Corrado Giaquinto Paintings & Artwork for Sale | Corrado Giaquinto Art Value Price Guide

Nov. 16, 2024
Corrado Giaquinto, Dream of Saint Joseph
Est: €30,000 - €35,000
Certificate Dr. Giacomo Lanzillotta, Verona, 12 January 2023 The canvas depicts an episode from the Gospel of Matthew (Mt 1:20): Joseph is told not to be afraid to take Mary as his wife because She has become pregnant through the Holy Spirit. In the foreground, Joseph is addressed by an angel, while Mary and the Child are depicted on the far left in the background. The clouds, the angels and the soft, subdued light that permeates the composition, the delicate colours and the loose, quickly executed brushstrokes lend the depiction the atmosphere of a dream. The present painting was first recognised as a work by Corrado Giaquinto by Sergio Marinelli, and the attribution was recently confirmed by the director of the Corrado Giaquinto Museum, Giacomo Lanzilotta. Giaquinto created different versions of the composition: a smaller canvas is in the Pinacoteca Civica di Montefortino, a second in the Museo Diocesano di Taranto and a later one in the Maldà Collection in Barcelona. While the latter was most likely created during the artist's stay in Spain, the present painting was probably painted before his departure to Madrid in 1753. Both the Annunciating angel and Saint Joseph appear in other works by the artist in identical postures (see: The Rest on the Flight into Egypt at The Institute of Arts, Detroit): these repetitions are typical in the modus operandi of Giaquinto, who, to optimize his output, produced cartoons and models to be used in different compositions according to needs. One of the most brilliant colourists of the Settecento, Giaquinto became a truly international figure. Born in 1721 in Molfetta, Puglia, he first moved to Naples, where he entered the workshop of Nicola Maria Rossi, a pupil of Francesco Solimena. His early training was essential to the development of his mature style, which owes much to the works of Solimena and Luca Giordano. In 1727 he moved to Rome and entered the workshop of Sebastiano Conca, later became a member of the Accademia di San Luca. In 1753 he was invited to Madrid by Ferdinand VI to take up the role of court painter following Jacopo Amigoni.
Kunsthaus Lempertz KG
Oct. 28, 2024
Circle of CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Immaculate Conception". Oil on canvas.
Est: €8,000 - €10,000
Circle of CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Immaculate Conception". Oil on canvas. Measurements: 147 x 103 cm; 184 x 145 cm (frame). The finish of this work, especially in the upper area, shows us an image that was possibly conceived as part of the ornamentation of a specific architectural element. The theme, of great popularity at the time, represents the devotional scene of the Immaculate Conception, very frequent in the Spanish art of the 17th century, which became one of the national identity signs of Spain as a Catholic country. It is one of the most genuinely local themes of Spanish Baroque painting, given that our country was the main defender of this mystery, and the one that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to build a clear iconography that would help spread the Immaculate Conception, bringing together symbolism and popular fervor. Based on the previous advances of painters such as Juan de Juanes, it was Murillo who built the definitive image of the Immaculate Conception, finding a formula that allowed him to bring together in one image all the necessary features. Due to its formal characteristics, the present work is attributed to the artistic circle of Corrado Giaquinto, an Italian painter of the XVIII century considered as the maximum representative of Rococo painting in Rome at the time. Due to his compositional mastery and his masterful use of color, the Italian artist became a point of reference for several generations of Spanish painters. The maximum representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed chamber painter to Ferdinand VI in 1753, until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and general director of the Royal Academy of Fine Arts of San Fernando. His language, which starts from rococo to evolve in an increasingly classical sense, is characterized by its great scenographic sense and its chromatic subtleties of extraordinary beauty. Here these two features are clearly evident; the composition is totally theatrical, with the clarity that defends classicism combined with the elegant and graceful dynamism of rococo. The stage is organized in depth, playing with the position of the cumulus clouds and looking for the naturalistic representation of the space, with a scenographic sense inherited from the baroque. Giaquinto's is a rococo of classical influence, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures of lively gestures.
Setdart Auction House
Oct. 28, 2024
Circle of CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "The flagellation". Oil on canvas. Relined.
Est: €1,000 - €1,200
Circle of CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "The flagellation". Oil on canvas. Relined. Measurements: 65 x 48,5 cm. As for the iconography, we find the scourging of Christ, surrendered. Throughout the History of Art, and especially from the Middle Ages, the representation of the Flagellation of Christ tied to the Column has been one of the most treated themes by artists, making this one of the moments that could best express the suffering of Christ during the Passion. It also served as a source of inspiration for numerous mystical writers who recreated the rawness of the moment, even counting the number of lashes Christ received, sometimes with exaggerated figures such as the 5475 blows that St. Bridget tells us about. Moreover, this iconography was very powerful in fostering popular devotion, since the faithful are moved by a man who is unjustly scourged. Stylistically we observe this iconographic typology for the exaltation of the body of a young man, a figure that stands out from the rest for being stripped of his clothes, in addition, in this representation, the body of Christ emanates a light that makes us put the focus of attention on his figure. The scene takes place in the Praetorium of Jerusalem, the center of Roman power, where Christ has arrived for the second and last time, after passing through different instances. He is exhibited before the crowd ("Ecce Homo"), who preferred to free Barabbas rather than him and, either before or after this exhibition, he is stripped of his clothes and tied to a column, where he will be subjected to mockery regarding his alleged crime, being "king of the Jews", and tortures, including scourging and crowning with thorns. Corrado Giaquinto developed his career between Italy and Spain. He began his training in his native Molfetta with the painter Saverio Porta, and between 1719 and 1723 continued his apprenticeship in the prolific Neapolitan studio of Francesco Solimena, where he may have had Solimena or his pupil, Nicola Maria Rossi, as his teacher. In 1723 he moved to Rome to work in the studio of Sebastiano Conca, and there he produced his first important works, religious paintings in churches such as that of the Holy Cross in Jerusalem. In 1727 he established himself as an independent painter, and four years later he received his first major commission, the frescoes in the church of San Nicola dei Lorenesi. In these works Giaquinto already reveals his independence from Solimena, and shows a clear influence of Luca Giordano. Although he remained in Rome until 1753, during these years he also carried out various works in Turin, invited by Filippo Juvarra. There he executed works of a secular nature such as "The Triumph of the House of Savoy" in the Villa della Regina, although he continued to produce religious works for various churches. In 1740 he was appointed member of the Academy of San Lucas in Rome, and in 1753 he will go to Madrid, called by Fernando VI, to work in the new royal palaces of Madrid, El Escorial and Aranjuez. He was appointed chamber painter and general director of the Royal Academy of Fine Arts of San Fernando, as well as artistic director of the Royal Tapestry Factory of Santa Barbara. He finally returned to Italy in 1762, leaving behind an important trail within the Spanish school. Works by Giaquinto are currently held in the Prado Museum, the Kunsthistorisches Museum in Vienna, the Louvre, the Metropolitan Museum in New York, the Fine Arts Museum in San Francisco, the National Gallery in London, the Ashmolean in Oxford and other important public and private collections around the world.
