Giovanni Lanfranco Paintings & Artwork for Sale | Giovanni Lanfranco Art Value Price Guide

Sep. 26, 2024
NEAPOLITANISCHER MEISTER IN DER ART DES GIOVANNI LANFRANCO, 1582 – 1647
Est: €7,000 - €9,000
ANBETUNG DER KÖNIGE Öl auf Leinwand. 87 x 66 cm. Das Gemälde weist Elemente auf, die an den genannten Lanfranco erinnern. Vor allem die dichtgedrängten Figuren, die in einem pyramidalen Kompositionsaufbau geordnet erscheinen. Dabei zeigen sich hier die geneigten Körper der Könige auffällig parallel und weisen damit auf das Zentrum der Darstellung. Damit führen alle Bildelemente hin zum Jesuskind. Auch die Lichtführung entspricht dieser Komposition, wodurch Maria und Kind hervorgehoben erscheinen. Ähnlichen Bildaufbau zeigt Lanfrancos „Ekstase der seligen Marghereta“ von 1622 (Palazzo Pitti). A.R. Lanfranco hat nach seinem Aufenthalt in Rom zwölf Jahre in Neapel gewirkt, schuf etwa im Dom 1741-42 ein Kuppelfresko, und übte auf eine Reihe von Malern erheblichen Einfluss aus. (14111218) (11)
Hampel Fine Art Auctions
May. 17, 2024
Giovanni Lanfranco: Study to Male Hands
Est: €3,000 - €6,000
LANFRANCO, GIOVANNI 1582 Parma - 1647 Rome Title: Study to Male Hands. Technique: Black pen on paper. Mounting: Mounted. Measurement: 35 x 25,5cm. Frame: Framed. Provenance: Collection Erich Schleier, Berlin. The present work by Giovanni Lanfranco is the most personal sheet from Erich Schleier's estate. The connection between him and the artist is indissoluble and enduring: Lanfranco was the artist to whom Schleier dedicated his entire life from the time of his master's thesis. Countless exhibition catalogues, articles, scientific essays, lectures, etc. were dedicated to this painter, who worked between Parma, Rome and Naples. Lanfranco became a kind of alter ego of Erich Schleier, whose artistic and biographical events over the course of Schleier's career were precisely and rigorously reconstructed. This study drawing of three hands is a typical example of Lanfranco's mature graphic style, which is particularly shared in his detailed studies. Today, the series of comparable works is distributed among the drawing cabinets of the Florentine Uffizi, the Museo Capodimonte in Naples, the Royal Library in Windsor Castle, the Istituto Centrale per la Grafica in Rome and the Kunstmuseum in Düsseldorf (see E. Schleier, Disegni di Giovanni Lanfranco, Florence 1983, pp. 7-12). The drawing is an exact study of the hands of the apostle Paul, which were painted together with the other apostles and Carthusian saints on the sides of the windows of the nave of the Carthusian monastery of St Martin in Naples in 1637. That year, Don Isidoro de Alegria, the Father Procurator of the Order, commissioned Lanfranco to paint various spotlights and figures on the vault of the nave, the choir and the entrance walls of the Charterhouse. The programme culminated in the Resurrection of Christ and kept the painter busy until early 1639. The numerous preparatory drawings document the difficulty and commitment he put into this work. Although it caused the artist many problems, today it is rightly regarded as his most successful project in Naples, together with the paintings on the dome of the Gesù Nuovo (1634-1635) and the frescoes on the Holy Apostles (1638-1646). The lower part of the sheet shares the two preliminary studies of the right hand of St Paul holding the book. The upper part of the sheet shows the study of a left hand falling downwards while the arm rests on the sword. In its robust, energetic and painterly style, the sheet represents a characteristic example of the artist's Neapolitan period, which is "characterised by a neglect of the linear definition of the contours of forms that are classically meant (...) and can be recognised as the expression of a completely new and revolutionary pictorialism", to quote the extremely precise analysis provided for this study by Erich Schleier (op. cit. 1983, p. 13) in his fundamental catalogue of Lanfranco's drawings in the Uffizi. We are grateful to Simonetta Prosperi Valenti, Rome, for confirming the attribution of the present drawing on the basis of a high-resolution digital photograph and for her help cataloguing it. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Giovanni Lanfranco Baroque 17th C. Watercolour / Drawings Framed Hand Sketch
Van Ham Kunstauktionen
Apr. 17, 2024
Giovanni Lanfranco (circle of)(Parma 1582-Rome 1647)Jesus Walks on the Water
Est: €1,500 - €1,800
Giovanni Lanfranco (circle of) (Parma 1582-Rome 1647) Jesus Walks on the Water oil on canvas 125x95 cm - with frame 141x112 cm The painting replicates a fresco for St. Peter's painted by Giovanni Lanfranco Reference bibliography: Giovanni Lanfranco, a painter between Parma, Rome and Naples, exhibition catalog edited by E. Schleier, Milan 2001, pp. 373-375, n. Q.27
Casa d'aste ARCADIA
Feb. 20, 2024
Giovanni Lanfranco Joseph and Putiphar's wife
Est: €200 - €300
from a series of 50 engravings for the Bible by Sisto Badalocchio and Giovanni Lanfranco after Raffaello, published by Orlandi in 1607. Etching, 134 x 182 mm. Bartsch XVIII.347.16. Superb proof on thin laid paper. Trimmed with small margins, in very good condition except for a thinning of the paper at the top left, reinforced on the reverse. Included: Sisto Badalocchio (1585-1647) Noe and his family leave the Ark Etching, 133 x 180 mm (plate), 165 x 267 mm (sheet). Bartsch XVIII.355.5. Nice proof on thin laid paper with watermark. Margins preserved. Uniformly browned sheet, with some stains and a handwritten note.
