Orazio de Ferrari Paintings & Artwork for Sale | Orazio de Ferrari Art Value Price Guide

Dec. 12, 2024
Orazio De Ferrari 1605 Voltri-1657 Genova Il Battesimo di Cristo
Est: €2,000 - €3,000
olio su tela
Cambi Casa d'Aste
Dec. 12, 2024
Orazio De Ferrari 1605 Voltri-1657 Genova Sacra Famiglia
Est: €3,000 - €5,000
olio su tela
Cambi Casa d'Aste
Oct. 28, 2024
Attributed to ORAZIO DE FERRARI (Voltri, 1606-Genoa, 1657). "Job tormented". Oil on canvas. Relined. It presents restorations. It has a carved wooden frame with faults.
Est: €9,000 - €12,000
Attributed to ORAZIO DE FERRARI (Voltri, 1606-Genoa, 1657). "Job tormented". Oil on canvas. Relined. It presents restorations. It has a carved wooden frame with faults. Measurements: 115 x 146,5 cm; 133 x 167 cm (frame). This scene represents the moment in which Job says to his wife "Curse God and die", representing the repudiation of his wife that was one of the tests that the devil put to him to tempt him to renounce in the faith of God. In this case we see how the artist has captured a specific moment with dynamic attitudes, the half-open mouth of both characters and the hand gestures indicate that they are talking, so the painter has made the viewer contemplate a scene of great intimacy and everyday life. Aesthetically the work is close to the painting of the master Orazio de Ferrari, a pupil of the Voltri painter Giovanni Andrea Ansaldo, one of the main exponents of Genoese Mannerism. His first works, executed around 1630 in the workshop of Ansaldo, whose granddaughter he married, are the Martyrdom of Saint Sebastian and the Virgin and Child, Saint Jerome and Saint where it can already be seen how the painter is fixed in the colorism of Rubens. In the works after 1640 we can appreciate the progressive overcoming of mannerism in favor of a clearer structure and a greater naturalism. The presence in his work of a lively naturalism derived from the Genoese Assereto, as well as the presence in Genoa of Vouet and Orazio Gentileschi, together with a colorism inspired by Rubens and Van Dyck, led the famous critic Roberto Longhi to the famous definition for De Ferrari of "naturalistic baroque". His production is in fact concentrated on altarpieces for Genoese and Ligurian religious buildings, together with sporadic cases of profane subjects for private collectors, such as the famous Fable of Latona, painted in 1638 for the Count of Monterrey, Viceroy of Naples, and the Rape of the Sabine Women in the Zerbone collection. Between 1651 and 1652 he was called to the Principality of Monaco by the Honored Prince II to paint a series of frescoes in the Palazzo Grimaldi. It presents restorations. It has a carved wooden frame with faults.
Setdart Auction House
Jul. 18, 2024
Attributed to Orazio da Ferrari (1606 - 1657), Monumental Judith with the head of Holofrenes, Genoese Italian school of the 17th century
Est: €50,000 - €60,000
Large oil on canvas. Measurements: 200 x 160 cm. Framed measurements: 225 x 185 cm. Orazio de Ferrari (Voltri, August 22, 1606-Genoa, 1657). From humble roots, he was a disciple of his compatriot Giovanni Andrea Ansaldo, who, appreciating his good judgment, had encouraged his father to direct him to the study of the liberal arts, and ended up favoring the disciple by marrying him to one of his nieces, named Giorgetta. The first The commissions of which there is evidence, already as a painter, date from 1627, but the earliest of his works preserved and dated is the altar cloth with Saint Sebastian, the Virgin and Child and Saints Roque, Apolonia, Águeda and Cristóbal, painted in 1630 for the Compagnia dei Camalli or San Sebastian parish church of Saints Nicholas and Erasmus of Voltri, where a year later he married Giorgetta. From 1634 to 1637, years of which there is no documentary trace in Genoa, it is possible that he lived in Naples, taking into account the Caravaggist influences in the manner of José de Ribera that can be seen in some of his works. Also around that year he began his relationship with Prince Honorato II of Monaco, who, says Soprani, "molte cose gli fece dipingere sia nel palazzo, sia nelle Chiese del Principato", for which he rewarded him with the knight's cross. of the Order of Saint Michael, but none of the paintings he painted for him have been preserved. It is also probable that he also served the prince as an intermediary for the acquisition of works of art and in 1655 he collaborated in the scenography of the ballet Le vittorie di Minerva o vero la Virtù trionfante de'Viti, performed at the Monaco carnival of 1655 by initiative of Aurelia Spinola. He died due to the plague of 1657, after testifying on September 14. His wife and all his children also died with him due to the epidemic, among them the eldest, Giovanni Andrea, just over twenty years old, who, according to Soprani, at the age of twelve had painted the portrait of Agostino Paoletti and had already given samples to be an excellent painter. Provenance: important Andalusian private collection, Sevillian palace, Seville, Andalusia, Spain.
