Jacopo Ligozzi Paintings & Artwork for Sale | Jacopo Ligozzi Art Value Price Guide

Jan. 20, 2024
Jacopo LIGOZZI (1547-1627), zugeschrieben
Est: CHF500 - CHF1,000
Jacopo LIGOZZI (1547-1627), zugeschrieben Ecce Homo Grosses Gemälde, Öl auf Holz, beschädigt 100 x 75 cm, Rahmen: 120 x 90 cm Jacopo LIGOZZI (1547-1627), attrbuted to Ecce Homo Large painting, oil on panel, damaged 100 x 75 cm, frame: 120 x 90 cm
Galerie Moenius
Dec. 07, 2023
Jacopo Ligozzi, 1547 Verona – 1627 Florenz, zugeschrieben
Est: €1,500 - €2,000
VANITAS Öl auf Kupfer. 18 x 14,5 cm. In ebonisiertem Holzrahmen. Vor dunkler Hintergrundfolie die symmetrische Darstellung eines Schädels vor überkreuzten Knochen, auf ihm eine geflügelte Sanduhr und auf einem Band bzw. in einer Kartusche ein Vers aus dem Psalm 88: Quis est homo, qui vivet et non videbit mortem (Wo ist jemand der da lebt und nicht sehe den Tod). (1380632) (2) (13)
Hampel Fine Art Auctions
Nov. 18, 2023
Jacopo Ligozzi, attributed to, Archer
Est: €4,000 - €6,000
Framed under glass Dated lower left: 23 Ma..i 94. The German inscription on the reverse presumably a later addition.
Kunsthaus Lempertz KG
Jul. 04, 2023
AFTER JACOPO LIGOZZI (1547-1627) A rock ptarmigan (Lagopus muta) black chal
Est: £6,000 - £8,000
AFTER JACOPO LIGOZZI (1547-1627) A rock ptarmigan (Lagopus muta) black chalk, watercolour, bodycolour 25.3 x 24 cm (10 x 9 1/2 in.)
Christie's
Nov. 26, 2022
Jacopo Ligozzi (around 1547 Verona - 1627 Florence), Christ on the Mount of Olives
Est: €3,000 - €5,000
The black slate plate forms the colored foil for the theme of the depiction, in which Jesus kneels in front of a night-black sky, arms outstretched, palms open, gaze directed into the upper corner. There an angel appears in a bright cloudscape with a chalice, according to the word attributed to Jesus, "Let the chalice pass me by". Below the illuminated hilltop of the meadow three of the sleeping apostles, in which the figure on the right probably means Peter, the sleeping disciple leaning on the left is recognizable as the evangelist of John by his green and red clothing alone. The technique of painting on black stone is found several times in Ligozzi's work. The painter also made use of this technique in his well-known painting of the Allegory of the Descent from the Cross, which is in the Prado Madrid. The painter learned in the workshop of his father, who had worked for the Trento prince-bishop Cristoforo Madruzzo in 1557. Together with his father, then independently, he worked for furnishing various churches in the region until he was called to Florence in 1577/78 by Francesco I de 'Medici, Grand Duke of Tuscany
Fine Antiques Prague s.r.o.
Oct. 27, 2022
ATTRIBUE A JACOPO LIGOZZI (1547-1627)
Est: €3,000 - €5,000
ATTRIBUE A JACOPO LIGOZZI (1547-1627) Saint Élie en prière Toile Sans cadre Attr. to J. Ligozzi, St. Elijah praying, canvas, without frame 66,2 x 52,5 cm - 26,1 x 20,7 in.
Tajan
Jul. 23, 2022
Jacopo Ligozzi (around 1547 Verona - 1627 Florence), Christ on the Mount of Olives
Est: €4,000 - €6,000
The black slate plate forms the colored foil for the theme of the depiction in which Jesus kneels in front of a night-black sky, arms outstretched, palms open, gaze directed into the upper corner. There, an angel appears in a bright cloudscape with a chalice, according to the words attributed to Jesus, "Let the chalice pass me by". Below the illuminated hilltop of the meadow lie three of the sleeping apostles. The figure on the right probably represents Peter, while the sleeping disciple leaning on the left is recognizable as the evangelist John, by his green and red clothing alone. The technique of painting on black stone is found several times in Ligozzi's work. The painter also made use of this technique in his well-known painting of the Allegory of the Descent from the Cross, which is in the Prado Madrid. The painter learned in the workshop of his father, who had worked for the Trento prince-bishop Cristoforo Madruzzo, in 1557. Together with his father (then later, independently), he furnished various churches in the region until he was called to Florence in 1577/78 by Francesco I de 'Medici, Grand Duke of Tuscany
Fine Antiques Prague s.r.o.