Setdart Auction House
Jun. 27, 2024
Corrado Giaquinto, 1703 Molfetta – 1765 Neapel
Est: €40,000 - €50,000
DER TRAUM DES JOSEF Öl auf Leinwand. Doubliert. 100 x 76 cm. In bronziertem Kehlrahmen. Beigegeben ein Gutachten von Prof. Giancarlo Sestieri, Rom, 28. Juni 2019 und von Giacomo Lanzilotta, Bari, in Kopie. Das Gemälde zeigt den im Matthäusevangelium beschriebenen Moment, in dem der Engel Gottes in einem Traum zu Josef spricht: Fürchte dich nicht, Maria, deine Frau, zu dir zu nehmen; denn was sie empfangen hat, das ist von dem Heiligen Geist. Und sie wird einen Sohn gebären, dem sollst du den Namen Jesus geben, denn er wird sein Volk retten von ihren Sünden (Mt. 1,21-22). Um die drei Ebenen der Erfahrung in einem Bild zu vereinen, zeigt Corrado rechts unten den schlafenden Josef, links über ihm den Engel, von dem die Offenbarung ausgeht, und links im Mittelgrund auf einer über einer Treppe zu erreichenden Empore Maria, das Objekt des Traums. Interessant ist hier das figurative Vokabular, das der Künstler verwendet, um dem Betrachter zu verstehen zu geben, dass er es mit einer wundersamen, spirituellen, nicht körperlichen Erfahrung zu tun hat. So werden unterstützend rechts oben Putti gezeigt, über Maria schwebt der Heilige Geist in Form einer Taube und ein Ehrenvelum überfängt sie. Ein Gemälde gleichen Themas wird in der Pinacoteca civica di Montefortino verwahrt und hat etwas geringere Maße. Literatur: Vgl. Corrado Giaquinto, Atti del il Convegno internazionale di studi, Pietro Amato (Hrsg.), Molfetta 1985. Vgl. Mario D‘Orsi, Corrado Giaquinto, Rom 1958. Vgl. Corrado Giaquinto. Capolavori delle corti in Europa, Ausstellungskatalog, Mailand und Florenz 1993. Vgl. S. A. Meyer, Giaquinto, Corrado, voce in dizionario, Bd. LIV, Rom 2000. Vgl. Pietro Amato, Corrado Giaquinto, Rom 2002. Vgl. Corrado Giaquinto: Il cielo e la terra, Ausstellungskatalog, 09. Dezember 2005-15. März 2006. (1400591) (13) Corrado Giaquinto, 1703 Molfetta – 1765 Naples THE DREAM OF SAINT JOSEPH Oil on canvas. Relined. 100 x 76 cm. Accompanied by an expert‘s report by Prof. Giancarlo Sestieri, Rome, 28 June 2019 and Giacomo Lanzilotta, Bari, n.d., in copy. A painting of the same subject is held at the Pinacoteca civica di Montefortino with slightly smaller dimensions. Literature: cf. P. Amato (ed.), Corrado Giaquinto: atti del il convegno internazionale di studi, Molfetta 1985. cf. M. d‘Orsi, Corrado Giaquinto, Rome 1958. cf. Corrado Giaquinto. Capolavori dalle corti in Europa, exhibition catalogue, Milan, and Florence 1993. cf. S. A. Meyer, Giaquinto, Corrado, voce in dizionario, vol. LIV, Rome 2000. cf. P. Amato, Corrado Giaquinto, Rome 2002. cf. Corrado Giaquinto: Il cielo e la terra, exhibition catalogue, 9 December 2005 - 15 March 2006.
Hampel Fine Art Auctions
May. 15, 2024
CÍRCULO DE CORRADO GIAQUINTO - Virgen con Niño en el Cielo rodeada de ángeles y Santos
Est: €10,000 -
CÍRCULO DE CORRADO GIAQUINTO - Virgen con Niño en el Cielo rodeada de ángeles y Santos 48x98 cm
Arte Subastas Bilbao
Mar. 20, 2024
Corrado GIAQUINTO Molfetta, 1703 - Naples, 1765 Judith et Holopherne Huile sur toile
Est: €20,000 - €30,000
Corrado GIAQUINTO Molfetta, 1703 - Naples, 1765 Judith et Holopherne Huile sur toile Judith and Holofernes, oil on canvas, by C. Giaquinto h: 64,50 w: 49 cm Provenance : Collection de Maître Bernard Gouy à Lyon ; Chez Pierre Montheillet, Lyon ; Acquis auprès de ce dernier par l'actuel propriétaire en 1978 ; Collection particulière, Rhône-Alpes Commentaire : Ce tableau de Corrado Giaquinto représentant Judith et Holopherne constitue vraisemblablement le prototype d'une composition dont on connaît plusieurs répliques réalisées par des collaborateurs et copistes. Mario d'Orsi, dans sa monographie de 1958, signale deux autres versions de cette œuvre : l'une dans la collection R. Montagna à Rome et l'autre, propriété du collège international des Augustins de Rome, qui fut ensuite envoyée en Espagne1. Une autre mention de cette composition apparaît dans un catalogue des collections privées new-yorkaises signalant l'œuvre dans la collection de Monsieur et Madame Milon J. Lewine dans les années 19702. Le musée des Ursulines de Mâcon en possède une autre réplique acquise sur le marché parisien en 19783. Le tableau que nous présentons se distingue des versions connues par sa remarquable qualité d'exécution. Nicola Spinosa, comme Mario d'Orsi dans sa monographie, date cette œuvre du tout début des années 1730. Le peintre, originaire de Molfetta, se forme auprès de Nicola Maria Rossi, disciple de Francesco Solimena, à Naples dans les années 1720, puis s'établit à Rome en 1727. C'est de cette première période romaine que date notre tableau. En concentrant son attention sur les draperies et les tissus qui jouent ici un rôle dramatique, ainsi que sur les carnations qui sont sublimées par d'habiles jeux de lumière, Corrado Giaquinto montre qu'il a retenu la leçon du peintre napolitain Francesco Solimena dont les œuvres jouent un rôle déterminant dans sa conception de la peinture. 1. Mario d'Orsi, 'Corrado Giaquinto', Rome, 1958, p. 24-25, fig. 3 (repr. version dans la collection R. Montagna) 2. Jacob Bean, Felice Stampfle, 'The Eighteenth Century in Italy', New York, 1971, p. 331 (Oil sketches by 18th Century Italian Artists from New York Collection). 3. Pierre Rosenberg, Arnauld Brejon de Lavergnée, "Corrado Giaquinto et la France", in 'Corrado Giaquinto (1703 - 1766)', actes du colloque international à Molfetta, 19-20 décembre 1981, Molfetta, 1985, p. 84, n° 16, voir également Michela Scolaro (dir.), 'Corrado Giaquinto, Il cielo e la terra', cat. exp., Cesena, Biblioteca Malatestiana - Palazzo Romagnoli, 2005-2006, mentionné p. 166-167, pl. 1 Nous remercions le professeur Nicola Spinosa de nous avoir aimablement confirmé l'attribution de ce tableau d'après photographie en date du 23 janvier 2024 et pour son aide à la rédaction de cette notice. Estimation 20 000 - 30 000 €
