Francesco (1681) Conti Paintings & Artwork for Sale | Francesco (1681) Conti Art Value Price Guide

Jul. 18, 2024
Francesco Conti (Firenze 1681-1760) - Annunciation
Est: -
Oil painting on canvas Expertise by Professor Claudio Strinati. Annunciation (oil on canvas, 101 x 69 cm with frame) It is a work which, due to style (the moving and animated layout of the figures and drapery) and iconography, the Archangel Gabriel and the Virgin are both standing and of equal stature and presence in space), must be dated to the beginning of the eighteenth century, partly reflecting the pictorial culture of the Roman school of Carlo Maratta, probably still alive at the time of the creation of our painting under examination here; partly the legacy of the Florentine baroque school, less known nowadays but extremely flourishing and rich in personality especially after the passage of Pietro da Cortona and Ciro Ferri to the city who left illustrious masterpieces whose echo is also perceptible in our painting . For reasons of style I believe that the author of the beautiful painting in question here must be identified as the Florentine Francesco Conti who, as a very young man, was in close contact with the Maratto school in Rome (where he was a student of eminent Giovanni Maria Morandi) but who then followed his own path which led him, having returned in time to Florence, to achieve brilliant results in the field of Tuscan Baroque painting marked by those characteristics of wit, formal elegance, polite dynamism, which seem to me all found in our work. A comparison with one of Conti's first youthful masterpieces, the altarpiece of the Trinity in the Florentine church of San Jacopo sopr' Arno, dating back to the end of the first decade of the eighteenth century , leads me to recognize the same hand in our painting. Among other things, it is curious how the model of the Eternal Father, with a singular baldness and a sparse and nervous beard, looks exactly the same both in the cited altarpiece and in our painting where he is canonically depicted while sending on the ground the Holy Spirit in the form of a dove. I conclude that our painting is an interesting and very beautiful testimony to the beginnings of an artist who is certainly less celebrated today than his other eminent artists fellow countrymen and peers, but of considerable interest and as such cited with merit both in the writings of the old art historians and in those of some masters of twentieth-century historiography like Matteo Marangoni who in his important essay Eighteenth-century (but not too much) Florentines, in his volume Baroque Art, Florence Vallecchi 1973 (2nd ed.) put Conti's relevance is clearly highlighted with arguments that are still very valid today Our work, therefore, is of remarkable historical significance and of fine artistic quality also guaranteed by an excellent state of conservation. I therefore believe that the value of the painting in question here stands, based on the current conditions of the national market as of this appraisal, at 25,000 euros Yours faithfully, Claudio Strinati
ArtLaRosa
Dec. 03, 2020
Francesco Conti, 1681 – 1760, Kreis des
Est: €4,800 - €5,200
DIE BEWEINUNG CHRISTI Öl auf Leinwand. Doubliert. 72,5 x 87 cm. In dekorativem Rahmen. Vor abendlichem Himmel sieht man am Fuß des Kreuzes den Leichnam Christi, halb auf einem weißen Laken liegend, das auch den Hüftbereich bedeckt. Hinter ihm seine Mutter Maria in rotem Gewand mit langem weiten Mantel, in heftigem Gestus beide Arme weit auseinandergestreckt und den Leichnam Christi, dessen Seitenwunde deutlich erkennbar ist, betrachtend. Zur rechten Seite die kniende Maria Magdalena in glänzend goldenem Obergewand und grünem Rock, mit ihrer Linken die Hand des Verstorbenen haltend. Harmonische Malerei in teils kräftigen Farbtönen, mit gekonnter Hell-Dunkel-Inszenierung. Minimale Retuschen. (1241024) (18)
