Federico Barocci Paintings & Artwork for Sale | Federico Barocci Art Value Price Guide

Nov. 15, 2024
Federico Barocci (Umkreis) (um 1535 – Urbino – 1612) – Beweinung Christi (Lamentation of Christ)
Est: €5,000 - €6,000
Oil on copper. (c. 1600). 18.5 x 14.5 cm. Framed.
Karl & Faber
Nov. 15, 2024
FEDERICO BAROCCI (1535-1612), COP
Est: -
Federico Barocci (1535-1612), copy after ''The Last Supper'', large-format, anonymous 17th/18th century copy, oil on canvas, unsigned, relined, restored and retouched, 110 x 150 cm, framed 132 x 172 cm
Historia Auctionata
Nov. 13, 2024
Barocci, Federico (nach/after)
Est: €3,000 - €5,000
Barocci, Federico (nach/after) Urbino 1535 - 1612 61 x 81 cm The Madonna of the Cherries. Oil/canvas, relined. German private collection. The painting depicting the Holy Family on the Flight into Egypt was painted by Barocci for his friend, the art collector Simonetto Anastagi from Perugia. Although the painting is inspired by similar compositions by Correggio, it conforms to the new precepts of the Counter-Reformation by expressing the religious theme with gestures of an immediate and harmonious simplicity, thus transposing the divine sphere into a more human context. The palm tree usually used in this motif is replaced here by a cherry tree, the fruit of which alludes symbolically to the blood and passion of Christ. After Anastagi's death (1602), the work passed into the possession of the Jesuits of Perugia and, after the closure of the order (1773), came to Rome, where it was added to the Pinacoteca under Pius X (inv. no. 40377). The painter of the present painting, who probably originated from the Flemish region of the 17th century, converted the upright format of the original into a landscape format, varied it slightly and extended it, especially in the left half. Barocci, Federico (nach/after) Urbino 1535 - 1612 61 x 81 cm Die Madonna mit den Kirschen. Öl/Lwd., doubl. Deutsche Privatsammlung. Das Gemälde das die Heilige Familie während der Rast auf der Fluch nach Ägypten darstellt malte Barocci für seinen Freund, den Kunstsammler Simonetto Anastagi aus Perugia. Das Gemälde orientiert sich zwar an ähnlichen Kompositionen des Correggio, entspricht aber den neuen Geboten der Gegenreformation, indem es das religiöse Thema mit Gesten einer unmittelbaren und harmonischen Schlichtheit zum Ausdruck bringt und damit die göttliche Sphäre in einen menschlicheren Kontext verlegt. Die bei diesem Motiv meist übliche Palme ist hier durch einen Kirschbaum ersetzt, dessen Frucht symbolisch auf das Blut und die Passion Christi anspielt. Nach Anastagis Tod (1602) ging das Werk in den Besitz der Jesuiten von Perugia über und gelangte nach Schließung des Ordens (1773) nach Rom, wo es unter Pius X. der Pinakothek zugeführt wurde (Inv.-Nr. 40377). Der Maler des vorliegenden Gemäldes, der aus dem flämischen Raum des 17. Jhdts. stammen dürfte, hat das Hochformat des Originals in ein Querformat umgewandelt, leicht variiert und insbes. in der linken Hälfte erweitert.
Nagel Auction
Sep. 26, 2024
FEDERICO BAROCCI, GENANNT „FIORI DA URBINO“, 1526/35 URBINO – 1612 EBENDA, ZUG.
Est: €10,000 - €15,000
KOPFSTUDIE DES HEILIGEN JOSEPH Öl auf Leinwand. 40 x 28 cm. Der Kopf ist in Lebensgröße vor schwarzem Hintergrund gegeben. Die Pinselführung zeigt sich virtuos. Bemerkenswert ist die klare Konturen vermeidende Wiedergabe von Bart und Kopfhaar, sowie die Schattenbildung, vor allem im Gesicht, durch aufgetragenes Grau. Dieselbe Technik zeigt sich auch in Baroccis Selbstbildnis um 1600. Dies sind malerische Elemente, die der Verlebendigung des Dargestellten dienen sollen. Vor allem die schräge Kopfhaltung ist ein kompositorisches Mittel, das vor allem im Manierismus auftritt, um Lebendigkeit und Bildtiefe zu vermitteln. Solche Stilmittel zeigen bereits den Einfluss von Correggio und sie führen letztlich in den Barock über. Die Kopfhaltung sowie das Lächeln des Bärtigen lässt sich vergleichen mit Baroccis Gemälde „Madonna della gatta“ (Madonna mit der Katze), entstanden um 1573-74, das sich heute in der National Gallery in London befindet. Ähnlich hat der Maler auch in dem großformatigen und figurenreichen Bild „Die Beschneidung Christi“ von 1590 den auch dort geneigten Kopf Josefs ins Bild gesetzt (Louvre, Paris). Baroccis wichtigster Mäzen war der Herzog von Urbino, Francesco Maria II. della Rovere. Dessen Tagebucheintrag, der Maler sei mit 77 Jahren verstorben, verdanken wir auch die Rückrechnung auf sein Geburtsjahr. Erste Schulung erhielt er von Francesco Mensocchi aus Forli, dann von Battista Franco, einem Bewunderer Michelangelos. Sein erster großer Auftrag galt einem Gemälde für den Dom von Urbino. In Rom arbeitete er zusammen mit Federico Zuccari im Auftrag von Papst Pius IV., u. a. im Belvedere des Vatikan. Nach schwerer Erkrankung, möglicherweise aufgrund einer Vergiftung, zog er sich in seine Geburtsstadt zurück, dennoch hoch angesehen. Er lehnte Freskoarbeiten ab, schuf nur noch Atelierwerke. Für Kaiser Rudolph II. malte er 1587-89 das einzige, jedoch verschollene Gemälde mit antik-mythologischem Inhalt, „Die Flucht Aeneas“. Barocci war der Maler, der am entschidensten vom Manierismus zum Barock führte. Ungeachtet dessen zählt er zu den bedeutenden Malern des Manierismus, der entscheidenden Einfluss auf die Entwicklung der Malerei in Europa übte, was lange nicht erkannt wurde. Erst nach Veröffentlichung einer Monographie von Harald Olsen 1962, der Ausstellung in Bologna 1975 und weiteren Publikationen von Andrea Emiliani erfolgte die verdiente Wiederentdeckung. A.R. (1401623) (11) Federico Barocci, also known as “Fiori da Urbino”, 1526/35 Urbino – 1612 ibid., attributed HEAD STUDY OF SAINT JOSEPH Oil on canvas. 40 x 28 cm.