Templum Fine Art Auctions
Jun. 13, 2024
Orazio De Ferrari 1605 Voltri-1657 Genova Ritratto di gentiluomo con gorgiera
Est: €3,000 - €4,000
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Cambi Casa d'Aste
Apr. 10, 2024
Attributed to ORAZIO DE FERRARI (Voltri, 1606-Genoa, 1657). "Job tormented". Oil on canvas. Relined. It presents restorations. It has a carved wooden frame with faults.
Est: €12,000 - €14,000
Attributed to ORAZIO DE FERRARI (Voltri, 1606-Genoa, 1657). "Job tormented". Oil on canvas. Relined. It presents restorations. It has a carved wooden frame with faults. Measurements: 115 x 146,5 cm; 133 x 167 cm (frame). This scene represents the moment in which Job says to his wife "Curse God and die", representing the repudiation of his wife that was one of the tests that the devil put to him to tempt him to renounce in the faith of God. In this case we see how the artist has captured a specific moment with dynamic attitudes, the half-open mouth of both characters and the hand gestures indicate that they are talking, so the painter has made the viewer contemplate a scene of great intimacy and everyday life. Aesthetically the work is close to the painting of the master Orazio de Ferrari, a pupil of the Voltri painter Giovanni Andrea Ansaldo, one of the main exponents of Genoese Mannerism. His first works, executed around 1630 in the workshop of Ansaldo, whose granddaughter he married, are the Martyrdom of Saint Sebastian and the Virgin and Child, Saint Jerome and Saint where it can already be seen how the painter is fixed in the colorism of Rubens. In the works after 1640 we can appreciate the progressive overcoming of mannerism in favor of a clearer structure and a greater naturalism. The presence in his work of a lively naturalism derived from the Genoese Assereto, as well as the presence in Genoa of Vouet and Orazio Gentileschi, together with a colorism inspired by Rubens and Van Dyck, led the famous critic Roberto Longhi to the famous definition for De Ferrari of "naturalistic baroque". His production is in fact concentrated on altarpieces for Genoese and Ligurian religious buildings, together with sporadic cases of profane subjects for private collectors, such as the famous Fable of Latona, painted in 1638 for the Count of Monterrey, Viceroy of Naples, and the Rape of the Sabine Women in the Zerbone collection. Between 1651 and 1652 he was called to the Principality of Monaco by the Honored Prince II to paint a series of frescoes in the Palazzo Grimaldi.
Setdart Auction House
Nov. 30, 2023
Orazio De Ferrari 1605 Voltri-1657 Genova Adorazione dei pastori
Est: €10,000 - €15,000
Il dipinto è una tipica opera di Orazio De Ferrari in termini di stile e soggetto trattati.La passione di Orazio per illuminare le sue figure dall'alto, per immergerle in uno sfondo marrone e per scagliarle sul primo piano, è esemplificata in questo dipinto.Come Rembrandt, Orazio usa la luce per permettere alle sue figure di brillare in un contesto semi oscuro. Il Bambino, simbolicamente risplendente, è al centro dell'attenzione mentre i genitori lo mostrano ad un gruppo di persone. La luce accentua la pietà devozionale sui visi e i gesti di coloro che sono arrivati a rendere omaggio, ed il tremolio sul volto dei visitatori tra i quali vi è un giovane ragazzo, alcune donne e forse la persona che reca un dono (sulla destra in lontananza).La naturalezza di queste figure artistiche, come per esempio la donna con il cesto che si inginocchia in primo piano, e la donna dai capelli dorati che sembra istruire il ragazzo nelle preghiere, appaiono anche in altre opere dipinte da Orazio.[...]Questo dipinto, in quanto unica composizione orizzontale con questo soggetto a me nota, fu probabilmente creato per un collezionista privato. Visto il modello di drappeggio della donna inginocchiata che ricorda l'influenza dell' Assereto e le figure che corrispondono al dipinto di Mentone eseguito nell'anno 1649, l'opera potrebbe essere realizzata alla fine degli anni Quaranta.