Hampel Fine Art Auctions
Sep. 24, 2020
Francesco Conti, 1681 – 1760, Kreis des
Est: €8,000 - €10,000
DIE BEWEINUNG CHRISTI Öl auf Leinwand. Doubliert. 72,5 x 87 cm. In dekorativem Rahmen. Vor abendlichem Himmel am Fuß des Kreuzes der Leichnam Christi, halb auf einem weißen Laken liegend, das auch den Hüftbereich bedeckt. Hinter ihm seine Mutter Maria in rotem Gewand mit langem weiten Mantel, in heftigem Gestus beide Arme weit auseinandergestreckt und den Leichnam Christi, dessen Seitenwunde deutlich erkennbar ist, betrauernd. Zur rechten Seite die kniende Maria Magdalena in glänzend goldenem Obergewand und grünem Rock, mit ihrer Linken die Hand des Verstorbenen haltend. Harmonische Malerei in teils kräftigen Farbtönen, mit gekonnter Hell-Dunkel-Inszenierung. Minimale Retuschen. (1241024) (18)
Hampel Fine Art Auctions
Jan. 05, 2020
Attrib. Francesco Conti Holy Family Painting
Est: $3,000 - $5,000
Attrib. CONTI, Francesco, (Italian, 1681-1760): 18th Century scene of the Child Jesus, the Virgin Mary, and Saint Joseph, with additional angel, each with halo, Oil/Canvas, appears to have illegible signature lower right, several partial labels verso, 19.5" x 14.75, double framed 28" x 23.25". Condition: Several repairs, inpaint, craquelure throughout.
Amero Auctions
Jun. 14, 2016
Francesco Conti (1682 - 1760), Crocefissione con i dolenti.
Est: €1,700 - €3,400
Olio su tela. cm 105,5x79.
Gonnelli Casa d'Aste
Apr. 27, 2016
FRANCESCO CONTI | The victory of Virtue over Vice
Est: £4,000 - £6,000
oil on canvas
Sotheby's
Mar. 28, 2014
Francesco Conti, 1681 Florenz - 1760
Est: €30,000 - €50,000
Gemäldepaar ALLEGORIE DER STÄRKE sowie ALLEGORIE DER MALEREI Öl auf Leinwand. 22,5 x 32,5 cm. Die beiden gleich großen, bozzettohaften Gemälde in lockerer, virtuoser Pinselführung von hoher Qualität. Die Allegorie der Stärke als weibliche Figur wiedergegeben, die in leicht sitzender Haltung etwas erhöht, von Putten getragen, mit Helm und rotem Umhang auf eine weitere weibliche Figur herabblickt, jedoch mit dem rechten Zeigefinger nach oben weist. Zu ihren Attributen gehören Helm und Löwe, links ein Putto mit einer Öllampe. Die allegorische Gestalt kann auch als Minerva gedeutet werden. Im Gegenstück ist die Allegorie der Malerei in ein weißes Kleid und einen blauen Umhang gehüllt wiedergegeben, in bewegter Haltung, rechts daneben Putten mit Palette bzw. Malpinsel, links eine männliche Gestalt, in der wohl die Allegorie der „Disegno", also der Zeichnung, zu sehen ist. Dahinter eine vermittelnde weibliche Person, die der Malerei den Hinweis der Disegno mit dem Zeigefinger deutet. Literatur: Die beiden Gemälde in der Literatur behandelt und abgebildet, in: Federico Berti, Francesco Conti, S. 210, Nr. 67, mit Angabe der weiteren Literatur: A cura di Sandro Bellesi, Florenz, 2011 mit Besprechung und Abbildung, S. 30 - 31. Provenienz: Ehemals Sammlung Vittorio Sgarbi. (961052) Francesco Conti, 1682 Florence - 1760 Pair of paintings Oil on canvas. 22.5 x 32.5 cm. Literature: Both paintings have been discussed and illustrated in: Federico Berti, Francesco Conti, p. 210, no. 67, with further bibliographical reference: A cura di Sandro Bellesi, Florence, 2011 with review and illustration, pp. 30 - 31. Provenance: Formerly Vittorio Sgarbi Collection.
Hampel Fine Art Auctions
Dec. 07, 2007
The Lamentation
Est: £15,000 - £20,000
Francesco Conti (Florence 1681-1760) The Lamentation oil on canvas, shaped top 51 x 32 1/8 in. (129.5 x 81.7 cm.)