Hampel Fine Art Auctions
Aug. 20, 2024
European School (17th Century) After the Annunciation by Federigo Barocci (C1575-1612). 44 cm x 30 c
Est: £200 - £300
European School (17th Century) After the Annunciation by Federigo Barocci (C1575-1612). 44 cm x 30 cm.
Hannam's Auctioneers
Jul. 06, 2024
F. BAROCCI (1526-1612) attributed, Floating figure with shell, Chalk
Est: €2,250 - €3,000
Federico Barocci (around 1526 Urbino - 1612 ibid.) attributed: Floating figure with shell Probably a design for a ceiling painting, 17th century, Chalk Technique: Chalk on Paper Watermark: - Leaf/leaf/tree - CCS over leaf - Date: Stamp: Middle right Collector's stamp, Lugt no.: 2347. Comte Saint-Germain(?). Vienna. 19th century Date: 17th century Keywords: Design; Study; Figure; Ceiling painting; Fresco; Shell; Mythology; Venus; Servant, 17th century, Renaissance, Mythology, Italy, Size: Paper: 26,7 cm x 28,7 cm (10,5 x 11,3 in)
Fichter Kunsthandel
Jul. 02, 2024
FEDERICO BAROCCI (1533-1612). Saint Francis receiving the Stigmata. Sheet 2
Est: - £2,500
FEDERICO BAROCCI (1533-1612). Saint Francis receiving the Stigmata. Sheet 229 x 147 mm..
Christie's
May. 27, 2024
PITTORE DEL XVI-XVII SECOLO
Est: €2,400 - €2,600
Ritratto d'uomo Olio su tela, cm 94X76 La produzione pittorica di Federico Barocci (Urbino, circa 1535 -1612) conta diversi ritratti e, come Giovan Pietro Bellori scrisse nella sua Vita, il pittore si approcciò a due diverse tipologie: i ritratti commissionati dalla corte, come quello raffigurante Francesco Maria II, Lavinia della Rovere e quelli rappresentanti i suoi amici, di cui sono un felice esempio le effigi di Felice Tiranni, primo arcivescovo di Urbino, il conte Giulio Cesare Mamiani e il conte Antonio Galli. La tela in esame appartiene a pieno titolo al primo gruppo, presentando analogie di impostazione con il probabile ritratto del marchese Ippolito della Rovere (Cfr. archivio Zeri, n. 30248). Sia pur presentandosi con una superficie secca, impolverata e restauri, l'opera mostra comunque la maniera tutta baroccesca di mescolare il colore con l'ombra e le trasparenze dettate dalla liquidità delle stesure, evocando riferimenti a modelli veneti, in particolare tizianeschi, ma altresì nordici e fiamminghi per il naturalismo espressivo del volto.
Wannenes Art Auctions
May. 25, 2024
J. CHABERT (19th) after BAROCCI (*1526), Peace on the run, around 1850, Lithography
Est: €60 - €100
Jean Claude Chabert (19th century) after Federico Barocci (around 1526 Urbino - 1612 ibid.): Peace on the run, c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: Virgin Mary with Saints" Lithograph of a work by Frederic Baroche (1528 1612). From the series: Pictures of the Romanesque School. Inscribed: Frederic Baroche f Lith. de Chabert, rue Cassette N°. 20. Chabert d\ Tire du Cabines de M. Chabert. Separate text information (In French by Chabert) in the format of the art sheet. Keywords: 19th century, Baroque, Biblical, Germany, Size: Paper: 32,6 cm x 47,3 cm (12,8 x 18,6 in), Depiction: 18,4 cm x 25,0 cm (7,2 x 9,8 in)
Fichter Kunsthandel
Apr. 24, 2024
Federico Barocci
Est: €150,000 - €200,000
(Urbino circa 1535–1612) Head study of a woman in profile, oil on panel, 43.4 x 33.3 cm, framed on the reverse: seal Boncompagni Ludovisi (upper left) and the seal Boncompagni Ruffo (lower right) Provenance: Ugo Boncompagni (1614–1676), 4th Duke of Sora and Arce, Rome; Gregorio II Boncompagni (1642–1707), 5th Duke of Sora and Arce, Rome, in 1701; Antonio I Boncompagni (1658–1731), 6th Duke of Sora and Arce, Rome, after 1702 called Boncompagni Ludovisi; thence by descent; sale Dorotheum, Vienna, 21 October 2014, lot 61 (sold for where acquired by the present owner) Documentation: Quadri delle Case de Principi in Roma, Gabinetto Comunale delle Stampe, Rome, inv. no. 2452, f. 91r, 1701: Dal S.r Duca di Sora, Principe di Piombino, Due Testine, in tavola, del Barocci n.o 2 (see literature); ASV, Archivio Boncompagni Ludovisi, Inventory of Gregorio Boncompagni 17th March 1707 (prot. 659, nr. 5) 42 /n.2: Quadri da mezza testa per alto con cornici dorate, rappresentanti due teste con busti di Donne al naturale dipinti in tavola Literature: G. De Marchi, Mostre di quadri a S. Salvatore in Lauro (1682–1725). Stime di collezioni romane. Note e appunti di Giuseppe Ghezzi, in: Miscellanea della Società Romana di Storia Patria, no. 27, Rome 1987, listed on p. 150 The present painting is a study for Federico Barocci’s altarpiece of the Seven Acts of Mercy, also known as the Madonna del Popolo, an important work by the artist, executed in the 1570s, which is today conserved in the Gallerie degli Uffizi, Florence (inv. 1890, no. 751). The female figure of the present composition was transferred to the altarpiece into the elegantly dressed woman kneeling at the far left of the