Mar. 15, 2022
JACOPO LIGOZZI (maniera di)
Est: €200 - €500
(Verona, 1547 - Firenze, 1627) Vanitas Tempera su carta, cm 27,5X21
Wannenes Art Auctions
Nov. 27, 2021
Jacopo Ligozzi (around 1547 Verona - 1627 Florence), Christ on the Mount of Olives
Est: €7,000 - €9,000
The black slate plate forms the colored foil for the theme of the depiction in which Jesus kneels in front of a night-black sky, arms outstretched, palms open, gaze directed into the upper corner. There, an angel appears in a bright cloudscape with a chalice, according to the words attributed to Jesus, "Let the chalice pass me by". Below the illuminated hilltop of the meadow lie three of the sleeping apostles. The figure on the right probably represents Peter, while the sleeping disciple leaning on the left is recognizable as the evangelist John, by his green and red clothing alone. The technique of painting on black stone is found several times in Ligozzi's work. The painter also made use of this technique in his well-known painting of the Allegory of the Descent from the Cross, which is in the Prado Madrid. The painter learned in the workshop of his father, who had worked for the Trento prince-bishop Cristoforo Madruzzo, in 1557. Together with his father (then later, independently), he furnished various churches in the region until he was called to Florence in 1577/78 by Francesco I de 'Medici, Grand Duke of Tuscany
Fine Antiques Prague s.r.o.
Nov. 26, 2021
WORKSHOP OF JACOPO LIGOZZI (VERONA, 1547 - FLORENCE, 1627): MOCKING OF JESUS
Est: €5,000 - €7,000
Oil on canvas, cm. 125x93,5. Framed
Bertolami Fine Art s.r.l.
Nov. 20, 2021
Jacopo Ligozzi, "Christ as Redeemer"
Est: €30,000 - €60,000
RefMas121121 The clarity of the forms, the strong pathos and the didactic reference to the symbols of the Passion make the present work typical of the post-Reformation period, when the Catholic Church strongly influenced the program of artistic production. Both the high quality of the execution and the features of Christ allow us to convincingly attribute the panel to Jacopo Ligozzi, one of the most original and interesting personalities working in Tuscany in the pre-baroque period, between the 16th and 17th centuries. Sandro Bellesi, in a written communication to the owner, describes the work as one of the best examples of Ligozzi's sacred compositions and suggests a dating to the early period of Ligozzi's activity in Tuscany, possibly around 1580-90. Christ´s posture still draws heavily on northern Italian models from the 16th century such as Palma il Giovane. The present painting is comparable to works by Ligozzi in the Collegiata of Gimigniano or in the church of Bosco ai Frati in Mugello (both dated between 1589 and 1591. Cf: Jacopo Ligozzi. Le vedute del Sacro Monte della Verna. I dipinti di Poppi e Bibbiena, catalogo della mostra a cura di L. Conigliello, Poppi/Arezzo, Florence 1992, p. 129 fig. 1).
Kunsthaus Lempertz KG
Jun. 08, 2021
Attributed to Jacopo Ligozzi (Verona, Italy, 1547 - Florence, 1627)
Est: €7,500 - €9,000
Attributed to Jacopo Ligozzi (Verona, Italy, 1547 - Florence, 1627) "Holy Family" Oil on obsidian or slate. 20,5 x 15,5 cm.