Cambi Casa d'Aste
Dec. 09, 2021
Orazio de Ferrari, 1605 Voltri – 1657 Genua
Est: €15,000 - €20,000
ESTER VOR AHASVER Öl auf Leinwand. 90,5 x 103 cm. In teilvergoldetem, floral dekoriertem Rahmen. Beigegeben ein Gutachten von Anna Orlando, Genua, ohne Datum, in Kopie. Ganz anders als etwa das Gemälde von Artemisia Gentileschi (1593-um 1654) im Metropolitan Museum of Art, welches die beiden Hauptfiguren in größerer Distanz zeigt, liegt Ester in dem vorliegenden Gemälde von Orazio de Ferrari Ahasver förmlich in den Armen, während sie ihn bittet, ihr Volk zu schonen. Die Darstellung geht auf das Buch Ester zurück, welches den König als Herrn von Indien bis Äthiopien beschreibt, jedoch ist die Erzählung zu Ester vermutlich fiktionaler Natur, da eine jüdische Königin Ester aufgrund der Heiratspolitik persischer Könige als unwahrscheinlich gilt. Ahasver wird im geschichtlichen Kontext mit Xerxes I (regierte 486-465 v. Chr.) gleichgesetzt. Das vorliegende Gemälde ist bisher noch nicht in der Literatur veröffentlicht worden und wird von Anna Orlando als eigenhändiges Werk des Genueser Malers Oratio de Ferrari anerkannt. Als Vergleich nennt Orlando eine Variante mit den Maßen 124 x 153 cm, welches sich in einer Privatsammlung befindet und von Piero Donati 1997 (Katalognummer 63, S. 149) erwähnt wurde. Dieser schreibt „Da questo momento in pio (ossia dopo il 1640), questa capacità di coniugare splendore materico e rigorosa coerenza spaziale connoterà stabilmente la pittura di Orazio De Ferrari, conferendole un’intima originalità. Nel campo del quadro da stanza, questa poetica sottostà, oltre che ai dipinti che si inpirano alla Passione di Cristo, ad un capolavoro assoluto quale l’Ester confortata da Assuero, di collezione privata...“ Literatur: Vgl. Piero Donati, Orazio De Ferrari, Genua 1997. Vgl. Anna Orlando, Aggiunte al catalogo di Orazio De Ferrari, in: La Favola di Latona di Orazio de Ferrari. Il ritorno di un capolavoro. Con aggiunte al catalogo del pittore, Genua 2017. Vgl. Buch Ester, (Est 2,16). (1290314) (13) Orazio de Ferrari, 1605 Voltri – 1657 Genoa ESTHER IN FRONT OF AHASVEROil on canvas. 90.5 x 103 cm. A copy of the expert’s report by Anna Orlando, Genoa, no date, is enclosed. The present painting has not yet been published in research literature and is recognized by Anna Orlando as an original work by the Genoese painter Orazio de Ferrari. Orlando mentions a variant measuring 124 x 153 cm for comparison, which is held at a private collection and was mentioned by Piero Donati in 1997 (cat. no. 63, p. 149). Literature: cf. Piero Donati, Orazio De Ferrari, Genua 1997. cf. Anna Orlando, Aggiunte al catalogo di Orazio De Ferrari, in: La Favola di Latona di Orazio de Ferrari. Il ritorno di un capolavoro. Con aggiunte al catalogo del pittore, Genua 2017. cf. The Book of Esther, (Est 2,16).
Hampel Fine Art Auctions
Jul. 02, 2020
Orazio de Ferrari, 1605 – 1657, zug.