painting, where every detail of her hair and jewellery seems to have satisfied the intentions of the painter, who replicates her without significant change. There are also preparatory drawings for the woman in this composition, including one conserved in the Cabinet of Drawings and Prints in the Gallerie degli Uffizi, Florence (inv. no. 11603 F, verso), in which every fold of her garments is meticulously depicted. It is known that Barocci executed his portraits or figure studies, in his studio, using a dressed mannequin, while he captured the figure´s expression directly from nature in an everyday situation. As such the present study is a significant example of Barocci’s working practice and an integral part of the painting with which it is related. The long and restless creative process that accompanied his most demanding projects was primarily intended to give him a sense of confidence in the realistic reproduction of his pictorial composition. In the evolution of Barocci’s career, the Madonna del Popolo represents a milestone in which the artist clearly manifests intention of depicting friendship and the beauty of the community reflected in the humanity of Christ. Indeed, the entire composition is geared towards creating proximity and highlighting connections of friendship, suggested by gestures and a sense of familiarity. The characters in the scene present a veritable succession of recurring faces of friends and family members, a tradition that had already taken hold in Barocci’s Martyrdom of Saint Sebastian for the Cathedral of Urbino. The painter’s working methods are described by Giovanni Pietro Bellori in his Vite de’ pittori, scultori et architetti moderni which was published in 1672. Barocci was most probably born in 1535, and while still extremely young worked in the Vatican Gardens, where he participated in decorating the interior of the Casino of Pius IV with frescos, as well as other spaces within the Belvedere from 1562 onwards. After recovering from an unknown illness that had struck him in Rome, Barocci refused to return there, despite the great success he had. He had spent three hard years, working indefatigably and suffering ill health as a consequence, which was considered by many historians as poisoning. Barocci’s vocation to Christian spirituality and meditation reappeared as his health returned. It is therefore plausible, as claimed by biographers, that he joined the small monastery of Crocicchia. Barocci’s works reveal conformity and acceptance of the doctrine of Saint Francis as is reflected in his Madonna del Popolo, commissioned by the Fraternità dei laici of Arezzo. The commission of the Madonna del Popolo in the 1570s is recorded in a series of documents, such as the letters from Ambassador Maschi in Spain to both Barocci and the confraternity, which allows us to trace the commission in detail. The complex development of the project took place between 1575 and 1579, and finally the painting was delivered by hand, perhaps passing the ridge of the Apennines between Tuscany and the Duchy of Urbino by the paths of the Alpe della Luna, between Montefeltro and Casentino, and ultimately reaching Arezzo. Barocci personally took take care of every detail of the picture’s placement to ensure the effectiveness of the lighting planned for the Tuscan altar. Andrea Emiliani assisted in cataloguing of the present painting.
Dorotheum
Apr. 15, 2024
FEDERICO BAROCCI (1535-1612),
Est: -
Federico Barocci (1535-1612), copy after ''The Last Supper'', large-format, anonymous copy of the 17th/18th century, oil on canvas, unsigned, relined, restored and retouched, 110 x 150 cm, framed 132 x 172 cm
Historia Auctionata
Apr. 04, 2024
PITTORE DEL XVI-XVII SECOLO
Est: €3,000 - €5,000
Ritratto d'uomo Olio su tela, cm 94X76 La produzione pittorica di Federico Barocci (Urbino, circa 1535 -1612) conta diversi ritratti e, come Giovan Pietro Bellori scrisse nella sua Vita, il pittore si approcciÃ² a due diverse tipologie: i ritratti commissionati dalla corte, come quello raffigurante Francesco Maria II, Lavinia della Rovere e quelli rappresentanti i suoi amici, di cui sono un felice esempio le effigi di Felice Tiranni, primo arcivescovo di Urbino, il conte Giulio Cesare Mamiani e il conte Antonio Galli. La tela in esame appartiene a pieno titolo al primo gruppo, presentando analogie di impostazione con il probabile ritratto del marchese Ippolito della Rovere (Cfr. archivio Zeri, n. 30248). Sia pur presentandosi con una superficie secca, impolverata e restauri, l'opera mostra comunque la maniera tutta baroccesca di mescolare il colore con l'ombra e le trasparenze dettate dalla liquiditÃ delle stesure, evocando riferimenti a modelli veneti, in particolare tizianeschi, ma altresÃ¬ nordici e fiamminghi per il naturalismo espressivo del volto.