Bertolami Fine Art s.r.l.
Jan. 25, 2024
Attributed to Lanfranco, Giovanni di Stefano (Terenzo, Parma, 1582 - Rome, 1647). The Angel giving the Crown of Thorns to Mary Sorrowful
Est: €7,500 - €8,500
Oil on canvas measurements: 135 x 100 cm. 142 x 106 cm framed. No frame attached. Lanfranco first studied in his hometown with Agostino Carracci and after his death he moved to Rome where in 1602 he entered the workshop of Annibale Carracci, becoming, together with Domenichino, a frequent collaborator of the great Bolognese master. Upon the death of Annibale Carracci, Lanfranco returned to Parma for a few years (1610-12), a fruitful period of his artistic training, in which he undoubtedly discovered the value of Correggio's frescoes, whose impact would be decisive for his elaboration of the illusionistic space and the intense emotionalism that then invades its figures. Correggio's mark is already evident in the dome of the Buogiovanni chapel in the Roman church of Sant' Agostino (1616) or in the "Ecstasy of Saint Margaret of Cortona" (1620), today in the Pitti Palace in Florence, which is It became the prototype of the Baroque altar painting, as well as the frescoes in the dome of Sant'Andrea della Valle (1625-27), Lanfranco's masterpiece in Rome, which determined the development of Italian decorative painting. In 1634, the artist moved to Naples, where he remained until 1646, carrying out the grandiose fresco projects in the Gesù Nuovo (1635-37), the Charterhouse of San Martino (1637-38), the vault of SS. Apostoli (1638-46) and in the chapel of San Jenaro in the Cathedral (1641-43), works whose influence extends through Mattia Preti, Luca Giordano and Filippo Beinaschi well into the 18th century. In 1646, Lanfranco returned to Rome, where he died the following year. The artist's surviving drawings are numerous and most are in the collection of Windsor Palace; In them the influence of Correggio is evident in the luminous dissolution of the line and in the search for pictorial effects (Mena, M.: Catalog of drawings, VI, Italian drawings of the 17th century, Museo del Prado, 1983, p. 109) . Provenance: important private collection, Madrid.
Templum Fine Art Auctions
Jan. 25, 2024
Attributed to Lanfranco, Giovanni di Stefano (Terenzo, Parma, 1582 - Rome, 1647). Great Conversion of Saint Paul, 16th century Italian school
Est: €10,000 - €12,000
Large oil on canvas measuring: 220 x 196 cm. No frame attached. Lanfranco first studied in his hometown with Agostino Carracci and after his death he moved to Rome where in 1602 he entered the workshop of Annibale Carracci, becoming, together with Domenichino, a frequent collaborator of the great Bolognese master. Upon the death of Annibale Carracci, Lanfranco returned to Parma for a few years (1610-12), a fruitful period of his artistic training, in which he undoubtedly discovered the value of Correggio's frescoes, whose impact would be decisive for his development of the illusionistic space and the intense emotionalism that then invades its figures. Correggio's mark is already evident in the dome of the Buogiovanni chapel in the Roman church of Sant' Agostino (1616) or in the "Ecstasy of Saint Margaret of Cortona" (1620), today in the Pitti Palace in Florence, which is It became the prototype of the Baroque altar painting, as well as the frescoes in the dome of Sant'Andrea della Valle (1625-27), Lanfranco's masterpiece in Rome, which determined the development of Italian decorative painting. In 1634, the artist moved to Naples, where he remained until 1646, carrying out the grandiose fresco projects in the Gesù Nuovo (1635-37), the Charterhouse of San Martino (1637-38), the vault of SS. Apostoli (1638-46) and in the chapel of San Jenaro in the Cathedral (1641-43), works whose influence extends through Mattia Preti, Luca Giordano and Filippo Beinaschi well into the 18th century. In 1646, Lanfranco returned to Rome, where he died the following year. The artist's surviving drawings are numerous and most are in the collection of Windsor Palace; In them the influence of Correggio is evident in the luminous dissolution of the line and in the search for pictorial effects (Mena, M.: Catalog of drawings, VI, Italian drawings of the 17th century, Museo del Prado, 1983, p. 109) . Provenance: important private collection, Madrid.