La Suite Subastas
Jun. 05, 2021
Jacopo Ligozzi, Christ Carrying the Cross
Est: €12,000 - €15,000
Certificate Sandro Bellesi, Sesto Fiorentino, undated. This painting shows Christ crowned with thorns, carrying the cross over one shoulder with both hands. The radiant reds and blues of Christ's robes, rendered with angular folds, shine out against the dark background. Both the theme of Christ carrying the cross and the close-up rendering in a narrow image were particularly popular during the time of the Counter-Reformation, as they enabled the devout observer to better empathise with Christ's suffering. A prominent follower of the artistic objectives of the Counter-Reformation was the painter Jacopo Ligozzi, who was born in Verona but worked mainly in Tuscany. Sandro Bellesi attributes the present work, which he has examined in the original, to Ligozzi, describing it as one of the artist's most expressive religious works ("L'opera, catalogabile tra le espressioni più intense della poetica sacra di Ligozzi"). Ligozzi, the "pittore universalissimo" as he was referred to in the title of a Florentine exhibition dedicated to him in 2014, was initially active as a court artist for the Medici after moving to Florence and first achieved fame with his meticulously executed scientific images, carried out in a luminous mix of watercolours and opaque colours, as well as his ephemeral painted architectural settings for the festivities and funerals of the Tuscan grand dukes. Towards the end of the 16th century, Ligozzi increasingly turned to religious painting and created numerous altarpieces for important churches and monasteries in Tuscany. Sandro Bellesi sees him as one of the most original and interesting artistic personalities active in Tuscany between the 16th and 17th centuries ("personalità artistica tra le più originali e interessanti attive in Toscana tra Cinquecento e Seicento").
Kunsthaus Lempertz KG
Feb. 13, 2021
Jacopo Ligozzi (around 1547 Verona - 1627 Florence), Christ on the Mount of Olives
Est: €7,000 - €9,000
The black slate plate forms the colored foil for the theme of the depiction, in which Jesus kneels in front of a night-black sky, arms outstretched, palms open, gaze directed into the upper corner. There an angel appears in a bright cloudscape with a chalice, according to the word attributed to Jesus, "Let the chalice pass me by". Below the illuminated hilltop of the meadow three of the sleeping apostles, in which the figure on the right probably means Peter, the sleeping disciple leaning on the left is recognizable as the evangelist of John by his green and red clothing alone. The technique of painting on black stone is found several times in Ligozzi's work. The painter also made use of this technique in his well-known painting of the Allegory of the Descent from the Cross, which is in the Prado Madrid. The painter learned in the workshop of his father, who had worked for the Trento prince-bishop Cristoforo Madruzzo in 1557. Together with his father, then independently, he worked for furnishing various churches in the region until he was called to Florence in 1577/78 by Francesco I de 'Medici, Grand Duke of Tuscany
Fine Antiques Prague s.r.o.
Jan. 26, 2021
Jacopo Ligozzi (around 1547 Verona - 1627 Florence), Christ on the Mount of Olives
Est: €7,000 - €9,000
The black slate plate forms the colored foil for the theme of the depiction, in which Jesus kneels in front of a night-black sky, arms outstretched, palms open, gaze directed into the upper corner. There an angel appears in a bright cloudscape with a chalice, according to the word attributed to Jesus, "Let the chalice pass me by". Below the illuminated hilltop of the meadow three of the sleeping apostles, in which the figure on the right probably means Peter, the sleeping disciple leaning on the left is recognizable as the evangelist of John by his green and red clothing alone. The technique of painting on black stone is found several times in Ligozzi's work. The painter also made use of this technique in his well-known painting of the Allegory of the Descent from the Cross, which is in the Prado Madrid. The painter learned in the workshop of his father, who had worked for the Trento prince-bishop Cristoforo Madruzzo in 1557. Together with his father, then independently, he worked for furnishing various churches in the region until he was called to Florence in 1577/78 by Francesco I de 'Medici, Grand Duke of Tuscany
Fine Antiques Prague s.r.o.