Wannenes Art Auctions
Mar. 21, 2024
Maler des 19. Jahrhunderts, nach Federico Barocci, 1526/ 35 – 1612
Est: €3,000 - €5,000
MADONNA DELLA GATTA Öl auf Holz. 102 x 79,5 cm. In Prunkrahmen. Dargestellt in einem häuslichen Innenraum ist die Heilige Familie, bestehend aus Josef, Maria, Johannes dem Täufer und dem Jesuskind an Marias Brust. Johannes hält in der rechten Hand einen gefangenen Stieglitz nach oben, ein allegorisches Symbol der Passion Christi. Im Unterschied zum Original fehlt hier die Katze in der linken unteren Ecke. Anmerkung: Das Originalgemälde des Künstlers befindet sich in der National Gallery in London. (1381538) (3) (18)
Hampel Fine Art Auctions
Mar. 14, 2024
SPANISH SCHOOL 17th century. After Federico Barocci (c. 1535 - 1612) "Burial of Christ"
Est: €4,200 - €4,800
SPANISH SCHOOL 17th century. After Federico Barocci (c. 1535 - 1612) "Burial of Christ" Oil on panel 97 x 67 cm 4.200 - 4.800 €
Bayeu Subastas
Feb. 29, 2024
Federico Barocci (1535 - 1612) , ambito di Sacra Famiglia
Est: -
Federico Barocci (1535 - 1612) , ambito di Sacra Famiglia Inchiostro, matita, biacca e gessi su carta, applicata su foglio di rifodero in adesione a cartoncino 32,7 x 26,5 Altre iscrizioni: al verso della cornice, iscrizione a inchiostro nero "Morichi" (?) Elementi distintivi: a lato della cornice una targhetta di collezione con recante il riferimento di inventario "241" Provenienza: Conti Morichi, Macerata (possibile); Toraldo d'Aragnona, baroni di Badolato e principi di Massa Lubrense, per discendenza Stato di conservazione. Supporto: 65% (rifodero, perdita di porzioni della carta, danni da tarli, umidità, roditori e sovraesposizione luminosa) Stato di conservazione. Superficie: 75% (abrasioni, ondulature, danni da umidità, ritocchi e integrazioni) La Madonna, coronata, sfoglia il Sacro Libro, tenendo Gesù al petto: Giuseppe ed un profeta (o un evangelista) osservano, con distanza emotiva - che suggerisce contemplazione e interrogazione - assai maggiore dello spazio fisico che li divide dall'evento. La scena è inquadrata da una tenda, secondo un espediente di derivazione veneta, mentre lo sfondo accenna alla scalinata di un tempio in via di costruzione. La venuta di Cristo, il legame della Madre e del Bambino e la fondazione della Chiesa sono proposti dal pittore come un fatto solo. Il tratto è efficace, la suggestione del movimento è ovunque, a partire da Maria che appare quasi sollevarsi, anche grazie alle abili lumeggiature a gessetto. L'invenzione è certamente originale, come suggeriscono i numerosi pentimenti (tra tutti, la testa del Bambino e il piede del Santo), e la quadrettatura indica la destinazione in grande formato, verosimilmente per una pala d'altare. Il foglio, anche nelle fisionomie, ricorda i modi di Federico Barocci - ecco l'impostazione della "Madonna col Bambino tra i Santi Geronzio e Maria Maddalena e una famiglia di devoti (Pio Sodalizio dei Piceni, Roma) -, ma se ne distanzia sul piano esecutivo, per la minore vaporosità e velocità, suggerendo una collocazione prossima alla prima attività del maestro, se non nella generazione precedente di artisti, fioriti tra Romagna e Marche. Rilevante la annotazione "Morichi", al verso della cornice, che può rimandare alla famiglia comitale Morichi di San Ginesio, presso Macerata, fiorita intorno al 1520, quando la città divenne il principale centro politico e amministrativo delle Marche. Si ricordano almeno due soggiorni di Barocci a Macerata, il primo verso il 1585 ed il secondo, intorno al 1605, cui risale, secondo Bellori, una grande tela per l'altare maggiore della chiesa dei cappuccini, con la "Concezione, con gloria di angeli, San Francesco, San Giovanni Battista, San Bonaventura e San'Antonio da Padova (Giovanni Spadoni, "Federico Barocci a Macerata e il bozzetto di un quadro incendiato dai Francesi nel 1799", pp. 86-92, in "Studi e notizie di Federico Barocci", a cura della Brigata urbinate degli amici dei monumenti, Firenze, 1913).
Bonino
Feb. 17, 2024
F. BAROCCI (1526-1612) attributed, Floating figure with shell, Chalk
Est: €2,250 - €3,000
Federico Barocci (around 1526 Urbino - 1612 ibid.) attributed: Floating figure with shell Probably a design for a ceiling painting, 17th century, Chalk Technique: Chalk on Paper Watermark: Flora - Leaf/leaf/tree - CCS over leaf - Date: Stamp: Middle right Collector's stamp, Lugt no.: 2347. Comte Saint-Germain(?). Vienna. 19th century Date: 17th century Keywords: Design; Study; Figure; Ceiling painting; Fresco; Shell; Mythology; Venus; Servant, 17th century, Renaissance, Mythology, Italy,
Fichter Kunsthandel
Feb. 02, 2024
Recto: Studies of an Infant's Head Turned to the Right, with Subsidiary Figure Studies Verso: Two Studies of Psyche Crouching' After the Antique
Est: $10,000 - $15,000
Federico Barocci 1535 - 1612 Recto: Studies of an Infant's Head Turned to the Right, with Subsidiary Figure Studies Verso: Two Studies of Psyche Crouching' After the Antique Colored chalks with touches of black chalk and pen and brown ink (recto); pen and brown ink and wash (verso); bears old attribution in black ink, recto: Federico Barozzio and numbering, upper left: 66 269 by 210 mm; 10½ by 8¼ in.