Templum Fine Art Auctions
Jan. 25, 2024
Giovanni Lanfranco
Est: $1,000 - $3,000
Italian, 1582-1647 The Assumption of the Virgin Red chalk heightened with white, within an inscribed tondo, gridded for transfer The full sheet 14 1/2 x 13 7/8 inches (36.9 x 37.8 cm); the tondo 13 3/4 inches (35 cm) in diameter Frame 22 5/8 x 22 5/8 inches (57.7 x 57.7 cm) Provenance: Private collection, Vienna By descent in the family to the present owner Hinged to the mount at upper left, upper center, and upper right with white tape. Some fading, staining, ink splatters, and creasing. Small tear visible at the right edge of the tondo. Nicks, tears, and small losses around the edges of the sheet (not visible as framed)
DOYLE Auctioneers & Appraisers
Nov. 29, 2023
Attributed to Giovanni Lanfranco (Parma, 1582 – Rome, 1647) - Sleeping Venus with two cupids
Est: €50,000 - €80,000
oil painting on canvas 123 x 175 cm Photographic references Zeri Photo Library, sheet no. 51054 (as Giovanni Lanfranco in a private Piedmontese collection, 1983) The painting is cataloged in the Zeri Photo Library archive as a work by Giovanni Lanfranco (card no. 51054). Stylistically the work finds a compelling comparison with the Death of Cleopatra , today in Palazzo Barberini: the modern beauty of Cleopatra's body, solidly sculpted and almost reduced to elegant solid-geometric shapes, is the same as the Venus, gently stretched out to occupy the entire diagonal of the painting. The similarity of the features of the two faces also does not go unnoticed, suggesting it could be the same model. Certainly the model of our Venus is the same one used by Lanfranco for the Armida depicted, always reclining, in the painting Rinaldo's greeting to Armida (file 11 in Giovanni Lanfranco. A painter baroque between Parma, Rome and Naples, exhibition catalog edited by E. Schleier, Milan 2001, p. 280). The same subject is also found in the Sleeping Venus with two putti in a landscape, performed by Lanfranco in 1632-34 and preserved at the Blanton Museum of Art in Austin (Texas); this work has been identified with the painting described several times in the Barberini inventories, including that of the assets of Maffeo Barberini, drawn up after 1672, which lists "a long Venus sleeping with two long Cupids, 5 and high p.mi 3 approximately with smooth golden frame by the hand of Lanfranchi" (card 84 in Giovanni Lanfranco. A baroque painter between Parma, Rome and Naples, exhibition catalog edited by E. Schleier, Milan 2001, p. 280). Compared to this painting, ours has a different composition: Venus is reclining from right to left and the two putti, intent on delicately covering the sleeping goddess, they close the scene from two opposite positions, one at the top right and the other at the bottom left; in the painting in the American museum the cupids are next to each other and, from behind, observe the goddess. Finally, it should be noted that the Venus of Austin presents a face that is stylistically atypical for Lanfranco's production which, however, in the painting offered in the lot is characteristic of the master's style.
Finarte
Nov. 23, 2023
The body of dead Abel
Est: €6,000 - €8,000
Oil on canvas 74x84 cm. The scene fixes a moment devoid of action, and therefore very rarely depicted in painting, in the dramatic story of the killing of Abel by his brother Cain (Genesis, 4:1-15). The artist here focuses exclusively on the display of Abel's lifeless naked body lying on the ground, while usually the moment of the murder is chosen, when Cain raises his arm against his brother with a donkey's jaw, or, in the alternative, the mourning of the progenitors at the discovery of their son's corpse: and it is precisely the animal jaw in the foreground that allows us to identify the subject of the canvas with certainty. The painting speaks a pictorial language in which post-Carraccesque Bolognese stimuli (particularly related to Ludovico) and Roman elements converge, at a chronological height between the third and fourth decades of the seventeenth century. Worth noting here is both the skillful foreshortening of Abel's body, with its insistent chiaroscuro contrasts, and the virtuosity in the anatomical rendering, with the slight bulge of the belly. Very refined, finally, is the choice to limit the sign of the violence suffered to the slight trickle of blood that runs from the temple down the cheek and neck to stop at the hollow of the collarbone.
Bertolami Fine Art s.r.l.
Jul. 06, 2023
Hercules Shooting an Arrow at the Centaur Nessus, attributed to Lanfranco Giovanni (Padua, 1582 - Rome, 1647), Italian school from the early 17th century
Est: €120,000 - €140,000
Oil on canvas, frame not attached, canvas measures: 249 x 190 cm. Report attached.
Templum Fine Art Auctions
Jun. 27, 2023
OIL PAINTING BY GIOVANNI LANFRANCO, follower of
Est: €1,000 - €1,500
GIOVANNI LANFRANCO, seguace di (Parma 1582 - Roma 1647) L'ANGELO APPARE A SAN PIETRO NEL CARCERE Olio su tela, cm. 94,5 x 75,5 PROVENIENZA Collezione privata romana CONDIZIONI DEL DIPINTO Rintelo novecentesco. Linee e punti di restauro sparsi sulle figure e sul fondo
Casa d'Aste Babuino
Nov. 09, 2022
Giovanni Lanfranco
Est: €40,000 - €60,000
