Piero Di Cosimo Paintings & Artwork for Sale | Piero Di Cosimo Art Value Price Guide

Dec. 04, 2024
Piero di Cosimo (1462-1522)- taste of
Est: €100 - €200
Piero di Cosimo (1462-1522)- taste of, Eremith with dogs in landscape. Oil on canvas on wooden panel. Described on the reverse. 39 x 25 cm.
Deutsch Auktionen
Sep. 24, 2024
PITTORE DEL XVII SECOLO
Est: €2,000 - €3,000
Tritoni Olio su tela, cm 60X68 Soggetto rinascimentale per eccellenza, ricordiamo il fregio realizzato da Piero di Cosimo che raffigura a fregio continuo una teoria di nereidi, tritoni, creature mitologiche con la parte superiore umana e quella inferiore pisciforme (Cfr. Piero di Cosimo 1462-1522. Pittore eccentrico tra Rinascimento e Maniera, catalogo della mostra a cura di E. Capretti, A. Forlani Tempesti, S. Padovani, D. Parenti, Firenze 2015, pp. 284-285, n. 36 a-b.). Altresì noti sono gli affreschi di simile soggetto realizzati dalla bottega raffaellesca e in particolare da Baldassare Peruzzi a Villa della Farnesina nel 1508 (Cfr. M. Mercalli, D. Pagliai, Baldassarre Peruzzi, sala del fregio, in I luoghi di Raffaello a Roma, catalogo mostra, Roma 1983, pp. 32-38, pp. 25-73).
Wannenes Art Auctions
Jun. 13, 2024
Piero di Cosimo 1462 Firenze-1522 Firenze, cerchia di Vergine orante
Est: €800 - €1,200
reca tracce di iscrizione nell’angolo in basso a destra
Cambi Casa d'Aste
Mar. 21, 2024
Piero di Cosimo, 1432 Florenz – 1521, zugeschrieben
Est: €120,000 - €180,000
MADONNA MIT DER SCHWALBE Öl auf Holz. 87 x 63 cm. Verso zwei Festigungs-Querleisten. Wenngleich das Gemälde in der Gesamtauffassung sofort an die Nachfolge Raffaels denken lässt, und wenn auch der Kreis um Girolamo di Benvenuto da Siena ins Gespräch gebracht wurde, so lassen Detailbeobachtungen entschieden mehr an Piero di Cosimo denken. Im Gegensatz zu fast allen Madonnenmalern, die dem Gesicht der Maria eher nachdenklichen Ernst gegeben haben, ist in den Marienthemen des Piero weit häufiger, um nicht zu sagen geradezu einzig bei ihm, ein zufriedenes Lächeln zu sehen, wie dies auch hier im Bild der Fall ist. Gezeigt ist die traditionelle Dreiheit von Maria mit dem Jesuskind und dem Johannesknaben. Zum Optimismus, den der Maler dem Bild zu vermitteln beabsichtigt hat, zählt auch die Zutat der Schwalbe, die von Jesus an einen feinen Faden gehalten wird, ist dies doch das Symbol für die Auferstehung und das ewige Leben. Dem entspricht auch das Lächeln, mit dem das Jesuskind dem Betrachter entgegenblickt. Dagegen hält der Johannesknabe das dem Leben Jesu bevorstehende Kreuz, hier aus dünnen Stängeln gestaltet. Auffallend ist hier neben diesen Detailbeobachtungen auch die betonte Feinheit beim Faden des Vogels, wie ebenso beim Kreuz des Johannes. Ein Gestaltungscharakter, der womöglich noch gezielter auf einen bestimmten, noch nicht eruierten Meister verweisen könnte. Im leicht zum Büchlein herabgeneigten Kopf der Maria wird erkennbar, dass sich der Maler mit der perspektivischen Verkürzung auseinandergesetzt hat. Farbkompositionell korrespondiert das markant ins Bild gebrachte Schwarz der Schwalbe zu der betont schmalen Borte am roten Kleid, sowie dem Einband des Gebetbuches in der Hand. Ein solcher Farbkontrast ist auch in seinem gleichthematischen Bild von 1505/10 zu beobachten. Der landschaftliche Hintergrund, der eine Talmulde zeigt, ist – gegenüber den Raffaelmadonnen – ein etwas späterer Bildgedanke, der bereits einen Einfluss von Leonardo erkennen lässt. Dies stimmt auch mit dem überein, was wir über Piero di Cosimo und dessen malerische Entwicklung bereits wissen. A.R. Literatur: Vgl. Mina Bacci, Piero di Cosimo, Mailand 1966. Vgl. Anna Forlani Tempesti, Elena Capretti, Piero di Cosimo. Catalogo completo. Florenz 1996. Vgl. Alexander Rauch, in: Rolf Toman (Hrsg.), Die Kunst der italienischen Renaissance, Teil Malerei, Köln 1994. (1392021) (11) Piero di Cosimo, 1432 Florence – 1521, attributed THE VIRGIN AND CHRIST CHILD WITH A SWALLOW Oil on panel. 87 x 63 cm. Two parquetting slats on the reverse. Although the overall design of the painting immediately suggests a successor of Raphael, and although the circle around Girolamo di Benvenuto da Siena has been considered, details rather point towards Piero di Cosimo. In contrast to almost all Madonna painters, who gave the Virgin’s face a more thoughtful, serious expression, Piero’s Virgins are often, maybe uniquely, depicted with a contented smile as is also the case in the present painting. The composition shows the traditional trinity of The Virgin Mary with the Christ Child and the Infant Saint John. Adding to the optimism which the painter intended to convey is the depiction of a swallow, held by the Christ Child on a fine thread, as a symbol of the resurrection and eternal life. This also corresponds to the Christ Child’s smile directed at the viewer. In contrast, the Infant Saint John is holding the cross, here made of thin stalks, which foreshadows the death of Christ. Striking details are also the extreme fineness of the bird’s thread as well as the cross held by John. Compared to the Madonna depictions by Raphael, the landscape background showing a valley is a later pictorial idea that already shows the influence by Leonardo.