Sotheby's
Dec. 30, 2023
J. CHABERT (19th) after BAROCCI (*1526), Peace on the run, around 1850, Lithography
Est: €60 - €100
Jean Claude Chabert (19th century) after Federico Barocci (around 1526 Urbino - 1612 ibid.): Peace on the run, c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: Virgin Mary with Saints" Lithograph of a work by Frederic Baroche (1528 1612). From the series: Pictures of the Romanesque School. Inscribed: Frederic Baroche f Lith. de Chabert, rue Cassette N°. 20. Chabert d\ Tire du Cabines de M. Chabert. Separate text information (In French by Chabert) in the format of the art sheet. Keywords: 19th century, Baroque, Biblical, Germany,
Fichter Kunsthandel
Dec. 05, 2023
FEDERICO BAROCCI (URBINO 1535 - 1612) SEGUACE DI
Est: €300 - €500
Federico Barocci (Urbino 1535 - 1612) seguace di Natività Olio su tela 47,5 x 37 cm Federico Barocci (Urbino 1535 - 1612) follower of Nativity Oil on canvas 47,5 x 37 cm
Lucas Aste
Dec. 05, 2023
FEDERICO BAROCCI (URBINO 1535 - 1612) BOTTEGA/CERCHIA DI
Est: €2,000 - €3,000
Federico Barocci (Urbino 1535 - 1612) bottega/cerchia di Riposo durante la Fuga d'Egitto Olio su tavola 39,3 x 32 cm L’opera deriva da Il Riposo durante la fuga in Egitto, anche conosciuto come Madonna delle ciliegie, dipinto realizzato tra il 1570 ed il 1573 da Federico Barocci, oggi conservato nella Pinacoteca Vaticana. Il maestro marchigiano ebbe allievi e seguaci, la sua arte, inoltre, influenzò artisti della vicina Umbria arrivando sino in Toscana e Lombardia. In particolare la tavola in esame va riferita all’ambiente dei pittori umbri cresciuti al suo fianco o fortemente influenzati dal suo fare artistico: Simeone Ciburri, Francesco Baldelli, Benedetto Bandiera, Vincenzo Pellegrini, Antonio Viviani, Giovanni Antonio Scaramuccia, Felice Pellegrini, Silla Piccinini, Matteo Salvucci e Pietro Roncadelli. Federico Barocci (Urbino 1535 - 1612) workshop/circle of Rest During the Flight from Egypt Oil on panel 39,3 x 32 cm The artwork derives from The Rest During the Flight into Egypt, also known as The Madonna of the Cherries, a painting created between 1570 and 1573 by Federico Barocci, now preserved in the Vatican Art Gallery. The master from the Marche had students and followers, his art also influenced artists from nearby Umbria, reaching as far as Tuscany and Lombardy. In particular, the painting in question must be referred to the environment of the Umbrian painters who grew up alongside him or were strongly influenced by his artistic work: Simeone Ciburri, Francesco Baldelli, Benedetto Bandiera, Vincenzo Pellegrini, Antonio Viviani, Giovanni Antonio Scaramuccia, Felice Pellegrini, Silla Piccinini, Matteo Salvucci and Pietro Roncadelli.
Lucas Aste
Nov. 30, 2023
Federico Barocci 1535 Urbino-1612 Urbino, copia da Madonna delle ciliegie
Est: €2,000 - €3,000
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Cambi Casa d'Aste
Nov. 28, 2023
Federico Barocci, Le stigmate di san Francesco. 1580-1581.
Est: €380 - €760
Federico Barocci, Le stigmate di san Francesco. 1580-1581. Acquaforte e bulino. mm 225x150. Bartsch, XVII, 3. Bury (The Print in Italy), 45. In basso al centro "F.B.V.F.". Bellissima impressione nell'unico stato stampata con segno pieno e brillante su carta vergellata sottile apparentemente priva di filigrana. (1)
Gonnelli Casa d'Aste
Nov. 23, 2023
Salvator Mundi
Est: €1,500 - €2,500
Oil on canvas cm. 41x30,5. Framed The painting is accompanied by the expertise of Prof. Arabella Cifani who attributes it to Alessandro Vitali. This remarkable representation of Christ as Salvator Mundi, blessing and holding the globe in his left hand, derives from the Christ of the Last Supper that Federico Barocci painted between 1590 and 1599 for the Cathedral of Urbino, recontextualised from a functional point of view for private devotion. Also from a technical and stylistic point of view, as well as from an iconographic and compositional one, our canvas displays a profound level of understanding and mimicry of Barocci's example, indicative of a hand particularly close to the great Urbino master, first that of Alessandro Vitali (Urbino, 1580-1630) as suggested in her expertise by Arabella Cifani.
Bertolami Fine Art s.r.l.
Nov. 11, 2023
F. BAROCCI (1526-1612) attributed, Floating figure with shell, Chalk
Est: €2,250 - €3,000
Federico Barocci (around 1526 Urbino - 1612 ibid.) attributed: Floating figure with shell Probably a design for a ceiling painting, 17th century, Chalk Technique: Chalk on Paper Watermark: Flora - Leaf/leaf/tree - CCS over leaf - Date: Stamp: Middle right Collector's stamp, Lugt no.: 2347. Comte Saint-Germain(?). Vienna. 19th century Date: 17th century Keywords: Design; Study; Figure; Ceiling painting; Fresco; Shell; Mythology; Venus; Servant, 17th century, Renaissance, Mythology, Italy,
Fichter Kunsthandel
Nov. 09, 2023
Barocci, Federico (nach/after)
Est: €6,000 - €10,000
Barocci, Federico (nach/after) Urbino 1535 - 1612 61 x 81 cm The Madonna of the Cherries. Oil/canvas, relined. German private collection. The painting depicting the Holy Family on the Flight into Egypt was painted by Barocci for his friend, the art collector Simonetto Anastagi from Perugia. Although the painting is inspired by similar compositions by Correggio, it conforms to the new precepts of the Counter-Reformation by expressing the religious theme with gestures of an immediate and harmonious simplicity, thus transposing the divine sphere into a more human context. The palm tree usually used in this motif is replaced here by a cherry tree, the fruit of which alludes symbolically to the blood and passion of Christ. After Anastagi's death (1602), the work passed into the possession of the Jesuits of Perugia and, after the closure of the order (1773), came to Rome, where it was added to the Pinacoteca under Pius X (inv. no. 40377). The painter of the present painting, who probably originated from the Flemish region of the 17th century, converted the upright format of the original into a landscape format, varied it slightly and extended it, especially in the left half.