(Parma 1582–1647 Rome) The Adoration of the Magi, oil on canvas, 112 x 94 cm, framed Provenance: possibly, collection of Pierre André Joseph Knyff, canon of the cathedral of Antwerp, until 1785; possibly his sale, Grange, Antwerp, 18 July 1785, lot 185 (as Giovanni Lanfranco); possibly acquired by Jan Wubbles (1728–1791), Amsterdam; Private European collection We are grateful to Erich Schleier for confirming the attribution of the present painting on the basis of photographs. The present previously unpublished painting is an important addition to the oeuvre of Giovanni Lanfranco. Schleier dates the work to between 1616 and 1619, when Lanfranco was at the apogee of his career, following the execution of the paintings for the Bongiovanni chapel in Sant’Agostino, Rome. The contrasts of light and shade in the present composition, show that Lanfranco was still under the influence of Orazio Borgianni (1574–1616) during this period whilst also being stylistically influenced by Annibale Carracci (see E. Schleier, Giovanni Lanfranco. Un pittore barocco tra parma, Rome and Naples, exhibition catalogue, Milan 2001, p. 37). The Madonna’s hair, plaited round her head, reoccurs, as do her slightly childlike features, in other compositions by Lanfranco including Angelica and Medoro in a New York private collection, which can also be dated to 1616–1617. Schleier has observed that Lanfranco used the same model in other compositions and he has suggested that the facial features may be those of Cassandra Barli whom the artist married in January 1616. Comparisons are also possible with the Madonna in the Saint William rescued by the Madonna, by 1615 circa, in the Church of Sant’Agostino, Rome (see Schleier, op. cit., cat. no. 28). The Madonna is seated with the Child in her lap and Saint Joseph to her right. One of the Magi is kneeling, while the other two are bowed in reverence, beside them are figures and camels. A painting that matches this description was listed as lot 178 in the sale of the collection of Pierre André Joseph Knyff, canon of the cathedral of Antwerp, held on 18 July 1785. The Knyff collection also included Ruben’s Christ and the Adulteress now in the Royal Museum of Fine Arts, Brussels. The painting by Lanfranco was acquired by the painter and collector active in Amsterdam, Jan Wubbels (1728–1791), who also purchased the painting by Rubens. At the beginning of the seventeenth century Lanfranco trained with Agostino Carracci (1557–1602) in Bologna and then with his brother Annibale (1560–1609) in Rome. Between 1610 and 1620 he received prestigious commissions from cardinals Odoardo Farnese and Jacopo Sannesi and between 1610 and 1612 he travelled to Parma and Piacenza before returning to Rome. After 1620 Lanfranco became the most important painter in Rome and received commissions from Pope Paul V. In 1634 he travelled to Naples where he remained until 1646 receiving commissions for large altarpieces, as well as for frescoes in the dome of the Gesù Nuovo and the decoration of the church of the Certosa di San Martino. Lanfranco spent the last year of his life in Rome, where he returned in 1646.
Dorotheum
Oct. 07, 2022
GIOVANNI LANFRANCO (PARMA 1582-1647 ROME) Susanna and the Elders oil on cop
Est: $50,000 - $70,000
GIOVANNI LANFRANCO (PARMA 1582-1647 ROME) Susanna and the Elders oil on copper 14 3/8 x 19 5/8 in. (36.5 x 49.9 cm.)
Christie's
Jul. 21, 2022
* Lanfanco (Giovanni, 1582-1647, attributed to). Study for the Transfiguration, black chalk
Est: £400 - £600
* Lanfanco (Giovanni, 1582-1647, attributed to). Study for the Transfiguration, black chalk Attributed to Giovanni Lanfranco (Parma 1582-1647 Rome). Study for the Transfiguration, black chalk heightened with white on grey-green, fibrous laid paper, in very good condition, very faint striations of pen and brown ink, a few tiny ink spots towards the upper sheet edge, hinged to a sheet of laid paper with decorative frame drawn in with pen and brown ink, inscribed in pencil 'École Italienne / XVI e scle', sheet size 28.6 x 19 cm (11 1/4x 7 1/2 ins), framed and glazed (44.5 x 34 cm) QTY: (1) NOTE: Provenance: Private collection, Warwickshire, England. Lanfranco is known for a number of paintings of the Transfiguration of Christ (particularly ceiling frescoes in which figures are most often viewed suspended in the air), such as the version in the Certosa di San Martino in Naples, or the oil painting of this subject in the Galleria Nazionale d'Arte Antica in Rome.
Dominic Winter Auctions
May. 13, 2022
AMBIT OF GIOVANNI LANFRANCO (Parma, 1582 - Rome, 1647)
Est: €400 - €600
Saint Mattew in the clouds Ink and watercolour on brown paper, cm. 19,8x17,8 PROVENANCE: Private collection, Rome.
Bertolami Fine Art s.r.l.
Mar. 09, 2022
* Lanfanco (Giovanni, 1582-1647, attributed to). Study for the Transfiguration, black chalk
Est: £600 - £800
* Lanfanco (Giovanni, 1582-1647, attributed to). Study for the Transfiguration, black chalk Attributed to Giovanni Lanfranco (Parma 1582-1647 Rome). Study for the Transfiguration, black chalk heightened with white on grey-green, fibrous laid paper, in very good condition, very faint striations of pen and brown ink, a few tiny ink spots towards the upper sheet edge, hinged to a sheet of laid paper with decorative frame drawn in with pen and brown ink, inscribed in pencil 'École Italienne / XVI e scle', sheet size 28.6 x 19 cm (11 1/4x 7 1/2 ins), framed and glazed (44.5 x 34 cm) Qty: (1) Footnote: Provenance: Private collection, Warwickshire, England. Lanfranco is known for a number of paintings of the Transfiguration of Christ (particularly ceiling frescoes in which figures are most often viewed suspended in the air), such as the version in the Certosa di San Martino in Naples, or the oil painting of this subject in the Galleria Nazionale d'Arte Antica in Rome.