Hampel Fine Art Auctions
Oct. 30, 2022
PIERO DI COSIMO (1462-1521), d'après
Est: €350 - €450
PIERO DI COSIMO (1462-1521), d'après " Portrait de Simonetta Vespucci" Gouache ovale signée Hayer au milieu goauche. Dimensions : 23 cm x 18 cm
Legia-Auction
Dec. 19, 2020
Oil painting on slate, depicting Apollo schooI Marsyas, Allegedly by Piero di Cosimo (Florence,
Est: -
Oil painting on slate, depicting Apollo schooI Marsyas, Allegedly by Piero di Cosimo (Florence, about 1461 - Florence, April 12, 1522). Cm 29x32. In frame 40x42 cm. Thickness mm 10. Small gluing in the upper left. The painting is given orally to the painter Piero di Lorenzo di Chimenti, known as Piero di Cosimo, a pupil of Cosimo Rosselli, active in Florence and Rome, where, between 1481 and '82, he worked on the frescoes of the Sistine Chapel. Since no signed his works, nor documented powers, the painter's catalog is based mainly on the testimony of Vasari, who also date news on his eccentric temperament and complex. In Florence at the turn of the fifteenth and sixteenth centuries, after the death of Lorenzo the Magnificent in 1492 and the subsequent expulsion of the Medici, the short and dramatic Republic of Savonarola had caused the storm also in art, highlighting a long crisis latent, with significant effects on established artists because of the younger ones, beginning by Michelangelo himself, who fled the city, and Bartolomeo della Porta, and temporarily abandoned painting, joining the Dominican friars. The next oligarchic government modeled on that of the Venetian Republic and backed by filomedicei environments, it promotes recovery of clients, public and private. So not only the artists are no longer forced to move elsewhere, but they are often called home, with the offer of important positions, to contribute their works to revive the prestige of the city and bring prestige to the new Republic. The response of the Florentine workshops to the new situation is not immediate: the fame as well as the activities of Perugino no longer apply in the city; other first floor of the older generation artists such as Botticelli and Filippino Lippi, are no longer able to express new, remaining tied to outdated standards. In this context also it is traditionally traced Piero di Cosimo, despite the vitality and originality of its proposals and the progressive opening new instances and to the Nordic models and leonardeschi. Featuring a painting suffused with light and color and rarefied, gave priority to the oil technique on smaller, inspired reworking and in a personal way above artistic suggestions by Filippino Lippi, Ghirlandaio, Leonardo and Fra Bartolomeo. From Flemish painting instead draws the refined playing technique, the use of bright colors and realistic rendering of details. The work in question, painted on slate, support especially used in the sixteenth and seventeenth centuries and is mentioned by Vasari (The Lives of 'the most Eminent Painters, Sculptors and Architects of 1550), can be Allegedly by the hand of the painter, dall'irrequieto temperament , which manifests itself from time to time in elegiac expressions, pathetic and grotesque that are revealed in his paintings often host mythological subjects. E 'in the case of the Tritons and Nereids, with Satyrs and ichthyocentaurs (1500-1505 approximately), which could therefore to be compared with that schooI Apollo Marsyas so as to support the hypothesis of a possible allocation to the Florentine painter. ASORStudio
ArtLaRosa
Dec. 17, 2020
PIERO DI COSIMO (?FLORENCE 1461/2-?1521 FLORENCE) - Rest on the Flight into Egypt
Est: £15,000 - £25,000
PIERO DI COSIMO (?FLORENCE 1461/2-?1521 FLORENCE) Rest on the Flight into Egypt oil on panel 15 3/8 x 11 3/8 in. (38.4 x 29 cm.)
Christie's
Jul. 30, 2020
PIERO DI COSIMO (?FLORENCE 1461/2-?1521 FLORENCE) Rest on the Flight into Egypt
Est: £30,000 - £50,000
PIERO DI COSIMO (?FLORENCE 1461/2-?1521 FLORENCE) Rest on the Flight into Egypt oil on panel 153⁄8 x 113⁄8 in. (38.4 x 29 cm.) Please note this lot is the property of a private individual. Provenance Anonymous sale; Christie's, London, 3 December 2014, lot 161.