Dec. 03, 2020
Jacopo Ligozzi, um 1547 Verona – 1627 Florenz
Est: €10,000 - €12,000
CHRISTUS AM ÖLBERG, UM 1585-1590 Öl auf schwarzer Schieferplatte. 30 x 23 cm. Beigegeben eine ausführliche Expertise von Dr. Alessandro Delpriori, Universität Florenz, mit Vergleichsangaben. Die schwarze Schieferplatte bildet hier die farbliche Folie für das Thema der Darstellung, in der Jesus vor nachtschwarzem Himmel kniet, die Arme ausgebreitet, die Handflächen offen, der Blick in die obere Ecke gerichtet. Dort erscheint in hellem Wolkengebilde ein Engel mit einem Kelch, gemäß dem Jesus zugeschriebenen Wort „Lasst den Kelch an mir vorübergehen“. Unterhalb der beleuchteten Wiesenkuppe drei der schlafenden Apostel, bei denen in der rechten Gestalt wohl Petrus gemeint ist, der links angelehnt schlafende Jünger ist allein schon durch seine grün-rote Kleidung als Johannes-Evangelist erkennbar. Die Technik auf schwarzem Stein zu malen, findet sich im Werk des Ligozzi mehrmals. Auch bei seinem bekannten Bild der Allegorie der Kreuzabnahme, das sich im Prado Madrid befindet, hat der Maler sich dieser Technik bedient. Der Maler lernte in der Werkstatt seines Vaters, der 1557 für den Trientiner Fürstbischof Cristoforo Madruzzo gearbeitet hatte. Gemeinsam mit dem Vater, dann selbstständig, wirkte er für Ausstattungen verschiedener Kirchen der Region, bis er 1577/ 78 von Francesco I de' Medici, Großherzog der Toskana, nach Florenz gerufen wurde. Provenienz: Italienische Privatsammlung. (12512930) (11) Jacopo Ligozzi, ca. 1547 Verona – 1627 Florence CHRIST ON THE MOUNT OF OLIVES, ca. 1585-1590 Oil on black slate panel. 30 x 23 cm. A detailed expert‘s report by Dr Alessandro Delpriori, University of Florence, with examples of comparison is enclosed. The artist used the same technique in other confirmed paintings, for example The Deposition from the Cross, held at the Museo Nacional del Prado, Madrid. Provenance: Private collection, Italy.
Hampel Fine Art Auctions
May. 27, 2020
JACOPO LIGOZZI (VERONE 1547-1627 FLORENCE) Le Jugement de Midas plume et encre noire, lavis gris rehaussé de blanc sur papier préparé jaune, circulaire diam. 32,8 cm. (12 ½ in.)
Est: €100,000 - €150,000
JACOPO LIGOZZI (VERONE 1547-1627 FLORENCE) Le Jugement de Midas avec signature 'S. Pignone' (en bas au centre) plume et encre noire, lavis gris rehaussé de blanc sur papier préparé jaune, circulaire diam. 32,8 cm. (12 ½ in.)
Christie's
Feb. 19, 2020
JACOPO LIGOZZI - follower of
Est: €800 - €1,200
JACOPO LIGOZZI, follower of (Verona 1547 - Florence 1627) STUDY OF BERRY BRANCH, BUTTERFLIES, SNAIL AND CATERPILLAR Watercolour on paper, cm. 22,5 x 33,5 FRAME Frame in ebony and turtle, of the 19th century JACOPO LIGOZZI, seguace di (Verona 1547 - Firenze 1627) STUDIO DI RAMO DI BACCHE, FARFALLE, LUMACA E BRUCO Acquerello su carta, cm. 22,5 x 33,5 CORNICE Cornice in ebano e tartaruga, del XIX secolo
Casa d'Aste Babuino
Dec. 05, 2019
Jacopo Ligozzi, 1547 – 1627, Umkreis des
Est: €4,000 - €6,000
MEMENTO MORI Öl auf Leinwand. Doubliert. 61 x 50 cm. Darstellung eines Skeletts, in bewegter Form, in der Kleidung einer alten Frau, die linke Hand auf einen Granatapfel gestützt, umwunden durch den Schweif eines stilisierten Drachen, dessen Schwanzende über dem Schädel des Skeletts emporragt. Eventuell entstanden im Umkreis des Jacopo Ligozzi, aus dessen Hand zahlreiche Memento mori-Gemälde überliefert sind. (1210344) (13)
Hampel Fine Art Auctions
Dec. 07, 2018
Attributed to Jacopo Ligozzi (Verona 1547-1627 Florence) - Christ in his tomb attended by an angel
Est: £12,000 - £18,000
Attributed to Jacopo Ligozzi (Verona 1547-1627 Florence) Christ in his tomb attended by an angel oil on slate 7 3/8 x 6 5/8 in. (18.8 x 16.8 cm.)
Christie's
Jul. 04, 2018
JACOPO LIGOZZI | A knight, half length, wearing armour and an elaborate plumed helmet
Est: £25,000 - £35,000
Pen and brown ink, heightened with white over black chalk; bears inscriptions on the backing sheet in black chalk: Jak. Ligozzi/Reiter mit Federbusch (in the hand of Arthur Feldmann) and Della Bella, and numbering in red chalk: 153
Sotheby's
Feb. 02, 2018
JACOPO LIGOZZI | Portrait of Virginia de' Medici (1568-1615)
Est: $25,000 - $35,000
oil on panel
Sotheby's
Sep. 26, 2017
Johann Gottlieb Theophilus Amadeus Prestel (1739-1808) Truth Triumphing over Envy, 1784.