Christie's
Jan. 26, 2005
Francesco Conti (Florence 1681-1732)
Est: $100,000 - $150,000
An Allegory of Music oil on canvas, unlined 78 3/4 x 57 1/8 in. (200 x 145 cm.)
Christie's
Jul. 10, 2002
Francesco Conti (Florence 1681-1760)
Est: $23,400 - $31,200
The Death of King Josiah oil on canvas, unframed 60 5/8 x 783/4 in. (154 x 200 cm.) NOTES The subject is taken from 2 Chronicles 35, which records that 'Neco king of Egypt came up to fight against Carchemish by Euphrates: and Josiah went out against him. But he sent ambassadors to him, saying, What have I to do with thee, thou king of Judah? I come not against thee this day, but against the house wherewith I have war: for God commanded me to make haste: forbear thee from meddling with God, who is with me, that he destroy thee not. Nevertheless Josiah would not turn his face from him, but disguised himself, that he might fight with him, and hearkened not unto the words of Neco from the mouth of God, and came to fight in the valley of Megiddo. And the archers shot at king Josiah; and the king said to his servants, Have me away; for I am sore wounded. His servants therefore took him out of that chariot, and put him in the second chariot that he had; and they brought him to Jerusalem, and he died, and was buried in one of the sepulchres of his fathers. And all Judah and Jerusalem mourned for Josiah.' The historical events of the death of Josiah involve the power struggle between Babylon and Egypt in the end of the seventh century BC. and precipitated the collapse of the kingdom of Judah and the Hebrew exile in Babylon. Pharaoh Neco (Wehimbre Necho) came to power in Egypt in circa 610BC; by 609 he had already captured both Gaza and Ashkelon in Canaan on the borders of the Kingdom of Judah, and was threatening Judah. However, Egypt was itself increasingly concerned about the rising kingdom of Babylon which had captured the Assyrian Empire's capital, Nineveh, in 612BC and was agressively expanding across towards Harran, where the new (and last) King Assuruballit II of Assyria was established. In order to check Babylon, Neco in 609BC marched north through Judah (the shortest route) to Assuruballit's aid; it was during that march that Josiah decided to attack the Egyptians at Megiddo, suffering a heavy defeat as well as losing his own life. Partly as a result of this delay, Neco failed in his attempt to aid Assuruballit, although he did assert some sort of continued influence at Carchemish, an Egyptian stronghold on the Upper Euphrates. On his return to Egypt three months later, Neco invaded Judah (probably to ensure that access to Carchemish would in future be unimpeded), deposing Josiah's son, King Jehoahaz, and reducing Judah to a vassal kingdom under another of Josiah's sons, Jehoiakim. In 605BC, the Babylonian King Nabopolassar, sent an army against Egypt under the command of his son, Nebuchadnezzar. The latter succeeded in capturing Carchemish and pursued the fleeing Egyptian forces to the district of Hamath where he crushed them completely. Continuing on towards Egypt, he accepted on his way the surrender of Judah, but was subsequently halted by the news that his father had died, forcing him home to secure the throne before returning to organise the newly conquered territories. In 601BC, however, Nebuchadnezzar suffered a defeat at the hand of the Egyptians that persuaded King Jehoiakim to withold the annual tribute to Babylon in the belief that the balance of power had swayed in Egypt's favour. In consequence, Nebuchadnezzar sent his armies against Judah in 597BC; Jehoiakim died before Nebuchadnezzar arrived and his son, Jehoiachin, was on the throne when the Babylonians took Jerusalem in March of that year. Jehoiachin was sent to Babylon with 10,000 of his most distinguished citizens and Jehoiachin's uncle, Zedekiah, was made King of Judah in his place. When the new king several years later rebelled against Nebuchadnezzar, the Babylonians returned and recaptured Jerusalem in the summer of 586BC, destroying the city and deporting the majority of the remaining population to Babylon.
Christie's