Pietro Labruzzi Paintings & Artwork for Sale | Pietro Labruzzi Art Value Price Guide

Jun. 18, 2024
PIETRO LABRUZZI (attr. a)
Est: €1,500 - €2,500
(Roma, 1739 - 1805) Ritratto di Papa VII Chiaramonti (Cesena, 1742 - Roma, 1823) Olio su tela, cm 75X62 Provenienza: Italia, collezione privata Il dipinto raffigura il pontefice Pio VII Chiaramonti (Luigi Barnaba Chiaramonti). Il papa è in atto di benedire con la mozzetta rossa e i risvolti in ermellino, il dipinto è vicino alle tradizionali raffigurazioni del pontefice come quelle che ci sono state tramandate dal pennello del pittore Jean-Baptiste Wicar (1762-1834) e Pietro Labruzzi.
Wannenes Art Auctions
Sep. 28, 2023
A Full-Length Portrait of Nicholas I in A Classical Setting (Pietro Labruzzi, 1802)
Est: £30,000 - £50,000
Pietro Labruzzi (1739–1805) A Full-Length Portrait of Nicholas I of Russia in a classical setting 1802 Oil on canvas Signed, located, and dated, lower left: ‘Pietro Labruzzi Roma Pinx Anno 1802.’ Dimensions: (Canvas) 53.5 in. (H) x 38.75 in. (W) (Frame) 59.75 in. (H) x 45.5 in. (W) Lot Essay: Nicholas I (Russian: Nikolay Pavlovich) (1796-1855), Russian Emperor (1825–55), is often considered the personification of classic autocracy. It is clear that even at the age of 6, Nicholas was being cultivated as a future potential Emperor. The surrounding tropes in the present image reflect this, with Nicholas' setting rich in both accessories and emblematic references. For example, the pan flute, which alludes to the Greek god Pan, the patron of pastoral poets, evokes Nicholas' classical education as a royal, along with the numerous Classical references such as the Pegasus in the background. The portrait bust on the right of the image is inscribed with 'Alexander the first, of all of the Russian Empire', referring to Nicholas' elder brother Alexander I (Emperor of Russia 1801-1825). In this image, Alexander is immortalised as Imperator, explicitly linking the strength and glory of the Russian Empire to that of Ancient Rome through the use of the portrait bust. Moreover, the positioning of the portrait bust above Nicholas indicates the hierarchy of the royal lineage, with his brother Alexander I majestically surveying from above. The laurel wreath upon which Nicholas rests his hand is another nod to Greek mythology (this time to Apollo) as a universal symbol of triumph and peace, demonstrating the Russian Empire's role as a bringer of peace to the Greeks. Finally, the épée and globe, and the words 'Victor' on the plinth, collectively point to a triumphant military campaign. Dressed in traditional Greek dress, Nicholas wears Greece's blue and white national colours. His type of trousers, gilet and slippers were likely commissioned to commemorate the establishment of the oligarchic Septinsular Republic under nominal Russian and Ottoman sovereignty in the Ionian Islands in 1800. When Alexander I came to the throne in March 1801, Russia was in a state of hostility with most of Europe, though its armies were not actually fighting; its only ally was its traditional enemy, the Ottomans. As such, the establishment of the Septinsular Republic marked a victory in an increasingly unsettled time during Russian foreign policy. The Republic was established after a joint Russo-Ottoman fleet captured the islands and ended a two-year rule by the French Republic, marking the first time Greeks had been granted self-government since the fall of the last remnants of the Byzantine Empire to the Ottomans in 1460. Pietro Labruzzi's elder brother, Carlo Labruzzi (1748 - 1817), was also a well-known artist achieving official recognition, boasting several international and high-profile patrons. Carlo Labruzzi executed a number of commissions for the Russian court: for example, his View of The Colosseum from the Palatine (signed and dated 1780) is in the Pavlovsk Palace, near St. Petersburg (p. 8, Dickinson). Pavlovsk Palace is an 18th-century Russian Imperial residence built by the order of Catherine the Great for her son Grand Duke Paul, in Pavlovsk, within Saint Petersburg. After Grand Duke Paul's death, it became the residence of his widow, the Empress Maria Feodorovna (1759–1828), the mother of both Emperor Alexander I of Russia and Emperor Nicholas I of Russia. As such, there is plausible evidence to suggest that Carlo's brother would have been surrounded by the young Nicholas I, and if Pietro himself was not painting Nicholas from life, it is likely he would have been painting from sketches his brother made while at the Russian court.