Dominic Winter Auctions
Jan. 19, 2022
Ambito di Giovanni LANFRANCO (1582-1647)
Est: €500 - €900
Ambito di Giovanni LANFRANCO (1582-1647) Figure of a young man and study of a head On the back : Man praying Black stone (wear) Entourage de Giovanni LANFRANCO (1582-1647) Figure de jeune garçon, et étude de tête. Pierre noire (usures) H_24,7 cm L_37,8 cm Annotated on the left verso / annoté au verso à gauche : "Ca re Lanfranco" ; "n° 94666" Provenance : Auction 8 July 1998, London, Sotheby's no. 23, ripr. (as G. Lanfranco) Figura di giovane e studio di testa Al retro : Uomo che prega Pietra nera (usure) Entourage de Giovanni LANFRANCO (1582-1647) Figure de jeune garçon, et étude de tête. Pierre noire (usures) H_24,7 cm L_37,8 cm Annotato al verso a sinistra / annoté au verso à gauche : «Ca re Lanfranco» ; «n° 94666» Provenienza : Asta 8 luglio 1998, Londra, Sotheby's n. 23, ripr. (come G. Lanfranco)
Pierre Bergé & Associés
Oct. 13, 2021
* Lanfranco, Giovanni, Follower of (1582-1647), St Anthony in the Wilderness, pen, ink and wash
Est: £300 - £400
* Follower of Giovanni Lanfranco (1582-1647). Saint Anthony in the wilderness, pen and dark grey ink and grey wash on fine laid paper, inscribed 'Gio lanfranco' in pen and brown ink verso, in very good condition, pale scattered foxing recto and verso, pale discolouration in the blank area framing the subject, two tiny nicks, minor thinning and a small rust mark at the upper sheet edge, unobtrusive diagonal crease (a printer's crease inherent to production), sheet size 27.4 x 19.2 cm ( 103/4 x 71/2 ins), framed and glazed (38 x 29.7 cm, 15 x 113/4 ins) Qty: (1)
Dominic Winter Auctions
Oct. 13, 2021
* Lanfanco, Giovanni (1582-1647), Attributed to. A Study for the Transfiguration, black chalk
Est: £1,000 - £1,500
* Attributed to Giovanni Lanfranco (Parma 1582-1647 Rome). Study for the Transfiguration, black chalk heightened with white on grey-green, fibrous laid paper, in very good condition, very faint striations of pen and brown ink, a few tiny ink spots towards the upper sheet edge, hinged to a sheet of laid paper with decorative frame drawn in with pen and brown ink, inscribed in pencil 'École Italienne / XVI e scle', sheet size 28.6 x 19 cm (11 1/4 x 7 1/2 ins), framed and glazed (44.5 x 34 cm) Qty: (1)
Dominic Winter Auctions
Sep. 21, 2021
PITTORE DEL XVII SECOLO
Est: €300 - €500
Madonna con il Bambino Olio su tela, cm 50X34,5 La straordinaria fortuna critica di Correggio durante l'età seicentesca è altresì attestata da questa tela, che reca un'attribuzione collezionistica a Giovanni Lanfranco (Parma, 1582 - Roma, 1647). L'analisi della composizione evidenzia che si tratta di una citazione desunta dalla pala raffigurante la Madonna con Bambino in gloria e angeli, san Sebastiano, san Geminiano e san Rocco detta Pala del San Sebastiano (olio su tavola, cm 265X161). Correggio la realizzì nel 1524 per la Confraternita di San Sebastiano e oggi custodita alla GemÃ¤ldegalerie di Dresda (cfr. GemÃ¤ldegalerie Dresden. Alte Meister, Leipzig 1992, pp. 151- D. Ekserdjian,Â Correggio, Cinisello Balsamo, 1997, p. 176). Per quanto riguarda il Lanfranco, impiego diverse volte questo modulo compositivo, in modo particolare nella pala custodita a Leonessa in provincia di Rieti e in quella di Capodimonte (cfr. Museo Nazionale di Capodimonte. La collezione farnese. La scuola emiliana: i dipinti. I disegni, a cura di N. Spinosa, Napoli 1994, pp. 186 - 187).
Wannenes Art Auctions
Sep. 21, 2021
PITTORE ATTIVO A ROMA NEL XVII SECOLO
Est: €800 - €1,200
Cupido addormentato Olio su tela, cm 99,5X96,5 Il dipinto, di carattere emiliano e secentesco, reca un'attribuzione collezionistica a Giovanni Lanfranco (Parma, 1582 - Roma, 1647)Â e descrive un amorino addormentato con il capo sulle braccia conserte e appoggiate su un bassorilievo marmoreo. L'iconografia trova origine nei cupidi di età classica, raffigurati come fanciulli ignudi con archi e frecce, tema che ebbe ampia diffusione in età rinascimentale e barocca, trovando nei parametri di gusto all'antica la sua fortuna illustrativa. La tela perì, si distingue altresì per la particolare posa del Cupido, che solitamente è rappresentato disteso come tramandato dalla scultura antica e lo vediamo ad esempio nel celebre dipinto di Caravaggio custodito a Palazzo Pitti a Firenze o nelle simili opere di Guido Reni. Il Cupido seduto invece, si riscontra in una bellissima opera del Genovesino appartenente al Museo Civico Ala Ponzone di Cremona, che si contraddistingue perì quale Vanitas, essendo seduto su un libro reggendo un teschio. Tornando all'opera, riscontriamo il suo carattere tenebroso dettato dalla interpretazione dei chiaroscuri caravaggeschi da parte degli artisti emiliani a Roma durante il secondo decennio e che caratterizzì le opere di Ludovico Carracci, le prime prove capitoline di Guercino e la produzione di Giovanni Lanfranco. La superficie della tela in esame interessata da secolare sporcizia, suggerisce una dovuta prudenza attributiva.