Artcurial
Mar. 20, 2024
Corrado GIAQUINTO Molfetta, 1703 -Naples, 1765 La visite de Saint Louis à l'abbaye de Cîteaux Huile sur toile
Est: €20,000 - €30,000
Corrado GIAQUINTO Molfetta, 1703 -Naples, 1765 La visite de Saint Louis à l'abbaye de Cîteaux Huile sur toile (Importantes restaurations) Saint Louis visiting the Cîteaux Abbey, oil on canvas, by C. Giaquinto h: 101,50 w: 141 cm Commentaire : Notre tableau raconte la visite de Saint Louis à l'abbaye de Cîteaux qui eut lieu le 16 septembre 1244. A l'occasion d'un chapitre général cistercien, le roi de France se déplace accompagné de sa mère Blanche de Castille, de sa femme Marguerite de Provence, de ses frères Robert Ier d'Artois et Alphonse de Poitiers et de sa sœur la princesse Isabelle. L'ensemble de la cour, accueillie par les moines, est figurée derrière le souverain. Ce dernier est représenté par l'artiste dans une position agenouillée inhabituelle et hautement évocatrice : l'homme le plus important du royaume se mettant à genoux devant ceux qui ne sont rien, prêtant allégeance à ceux qui ont donné leur vie pour le Christ. A l'occasion de cette rencontre, l'abbé général transmis au roi un message du pape Innocent IV tout juste élu, sollicitant un asile en France à la suite de ses luttes avec Frédéric II. La transmission du message est habilement suggérée par l'artiste par les deux putti portant la Tiare pontificale à triple couronnes dans le ciel, accompagnés de la colombe du Saint-Esprit. Estimation 20 000 - 30 000 €
Artcurial
Dec. 20, 2023
Corrado Giaquinto (attribuito a) (Molfetta, 1703 - Napoli, 1766) Apollo olio su tela cm 94x70; con cornice cm 116x91
Est: €10,000 - €20,000
Corrado Giaquinto (attribuito a) (Molfetta, 1703 - Napoli, 1766) Apollo olio su tela cm 94x70; con cornice cm 116x91Cornice Salvator Rosa dorata coeva
Gliubich Casa d'Aste
Dec. 05, 2023
OIL PAINTING BY CORRADO GIAQUINTO, area of
Est: €500 - €700
CORRADO GIAQUINTO, ambito di (Molfetta 1703 - Napoli 1766) FIGURE DI PROFETI Olio su tela, cm. 32 x 42,7 PROVENIENZA Famiglia romana CONDITION REPORT Rintelo novecentesco. Punti di restauro sparsi CORNICE Cornice in legno dorato con bordi a nastro arrotolato e perlatura, del XIX secolo
Casa d'Aste Babuino
Nov. 25, 2023
CORRADO GIAQUINTO (Cerchia di), Olio su tela
Est: €1,200 - €1,800
CORRADO GIAQUINTO (Cerchia di) (Molfetta 1703 - Napoli 1766) San Luigi Gonzaga Olio su tela Cornice in legno dorato Provenienza: Nobile famiglia catanese. cm 70 x 54.
Benedetto Trionfante Auction House s.r.l
Nov. 23, 2023
The Arrest of Christ in the garden of Olives
Est: €2,000 - €4,000
Oil on canvas 65x84 cm. Framed The painting is accompanied by an expertise byProf. Ferdinando Arisi. In his expertise, Arisi confidently assigned this beautiful canvas to Corrado Giaquinto with a date around 1750, close to the Visitation in the Pinacoteca Civica in Fano and the Nativity of the Virgin in the Chiesa del Suffragio in Cesena.
Bertolami Fine Art s.r.l.
Nov. 22, 2023
Corrado GIAQUINTO Molfetta, 1703 -Naples, 1765 Dieu fleuve, peut-être le Tibre, dans un paysage Huile sur toile
Est: €15,000 - €20,000
Corrado GIAQUINTO Molfetta, 1703 -Naples, 1765 Dieu fleuve, peut-être le Tibre, dans un paysage Huile sur toile River god in a landscape, oil on canvas, by C. Giaquinto h: 37,50 w: 57 cm Provenance : Collection particulière européenne Commentaire : L'exercice de l'académie masculine au sein d'un école de dessin ou un atelier permet l'étude du nu afin de se rapprocher de la perfection des formes humaines lors de la réalisation d'ambitieuses compositions. Notre dieu fleuve est un parfait exemple d'une académie agrémentée d'un léger et subtil artifice ; ici quelques joncs en couronne. Notre tableau est une œuvre de jeunesse d'un artiste qui deviendra un des plus grands pinceaux de son temps, notamment lors de son séjour à Madrid. Daté du début des années 1730, l'influence de son maître Francesco Solimena se perçoit, notamment par les forts contrastes lumineux dont ses peintures se débarrasseront au cours du temps pour laisser placer à des couleurs éclatantes. Une notice d'Alessandro Agresti en date du 8 mai 2023 sera remise à l'acquéreur. Estimation 15 000 - 20 000 €
Artcurial
Sep. 28, 2023
Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zugeschrieben
Est: €7,000 - €9,000
ALLEGORISCHE FIGUR DER JUSTITIA Öl auf Leinwand. Doubliert. 114 x 81 cm. In vergoldetem Rahmen. Vor Landschaft mit Wolkenhintergrund die allegorische Figur der Justitia als nach links sitzende Frau in antikem weiß-grünem Gewand mit rotem Umhang und Sandalen. Als Attribute hält sie in ihrer rechten erhobenen ausgestreckten Hand ein Flammenschwert, in der linken Hand eine Waage. Ein kleiner, fast nackter Putto spielt mit einer der Waagschalen. Sie trägt zudem auf ihrem Haupt eine goldene Krone als Würde der Gerichtsbarkeit und darüber schwebend die Taube des Heiligen Geistes. Malerische Darstellung einer für die Zeit beliebten Allegorie. (1362384) (18) Corrado Giaquinto, 1703 Molfetta – 1765 Naples, attributed ALLEGORICAL FIGURE OF JUSTICE Oil on canvas. Relined. 114 x 81 cm.
