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Filippo Baratti Sold at Auction Prices

b. 1868 - d. 1901

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    • Filippo Baratti An artist oil on canvas 1895 signed lower right
      Jun. 26, 2019

      Filippo Baratti An artist oil on canvas 1895 signed lower right

      Est: €1,500 - €2,500

      Filippo Baratti An artist oil on canvas 1895 signed lower right, titled signed and dated on the reverse within frame, Trieste 1849 - Londra 1904

      Colasanti Casa d'Aste
    • Filippo BARATTI (act.c.1868-c.1901) Balade au jardin des Tuileries Aquarelle Signé en bas à droite 22,5 x 15 cm (à vue) Watercolour, signed lower right, 8 7/8 x 5 15/16 cm
      Mar. 17, 2019

      Filippo BARATTI (act.c.1868-c.1901) Balade au jardin des Tuileries Aquarelle Signé en bas à droite 22,5 x 15 cm (à vue) Watercolour, signed lower right, 8 7/8 x 5 15/16 cm

      Est: €400 - €600

      Filippo BARATTI (act.c.1868-c.1901) Balade au jardin des Tuileries Aquarelle Signé en bas à droite 22,5 x 15 cm (à vue) Watercolour, signed lower right, 8 7/8 x 5 15/16 cm

      Osenat
    • FILIPPO BARATTI (1868-1901)
      Nov. 14, 2018

      FILIPPO BARATTI (1868-1901)

      Est: €3,000 - €5,000

      FILIPPO BARATTI (1868-1901) DÉTENTE MUSICALE AU HAREM MUSIC IN THE HAREM Huile sur panneau, signée en bas à droite. Contresignée, située "Paris" et datée "1882" au dos. 39 X 30cm (15 3/8 X 11 13/16 IN.) €3,000-5,000 PROVENANCE Vente Christie's, 2juin 2010, lot 166.

      Tajan
    • BARATTI, Felipe. Oil on Canvas. Horse Guards.
      Feb. 04, 2018

      BARATTI, Felipe. Oil on Canvas. Horse Guards.

      Est: $4,000 - $6,000

      Signed 'Ph. Baratti / London' lower left. Filippo (Felipe) Baratti (Italian, act. c.1868-1901). From a Riverside, CT home.

      Clarke Auction Gallery
    • Filippo Baratti (Italian, active circa 1868-1901) Conversation in the street
      Sep. 15, 2010

      Filippo Baratti (Italian, active circa 1868-1901) Conversation in the street

      Est: £12,000 - £16,000

      Conversation in the street signed 'F Baratti' (lower right) oil on canvas 76 x 51cm (29 15/16 x 20 1/16in).

      Bonhams
    • FILIPPO BARATTI
      Jun. 02, 2010

      FILIPPO BARATTI

      Est: £10,000 - £15,000

      FILIPPO BARATTI ITALIAN 1868-1901 IN THE HAREM signed, inscribed and dated F. Baratti / Paris / 1882 lower right; signed, inscribed, dated and titled F. Baratti / Paris / 1882 / Vie Orientale on the reverse oil on panel 41 by 32cm., 16¼ by 12½in. 41.3 by 29.5 cm

      Sotheby's
    • FILIPPO BARATTI (Italian c.1868-1901), The
      Sep. 10, 2009

      FILIPPO BARATTI (Italian c.1868-1901), The

      Est: £3,000 - £4,000

      FILIPPO BARATTI (Italian c.1868-1901), The Alchemist, oil on canvas, label verso for Louis Pisano Gallery, Florence, signed and dated 1873, 19 1/4" x 15 3/4", gilt frame

      Hartleys Auctioneers and Valuers
    • Filippo Baratti (Italian, 1868-1901)
      Mar. 19, 2009

      Filippo Baratti (Italian, 1868-1901)

      Est: £7,000 - £10,000

      Filippo Baratti (Italian, 1868-1901) Feeding swans in the harem signed and dated 'F. Baratti/1884' (lower left) oil on canvas 17¼ x 22 in. (44 x 55.8 cm.)

      Christie's
    • Filippo Baratti (Italian, 1868-1901)
      Oct. 01, 2008

      Filippo Baratti (Italian, 1868-1901)

      Est: £15,000 - £20,000

      Filippo Baratti (Italian, 1868-1901) Feeding swans in the harem signed and dated 'F. Baratti/1884' (lower left) oil on canvas 17¼ x 22 in. (44 x 55.8 cm.)

      Christie's
    • Filippo Baratti (fl, 1868-1901), Portrait of a
      Aug. 17, 2007

      Filippo Baratti (fl, 1868-1901), Portrait of a

      Est: £400 - £600

      Filippo Baratti (fl, 1868-1901), Portrait of a lady, head and shoulders, oil on canvas, signed, 48cm x 38cm. Illustrated.