Nagel Auction
Sep. 25, 2023
FEDERICO BAROCCI (seguace di)
Est: €2,000 - €3,000
(Urbino, 1528/1535 - 1612) Annunciazione Olio su tela, cm 206X144,5 L'opera riflette chiaramente le celebri composizioni realizzate da Federico Barocci (Urbino, 1526 - 1612). Ricordiamo in questa sede quelle della Pinacoteca Vaticana e della Basilica di Santa Maria degli Angeli ad Assisi. Nel nostro caso, la tela trova invece similitudini con la redazione dello Statens Museum for Kunst di Copenaghen (olio su tela, cm 189X146- inv. KMSsp13) per l'attinenza con l'ambientazione. Nello specifico la pala danese è replica dell'Annunciazione Vaticana e fu compiuta tra il 1582-1584 per conto del duca di Urbino e destinato alla cattedrale di Loreto. Tornando alla nostra versione vi possiamo ben percepire un fare pittorico veloce e immediato, a guisa di bozzetto, come un uso di pigmenti di alta qualità.
Wannenes Art Auctions
Sep. 25, 2023
PITTORE DEL XVI-XVII SECOLO
Est: €1,000 - €2,000
Sacra Famiglia Olio su tavola, cm 54X46,5 La tavola presenta caratteri che evocano lo stile di Federico Barocci (Urbino, 1528/1535 - 1612) e la si può riferire a un artista appartenente alla cerchia del maestro.
Wannenes Art Auctions
Sep. 23, 2023
J. CHABERT (19th) after BAROCCI (*1526), Peace on the run, around 1850, Lithography
Est: €60 - €100
Jean Claude Chabert (19th century) after Federico Barocci (around 1526 Urbino - 1612 ibid.): Peace on the run, c. 1850, Lithography Technique: Lithography on Paper Date: c. 1850 Description: Virgin Mary with Saints" Lithograph of a work by Frederic Baroche (1528 1612). From the series: Pictures of the Romanesque School. Inscribed: Frederic Baroche f Lith. de Chabert, rue Cassette N°. 20. Chabert d\ Tire du Cabines de M. Chabert. Separate text information (In French by Chabert) in the format of the art sheet. Keywords: 19th century, Baroque, Biblical, Germany,
Fichter Kunsthandel
Jun. 28, 2023
Chalk Drawing Attr. to Federico Barocci
Est: $300 - $500
Chalk drawing on paper attr. to Federico Barocci (Italy 1535-1612) mounted in gilt wood frame. According to previous appraisal sold at: PB Eighty Four, NY Lot 39. Similar to signed studies in Uffizi from the same date, related to chapel decoration in the Duomo in Urbino. Measures 14.5"H x 12.75"W framed; 6.25"H x 4.25"W visual. Condition report: tiny hole in paper, some staining, please see all photos. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. This lot cannot be shipped in house. For an instant guaranteed third party shipping quote through Quality Packing and Shipping visit: https://www.qualitypackship.com/abington-copy-1 or contact our other third party shippers.
Abington Auction Gallery
May. 23, 2023
Federico Barocci, Le stigmate di san Francesco. 1580-1581.
Est: €380 - €760
Federico Barocci, Le stigmate di san Francesco. 1580-1581. Acquaforte e bulino. mm 228x150. Foglio: mm 230x153. Bartsch, XVII, 3. Bury (The Print in Italy), 45. In basso al centro "F.B.V.F.". Bellissima impressione nell'unico stato su carta vergellata lievemente spessa priva di filigrana. Al verso marchio di collezione impresso in nero "a.m. in cerchio singolo" (Collezione Masi, Bologna. Non su Lugt). (1)
Gonnelli Casa d'Aste
May. 23, 2023
Federico Barocci, Annunciazione. 1584-1588.
Est: €480 - €960
Federico Barocci, Annunciazione. 1584-1588. Acquaforte, bulino e puntasecca. mm 438x315. Foglio: mm 442x315. Bartsch, XVII, 1. TIB 34/17, 1. Pillsbury/Richards, 75. Bury (the print in italy), 31. Firmata sulla lastra in basso a destra. Forse la più nota tra i rari fogli incisi dal Barocci e tratta dalla pala commissionata all'artista nel 1582 da Francesco Maria della Rovere per la Cappella dei Duchi di Urbino nella Basilica di Loreto. Bella impressione nell'unico stato su carta vergellata spessa con filigrana "fiore di giglio in cerchio singolo". (1)
Gonnelli Casa d'Aste
May. 13, 2023
Barocci, Federico
Est: -
Barocci, Federico 1535 Urbino - 1612 Urbino (nach) Noli me tangere. Öl/Lwd./doubl., 95 x 65 cm. Durchbrochen geschnitzter Rahmen.