Sloane Street Auctions
Dec. 14, 2022
OIL PAINTING BY THE WORKSHOP OF PIETRO LABRUZZI
Est: €400 - €500
PIETRO LABRUZZI, bottega di (Roma 1739 - 1805) RITRATTO DI GENTILUOMO Olio su tela, 68 x 54 CONDIZIONI DEL DIPINTO Rintelo novecentesco. Punti di restauro sui capelli, a sinistra del volto e sulla giacca rossa CORNICE Cornice in legno dorato con decori agli angoli a motivi vegetali, del XIX secolo
Casa d'Aste Babuino
Apr. 12, 2022
A Full-Length Portrait of Nicholas I in A Classical Setting (Pietro Labruzzi, 1802)
Est: £30,000 - £50,000
A Full-Length Portrait of Nicholas I of Russia in a classical setting. Pietro Labruzzi (1739?1805). 1802. Signed, located and dated lower left: ?Pietro Labruzzi Roma Pinx Anno 1802.? Oil on canvas. Dimensions: Unframed: 135.7 x 98.5 cm.; 53½ x 38¾ in. Framed: 151.6 x 115.6 cm.; 59¾ x 45½ in. Lot Essay: Nicholas I (Russian: Nikolay Pavlovich) (1796-1855), Russian Emperor (1825?55), is often considered the personification of classic autocracy. It is clear that even at the age of 6, Nicholas was being cultivated as a future potential Emperor. The surrounding tropes in the present image reflect this, with Nicholas' setting rich in both accessories and emblematic references. For example, the pan flute, which alludes to the Greek god Pan, the patron of pastoral poets, evokes Nicholas' classical education as a royal, along with the numerous Classical references such as the Pegasus in the background. The portrait bust on the right of the image is inscribed with 'Alexander the first, of all of the Russian Empire', referring to Nicholas' elder brother Alexander I (Emperor of Russia 1801-1825). In this image, Alexander is immortalised as Imperator, explicitly linking the strength and glory of the Russian Empire to that of Ancient Rome through the use of the portrait bust. Moreover, the positioning of the portrait bust above Nicholas indicates the hierarchy of the royal lineage, with his brother Alexander I majestically surveying from above. The laurel wreath upon which Nicholas rests his hand is another nod to Greek mythology (this time to Apollo) as a universal symbol of triumph and peace, demonstrating the Russian Empire's role as a bringer of peace to the Greeks. Finally, the épée and globe, and the words 'Victor' on the plinth, collectively point to a triumphant military campaign. Dressed in traditional Greek dress, Nicholas wears Greece's blue and white national colours. His type of trousers, gilet and slippers were likely commissioned to commemorate the establishment of the oligarchic Septinsular Republic under nominal Russian and Ottoman sovereignty in the Ionian Islands in 1800. When Alexander I came to the throne in March 1801, Russia was in a state of hostility with most of Europe, though its armies were not actually fighting; its only ally was its traditional enemy, the Ottomans. As such, the establishment of the Septinsular Republic marked a victory in an increasingly unsettled time during Russian foreign policy. The Republic was established after a joint Russo-Ottoman fleet captured the islands and ended a two-year rule by the French Republic, marking the first time Greeks had been granted self-government since the fall of the last remnants of the Byzantine Empire to the Ottomans in 1460. Pietro Labruzzi's elder brother, Carlo Labruzzi (1748 - 1817), was also a well-known artist achieving official recognition, boasting several international and high-profile patrons. Carlo Labruzzi executed a number of commissions for the Russian court: for example, his View of The Colosseum from the Palatine (signed and dated 1780) is in the Pavlovsk Palace, near St. Petersburg (p. 8, Dickinson). Pavlovsk Palace is an 18th-century Russian Imperial residence built by the order of Catherine the Great for her son Grand Duke Paul, in Pavlovsk, within Saint Petersburg. After Grand Duke Paul's death, it became the residence of his widow, the Empress Maria Feodorovna (1759?1828), the mother of both Emperor Alexander I of Russia and Emperor Nicholas I of Russia. As such, there is plausible evidence to suggest that Carlo's brother would have been surrounded by the young Nicholas I, and if Pietro himself was not painting Nicholas from life, it is likely he would have been painting from sketches his brother made while at the Russian court.
Sloane Street Auctions
Nov. 26, 2021
ATELIER OF PIETRO LABRUZZI (ROME, 1739 -1805): POPE PIUS VII CHIARAMONTI
Est: €1,800 - €2,500
Oil on canvas, cm. 74x60. Framed
Bertolami Fine Art s.r.l.