      Bellmans Auctioneers
    • Filippo Baratti (Italian 19th century)
      Mar. 21, 2006

      Filippo Baratti (Italian 19th century)

      Est: -

      Life Guards passing Hyde Park Corner signed and dated 'Ph. Baratti/London 1885' (lower right) oil on canvas 64 x 92 cm. (25 1/4 x 36 1/4 in.)

      Bonhams
    • FILIPPO BARATTI ITALIAN, 19TH CENTURY WATERLOO PLACE
      Apr. 20, 2005

      FILIPPO BARATTI ITALIAN, 19TH CENTURY WATERLOO PLACE

      Est: $250,000 - $350,000

      signed F. Baratti and dated 1886 (lower right) oil on canvas PROVENANCE Corporate Collection, United Kingdom CATALOGUE NOTE The present painting, Waterloo Place, together with St. Paul's Cathedral from Aldgate, Fleet Street, looking East, is dated 1886. These two paintings appear to be the last works recorded by Filippo Baratti during his stay in London. The architect John Nash's magisterial scheme to provide a grand thoroughfare connecting Marylebone Park (now Regent's Park) to the Prince Regent's palatial London home at Carlton House, was the capital's largest civic project since the rebuilding of the city after the great fire of 1666. A monumental undertaking of immense cost, work began in 1813 but gathered pace in 1815 when the Battle of Waterloo finally ended a generation of war against Revolutionary France. The Duke of Wellington's decisive defeat of Napolean's army outside Brussels was hailed throughout Europe as the greatest victory in military history, yet, in London, only two tangible reminders of Wellington's triumph commemorated its name; one was Waterloo Bridge, opened on the second anniversary of the battle on June 19, 1817, and the other was Waterloo Place, begun the previous year to mark the final phase of Nash's plans by linking Regent Street to the gates of Carlton House. Nash conceived Waterloo Place as far more than a mere street, however, it was designed as much to frame a suitably impressive vista down Lower Regent Street, as to provide a means of access. Almost completed in 1820, in 1821 it was even suggested that 'Cleopatra's Needle' - presented to Britain by the Turkish Viceroy of Egypt in 1819- be sited in Waterloo Place as its central feature. The idea floundered when the obelisk itself proved impossible to move from the ancient landscape outside Alexandria. At about the same time, the Prince Regent had succeeded to the throne as King George IV and taken up residence in Buckingham Palace, leaving Carlton House empty and stripped of its treasures. Despite the money lavished upon it during the Regency, the house itself was demolished in 1826 and Carlton House Terrace, in fact consisting of two splendid terraces, was erected on the site between 1827 and 1832. This resulted in the unexpected extension of Waterloo Place so as to link it with the Carlton House terraces and The Mall beyond. The Athenaeum and the United Services Club, both recently established, then acquired the flanking sites on Pall Mall while the construction of Carlton House Terrace was in progess. In 1833, when the Duke of York's column was erected above the steps at the southern end, the development of Waterloo Place was finally completed. The Crown Commissioners, owners of the entire area, had begun by insisting that the Pall Mall facades of the two Clubs should be identical, but after a lengthy wrangle between the various parties, including Nash himself as architect to the United Services Club, the buildings, when erected, boasted only similar elevation. Broadly speaking however, Nash's dream of an architecturally harmonious route across the heart of the capital had been achieved and the scheme in its entirety was to remain essentially unchanged until the beginning of the twentieth century. Baratti, though mainly known for his Orientalist compositions, captures the energy of this impressive square. When the artist set up his easel in 1886, he saw Waterloo Place much as John Nash had left it fifty or so years before. From Baratti's vantage point on the south side of Pall Mall, the modest cupola of the National Gallery to the east rises above Trafalgar Square, although the spire of St. Martin-in-the-Field's Church intrudes with an impudent touch of artistic license when, in truth, it would be just out of sight. North of Pall Mall, the solid block of dwellings and commercial premises on the eastern side of Waterloo Place appears just as Nash had completed it and, in fact, the only element which John Nash would not have recognized instantly is the Guard's Memorial, or Crimean Monument, erected to the memory of the 2,162 officers and men of the Guard's Division who were slain in the Russian War of 1854-6. Designed by John Bell, this imposing granite pedestal, topped by a figure of Victory and fronted by three guardsmen, was unveiled in 1859. Despite the grandeur of the architecture, Baratti's real achievement here is to have captured the prosperous bustle of late Victorian London at a time when the city was the richest in the world. Pall Mall, teeming with cabs and carriages, and the Circus filled with people from every stratum of society, was simply a microcosm of a nation, charmingly recorded for posterity by Baratti.

      Sotheby's
    • Filippo Baratti (Italian, fl. 1868-1904)
      Nov. 02, 2004

      Filippo Baratti (Italian, fl. 1868-1904)

      Est: £40,000 - £60,000

      La Sultane, Patio de los Arrayanes (Court of Myrtles), The Alhambra Palace signed 'F Baratti' and dated '1901', signed and inscribed on the reverse oil on canvas 118 x 89.5 cm. (46 1/2 x 35 1/4 in.)

