made with the Infantas were never entirely broken, as they met again in Italy at different times of her life. This magnificent painter, in the opinion of María Kusche, a great expert on Sofonisba´s Spanish period, would have been the true artist of the painting known as A Lady in a Fur Wrap, which is catalogued as a painting by El Greco, belonging to the Stirling Maxwell Collection at Pollok House in Glasgow. The controversy surrounding the true authorship of this painting has been going on since the 20th century, and there have been various opinions and critics writing on the subject. However, it was Maria Kusche, who died in 2012, basing her opinion on the previous study by Carmen Bernis from 1986 "La Dama del Armiño y la moda (A Lady in a Fur Wrap and fashion", who has produced more arguments, documents and analysis, to defend the theory that the painting is really by Sofonisba Anguissola. In Kusche´s own words: “the Lady, of course, is not unknown, and her fur is not ermine, nor can the painting be by El Greco. The subject is the Infanta Catherine Michelle, the beautiful fur which wraps her is lynx fur, and the painting shows the hand and the spirit of Sofonisba Anguissola".[1] Bibliography: [1] Maria Kusche, "Retratos y retratadores. Alonso Sánchez Coello y sus competidores Sofonisba Anguissola, Jorge de la Rúa y Rolan Moys". (Portraits and portrait painters. Alonso Sánchez Coello and his competitors, Sofonisba Anguissola, Jorge de la Rúa and Rolan Moys) Madrid 2003. 62 x 41 cm.
La Suite Subastas
Jun. 27, 2018
Sofonisba Anguissola (1531-1625)-attributed
Est: €4,500 - €9,000
Sofonisba Anguissola (1531-1625)-attributed, Personification of the Geometrics, oil on canvas, framed. On the reverse old paper label with description and number.
Deutsch Auktionen
Jun. 20, 2015
ANGUISCIOLA, Sofonisba (ca.1530-1625), Umkreis/Schule, ''Maria lactans'',
Est: - €3,300
ANGUISCIOLA, Sofonisba (ca.1530-1625), Umkreis/Schule, ''Maria lactans'', Öl/Lwd., 72 x 64, doubliert, R.
Auktionshaus von Zengen
Apr. 29, 2015
CIRCLE OF SOFONISBA ANGUISSOLA (Cremona circa 1532-1625 Palermo) Portrait of a lady, half-length, in an embroidered dress and pearls
Est: -
CIRCLE OF SOFONISBA ANGUISSOLA (Cremona circa 1532-1625 Palermo) Portrait of a lady, half-length, in an embroidered dress and pearls
Bonhams 3
Jun. 26, 2014
Sofonisba Anguissola, 1535 - 1625, zug.
Est: €20,000 - €30,000
Sofonisba Anguissola, 1535 - 1625, zug.
Hampel Fine Art Auctions
Jan. 11, 2014
GROUP CHINESE PORCELAIN SNUFF BOTTLES PORCELAIN
Est: $150 - $200
Five snuff bottles with lids. Some with wax export seals2.1/2" to 3 1/2" H
Peachtree & Bennett
Sep. 19, 2013
Sofonisba Anguissola,um 1530 Cremona - 1625 Palermo, zug.
Est: €30,000 - €40,000
PORTRAIT EINES FELDHERRN IN FÜRSTLICHER RÜSTUNG Öl auf Leinwand. Doubliert. 100 x 76 cm. Ohne Rahmen. Im Dreiviertelbildnis nach links an einem Tisch stehend wiedergegeben, auf dem er seinen Helm abgelegt hat. Der Dargestellte legt seine rechte Hand an den Helm, seine linke an den Degenknauf. Die blanke Rüstung äußerst kunstvoll gearbeitet, goldtauschiert und teilvergoldet, am Achselstück Medaillonscheibe mit Bildnisbüste. Über die Rüstung zieht eine dunkelblaue Schärpe, der Hals umgeben von weißer, gefältelter Halskrause, das Gesicht und der lebendige Blick dem Betrachter zugewandt. Zeitgemäß zeigt er einen kurzen Kinnbart sowie einen bräunlichen Lippenbart, das kurze braune Haar zurückgekämmt. Die Ausführung der Hände erreichen nicht die überaus hohe Malqualität des Kopfes, was an die Ausführung durch einen Werkstattmitarbeiter denken lässt. (9303411) Sofonisba Anguissola, circa 1530 Cremona - 1625 Palermo, attributed Oil on canvas. Relined. 100 x 76 cm. Unframed.