Hampel Fine Art Auctions
Sep. 28, 2023
Corrado Giaquinto, 1703 Molfetta – 1765 Neapel
Est: €20,000 - €25,000
MARIA MIT DEM KINDE ERSCHEINT DEM HEILIGEN STEPHANUS UND DREI WEITEREN HEILIGEN Öl auf Leinwand. Doubliert. 49,9 x 24,7 cm. In vergoldetem und ornamental verziertem Rahmen. Beigegeben ein Gutachten von Prof. Giancarlo Sestieri, Rom, 11. März 2008, in Kopie. Gestrecktes vertikales Hochformat mit zweigeteilter Darstellung. In der oberen Bildhälfte Maria mit dem Kinde von Engeln gesäumt auf einer Wolkenbank sitzend, die sich vor einer kreisrunden Sonnenscheibe abzeichnet. Darunter auf einer weiteren Wolkenbank befindliche Personen, die in Anbetung der Erstgenannten begriffen sind. Eine weitere Version des Bozettos mit annähernd gleichen Maßen (49,8 x 24 cm) befindet sich in Sir Denis Mahon‘s Charitable Trust. Literatur: Zum erwähnten Vergleichsbild siehe: Gabriele Finaldi, Alla scoperta del barocco italiano. La collezione Denis Mahon, Ausstellung Palazzo Ruspoli, Rom 1998, Nr. 27, S. 74. Giancarlo Sestieri, La Pittura del Settecento, Storia dell‘ Arte in Italia, Turin 1988, S. 49-50. (1360392) (13) Corrado Giaquinto, 1703 Molfetta – 1765 Naples THE VIRGIN AND CHILD APPEARING TO SAINT STEPHEN AND THREE OTHER SAINTS Oil on canvas. Relined. 49.9 x 24.7 cm. Accompanied by an expert’s report by Professor Giancarlo Sestieri, Rome, dated 11 March 2008, in copy. Another version of the bozzetto with almost the same dimensions (49.8 x 24 cm) is held at Sir Denis Mahon’s Charitable Trust.
Hampel Fine Art Auctions
Jun. 29, 2023
Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zugeschrieben
Est: €3,000 - €4,000
DIE APOTHEOSE DES EROS Öl auf Malpappe. 37,6 x 28,4 cm. Im dekorativen gold bemalten Rahmen. Bozzetto, wohl für ein größeres Werk gedacht. Im Zentrum im Himmelsbereich der auf einer Wolkenbank schwebende Eros, der Gott der Liebe, als schöner Jüngling mit großen Flügeln und einer Fackel in seiner rechten Hand haltend. Umgeben ist er von zahlreichen geflügelten Putti auf und zwischen den Wolken, die teils Blüten und Blütenkränze tragen sowie einer mit Fackel und ein weiterer einen Liebespfeil in seiner Hand haltend. Im Vordergrund eine Landschaft mit wenigen Sträuchern. Malerei in meist raschem Pinselduktus. (1350372) (18)
Hampel Fine Art Auctions
Apr. 21, 2023
ATTR. A CORRADO GIAQUINTO - STUDIO DI NUDO INGINOCCHIATO
Est: €600 - €800
Matita su carta, cm. 38,5x29,5.
Pananti Casa D'Aste SRL
Mar. 30, 2023
Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zugeschrieben
Est: €4,000 - €6,000
DIE APOTHEOSE DES EROS Öl auf Malpappe. 37,6 x 28,4 cm. Im dekorativen gold bemalten Rahmen. Bozzetto, wohl für ein größeres Werk gedacht. Im Zentrum im Himmelsbereich der auf einer Wolkenbank schwebende Eros, der Gott der Liebe, als schöner Jüngling mit großen Flügeln und einer Fackel in seiner rechten Hand haltend. Umgeben ist er von zahlreichen geflügelten Putti auf und zwischen den Wolken, die teils Blüten und Blütenkränze tragen sowie einer mit Fackel und ein weiterer einen Liebespfeil in seiner Hand haltend. Im Vordergrund eine Landschaft mit wenigen Sträuchern. Malerei in meist raschem Pinselduktus. (1350372) (18)
Hampel Fine Art Auctions
Feb. 22, 2023
Corrado Giaquinto 1703-1786 Pastural Oil Painting
Est: $100 - $1,000
An original antique oil painting on canvas, painted in the manner of Corrado Giaquinto (1703-1766). A figural landscape work painted in the style of the 18th Century Neapolitan School. A figural work depicting Baroque lovers amid a Neoclassical architectural landscape, with buildings, trees, lambs, a distant bridge, and other forms. Bears signature to lower right C. GIAQUINTO. Presented with a fabric border in an ornate carved wood frame. Work Size: 18 x 32 in. Dimensions: 28 X 43 X 3 in. Condition: Good overall condition having normal to moderate surface wear and evidence of craquelure throughout. Frame having normal to moderate storage wear to edges and corners. Estate fresh to the market. Shipping: Hill Auction Gallery does not offer in-house shipping for this item. Gallery will refer third party shippers for all domestic and international buyers. Purchaser pick up available upon request. Got something to sell? Contact us at HillAuctionGallery.com
Hill Auction Gallery
Jan. 27, 2023
CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES) The Holy Trinity with an archangel freeing enslaved people, a bozzetto CORRADO GIAQUINTO (MOLFETTA 1703-
Est: $100,000 - $150,000
CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES) The Holy Trinity with an archangel freeing enslaved people, a bozzetto CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES) The Holy Trinity with an archangel freeing enslaved people, a /bozzetto/ oil on copper, shaped top 19 x 9 3/4 in. (48.4 x 24.8 cm.)