Wannenes Art Auctions
Apr. 29, 2021
LUCA CIAMBERLANO (URBINO, 1580 – ROMA, 1641) DA GIOVANNI LANFRANCO (1582-1647) ASTRONOMY AND OTHER SCIENCES
Est: -
The personification of Astronomy in the center with two compasses, around various female figures and cherubs with measuring instruments, in the upper left a globe with the vault of the firmament and the zodiac signs. The names of the authors and the publisher are engraved in the lower left corner. Etching, 370x440mm Good copy very well engraved, however showing visible veins as shown in photos.
Bertolami Fine Art s.r.l.
Dec. 21, 2020
GIOVANNI LANFRANCO (bottega di)
Est: €1,500 - €2,500
(Parma, 1582 - Roma, 1647)Â Ritratto di Giovanni Lanfranco Olio su tela, cm 64X49 Il dipinto è il ritratto di Giovanni Lanfranco e trova analogia con quello conservato nel Corridoio Vasariano agli Uffizi che apparteneva alla collezione del cardinale Leopoldo de' Medici oggi considerata una copia (Inventario 1880 - 1882 n. 1624, olio su tela, cm 50X42). La versione prima è infatti custodita negli Stati Uniti al Columbus Museum of Art in Ohio (olio su tela, cm 62,7X43,3- inv. n. 62.74). La versione fiorentina perì non presenta sulla veste l'onorificenza del cavalierato dell'ordine di Gesù Cristo, titolo che fu conferito al pittore da papa Urbano VIII l'11 ottobre 1628. Bibliografia di riferimento: L. Berti, Gli Uffizi. Catalogo generale, Firenze 1979, p. 909, n. A502 E. Negro, Giovanni Lanfranco, in La scuola dei Carracci. I seguaci di Annibale e Agostino, Modena 1995, p. 193
Wannenes Art Auctions
Dec. 15, 2020
Studio of Giovanni Lanfranco; Saint Mary Magdalene surrounded by angels
Est: €8,000 - €16,000
Studio of Giovanni Lanfranco (Parma 1582-1647 Rom) Saint Mary Magdalene surrounded by angels oil on canvas; 152 x 122 cm Provenance auction Hampel, Munich, 25th March 2015, lot 583; private collection, Vienna
Im Kinsky
Dec. 04, 2020
SCHOOL OF GIOVANNI LANFRANCO (PARMA 1582 - ROME 1647)
Est: £5,000 - £6,000
SCHOOL OF GIOVANNI LANFRANCO (PARMA 1582 - ROME 1647) Study of a male figure on a cloud 207 x 367 mm (8 1/4 x 14 1/2 in) red chalk with white heightnening on buffed paper PROVENANCE: Private Collection, Switzerland; Alessandro Maggiori, his handwritten note 'Alessandro compro in Bologna il di 15 Agosto del 1792', his mark (L.3005b) Bears inscription 'Il Giorgione f.'
Chiswick Auctions
Sep. 24, 2020
PITTORE ATTIVO A ROMA NEL XVII SECOLO
Est: €500 - €800
Maddalena penitente Olio su tela, cm 71X93 Il dipinto reca un'attribuzione collezionistica a Giovanni Lanfranco (Parma, 1582 - Roma, 1647). La tipologia del volto e del paesaggio, si riscontra in diverse composizioni dell'artista di origini emiliane che si trasferì a Roma al seguito di Annibale Carracci, collaborando con Sisto Badalocchio, Francesco Albani e Guido Reni. Lo stile del Lanfranco trovì piena evoluzione nel corso degli anni Venti, acquisendo una nuova plasticità ed una tensione quasi metallica, insieme ad un maggiore dinamismo dei movimenti, aspetti questi, che si colgono assai bene ad esempio nella tela raffigurante Mosè e gli esploratori di ritorno da Canaan del Museo Getty databile al 1621-1624. Bibliografia di riferimento: E. Schleier, Giovanni Lanfranco. Un pittore barocco tra Parma, Roma e Napoli, catalogo della mostra, Milano 2001, ad vocem
Wannenes Art Auctions
Jul. 27, 2020
CIRCLE OF GIOVANNI LANFRANCO (PARMA 1582-1647 ROME) - Study of a female saint (?) (recto); Fallen Christ (verso, by a different hand)
Est: £2,000 - £3,000
CIRCLE OF GIOVANNI LANFRANCO (PARMA 1582-1647 ROME) Study of a female saint (?) (recto) ; Fallen Christ (verso, by a different hand) with number '67'black chalk (recto) , red chalk, pen and brown ink, brown wash on blue paper (verso) 203⁄4 x 15 in. (52.5 x 38 cm)
Christie's
Jun. 11, 2020
Giovanni Lanfranco (Parma, 1582 - Roma, 1647), Mosè e il roveto ardente
Est: €150 - €200
acquaforte II stato/IV, mm 135x180, 1605/1607, La prova è impressa su carta avente filigrana "Stemma" con tiara e spada tipica dei primi del Seicento. Firmata Giovanni L.F. e numerata 33, appartiene alla celebre serie di 52 scenette bibliche dipinte da Raffaello nelle Logge Vaticane ed eseguite dal Lanfranco insieme alla collaborazione di Sisto Badalocchio fra il 1605 e il 1607. Bibliografia: Bartsch, n. 17; Massari, p. 78, n. 30
Cambi Casa d'Aste
Jun. 10, 2020
Giovanni Lanfranco (attr.) Blessing figure (recto); Study of female head (verso) Charcoal (recto); charcoal and red chalk (verso) on paper, 410x275 mm. Inscribed in pen lower left "LANFRANCO" Ancient inventory number upper right "1617" Fra...