Sep. 21, 2021
PIETRO LABRUZZI (attr. a)
Est: €500 - €800
(Roma, 1739 - 1805) Ritratto di gentiluomo Olio su tela, cm 78X66 Il dipinto genericamente attribuito a scuola francese, si riconduce a Pietro Labruzzi. La tipologia dell'effigiato è rigorosamente pertinente alla corrente di gusto neoclassico a cui partecipano Pompeo Batoni, Anton Raphael Mengs e Anton von Maron. Il taglio d'immagine e l'abbigliamento raffinato, descritto nei minimi dettagli dalla marsina di velluto color porpora al panciotto, rappresentano l'agiata condizione sociale del personaggio, desideroso di emanare il suo buon gusto e la sua cultura. A differenza del Mengs, Pietro Labruzzi imposta i suoi dipinti con maggiore naturalezza, in analogia con la ritrattistica batoniana, destinata prevalentemente alla committenza inglese di stanza a Roma. In questo caso mostra con disinvoltura il suo status guardando verso l'osservatore con sostenuta sicurezza. La luce proveniente dall'alto a sinistra mette in risalto il volto ben definito e i colori delle vesti, stagliando la figura dal fondale e creando un effetto asciutto, di notevole eleganza formale. Queste caratteristiche permettono di considerare l'opera partecipe del catalogo labruzziano, in analogia a esempio con il Ritratto di Giovanni Battista Piranesi. Bibliografia di riferimento: A. Busiri Vici, Pietro Labruzzi, pittore romano di ritratti , in Scritti d'Arte, Roma 1990, pp. 9-11 A. Ghidoli, il Settecento a Roma, catalogo della mostra a cura di Anna Lo Bianco e Angela Negro, Cinisello Balsamo 2005, pp. 229 ; 230
Wannenes Art Auctions
Sep. 14, 2021
Pietro Labruzzi (Roma 1739 - 1805)
Est: €3,000 - €5,000
Pietro Labruzzi (Roma 1739 - 1805) Ritratto di nobiluomo Olio su tela Portrait of a nobleman Oil on canvas 64 x 82 cm La formazione artistica di Pietro Labruzzi resta a tutt'oggi ancora poco chiara per la mancanza di precisi dati cronologici. Risale al 1753 la prima precoce opera documentata raffigurante la Madonna con i SS. Anna e Gioacchino, eseguita per la chiesa romana di S. Maria della Luce, nell'ambito degli interventi di decorazione voluti dai padri minimi e affidati a un gruppo di artisti di cultura napoletana, fra i quali figuravano Sebastiano e Giovanni Conca e Onofrio Avellino; ciò lascerebbe supporre, vista anche l'affinità stilistica, che Pietro sia cresciuto seguendo l’accademismo partenopeo frequentando Conca e arricchita però dall'influenza di Pompeo Batoni e da richiami del Cortona. Negli anni Settanta, con la riforma classicista dello stile, il suo linguaggio va a semplificarsi assumendo i toni severi e l'essenzialità. In occasione dell’intervento decorativo patrocinato da Pio VI per il duomo di Spoleto, affidato a Corvi, Cristoforo Unterperger, Bernardino Nocchi e Cavallucci, Pietro esegue una serie di dipinti. Labruzzi opera con successo anche in ambito ritrattistico seguendo le orme dettate da Batoni nel secondo Settecento. Il nostro dipinto va attribuito a Pietro Labruzzi per la pertinenza al gusto neoclassico romano, alimentato da Pompeo Batoni, Anton Raphael Mengs e Anton von Maron. Il personaggio, posizionato con elegante imponenza, è colto con la massima cura e raffinatezza del suo vestire. Un utile confronto lo ritroviamo nel celeberrimo ritratto Giovanni Battista Piranesi del Museo di Roma, oppure il ritratto datato 1783 “Ritratto di gentiluomo con sfondo di ninfeo” pubblicato da Giancarlo Sestieri, figura 562, in “Repertorio della Pittura Romana della fine del Seicento e del Settecento
Lucas Aste
Apr. 10, 2019
Pietro Labruzzi (Rome 1739-1805) after Giovanni Francesco Barbieri, called il Guercino Esther before Ahasuerus
Est: £7,000 - £10,000
Pietro Labruzzi (Rome 1739-1805) Esther before Ahasuerus signed and inscribed 'Petruf/ Labruzzi/ Romanuf/ ex Tabula/ Francisci Barberi/ in/**af/ Barberin:/if' (on chair, lower left)oil on canvas156 x 214cm (61 7/16 x 84 1/4in). The present composition is after Guercino's original Esther before Ahasuerus now in the University of Michigan Museum of Art (acc. no. 1963/2.45).