Christie's
Dec. 17, 2022
CORRADO GIACQUINTO (Attr.le), Olio su tela
Est: €2,000 - €3,000
CORRADO GIACQUINTO (Attr.le) (Molfetta 1703-Napoli 1766) Predica di San Tommaso D'Aquino Olio su tela Cornice a canna ciaccata in legno intagliato e dorato ad argento e mistura. Provenienza: nobile famiglia siciliana. cm 36 x 48.
Benedetto Trionfante Auction House s.r.l
Dec. 14, 2022
GIAQUINTO CORRADO (1703 - 1765) From. Transit of Saint Joseph
Est: €2,000 - €4,000
GIAQUINTO CORRADO (1703 - 1765). From. Transit of Saint Joseph. Cm 59,00 x 52,00.
Capitolium Art
Dec. 08, 2022
An Allegory of Asia
Est: £80,000 - £120,000
The Property of a Gentleman Corrado Giaquinto Molfetta 1703 - 1766 Naples An Allegory of Asia oil on canvas unframed: 49.7 x 65.6 cm.; 19½ x 25⅞ in. framed: 61.7 x 77 cm.; 24¼ x 30¼ in. Bid on Sotheby's
Sotheby's
Nov. 29, 2022
CORRADO GIAQUINTO (bottega di)
Est: €2,000 - €3,000
(Molfetta, 1703 - Napoli, 1766) Putti Olio su tela, cm 66X54 (2) Vedi scheda al lotto precedente.
Wannenes Art Auctions
Nov. 29, 2022
CORRADO GIAQUINTO (bottega di)
Est: €2,000 - €3,000
(Molfetta, 1703 - Napoli, 1766) Putti Olio su tela, cm 66X54 (2) I dipinti esibiscono stilemi tipicamente giaquinteschi e la loro genesi si spiega interpretandoli quali bozzetti destinati all'ornamento di una portantina. Trovano allora motivazione le curiose decorazioni a guisa di intagli lignei dorati e altresì l'inusuale impaginazione delle immagini, che corrispondono per quanto riguarda in modo particolare la coppia di putti con la corona di alloro a uno dei pannelli della Silla de Manos, custodita nel Palazzo Reale di Madrid. Diviene difficile esprimere con certezza l'attribuzione al celebre pittore, immaginando di trovarci al cospetto di opere la cui invenzione è certamente autografa e i modelletti possono essere stati realizzati da uno dei suoi molti collaboratori. Bibliografia di riferimento: A. E. Pérez Sánchez, Corrado Giaquinto y España, catalogo della mostra, Madrid 2006. p. 281, n. R. 47
Wannenes Art Auctions
Nov. 23, 2022
Corrado Giaquinto (Molfetta 1703 - Napoli 1765) e bottega San Nicola di Mira e di Bari
Est: €1,500 - €2,000
olio su tela, W. 47 - H. 63 Cm
Cambi Casa d'Aste
Nov. 09, 2022
Corrado Giaquinto
Est: €40,000 - €60,000
(Molfetta 1703–1765 Naples) The Punishment of Tityus, oil on canvas, 131 x 92.7 cm, framed Provenance: Private European collection We are grateful to Riccardo Lattuada for suggesting the attribution of the present painting on the basis of a photograph. The present painting is a recent addition to the oeuvre of the Neapolitan painter Corrado Giaquinto. The vertical image is almost filled by the monumental depiction of the male figure in chains, with the upper right corner giving a view of a nocturnal landscape. The composition of the punished is inspired by the figure of Laocoön – the celebrated Hellenistic sculpture discovered on the Colle Oppio, Rome in 1506 and exhibited to the public soon after in the Vatican Cortile di Belvedere. In the painting, the lower part of the body is a direct study from the back of the legs of Laocoön, while the torso and arms are taken from the same model but from the opposite direction, thereby the painting appears to have combined two studies taken from different positions to create a new composition. The artist added the chains and serpent, attributes that are difficult to interpret iconographically but that may relate to a rare version of the myth of Tityus, in which punishment is inflicted upon the protagonist by a serpent rather than a vulture (this version is reported in the Fabulae of Hyginus). The painting is executed deploying fluid free strokes of the brush against an ochre ground, without the use of a preparatory drawing. Layering of various shades of green and ochre build the flesh tones of the figure, with vertical hatching and rapid but precise brushstrokes creating texture and depth. The knees, elbows, lower spine, left thigh and toes are modelled by using red and brown tones which are repeated in the surrounding rock, creating a harmonious whole. The figure’s placement on a boulder overgrown with moss, serves as a complementary colour contrast to the background. The present painting relates to a series of male nude studies painted by Giaquinto for Cardinal Villafalletto around 1750 (see M. D’Orsi, Corrado Giaquinto, Rome 1958, p. 143, nos. 86–88; and R. Lattuada, Corrado Giaquinto e/o Geremia Romani della Parrocchiale di Nettuno e altre opere di Giaquinto inedite a poco note a Poggiardo, Washington e altrove, in: Studi sul Settecento Romano, forthcoming). Especially, the study of a seated nude is comparable to the present painting. Not only the posture with the supported right arm and the bent left leg, but also the surface treatment of the from are similar. The hatchings on the body are also found in this nude study. The same applies to the colouring with the use of ochre, green and brown tones. Even in this academic exercise from life, Giaquinto, as a trained Baroque painter, while striving for the exact linear determination of forms, ended up carrying out a study of light effects. Corrado Giaquinto was an apprentice alongside Francesco de Mura and Giuseppe Bonito in the studio of the Neapolitan artist Nicola Maria Rossi. In 1723 in Rome Giaquinto started modifying the robust Neapolitan style to reflect the classicising Roccoco taste. He was admitted to the Accademia di San Luca in Rome in 1740. With the commission of frescoes for the church of San Nicola dei Lorenesi in 1731, Giaquinto received further prestigious commissions that earned him a leading reputation and led to stays in Turin and Spain. Called to the court of Madrid in 1753 by Ferdinand VI, the painter was to spend nearly a decade there. His position as the preeminent artistic figure in the country was confirmed by appointment as Primer Pintor del Rey as well as director of the Academia di San Fernando, newly formed by the art-loving Spanish King. Corrado Giaquinto later returned to Naples.
Dorotheum
Oct. 26, 2022
Attributed to CORRADO GIAQUINTO (Italy, 1703 – 1765/66). "Apollo rewarding the arts (Allegory of the monarchy as patron of the arts)". Oil on canvas. 19th century cladding. Presents restorations.