Est: £300 - £500
Johann Gottlieb Theophilus Amadeus Prestel (1739-1808) Truth Triumphing over Envy, after Jacopo Ligozzi (1547-1627) From the series Divers Cabinets, originally plate 24, etching and aquatint "au lavis" in brown ink and gold highlights, circa 1784, on laid paper without watermark, sheet 274 x 201 mm. (10 3/4 x 8 in). Literature: Nagler 16 (attributed to Maria Catharina Prestel); Schwaighofer 2003, 36 ⁂ Described by Nagler as very rare. An unusual and experimental printing method; the present impression is both bold and rich, with the gold ink pronounced and luminous. The original drawing by Ligozzi is now in the collection of the Albertina (Inv. no. 1658).
Forum Auctions - UK
Apr. 27, 2017
JACOPO LIGOZZI (VERONA 1547-1627 FLORENCE) Ecce Homo signed
Est: $100,000 - $150,000
JACOPO LIGOZZI (VERONA 1547-1627 FLORENCE) Ecce Homo signed and dated ‘JACOPO LIGOZZI / faceva 1593’ (lower right, on the parapet) oil on canvas 57 1/2 x 43 5/8 in. (146.1 x 110.8 cm.)
Christie's
Dec. 16, 2016
Attribué à Jacopo LIGOZZI (1547-1627)Portrait de jeune homme portant l''ordre de saint Étienne
Est: €3,000 - €5,000
Attribué à Jacopo LIGOZZI (1547-1627) Portrait de jeune homme portant l'ordre de saint Étienne Toile Restaurations anciennes Sans cadre Attr. to J. Ligozzi, Portrait of a young man wearing the Order of Saint Stephen, canvas 62,5 x 50cm - 24 5/8 X 19 11/16 IN.
Tajan
Jun. 30, 2016
Jacopo Ligozzi, ca. 1547 Verona – 1627 Florenz
Est: €20,000 - €25,000
Jacopo Ligozzi, ca. 1547 Verona – 1627 Florenz ECCE HOMO Öl auf Leinwand. Doubliert. 113,5 x 90,5 cm. Beigegeben eine Expertise von Dr. Emilio Negro. Dieses durch sein Pathos sehr beeindruckende Gemälde stellt einen der wichtigsten Momente der Passion Christi dar (Joh. 19, 4-6), als Pontius Pilatus, der Statthalter von Galiläa, die berühmten Worte „Ecce Homo“ ausrief und den gefolterten, dornengekrönten Heiland dem versammelten Volke vorführen ließ. Aufgrund der anmutenden Vermischung von norditalienischem Naturalismus und toskanischem Malstil könnte es sich hier um ein Werk von Jacopo Ligozzi handeln, einem Maler, der zwischen dem 16. und dem 17. Jahrhundert in Florenz am Hof von Francesco I und später bei Ferdinando de' Medici eine große Rolle spielte und zu den „illustratori di naturalia“ seiner Zeit gehörte. Das vorliegende Gemälde weist große Ähnlichkeit mit einem berühmten Kupferstich des flämischen Künstlers Raphael Sadeler von 1596 auf, für den Ligozzi die Vorlage zeichnete und der damals zu einer der bekanntesten und oftmals reproduzierten Darstellungen wurde. Von diesem Kupferstich gibt es zahlreiche Versionen und Kopien, die zumeist aus Ligozzis Atelier stammten, aber manchmal auch (während des gesamten 17. Jahrhunderts) von Nachahmern und Anhängern seines Malstils. Um die Zuschreibung zu untermauern sei hier zum Vergleich auf verschiedene sakrale Werke Ligozzis verwiesen, wie zum Beispiel die „Natività della Vergine“ (Santuario di Santa Maria del Sasso, Bibbiena), die „Grablegung“ (Collegiata, San Gemignano) und die Serie, bestehend aus vier Gemälden zum Leidensweg Christi, die für die Villa der Medici „Poggio Imperiale“ bestimmt war und heute in der Galleria Palatina in Florenz zu sehen ist. (1061361) (21) Jacopo Ligozzi, ca. 1547 Verona - 1627 Florence ECCE HOMO Oil on canvas. Relined. 113.5 x 90.5 cm. Accompanied by an expert's report by Dr Emilio Negro. The painting blends northern Italian naturalism and Tuscan painting style and could therefore be a work by Jacopo Ligozzi, an exceptional painter active in Florence between the 16th and 17th centuries. He worked for the court of Francesco I and later Ferdinando de' Medici where he gained importance and became known as one of the most talented “illustratori di naturalia” [illustrators of nature] of his time. The present work shows a marked similarity with a famous copper engraving by the Flemish artist Raphael Sadeler from 1596, for whom Ligozzi painted the template which became one of the best known and most often reproduced depictions of the time. The attribution is further supported through comparison with other religious works by Ligozzi such as The Birth of the Virgin (Santuario di Santa Maria del Sasso, Bibbiena), The Entombment of Christ (Collegiata, San Gemignano) and a series of four paintings depicting the Passion of Christ that were intended for the Villa Medici “Poggio Imperiale” and which are today held at the Galleria Palatina in Florence.