Bonhams
Mar. 07, 2019
TOMMASO PIETRO LABRUZZI
Est: €2,000 - €3,000
(Roma, 1739 - 1805) Trionfo di San Francesco da Paola Inscritto in antico sul retro della tela: 'Pietro Labruzzi Romano fece anno 1800' Olio su tela, cm 73X40 Pietro Labruzzi, prevalentemente noto per le sue doti di ritrattista, fu altresì dedito alla pittura sacra ed è del 1753 la prima precoce opera documentata raffigurante la 'Madonna con i ss. Anna e Gioacchino', eseguita per la Chiesa romana di S. Maria della Luce. Nella medesima chiesa lavorarono Sebastiano e Giovanni Conca e Onofrio Avellino, suggerendo che la formazione del nostro pittore sia avvenuta nell'ambiente degli artisti napoletani attivi a Roma, senza mancare di osservare la nobile tradizione barocca di sapore cortonesco e le sue declinazioni in senso classico. Con la maturità, questo aspetto diviene maggiormente evidente grazie alle suggestioni del Batoni e la scia degli insegnamenti del Maratti, comportando una tavolozza dai toni accessi e luminosità diafane, come si evince osservando il dipinto qui presentato, certamente un modelletto per una pala. Bibliografia di riferimento: G. Sestieri, 'Repertorio della pittura romana della fine del Seicento e del Settecento', I, Torino 1994, pp. 98
Wannenes Art Auctions
Oct. 11, 2016
Pietro Labruzzi Rome, 1739 - 1805 L'Ascension Huile sur toile
Est: €3,000 - €4,000
Pietro Labruzzi Rome, 1739 - 1805 L'Ascension Huile sur toile signée 'Labruzzi' en bas à droite h: 70 w: 45 cm Provenance : Vente anonyme ; Londres, Christie's, 28 octobre 1977, n°52 (comme Carlo Labruzzi) ; Collection particulière, Allemagne
Artcurial
Nov. 06, 2013
Circle of Pietro Labruzzi (Italian, 1739-1805) A portrait of Cardinal-Infante Ferdinand of Austria 32 3/4 x 24 3/4in (83
Est: $6,000 - $8,000
Circle of Pietro Labruzzi (Italian, 1739-1805) A portrait of Cardinal-Infante Ferdinand of Austria 32 3/4 x 24 3/4in (83.2 x 62.8cm)
Bonhams
Apr. 21, 2010
Property of various owners
Est: $10,000 - $15,000
A portrait of Cardinal-Infante Ferdinand of Austria oil on canvas 32 3/4 x 24 3/4in (83.2 x 62.8cm)
Bonhams
Apr. 21, 2009
Circle of Pietro Labruzzi (Italian, 1739-1805) A portrait of Cardinal-Infante Ferdinand of Austria 32 3/4 x 24 3/4in (83.2 x 62.8cm)
Est: $12,000 - $18,000
A portrait of Cardinal-Infante Ferdinand of Austria oil on canvas 32 3/4 x 24 3/4in (83.2 x 62.8cm)
Bonhams
Nov. 20, 2007
Pietro Labruzzi Roma 1739-1805 , Ritratto di gentiluomo con giacca rossa e panciotto ricamato olio su prima tela
Est: €20,000 - €30,000
firmato sul biglietto in mano al gentiluomo: A Monsieur / Sieur Pierre Labruzzi / Peintre Romain / A Rome olio su prima tela
Sotheby's
Nov. 28, 2006
PIETRO LABRUZZI ROMA 1739-1805
Est: €30,000 - €50,000
RITRATTO DI DOMENICO DE ANGELIS CON L'ERMA DI BIANTE measurements note 100 x 75 cm. firmato e datato sulla lettera: Pietro Labruzzi/ fece l'anno 1787 iscrizione sulla lettera: All'Ill.mo Sig.re/ Domenico Deangelis; Bia (...) olio su tela, con cornice coeva PROVENANCE Domenico De Angelis, Tivoli, 1787; Marianna Meddi, vedova De Angelis, sposata con Generoso Tomei, Tivoli, il 13 Gennaio 1831; Giunto per via ereditaria all'attuale proprietario. EXHIBITED Roma, Palazzo Venezia, Il Settecento a Roma, 10 Novembre 2005 - 26 Febbraio 2006. LITERATURE A. Ghidoli in A. Lo Bianco e A. Negro, Il Settecento a Roma, catalogo della mostra, Roma, Palazzo Venezia, 10 Novembre 2005 - 26 Febbraio 2006, Cinisello Balsamo 2005, cat. n. 124, p. 229-230.
Sotheby's