Est: €18,000 - €20,000
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apollo rewarding the arts (Allegory of the monarchy as patrons of the arts)". Oil on canvas. Re-drawn in the 19th century. It presents restorations. Measurements: 50 x 60,5 cm. The preparatory oil sketch shown here was intended for a decoration that no longer exists in the Royal Palace. The work shows Apollo, a figure representing the Spanish monarchy, rewarding with treasures the figures representing painting, architecture and sculpture. On the lower right the figure of History, winged but with her foot firmly on the ground, records the scene for posterity. The role of the king as the architect of peace and prosperity within his kingdom was emphasised throughout the complex iconographic programme of decoration, written for the New Royal Palace in 1748 by Father Martin Sarmiento. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century who is considered to be the greatest representative of Rococo painting in Rome at the time. Owing to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. We can see how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. A leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures. However, this work is also related to Giaquinto because of its subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and now in the Museo del Prado. In this work by the master, the format changes to landscape in order to include a larger number of figures: the saints John, the Fathers of the Church and several other saints. Furthermore, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here shows a knowledge of Giaquinto's work, with the same closed arched structure in the upper part, the gradation of light, the golden light in the upper part, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.
Setdart Auction House
Sep. 27, 2022
Attribué à Corrado GIAQUINTO Molfetta, 1703 - Naples, 1765 Sainte Agnès Huile sur toile
Est: €2,000 - €3,000
Attribué à Corrado GIAQUINTO Molfetta, 1703 - Naples, 1765 Sainte Agnès Huile sur toile Sans cadre h: 49 w: 40 cm Estimation 2 000 - 3 000 €
Artcurial
Jul. 05, 2022
Male nude, seated attributed to Corrado Giaquinto (1690-1765)
Est: £500 - £800
Male nude, seated Attributed to Corrado Giaquinto (1690-1765) Red chalk 40.5cm x 27cm
The Pedestal
Jun. 22, 2022
José en la cárcel
Est: -
.
Isbilya Subastas
Jun. 22, 2022
Attributed to CORRADO GIAQUINTO (Italy, 1703 – 1765/66). "San isidro labrador". Oil on canvas. Relined. It has faults and overpainting. Accurate cleaning.
Est: €10,000 - €11,000
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Saint Isidore the farmer. Oil on canvas. Re-coloured. It presents faults and repainting. Needs cleaning. Measurements: 55 x 34 cm. The present work represents the apotheosis of San Isidro, this one follows faithfully the models established by Corrado Giaquinto, in the fresco carried out for the chapel of the Royal Palace of Madrid, painted by the Italian artist between 1759 and 1760. The work also bears a close resemblance to a work on the same theme in the collection of the Museo de San Isidro in Madrid, and to the sketch of the aforementioned fresco in the Casita del Príncipe at El Escorial. The work follows the same precepts as one of the four frescoes on the pendentives of the dome of the Royal Chapel of the Royal Palace in Madrid, paired with that of his wife Santa María de la Cabeza. It is therefore likely that this work belongs to the preparatory work, being earlier than the aforementioned sketches in the Casita del Príncipe. It is interesting to mention the representation of the Apotheosis of the Saint, as this iconographic pattern had only previously been used to decorate the ephemeral architecture of the saint's festivities in 1620. But it was not repeated until the 18th century, when Van Loo chose the theme to decorate the Church of San Isidro in Rome. In Spain, however, it was Corrado Giaquinto who introduced this representation of the saint, making it a success. San Isidro Labrad (Madrid, 1080-1172) was beatified by Paul V in 1619 and canonised in 1622 by Gregory XV. He was declared patron saint of Spanish farmers by John XXIII in 1960. Several miracles are attributed to this saint, among the most famous being that of the well in which, thanks to his prayer, the waters rose so that his son, who had fallen in, could be rescued. Another is the one in which the angels help the saint to plough a field, thus allowing him to stop and pray in all the parishes he passed through on his way to work. His iconographic representation is directly related to his work as a farmer, his most frequent symbols being the tools of the field, such as the hoe or the spade. He is also often depicted with a rosary, grilles or ears of corn. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century who is considered to be the leading representative of Rococo painting in Rome at the time. Due to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. The leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures.
Setdart Auction House
Jun. 22, 2022
Attributed to CORRADO GIAQUINTO (Italy, 1703 – 1765/66). "Saint Mary of the head". Oil on canvas. Relined. It has faults and overpainting. Accurate cleaning.
Est: €10,000 - €11,000
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Saint Mary of the Head. Oil on canvas. Re-coloured. It presents faults and repainting. Needs cleaning. Measurements: 55 x 34 cm. In this religious scene, a saint is placed in the centre of a break of glory, starred by numerous angels, who accompany and support the saint. From her clothing and the attribute she holds in her hand, it is possible that this is a representation of Maria Toribia, a Spanish peasant girl, canonised by the Roman Catholic Church and known as Santa Maria de la Cabeza (Saint Mary of the Head). The work follows the same precepts as one of the four frescoes on the pendentives of the dome of the Royal Chapel of the Royal Palace in Madrid, paired with that of her husband Saint Isidore. It is therefore probable that this work belongs to the preparatory work, being earlier than other sketches kept in the Casita del Príncipe. The date of birth of Santa María de la Cabeza is unknown, but it was sometime around the end of the 11th century or the beginning of the 12th century. The saint lived in Madrid, where she met and married Isidro, a simple peasant from Madrid (who, according to some sources, had fled there as a result of the Almoravid invasion). According to legend, one day their son fell into a deep well, leaving the parents with no recourse but prayer. Miraculously, the water level suddenly rose to ground level, and the baby was easily rescued unharmed. As a result, she and her husband committed themselves to sexual abstinence as a form of devotion. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the mid-18th century who is considered to be the leading representative of Rococo painting in Rome at the time. Due to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. The leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's was a classically influenced rococo, and his works would increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures.
Setdart Auction House
Jun. 09, 2022
IMPORTANT IMMACULATE VIRGIN, 18TH CENTURY ITALIAN SCHOOL, CORRADO GIAQUINTO SCHOOL (BARI, FEBRUARY 18, 1703 - NAPLES, 1765 OR 1766)
Est: €12,000 - €18,000
Oil on canvas, framed measurements: 96 x 85 copper measurements: 74 x 63 cm
Templum Fine Art Auctions
May. 25, 2022
OIL PAINTING BY CORRADO GIAQUINTO 18TH CENTURY
Est: €1,500 - €2,200
CORRADO GIAQUINTO (Molfetta 1703 - Napoli 1766) RITRATTO DI IGNUDO Olio su tela, cm. 65 x 48 PROVENIENZA Famiglia napoletana CONDIZIONI DEL DIPINTO Rintelo tardo ottocentesco. Alcuni piccoli punti di restauro a destra ed in basso. Il dipinto è in buono stato di conservazione CORNICE Cornice in legno di faggio con intarsi in bosso agli angoli, del XIX secolo
Casa d'Aste Babuino
May. 25, 2022
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Relined. 19th century frame.