Est: €600 - €700
(Parma 1582 - Roma 1647) (attr.) Blessing figure (recto); Study of female head (verso) Charcoal (recto); charcoal and red chalk (verso) on paper, 410x275 mm. Inscribed in pen lower left "LANFRANCO" Ancient inventory number upper right "1617" Framed (defects) IT (attr.) Figura benedicente (recto); Studio di testa femminile (verso) Carboncino (recto); carboncino e matita rossa (verso) su carta, mm 410x275 Iscritto in basso a sinistra a penna "LANFRANCO" In alto a destra antico numero di inventario "1617" In cornice (difetti)
Il Ponte Auction House
Dec. 03, 2019
Giovanni Lanfranco (Parma 1582-1647 Rome) Execution of Saint John the Baptist oil on canvas 46 ½ x 64 ¾ in. (118.1 x 164.5 cm.)
Est: £150,000 - £250,000
Giovanni Lanfranco (Parma 1582-1647 Rome) Execution of Saint John the Baptist oil on canvas 46 ½ x 64 ¾ in. (118.1 x 164.5 cm.)
Christie's
Nov. 25, 2019
Giovanni Lanfranco (Parma 1582 - Roma 1647) e Studio - Magdalene in glory held up by angels
Est: €10,000 - €20,000
oil on unlined canvas
Finarte
Oct. 29, 2019
Giovanni Lanfranco (Parma 1582-1647 Rome) - Susanna and the Elders
Est: $50,000 - $70,000
Giovanni Lanfranco (Parma 1582-1647 Rome) Susanna and the Elders oil on copper 14 3/8 x 19 5/8 in. (36.5 x 49.9 cm.)
Christie's
Oct. 24, 2019
Giovanni Lanfranco - Adoration of the magi
Est: €200 - €240
The adoration of the magi. 1607 Etching numbered bottom right and signed on left 'Giovanni L. F.'
Old Master Print
Oct. 01, 2019
Giovanni Lanfranco - Adoration of the magi
Est: €200 - €240
The adoration of the magi. 1607 Etching numbered bottom right and signed on left 'Giovanni L. F.'
Old Master Print
Jul. 03, 2019
GIOVANNI LANFRANCO | Recto: The Madonna and Child possibly with St. John the Baptist Verso: Various studies, including the head and bust of a woman and a drapery study
Est: £6,000 - £8,000
Black chalk, squared for transfer in black chalk ( recto); black chalk ( verso) on blue paper
Sotheby's
Jun. 25, 2019
Giovanni Lanfranco (Parma, 1582 - Rome, 1647) "Ceiling design" Engraving 45 x 34 cm 300 - 500 €
Est: -
Giovanni Lanfranco (Parma, 1582 - Rome, 1647) "Ceiling design" Engraving 45 x 34 cm 300 - 500 €
Goya Subastas
May. 09, 2019
GIOVANNI LANFRANCO (Terenzo, 1582 – Rome, 1647) - The suicide of Cleopatra
Est: €150,000 - €200,000
GIOVANNI LANFRANCO (Terenzo, 1582 – Rome, 1647) The suicide of Cleopatra Oil on canvas, cm. 100x143. Original Salvator Rosa frame Due to its exceptional historical and artistic importance, the painting is subject to notification by the Italian State. BIBLIOGRAPHY: E. Schleier, Disegni di Giovanni Lanfranco, Cat. della mostra, Gabinetto Disegni e Stampe degli Uffizi, Firenze 1983, pp. 162-163; M. Aronberg Lavin, Seventeenth Century Barberini Documents and Inventories of Art, New York 1975, pp. 303 e 398; F. Trincheri Camiz, Una “Erminia”, una “Venere” e una “Cleopatra” di Giovanni Lanfranco in un documento inedito, in “Bollettino d’Arte”, 67, 1991, pp. 165-168; L. Mochi Onori, Giovanni Lanfranco e la famiglia Barberini, in Giovanni Lanfranco. Un pittore barocco tra Parma, Roma e Napoli”, cat. della mostra, a cura di E. Schleier, Parma - Napoli – Roma, 2001 – 2002, pp. 79-80. PROVENANCE: Marco Marazzuoli collection (1602-1662); From 1662, Prince Maffeo Barberini, for testament legacy; Barberini collection up to 1812; From 1812 Maffeo Sciarra collection; 1895 sold at the Auction for the Sciarra collection (n° 45, still visible lower right in the canvas); Private collection in Perugia; Current owner.
Bertolami Fine Art s.r.l.
Dec. 13, 2018
Giovanni Lanfranco, copy from, Annunciation
Est: €5,000 - €6,000
Oil on canvas, 172x121cm
Cambi Casa d'Aste
Nov. 14, 2018
Giovanni Lanfranco and workshop (Terenzo, 1582 - Rome, 1647)
Est: €15,000 - €20,000
Giovanni Lanfranco and workshop (Terenzo, 1582 - Rome, 1647) The procession to Calvary Oil on canvas, cm. 94x119. Framed The painting is accompanied by an expertise by Dr. Emilio Negro.