Hampel Fine Art Auctions
Jan. 27, 2016
JACOPO LIGOZZI | The abduction of the Sabine women
Est: $600,000 - $800,000
Oil on canvas
Sotheby's
Dec. 11, 2015
Jacopo Ligozzi, San Francesco in preghiera. 1610
Est: €2,500 - €5,000
Monocromo tempera e oro su pergamena; mm 124x85. Sul verso manoscritta a penna e inchiostro: "Ad anno 1610 essendo Don Giovanni Antonio/Angrisani Generale de Teatini gli/fu donata questa figura di San Francesco /dal Sereniss.o Gran Duca di Fiorenza". Opera di straordinaria finezza tipica del più bel Ligozzi miniaturista e illustratore. Il piccolo capolavoro può essere avvicinato alle opere di tema francescano che il veronese ebbe a realizzare già a partire dal 1589 per S. Francesco in Bosco e per gli Osservanti di Firenze. Proprio per la chiesa di Ognissanti inizia dal 1600 a lavorare alle 17 lunette del chiostro, mentre intorno al 1607 compie il viaggio in Casentino per preparare i disegni a penna e inchiostro acquerellato per le Vedute della Verna stampate nel 1612 da Domenico Falcini a Siena con incisioni da Ligozzi di Raffaello Schiaminossi e dello stesso stampatore (Descrizione del Sacro monte della Verna, Siena, Domenico Falcini 1612, incisioni di Raffaello Schiaminossi e Domenico Falcini da Jacopo Ligozzi, cfr. anche L. Conigliello, Le vedute del Sacro Monte della Verna, Firenze, Polistampa, 1999). Giovanni Antonio Angrisani fu "Preposito Generale" dei Teatini nel 1607 e nel 1610 venne confermato nella stessa carica da papa Paolo V. Fu autore di studi teologici di rilievo tra cui la Doctrina indulgensiis in arborem redacta, pubblicata a Roma nel 1600 (cfr. G.M.MAZZUCCHELLI, Gli scrittori d'Italia cioè notizie storiche e critiche intorno alle vite, e agli scritti dei letterati italiani, Brescia, I, 1753, p. 785).
Gonnelli Casa d'Aste
Mar. 17, 2015
École italienne - Dessin - [Cercle de LIGOZZI, Jacopo 1547-1627].- Le Christ ressuscité.
Est: €150 - €200
(École italienne) - Dessin - [Cercle de LIGOZZI, Jacopo (1547-1627)].- Le Christ ressuscité. Dessin original, plume et pinceau à l'encre bistre, rehauts de gouache blanche, papier, 22 x 18 cm, collé en plein sur f. de papier foncé (usures et anciennes restaurations, tête refaite de façon rudimentaire, pet. déchirures et lacunes surtout aux coins).
Arenberg Auctions
Jan. 28, 2012
Two Pairs of Botanical Prints
Est: $300 - $400
Including (1) a pair of unsigned floral prints, Sight size 8 x 5 1/2 inches; (2) a pair of botanical prints by Jacopo Ligozzi (It, 1547-1627) Digitalis Purpurea and Valeriana Rubra, sight size 11 3/4 x 7 3/4 inches.