Est: €3,000 - €3,500
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Saint Catherine of Siena". Oil on canvas. Relined. Frame of the 19th century. Measurements: 29 x 21 cm; 44 x 35 cm (frame). Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century, considered as the maximum representative of the Rococo painting in Rome at that time. Owing to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. We can see how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. A leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures. However, this work is also related to Giaquinto because of its subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and now in the Museo del Prado. In this work by the master, the format changes to landscape in order to include a larger number of figures: the saints John, the Fathers of the Church and several other saints. Furthermore, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here shows a knowledge of Giaquinto's work, with the same closed arched structure in the upper part, the gradation of light, the golden light in the upper part, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.
Setdart Auction House
May. 21, 2022
Corrado Giaquinto, Rest on the Flight to Egypt
Est: €40,000 - €50,000
Certificate Nicola Spinosa, 21st May 2021 (as a copy) The full attribution to Corrado Giaquinto has been confirmed by Professor Spinosa, who ascribes the work to the artist´s mature output. The fusion between the classical composition and bright colouring leads professor Spinosa to date the execution to around 1750 - 1753, before the artist left for Spain, whereas the scholar doesn’t exclude a later date, for some similarities with the canvases for which the artist was commissioned by Vanvitelli for the Church of San Luigi di Palazzo, particularly with the Rest on the Flight into Egypt now housed in the Detroit Institute of Arts. The figures of the Madonna and Child, and their intimate embrace, can be compared to another Virgin and Child by Giaquinto (Lempertz, 5.6.2021, lot 2079): the derivation testifies to the success of the composition.
Kunsthaus Lempertz KG
Jan. 26, 2022
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Reengineered. 19th century frame.
Est: €3,000 - €3,500
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Saint Catherine of Siena". Oil on canvas. Relined. Frame of the 19th century. Measurements: 29 x 21 cm; 44 x 35 cm (frame). Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century, considered as the maximum representative of the Rococo painting in Rome at that time. Owing to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. We can see how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. A leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures. However, this work is also related to Giaquinto because of its subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and now in the Museo del Prado. In this work by the master, the format changes to landscape in order to include a larger number of figures: the saints John, the Fathers of the Church and several other saints. Furthermore, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here shows a knowledge of Giaquinto's work, with the same closed arched structure in the upper part, the gradation of light, the golden light in the upper part, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.
Setdart Auction House
Oct. 20, 2021
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Saint Catherine of Siena". Oil on canvas. Relined. Frame of the 19th century. Measurements: 29 x 21 cm; 44 x 35 cm (frame).
Est: €4,500 - €5,000
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Saint Catherine of Siena". Oil on canvas. Relined. Frame of the 19th century. Measurements: 29 x 21 cm; 44 x 35 cm (frame). Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century, considered as the maximum representative of the Rococo painting in Rome at that time. Owing to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. We can see how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. A leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures. However, this work is also related to Giaquinto because of its subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and now in the Museo del Prado. In this work by the master, the format changes to landscape in order to include a larger number of figures: the saints John, the Fathers of the Church and several other saints. Furthermore, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here shows a knowledge of Giaquinto's work, with the same closed arched structure in the upper part, the gradation of light, the golden light in the upper part, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.
Setdart Auction House
Sep. 22, 2021
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "San Isidro the farmer." Oil on canvas. Relined.
Est: €11,000 - €12,000
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "San Isidro the farmer." Oil on canvas. Relined. It presents faults and repainting. It needs to be cleaned. Measurements: 52,5 x 34 cm. The present work represents the apotheosis of San Isidro, this one follows faithfully the models established by Corrado Giaquinto, in the fresco carried out for the chapel of the Royal Palace of Madrid, painted by the Italian artist between 1759 and 1760. The work also bears a close resemblance to a work on the same theme in the collection of the Museo de San Isidro in Madrid, and to the sketch of the fresco mentioned above, which is in the Casita del Príncipe in El Escorial. It is interesting to mention the representation of the Apotheosis of the Saint, as this iconographic pattern had only previously been used to decorate the ephemeral architecture of the saint's festivities in 1620. But it was not repeated until the 18th century, when Van Loo chose the theme to decorate the Church of San Isidro in Rome. In Spain, however, it was Corrado Giaquinto who introduced this representation of the saint, making it a success. San Isidro Labrad (Madrid, 1080-1172) was beatified by Paul V in 1619 and canonised in 1622 by Gregory XV. He was declared patron saint of Spanish farmers by John XXIII in 1960. Several miracles are attributed to this saint, among the most famous being that of the well in which, thanks to his prayer, the waters rose so that his son, who had fallen in, could be rescued. Another is the one in which the angels help the saint to plough a field, thus allowing him to stop and pray in all the parishes he passed through on his way to work. His iconographic representation is directly related to his work as a farmer, his most frequent symbols being the tools of the field, such as the hoe or the spade. He is also often depicted with a rosary, grilles or ears of corn. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century who is considered to be the leading representative of Rococo painting in Rome at the time. Due to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. The leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures.
Setdart Auction House
Sep. 22, 2021
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Santa Maria of the Head." Oil on canvas. Relined.
Est: €11,000 - €12,000
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Santa Maria of the Head." Oil on canvas. Relined. It presents faults and repainting. Needs cleaning. Measurements: 52,5 x 34 cm. In this religious scene, a saint is placed in the centre of a break of glory, starred by numerous angels, who accompany and support the Saint. From her clothing and the attribute she holds in her hand, it is possible that this is a representation of Maria Toribia, a Spanish peasant girl, canonised by the Roman Catholic Church and known as Santa Maria de la Cabeza (Saint Mary of the Head). The date of birth of Saint María de la Cabeza is unknown, but it was sometime around the late 11th or early 12th century. The saint lived in Madrid, where she met and married Isidro, a simple peasant from Madrid (who, according to some sources, had fled there as a result of the Almoravid invasion). According to legend, one day their son fell into a deep well, leaving the parents with no recourse but prayer. Miraculously, the water level suddenly rose to ground level, and the baby was easily rescued unharmed. As a result, she and her husband committed themselves to sexual abstinence as a form of devotion. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the mid-18th century who is considered to be the leading representative of Rococo painting in Rome at the time. Due to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. The leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures.