Bertolami Fine Art s.r.l.
Oct. 12, 2018
Giovanni Lanfranco (1582-1647) L’Échelle de Jacob. (Pl. d’une suite de 28). Eau-forte d’après les Loges de Raphaël. 177 x 133. Bartsch 28-13 ; Le Blanc 1. Très belle épreuve rognée à l’intérieur du coup de planche.
Est: €400 - €500
Giovanni Lanfranco (1582-1647) L’Échelle de Jacob. (Pl. d’une suite de 28). Eau-forte d’après les Loges de Raphaël. 177 x 133. Bartsch 28-13 ; Le Blanc 1. Très belle épreuve rognée à l’intérieur du coup de planche.
Leclere - Maison de ventes
Mar. 21, 2018
GIOVANNI LANFRANCO (maniera di)
Est: €2,000 - €3,000
(Parma, 1582 - Roma, 1647) Cristo cammina sulle acque Olio su tela, cm 93X58 Bibliografia: Archiviazione Zeri, n. 51073 come Giovanni Lanfranco (?) Nell'estate del 1625 Lanfranco fu incaricato da Urbano VIII e dalla congregazione della Fabbrica di San Pietro di dipingere la Navicella in uno dei grandi altari alle pareti esterne dei pilastri della cupola. L'opera era destinata a sostituire la pala dipinta vent'anni prima da Bernardo Castello. Nei due anni successivi l'artista parmense elabora diversi studi grafici e nel 1628 l'affresco fu portato a termine, decretando la benevolenza dei Barberini nei confronti dell'autore (cfr. 'Giovanni Lanfranco un pittore tra Parma, Roma e Napoli', catalogo della mostra a cura di E. Schleier, Milano 2001, pp. 373-375, n. D.27). L'opera della Basilica, infatti, esibisce uno stile maturo e pienamente barocco, la scena concitata e l'incedere sicuro di Cristo visibile in primo piano a destra, crea una straordinaria dicotomia narrativa, aspetti che bene esibisce la tela qui presentata, archiviata da Federico Zeri quale possibile modelletto, pone evidenti dubbi attributivi. Certamente indubbia l'importanza storica del dipinto, specialmente dopo la sua sostituzione musiva, ma in questo passaggio che diviene forse possibile sciogliere il nodo della paternitˆ ricordando che il mosaico ora visibile fu realizzato nel 1726 da Pietro Paolo Cristofari su un cartone di Niccol˜ Ricciolini dipinto tra il 1718 e il 1720 (cfr. M.B. Guerrieri Borsoi, 'Dalla Fabbrica di San Pietro alla chiesa di San Domenico a Urbino: copie di originali vaticani riutilizzate per volontˆ del cardinal Annibale Albani', in 'Antichitˆ viva', XXVIII (1989), 1, p. 35).
Wannenes Art Auctions
Jan. 31, 2018
GIOVANNI LANFRANCO | Study of two heads gazing upwards and another study below of a female draped figure with her arm raised and looking upwards
Est: $10,000 - $15,000
Black chalk; bears old attribution in pen and brown ink, lower right: Lanfranco
Sotheby's
Mar. 22, 2017
CIRCLE OF GIOVANNI LANFRANCO (PARMA 1582-1647 ROME) The apotheosis of a Sai
Est: £2,000 - £3,000
CIRCLE OF GIOVANNI LANFRANCO (PARMA 1582-1647 ROME) The apotheosis of a Saint with Noah and other fgures - a modello oil on canvas 23 3/8 x 30 1/8 in. (59.3 x 76.5 cm.)
Christie's
Jan. 25, 2017
GIOVANNI LANFRANCO | Pope Gregory kneeling before a painting of the Virgin
Est: $4,000 - $6,000
Pen and brown ink and brown wash over traces of black chalk, within black ink framing lines; bears inscription, lower right: Giacomo Palma Veccio / Palma
Sotheby's
Sep. 27, 2016
Giovanni Lanfranco (1582-1647)-circle, Saint Matth
Est: €200 - €400
Giovanni Lanfranco (1582-1647)-circle, Saint Matthew, oil on copper, framed.
Deutsch Auktionen
Mar. 23, 2016
Domenico Cunego (1727 Verona - 1794 Rom) -' Orco Lucina e
Est: -
Domenico Cunego (1727 Verona - 1794 Rom) -' Orco Lucina e Norandino'. der blinde Riese Orco sowie König Narandino und Lucina die sich mit einem Fell tarnt. Kupferstich 1772 auf Bütten nach dem Gemälde von Giovanni Lanfranco (1582 - 1647). Namenzüge der Künstler Ortsbezeichnung Datum Titel und 4 zeiliges Gedicht ( 17. Gesang) von Orlando Furioso in der Platte. ca. 216 x 374 cm. Le Blanc 52 Nagler 219 III. Im Passepartout
Badisches Auktionshaus
Feb. 20, 2016
Print, After Giovanni Lanfranco
Est: $200 - $400
Giovanni Lanfranco (Italian, 1582-1647), God Creating Adam and Eve (after Raphael), etching, unsigned, overall (with matting): 14"h x 18"w
Clars Auctions
Jan. 28, 2016
GIOVANNI LANFRANCO | Recto: Studies of three male heads; Verso: A half length figure looking up and a study of a face
Est: $30,000 - $40,000
Black chalk and charcoal heightened with white, on blue paper (recto and verso)
Sotheby's