Est: €20,000 - €23,000
SUSANNA UND DIE ALTEN Öl auf Leinwand. Doubliert. 115 x 145 cm. In profiliertem gekehlten und vergoldeten Rahmen. Typische großformatige Darstellung des Schülers von Andrea Giovanni Ansaldo (1584-1638). Eine weitere Szene mit Susanna und den Alten von dessen Hand, welche jedoch im Hochformat komponiert ist, befindet sich im Museo Nacional de San Carlos in Mexico Stadt (Fototeca Zeri 58674). (1221801) (3) (13) Orazio de Ferrari, 1605 – 1657, attributed SUSANNA AND THE ELDERS Oil on canvas. Relined. 115 x 145 cm. In profiled grooved and gilt frame. Typical large format depiction of the student of Andrea Giovanni Ansaldo (1584-1638). Another scene with Susanna and the Elder by him, however in portrait format composition is held at the Museo Nacional de San Carlos in Mexico City (Fototeca Zeri 58674).
Hampel Fine Art Auctions
Jun. 30, 2020
Orazio De Ferrari (Voltri 1605 - Genova 1657), San Gerolamo
Est: €5,000 - €7,000
olio su tela, cm 160x138
Cambi Casa d'Aste
Dec. 03, 2019
ORAZIO DE FERRARI
Est: €5,000 - €7,000
(Voltri, 1606 - Genova, 1657) Crocifissione con la Maddalena e San Francesco Olio su tela, cm 185X143 Già riferito ad un autore genovese, il dipinto é stato ricondotto al catalogo di Orazio De Ferrari da Camillo Manzitti. L'artista, allievo di Giovanni Andrea Ansaldo, mostra nelle sue prime opere come il 'Martirio di San Sebastiano', realizzato nel 1630 per la Chiesa dei SS. Nicolò ed Erasmo a Voltri, gli stretti rapporti stilistici con il maestro, benchè condizionate dalla formazione manieristica. Altresìsono evidenti le suggestioni di Giovanni Battista Paggi, che nella nostra tela si osservano nei panneggi della Maddalena e nelle calde sfumature cromatiche. Tali inflessioni giovanili, verranno a modificarsi nel corso degli anni Quaranta, quando le sensibilità tenebrose condurranno il pittore a un forte naturalismo, in analogia con le coeve prove di Gioacchino Assereto. Questi aspetti si evincono assai bene analizzando i Cenacoli conservati rispettivamente al Monte e nella sacrestia di San Siro, in cui la puntigliosa e compiaciuta caratterizzazione degli apostoli é accostabile al linguaggio dell'Assereto, ma in maniera ancor più marcata nell'espressione. Tornando alla tela in esame, questa si può collocare appunto quarto decennio. Ringraziamo Camillo Manzitti per l'attribuzione. Bibliografia di riferimento: F. R. Pesenti, 'La pittura in Liguria. Il primo Seicento', Genova 1986, pp. 433-88 P. Donati, 'Orazio De Ferrari', Genova 1997, ad vocem
Wannenes Art Auctions
May. 30, 2018
Orazio De Ferrari (Voltri 1605 - Genova 1657), cerchia di, Profeta
Est: €2,500 - €3,000
olio su tela, cm 105x90
Cambi Casa d'Aste
May. 30, 2018
Orazio De Ferrari (Voltri 1605 - Genova 1657), Figura virile
Est: €5,000 - €6,000
olio su tela, cm 78,5x56
Cambi Casa d'Aste
Mar. 29, 2017
Orazio de Ferrari (Voltri 1606-1657 Genova) - The Vision of Saint Francis
Est: £10,000 - £15,000
Orazio de Ferrari (Voltri 1606-1657 Genova) The Vision of Saint Francis oil on canvas 48 x 38 7/8 in. (122 x 98.8 cm.)