Christie's
Dec. 03, 2014
Piero di Cosimo (?Florence 1461/2-?1521 Florence)
Est: £20,000 - £30,000
Piero di Cosimo (?Florence 1461/2-?1521 Florence) The Rest on the Flight into Egypt oil on panel 15 3/8 x 11 3/8 in. (38.4 x 29 cm.)
Christie's
Jan. 28, 2010
PIERO DI COSIMO
Est: $1,000,000 - $1,500,000
THE MADONNA AND CHILD ENTHRONED WITH SAINTS ONOPHRIUS AND AUGUSTINE
Sotheby's
Jul. 08, 2009
Studio of Piero di Cosimo (?Florence 1461/2-?1521)
Est: £60,000 - £80,000
Studio of Piero di Cosimo (?Florence 1461/2-?1521) The Holy Family with an adoring Angel, the manger and the retinue of the Magi beyond with an armorial red-wax seal bearing the arms of the marquis Dadvisard de Talairan (on the reverse) oil on panel, tondo 33¼ in. (84.1 cm.) diam. in an early 16th century Florentine carved and gilded fruitwood frame, redecorated
Christie's
Jul. 08, 2009
Studio of Piero di Cosimo (?Florence 1461/2-?1521)
Est: £60,000 - £80,000
Studio of Piero di Cosimo (?Florence 1461/2-?1521) The Holy Family with an adoring Angel, the manger and the retinue of the Magi beyond with an armorial red-wax seal bearing the arms of the marquis Dadvisard de Talairan (on the reverse) oil on panel, tondo 33¼ in. (84.1 cm.) diam. in an early 16th century Florentine carved and gilded fruitwood frame, redecorated
Christie's
Apr. 24, 2009
Piero di Cosimo (?Florence 1461/2-1521)
Est: £30,000 - £50,000
Piero di Cosimo (?Florence 1461/2-1521) The Rest on the Flight into Egypt inscribed 'A Messer Giorgio Vasari Iou Fiorenza' (on the reverse) oil on panel, tondo 27 7/8 in. (70.8 cm.) diam.
Christie's
Jul. 05, 2007
Jason and Queen Hypsipyle with the women of Lemnos: a spalliera
Est: £200,000 - £300,000
Piero di Cosimo (?Florence 1461/2-1521) Jason and Queen Hypsipyle with the women of Lemnos: a spalliera indistinctly signed and dated '[PETRV]S. V. 1499' (centre right) oil on panel, laid on panel 35¾ x 59 in. (90.8 x 149.8 cm.)
Christie's
Jan. 26, 2006
PIERO DI COSIMO FLORENCE 1461/61 - 1521
Est: $100,000 - $150,000
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION THE MADONNA AND SLEEPING CHRIST CHILD WITH THE INFANT SAINT JOHN THE BAPTIST measurements note diameter: 34 3/4 in.; 88.3 cm. oil on panel, a tondo PROVENANCE Belli e Della Bruna collection, Florence (according to a label on the reverse); With Testa, Florence; Pazzagli collection, Florence; Antonini collection, Paris, by 1936. LITERATURE M. Bacci, L'opera completa di Piero di Cosimo, Milan 1976, p. 101, cat. no. 77, reproduced (under "Opere attribuite"); E. Capretti & A. Forlani Tempesti, Piero di Cosimo: Catalogo Completo, Florence 1995, p. 143, cat. no. A4, reproduced (under "Appendix A. Opere derivate, di attribuzione incerta", known to the authors only from photographs). NOTE Piero di Cosimo must be regarded as one of the most singular artists of the Florentine Renaissance. This reputation for individuality was reinforced in large part by Vasari's Vita of the artist which focuses on his supposed peculiarities and outlandish personal habits. However, his artistic vision was certainly exceptional, and such works as his so-called Portrait of Simonetta Vespucci (Musée Condé, Chantilly), showing a bare breasted sitter whose neck is draped with a serpent, or his Discovery of Honey (Worcester Art Museum) assure a unique place among the artists of his own generation, and his importance as a teacher (his students including Fra Bartolomeo, Albertinelli, Pontormo and probably Andrea del Sarto) assures a place among the artists of the next. In addition to the more unusual allegorical and mythological subjects that he painted, Piero also produced a number of religious or devotional paintings of a more standard type. This panel is exactly the sort of devotional image that the artist's many private patrons would have expected of him. The tondo format, then still in fashion in Florence is used, and certain details, such as the turbanned Madonna, suggest the influence of the younger generation of artists, particularly Raphael. This painting was first (verbally) attributed to Piero di Cosimo by F. Mason Perkins in 1924, according to the mount of a photograph in the Frick Art Reference Library. The complex rock structure in the centre of the composition also features in Piero di Cosimo's tondo of Saint Jerome in the Museo Horne, Florence. We are grateful to Everett Fahy and Dennis Geronimus for independently endorsing the attribution to Piero di Cosimo after first-hand inspection. The painting will be discussed in Dennis Geronimus' forthcoming monograph on the artist, tentatively titled Piero di Cosimo, Odd Man In: His Life and Art (Yale University Press, 2006).
Sotheby's