      Bonhams
    • Filippo Baratti (Italian, late 19th Century)
      Mar. 25, 2004

      Filippo Baratti (Italian, late 19th Century)

      Est: £8,000 - £12,000

      The three of hearts signed, dated and inscribed ' F Baratti Paris 1881' (lower right) and inscribed and dated 'F Baratti 1881' (on the reverse) oil on panel 9 x 12 in. ( 23 x 31 cm.)

      Christie's
    • Filippo Baratti (Italian, fl. 1868-1904)
      Apr. 29, 2003

      Filippo Baratti (Italian, fl. 1868-1904)

      Est: £60,000 - £80,000

      signed and dated 1901, signed and inscribed on the reverse, oil on canvas

      Bonhams
    • Filippo Baratti (Italian, fl. 1868-1901)
      Dec. 04, 2002

      Filippo Baratti (Italian, fl. 1868-1901)

      Est: $18,840 - $25,120

      Playing cards in the harem signed and dated 'F. Baratti Paris 1881'(strengthened). oil on panel 8 7/8 x 12 in. (22.5 x 30.5 cm.) Painted in 1881 NOTES In the late 1870's Baratti began to produce paintings with an Oriental subject and the Alhambra appears to be the inspiration for the interior of this work. It is likely that he was influenced by an illustrated guide to Moorish Andalusia, 'L'Espagna', written by Baron Jean-Charles Davillier (1823-83), which was published by Hachette in Paris in 1874.

      Christie's
    • Filippo Baratti (Italian, fl. 1868-1901)
      Jun. 20, 2002

      Filippo Baratti (Italian, fl. 1868-1901)

      Est: $22,500 - $30,000

      Vie Orientale signed and dated 'F. Baratti Paris 1882' (lower right); and signed, inscribed and dated 'F. Baratti, Vie Orientale Paris 1882' (on the reverse) oil on panel 161/4 x 11 5/8 in. (41.3 x 29.5 cm.) Painted in 1882.

      Christie's
    • Filippo Baratti (Italian, fl. 1868-1901)
      Nov. 01, 2001

      Filippo Baratti (Italian, fl. 1868-1901)

      Est: $70,000 - $90,000

      Entertaining the Favorites signed and dated 'F. Baratti Paris 1881' (lower right) oil on panel 16 x 213/4 in. (40.6 x 55.4 cm.) Painted in 1881 NOTES Renowned for his elaborately painted genre scenes and charming views of London, Filippo Baratti stands out as an Orientalist of very stylish pictorial references. Attracted at first by the costume scenes inspired by 16th and 17th Century interiors, in the late 1870s the artist, like many of his Italian colleagues, fell under the fascination of the contemporary pan-European vogue of Eastern themes that was particularly prevalent in London and Paris. He turned his observant eye from the Renaissance bal masqu‚s to lavish Orientalist scenes, displaying in his new panels and canvases the same profound attention to detail that was so highly praised in his cityscapes and genre scenes. Inspired by L'Espagne, the guide to the Moorish splendours of Southern Spain written by the Baron J.C. Davillier in 1877, Baratti began his visual journey with rich representations of the Alhambra. He soon broadened his Orientalist portfolio however, captivated by the exploration of North-African interiors and Harem scenes, of which the present oil, painted in Paris in 1881, is an accomplished example. The majority of 19th Century Orientalist artists found their inspiration in the depiction of that portion of the Muslim house occupied by the women and usually the most remote - the harem, the best-known of all Eastern institutions. The Orientalists' manner of approaching this subject matter falls more or less into two iconographical categories; sumptuous, lascivious fantasies on the one hand and, on the other, more intimate scenes of domesticity in the European manner, depicted according to the Western idea of the East. Barratti's In the Harem falls strictly into the second section. The painter's intention, in fact, is not to create a voluptuous extravaganza based on fantasies of a forbidden world, but to capture the chaste pleasures of the odalisques, secluded in their private apartments and charmed by the music of the elegant maid. By structuring the Orientalist scene as a typical genre capriccio, Baratti engages the viewer in a game of quotes and references. He alludes to the iconographical elements of the traditional 16th Century concert scene, adapted and transposed within the splendid context of the Oriental harem.

      Christie's
    • FILIPPO BARATTI (ITALIAN 19TH CENTURY) ST. PAULS CATHEDRAL FROM ALDGATE, LONDON
      Apr. 11, 1995

      FILIPPO BARATTI (ITALIAN 19TH CENTURY) ST. PAULS CATHEDRAL FROM ALDGATE, LONDON

      Est: $7,982 - $11,174

      signed and dated London 1885 l.l., oil on canvas 34 by 29 cm.; 13 1/2 by 11 1/2 in.

      Sotheby's
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