Hampel Fine Art Auctions
Dec. 05, 2012
Circle of Sofonisba Anguissola (Cremona c. 1532-1625 Palermo)
Est: £20,000 - £30,000
Circle of Sofonisba Anguissola (Cremona c. 1532-1625 Palermo) Portrait of a lady, as Saint Lucy, half-length, in a red embroidered dress and brown mantle oil on canvas, unframed 23 7/8 x 17 7/8 in. (60.7 x 45.4 cm.)
Christie's
Mar. 14, 2012
Follower of Sofonisba Anguissola (Cremona circa 1532-1625 Palermo) A Lady, wearing fur lined black robe over white chemise, her hair upswept and plaited at the back of her head
Est: £400 - £600
A Lady, wearing fur lined black robe over white chemise, her hair upswept and plaited at the back of her head. Oil on card, mounted on yellow velvet within rectangular ebonised wood frame; together with another portrait miniature of a Lady, Continental School, circa 1815, pencil on paper, rectangular ebonised and turned wood frame and three further portrait miniatures of Gentlemen, all in profile to the left, pencil and watercolour on card, gilt-mounted on rectangular papier-mâché frames. Oval, title miniature: 65mm (2 9/16in) high (5)
Bonhams 3
Dec. 09, 2011
Sofonisba Anguissola, ca 1532 - 1625, zug.
Est: €6,000 - €8,000
Öl auf Leinwand. 72,5 x 53,5 cm. Halbbildnis einer adeligen Dame im rosafarbenen Kleid mit Perlenkette und Halskrause. (840836)
Hampel Fine Art Auctions
Jun. 08, 2011
Attributed to Sofonisba Anguissola (Cremona c. 1532-1625 Palermo)
Est: $8,000 - $12,000
Attributed to Sofonisba Anguissola (Cremona c. 1532-1625 Palermo) Self Portrait oil on canvas 9½ x 7¾ in. (24.1 x 19.7 cm.)
Christie's
Nov. 24, 2010
Follower of Sofonisba Anguissola (Cremona circa 1532-1625 Palermo) A Lady, wearing fur lined black robe over white chemise, her hair upswept and plaited at the back of her head
Est: £800 - £1,200
A Lady, wearing fur lined black robe over white chemise, her hair upswept and plaited at the back of her head. Oil on card, mounted on yellow velvet within rectangular black wood frame. Oval, 65mm (2 9/16in) high
Bonhams
Dec. 07, 2006
Circle of Sofonisba Anguissola (Cremona 1527-1626 Palermo)
Est: £50,000 - £80,000
Portrait of Margherita of Savoy (1589-1655), three-quarter-length, in a white dress with gold and pink brocade, with flowers in her hair, standing next to a table with a King Charles Cavalier spaniel oil on canvas 47 1/4 x 39 in. (120 x 99.1 cm.)
Christie's
Jan. 24, 2003
Sofonisba Anguissola (Cremona c.1532-1625 Palermo)
Est: $30,000 - $50,000
Portrait of a Lady, small three-quarter-length, in a red dress and jewel embroidered belt oil on panel, circular 61/4 in. (15.8 cm.) diam. SALESROOM NOTICE Please note the attribution and estimate should read: Circle of Sofonisba Anguissola Estimate: $20,000-30,000. An old inscription on the reverse identifies the sitter as Marchesa Donna Giulia Pallavicini, age 28. Dott. Mina Gregori, on the basis of photographs believes the present painting is possibly by Lavinia Fontana (private communication, 24 December 2002).
Christie's