Dusseldorfer Auktionshaus
Apr. 27, 2023
Federico Barocci - Madonna on the clouds
Est: €350 - €550
Splendid etching taken from a subject by the master from Urbino printed with richly toned inking. The high quality and softness of this engraving, engraved in counterpart to that of Barocci, make the etching very interesting from a collector's point of view. The tones are rich in chiaroscuro and the face shows the dotted technique, well used by the master from Urbino. Among the various versions derived from the subject of Barocci, this is the closest to the original and suggests a master linked to the Baroque school. With signature F.B.V.F. (Federico Barocci Urbino Fecit)
Old Master Print
Mar. 08, 2023
Barrocci (Federico, 1535-1612). Aeneas Fleeing Troy, oil on canvas
Est: £3,000 - £5,000
Barrocci (Federico, 1535-1612). Aeneas Fleeing Troy, oil on canvas * Attributed to Federico Barrocci (circa 1535-1612). Aeneas' Flight from Troy, with Anchises, Creusa and Ascanius, circa 1590, oil on canvas, 40 x 54.5 cm (15 3/4 x 21 1/2 ins), wooden frame (56 x 70.5 cm), with label to verso inscribed 'Prof. L. Gowing', and printed label of the picture restorers W. Freeman and Son Ltd. QTY: (1) NOTE: Provenance: Collection of Sir Lawrence Gowing (1918-1991). Federico Barocci (circa 1535-1612) produced two versions of this work for the Della Rovere family: the first, painted in 1587-88, was sent to the Holy Roman Emperor, Rudolf II of Austria in the spring of 1589, and is now lost, the second, signed and dated 1598, was presented to Cardinal Scipione Borghese, and remains in the Borghese Gallery in Rome. In 1595 Agostino Carracci issued an engraving after the first of Baroccis two versions, which he dedicated to Cardinal Odoardo Farnese. The engraving (Bartsch 110) is in exactly the same scale as this finely executed chiaroscuro painting in browns, suggesting the present work may have been a modello for Carracci's engraving. Another similarly elaborate chiaroscuro version of the same work, in the Royal Collection at Windsor, executed in pen, ink and monochrome oil paint with white heightening, measuring 33.9 x 46.1 cm (RCIN 902343) also corresponds with Agostino Carracci's engraving after the painting, and was formerly believed to be Agostino's working copy after the painting preparatory for the engraving, but is now recognised to be the work of Barocci himself, sent to Agostino for that purpose. See Michael Bury, The Print in Italy 1550-1620, (2001), catalogue nos. 9 and 10.
Dominic Winter Auctions
Feb. 23, 2023
The Annunciation of Mary, circle of Federico Barocci, italian school of the 17th century
Est: €4,000 - €5,000
With important period frame in gilt and polychromed wood, canvas measurements : 67 x 52 cm. 80 x 64 cm framed
Templum Fine Art Auctions
Nov. 23, 2022
Barocci Federico detto il Fiori copia da, Riposo durante la fuga in Egitto
Est: €1,500 - €2,000
olio su tela, W. 72 - H. 66 Cm, Il modello originale ideato dal Barocci, da cui l'opera qui presentata trae spunto, è conosciuto anche come "Madonna delle ciliegie" ed è attualmente conservato all'interno dei Musei Vaticani.
Cambi Casa d'Aste
Sep. 22, 2022
The Calling of Saint Peter and Saint Andrew, Federico Barocci, Aegidius Sadeler II
Est: €1,150 - €1,450
The Calling of Saint Peter and Saint Andrew. Very large engraving made by Aegidius Sadeler II (1570-1629) after Federico Barocci (1535-1612). Engraving made and published in Munchen ca 1594. One of the largest engravings made by Aegidius Sadeler II. References: Hollstein Dutch 40. Large engraving, good dark impression in excellent condition, printed on thin laid paper, on the margins, image complete. With a collectors mark: L414C Peter Birmann (1758-1844), in Bâle, painter of landscapes.
Old Master Print
May. 30, 2022
STYLE OF FEDERICO BAROCCI (URBINO C. 1535-1612)
Est: £400 - £600
STYLE OF FEDERICO BAROCCI (URBINO C. 1535-1612) STYLE OF FEDERICO BAROCCI (URBINO C. 1535-1612) Holy Family oil on canvas 76 x 62.5 cm PROVENANCE: With an English family collection for several decades
Chiswick Auctions
May. 28, 2022
Federico BAROCCI (1526/35-1612), Follower
Est: CHF1,800 - CHF3,600
Federico BAROCCI (1526/35-1612), Follower The vision of St. Francis Oil on panel, probably 19th c. 46 x 33 cm, frame: 63 x 51 cm
Galerie Moenius
Mar. 30, 2022
FEDERICO BAROCCI (Urbino 1535 - 1612) attr. "Visione di San Francesco". Olio su tavola. Cm 47x34,5.
Est: €600 - €1,200
FEDERICO BAROCCI (Urbino 1535 - 1612) attr. "Visione di San Francesco". Olio su tavola. Cm 47x34,5.
Art International Auction House
Nov. 05, 2021
FEDERICO BAROCCI (Urbino 1535 - 1612), attr. "Visione di San Francesco". Olio su tavola. Cm 47x34,5.
Est: €1,500 - €3,000
FEDERICO BAROCCI (Urbino 1535 - 1612), attr. "Visione di San Francesco". Olio su tavola. Cm 47x34,5.
Art International Auction House
Jun. 03, 2021
FEDERICO BAROCCI. After. The Visitation.
Est: €900 - €1,100
Oil on copper According to the original by Barocci preserved in the church of Saint Mary in Valicella, in Rome 43x28.5 cm.
Balclis
May. 09, 2021
painting : wash sketch on paper - Saint - attributed to the back BAROCCI Federico
Est: €300 - €600
Tableau: esquisse lavis s/ papier -Saint- attribué au dos *BAROCCI F.* (Federico) (1526/35. 1612) 12x12cm cadre bois doré s/v painting : wash sketch on paper - Saint - attributed to the back BAROCCI Federico
Monsantic.com
May. 08, 2021
Barocci, Federico
Est: -
Barocci, Federico 1535 Urbino - 1612 Urbino (Nach) Noli me tangere. Öl/Lwd./doubl., 95 x 65 cm. Durchbrochen geschnitzter Rahmen.