Christie's
Dec. 10, 2015
Orazio de Ferrari, 1605 Voltri - 1657 Genua
Est: €10,000 - €15,000
DAS WUNDER DES HEILIGEN ANTONIUS VON PADUA Öl auf Leinwand. Doubliert. 158 × 133,5 cm. Gerahmt. Dem Gemälde ist eine Expertise von Prof. Camillo Manzitti beigegeben. Das Gemälde zeigt eines der vielen Wunder des Heiligen Antonius, die so häufig in der italienischen Malerei des 17. Jahrhunderts zu finden sind, besonders in Genua. Das vorliegende Werk ist absolut typisch für Orazio de Ferrari, besonders für seine Reifejahre, einer Schaffensperiode, in der er stark volkstümlich-theatralische Akzente liebte, ohne Idealisierung, sondern inspiriert vom alltäglichen Leben. Charakteristisch ist die Darstellung des Volkes, faltige Gesichter mit stark naturalistischen Zügen. Man erkennt hier die Spuren lebenslanger harter Arbeit, die Gestik im Dialog ist ausdrucksstark, das Licht wird dramatisch eingesetzt. Diese Stilelemente lassen eine Datierung um 1650 zu, da eine deutliche Ähnlichkeit zu anderen Werken von Orazio de Ferrari aus derselben Zeit besteht, zum Beispiel die Gemälde „La guarigione del cieco nato“ und „Cristo e l'adulterio“, beide zu sehen im Palazzo Bianco in Genua. Literatur: Camillo Manzitti, in: Franco Paliaga (Hrsg.), I miti e il territorio nella Sicilia dalle mille culture. L'Influenza di Caravaggio e dei Fiamminghi nella pittura meridionale, Ausstellungskatalog Salemi Castello Normanno-Svevo, 9. August - 25. Oktober 2015 Pontedera, 2015, S. 82-83, Nr. 23. (1032074) (21) Orazio de Ferrari, 1606 Voltri - 1657 Genoa THE MIRACLE OF S. ANTHONY REATTACHING A YOUNG MAN’S FOOT Oil on canvas. Relined. 158 x 133.5 cm. Framed. Accompanied by an expert's report by Professor C. Manzitti. The painting depicts one of the many miracles of Saint Anthony, so often found in Italian painting of the 17th century, particularly in Genoa. The present work is absolutely typical for Orazio de Ferrari, especially in his mature years, a creative period in which he greatly loved popular theatrical accents without idealisation but instead inspired by everyday life. A characteristic feature is the representation of the people with wrinkled faces and strong naturalistic facial features. The traces of a lifetime of hard work are evident: the gestures in dialogue are expressive and the light is used dramatically. These stylistic elements allow a dating of the painting to ca. 1650, as there are significant similarities to other works by Orazio de Ferrari from the same period, such as the two paintings La guarigione del cieco NATO and Cristo l'adulterio, both on view at the Museo di Palazzo Bianco in Genoa. Literature: C. Manzitti, in: I miti e il territorio nella Sicilia dalle mille culture. L'influenza di Caravaggio e dei Fiamminghi nella pittura meridional, F. Paliaga (ed.), exhibition catalogue Salemi, Castello Normanno-Svevo, 9 August - 25 October, 2015, Pontedera, 2015, p. 82-83, no. 23.
Hampel Fine Art Auctions
Jun. 12, 2013
Der hl. Johannes der Täufer wird zu seinem Märtyrertod geführt
Est: CHF70,000 - CHF90,000
ORAZIO DE FERRARI, Der hl. Johannes der Täufer wird zu seinem Märtyrertod geführt, Voltri 1606-1657 Genua, Öl auf Lwd., doubliert, 119 x 153 cm,
Galerie Fischer Auktionen AG
Dec. 13, 2011
Circle of Orazio De Ferrari (1605-1657), ItalianTHE ADORATION OF THE MAGI; Oil on canvas46" x 59" - 116.8 x 149.9 cm.Provenance: Private Collection, Toronto; From whom purchased by the present, Private Collection, Ontario circa 1967
Est: $10,000 - $15,000
Circle of Orazio De Ferrari (1605-1657), ItalianTHE ADORATION OF THE MAGI; Oil on canvas46" x 59" - 116.8 x 149.9 cm.Provenance: Private Collection, Toronto; From whom purchased by the present, Private Collection, Ontario circa 1967
Waddington's
May. 22, 2007
Martirio di San Bartolomeo
Est: €40,000 - €60,000
Orazio de Ferrari (Voltri 1606-1657 Genova) Martirio di San Bartolomeo olio su tela, senza cornice 194 x 144.7 cm.
Christie's