Setdart Auction House
Sep. 16, 2021
STUDY FOR THE "MADONNA DELL'ASSUNTA"
Est: €400 - €500
CORRADO GIAQUINTO (ATTR.) (Molfetta, 1703 - Naples, 1765) Study for the "Madonna dell'Assunta" Pencil and ink on handmade paper, 27.5 x 18.5 cm Inscribed lower left: "di Giaquinto, Madonna dell'Ass." Good conditions. Frame, glass. The work has been attributed to the master Giaquinto for the inscription at the bottom; however, the inscription is modern and the signature does not correspond to that of the artist.
Bertolami Fine Art s.r.l.
Jun. 05, 2021
Corrado Giaquinto, The Virgin and Child
Est: €80,000 - €90,000
The tenderness of the embrace between mother and child is the main motif of this painting. The relatively small format and the intimate atmosphere identify it as a work intended for private devotion. The composition captivates with its close-up viewpoint, the even and finely modelled profile of the Virgin and the remarkable abundance of artfully draped fabrics in different colours. The painting has been attributed to the Neapolitan artist Corrado Giaquinto by Dr Edgar Peters Bowron when it first appeared on the international art market in 2008, where it almost tripled its estimated price. After his training in Naples, Corrado Giaquinto moved to Rome as early as 1727, where he was accepted as a member of the "Accademia di San Luca" in 1740. Despite great success and important patrons from ecclesiastical and noble circles in Rome, the painter followed a call to the court of the Spanish King Ferdinand VI in 1753, who shortly afterwards appointed him director of the Royal Academy of San Fernando in Madrid. Giaquinto's Neapolitan style, inspired by Luca Giordano and Francesco Solimena, took on a classicist-aristocratic turn in Rome under the influence of Carlo Maratta in particular, a quality which also characterises this painting and lends it its particular grace.
Kunsthaus Lempertz KG
Jun. 01, 2021
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Reengineered. 19th century frame.
Est: €8,000 - €10,000
Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Reengineered. 19th century frame. Measurements: 29 x 21 cm; 44 x 35 cm (frame). Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century, considered to be the maximum representative of Rococo painting in Rome at the time. Due to his compositional mastery and his masterful use of color, the Italian artist became a point of reference for several generations of Spanish painters. We can appreciate how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. The maximum representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed chamber painter to Ferdinand VI in 1753, until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and general director of the Royal Academy of Fine Arts of San Fernando. His language, which starts from rococo to evolve in an increasingly classical sense, is characterized by its great scenographic sense and its chromatic subtleties of extraordinary beauty. Here these two features are clearly evident; the composition is totally theatrical, with the clarity that defends classicism combined with the elegant and graceful dynamism of rococo. The stage is organized in depth, playing with the position of the cumulus clouds and looking for the naturalistic representation of the space, with a scenographic sense inherited from the baroque. Giaquinto's is a rococo of classical influence, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures of lively gestures. However, this work is related to Giaquinto also because of the subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and currently preserved in the Prado Museum. In this work of the master changes the format, landscape, to house a larger number of figures: Saints John, the Fathers of the Church and several other saints. In addition, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here denotes knowledge of Giaquinto's work, with the same closed arched structure at the top, the gradation of light, the golden light at the top, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.
Setdart Auction House
May. 25, 2021
Attribuito a Corrado Giaquinto (Molfetta 1703 - Napoli 1766) - Head of a Virgin or Saint (recto); e Group of figures below and Gloria above (verso)
Est: €200 - €300
black pencil on greenish paper damage and losses
Finarte
May. 12, 2021
CORRADO GIAQUINTO (1700 / 1765) "Saint Teresa of Avila".
Est: €27,000 - €36,000
. Oil on canvas
Ansorena
Apr. 08, 2021
CORRADO GIAQUINTO (1700 / 1765) "Little Angel with musical instrument, 1756."
Est: €120,000 - €160,000
Provenance: Sanchez Lopez, A., "La pintura de bodegones and floreros en España en el siglo XVIII", Madrid, Fundación Arte Hispánico, 2008, pp. 242-244 (reproduced). A leading representative of Rococo painting, his training began with Saverio Porta in his native Molfetta. He subsequentland travelled to Naples where he worked with Nicola Maria Rossi, a follower of Francesco Solimena. In 1727 he moved to Rome and was influenced bythe standle of Sebastiano withca. He also worked in Turin in the 1830s, probabland on the recommendation of the architect Filippo Juvarra. On his return to Rome around 1740, he began a period of great activitand and his standle became more classicist, close to Carlo Maratta. In 1753 he was summoned to Spain byFerdinand VI, replacing the deceased Amiwithi and was appointed painter to his chamber. One of his responsibilities was the artistic direction of the Santa Barbara Tapestry factorand. In 1756 Ferdinand VI commissioned him to produce the series of the lives of Solomon, Joseph and David. The series included copies of works byLucas Giordano and some originals byGiaquinto, who was assisted byJosé del Castillo. Of particular note in this series are the shutters, and three cartoons executed byGiaquinto himself are currentland preserved, as is reflected in the factorand's 1780 inventorand. Two of them, "Sirena and amorcillo with guirnalda de flores" and "Putti with guirnalda de flores" were acquired byPatrimonio Nacional in 2015, and the third is this "Amorcillo with instrumento de música", also from the Stuyck Collection, which would correspond to the border of panel number 12 of the storand of Joseph, David and Solomon. In the Giaquinto he demonstrates his masterand of Rococo decorative painting, with a verand delicate treatment in which the painter shows all his Neapolitan heritage, both in the depiction of the flowers and objects, and in the figure, influenced byLucas Jordan. In need of restoration
Ansorena
Feb. 06, 2021
ALBERTO GIANQUINTO (VENEZIA 1929-2003) SENZA TITOLO
Est: €500 - €700
Olio su tela, cm. 19x32 Sul verso: dedica con firma.
Pananti Casa D'Aste SRL
Nov. 28, 2020
Corrado Giaquinto (Molfetta 1703 - Neapel 1765), circle of. Mercury, Argus und Io.
Est: -
Oil/canvas, 77 x 64,5 cm, some rest., relined. - Italian history painter. After being taught painting in his home town Bari G. formed his style mainly on the exampel of Luca Giordano. Since 1727 he lived in Rome where he became member of the Accademia di San Luca. In 1753 he became painter to the court in Madrid. Mus.: Florence (Uffizi), London (Nat. Gall.), New York (Metrop. Mus.), Madrid a. others. Lit.: AKL, Thieme-Becker.
Auktionshaus Stahl