Dusseldorfer Auktionshaus
Apr. 17, 2021
ATTRIBUTED TO FEDERICO BAROCCI (1528-1612)
Est: $800 - $1,000
ATTRIBUTED TO FEDERICO BAROCCI (1528-1612) Study of a male head in conte crayon (red chalk), watermark to paper. From a well-known Swiss collection (name withheld). Ex. Collection - E. J. Warren. Sheet: 13.5" height, 9" width; frame: 24.5" height, 19.5" width
Selkirk Auctioneers & Appraisers
Mar. 25, 2021
BAROCCI Federico - Federico BAROCCI (Urbino 1526-1612) et son atelier "Le martyre
Est: €20,000 - €30,000
BAROCCI Federico Federico BAROCCI (Urbino 1526-1612) et son atelier "Le martyre de saint Vital", cartoncino pour le chiaroscuro. 48x33 cm. Experts : cabinet de Bayser et Mr Nicholas Turner. Plume et encre brune sur traits de crayon noir, lavis brun et rehauts de gouache blanche, trace de mise au carreau au crayon noir. Annoté « Barocio » dans le bas au centre à la plume et encre brune. Collé en plein sur un montage. Double pliure horizontale au centre, l’une ayant transpercé le papier. Petites piqûres, quelques minimes oxydations de la gouache blanche. Petits manques sur le bord en haut à gauche et en bas vers la droite. Provenance : ancienne collection Albert Heyse, vente à Gand, les 13/14/15 mai 1963, n°255 Collection privée, Belgique Œuvres en rapport : le tableau final, conservé à la Brera, Milan (voir A. Emiliani, Federico Barocci, volume II, Ancona, 2008, pp. 168- 187, n°40) (dimensions : 392 x 269 cm) Une première pensée de composition très différente conservée au musée du Louvre (opus cité supra, figure 338). Une composition différente de la composition finale conservé à Liverpool, Walker Art Gallery (Emiliani, opus cité supra, figure 339) (dimensions 44 x 31 cm) Un dessin parcellaire, coupé (36 x 32 cm), provenant de l’ancienne collection de Vries (Amsterdam, R.W.P. de Vries, Dessins de Maîtres Anciens et Modernes, 1929, n°2, comme « Combat »), actuellement dans une collection particulière. Emiliani reproduit quarante trois études préparatoires de détails et de figures pour cette composition (opus cité supra, figures 340 à 391). Nous remercions monsieur Nicholas Turner d’avoir authentifié ce dessin inédit du Baroche d’après une photographie numérique. Le tableau définitif, maintenant à la Brera à Milan, fut livré par Barocci en 1583 aux moines de la communauté « Cassinese » de Ravenne, pour la célèbre église byzantine de San Vitale, un martyr du deuxième siècle après Jésus Christ considéré comme le guide spirituel de la communauté chrétienne de Ravenne au temps des Romains. Il fut supplicié sur l’emplacement de l’église de San Vitale avec ses deux fils, saint Gervais et saint Protais. Saint Vital fut enterré la tête en bas par ses bourreaux, qui le lapidèrent avec des pierres. La commande à Barocci de ce tableau d’autel eut lieu en 1580 pour la somme considérable de 600 ducats d’or. Le peintre envoya un premier projet qui fut rejeté par les moines. Ces derniers lui demandèrent de rajouter des personnages. Mis en caisse pour être livré, le tableau fut escorté par trois cavaliers, deux mules et six déménageurs ! La méthode de Barocci, lente et méticuleuse, comprenait différentes phases. Il élaborait plusieurs cartons de différentes tailles, certains monochromes pour la recherche de la lumière (cartoncino per il chiaroscuro), certains à l’huile ou en couleurs pour la recherche de la gamme chromatique, d’autres encore mêlant les deux recherches, et d’autres pour le modèle donné au graveur. Dans ce carton, l’artiste focalise sa recherche sur la lumière dirigée vers les protagonistes principaux, les rehaussant de gouache et de plume, avec une délicatesse typique de Barocci. On peut remarquer également la légèreté des feuillages rehaussés sur la gauche de la partie supérieure, caractéristique de son traitement des paysages. D’autres figures secondaires ne sont pas retravaillées. Il est possible que le report au crayon noir de l’ensemble de la composition ait été effectué par un collaborateur, l’artiste se concentrant sur la partie qui l’intéressait le plus dans la recherche de la lumière. On peut rapprocher ce cartoncino per il chiaroscuro d’autres cartons comme celui de La Circoncision conservé aux Offices ou celui de La présentation de la Vierge au Temple dans les collections de la National Gallery de Washington (voir J.W. Mann, B. Bohn, Federico Barocci, Saint Louis Art Museum, 2012, fig. 36-37, pp.54-55). Une étude complète de ce dessin par Nicholas Turner, sera remise à l’acquéreur.
Hotel des vente Legros
Mar. 11, 2021
FEDERICO BAROCCI. After. The Visitation.
Est: €1,300 - €1,500
Oil on copper According to the original by Barocci preserved in the church of Saint Mary in Valicella, in Rome 43x28.5 cm.
Balclis
Mar. 07, 2021
painting : wash sketch on paper - Saint - attributed to the back BAROCCI Federico
Est: €400 - €600
Tableau: esquisse lavis s/ papier -Saint- attribué au dos *BAROCCI F.* (Federico) (1526/35. 1612) 12x12cm cadre bois doré s/v painting : wash sketch on paper - Saint - attributed to the back BAROCCI Federico
Monsantic.com