Capo Auction
Jul. 07, 2011
JACOPO LIGOZZI
Est: £150,000 - £200,000
VERONA 1547 - 1627 FLORENCE A SULTAN STANDING BESIDE A GOAT: 'SOLIMANO IMPERATOR DE TURCHI' Tempera heightened with gold; bears old pen and ink inscription top right: Solimano Imperator de Turchi 270 by 201 mm
Sotheby's
Jul. 07, 2011
Andrea Andreani (1558/9-1629) after Jacopo Ligozzi (1547-1627)
Est: £2,000 - £3,000
Andrea Andreani (1558/9-1629) after Jacopo Ligozzi (1547-1627) Virtue chained by Love, Error, Ignorance and Opinion (B. 9) chiaroscuro woodcut printed from four blocks in three shades of mushroom and black, 1585, on laid paper, watermark Eagle in a Circle (most similar to Heawood 1256, Florence 1588), trimmed slightly inside the borderline, a brown spot and a nick at the right sheet edge, otherwise in good condition B., S. 468 x 320 mm.
Christie's
Dec. 01, 2010
Circle of Jacopo Ligozzi (ITALIAN, 1547-1627),
Est: £1,500 - £2,500
Circle of Jacopo Ligozzi (ITALIAN, 1547-1627), Madonna and Child with St Francis, oil on canvas, 112 x 89cm.
Bellmans Auctioneers
Nov. 06, 2010
Litho Mythological Allegory J Ligozzi Italian 1781
Est: $500 - $700
CHIAROSCURO LITHO - Mythological Allegory by Jacopo (Giacomo) Ligozzi (Italian, 1547-1626), captioned verso 'Dessin de Jacques Ligozzi, no 23, e Museo Prauniano, J.T. Prestel fc. Novemb. 1781', unframed, laid to mount with clipped printed caption verso, 14 1/2" x 10" (trimmed to edge), scarce in any condition.
Thomaston Place Auction Galleries
Jan. 27, 2010
JACOPO LIGOZZI
Est: $60,000 - $80,000
THE MEETING OF SS. FRANCIS AND DOMINIC, AT SAN GIOVANNI IN LATERANO
Sotheby's
Jan. 27, 2010
Jacopo Ligozzi (Verona 1547-1632 Florence)
Est: $150,000 - $250,000
Jacopo Ligozzi (Verona 1547-1632 Florence) The Fall of Preveza pen and brown ink, brown wash, heightened with gold, squared in black chalk 14¼ x 21¼ in. (36 x 54 cm.)
Christie's
Jul. 08, 2009
- Jacopo Ligozzi , Verona 1547 - 1627 Florence A Turbanned Pasha with an Elephant Tempera heightened with gold inscribed upper left: Bassà over Chiaus et spaì and to the right of the elephant's thigh: Elefante
Est: £340,000 - £380,000
Tempera heightened with gold inscribed upper left: Bassà over Chiaus et spaì and to the right of the elephant's thigh: Elefante
Sotheby's
Jun. 09, 2009
Jacopo Ligozzi , Verona 1547-1627 Firenze Natura morta con vaso di fiori olio su tavola
Est: €20,000 - €30,000
olio su tavola
Sotheby's
Dec. 04, 2008
- Jacopo Ligozzi Verone 1547 - 1627 Florence and Donato Mascagni Florence? 1570/4 - 1637 , Scenes from Dante's Inferno: Dante and Virgil about to take ship with Charon across the Acheron; Charon ferrying Virgil and Dante across the Acheron a pair,
Est: £40,000 - £60,000
a pair, both oil on canvas Quantity: 2
Sotheby's
Jul. 08, 2008
Christ's Descent into Limbo
Est: £12,000 - £18,000
Circle of Jacopo Ligozzi (Verona 1547-1627 Florence) Christ's Descent into Limbo oil on paper, laid down on board 16 1/8 x 12 in. (410 x 305 mm.)
Christie's
Jan. 24, 2008
Christ crowned with thorns
Est: $40,000 - $60,000
Jacopo Ligozzi (Verona 1547-1627 Florence) Christ crowned with thorns signed and dated 'Jacopo Ligozza.f.1590' and inscribed 'Jacobo Ligosa 4c feburi 16 1590' (verso) black lead, bodycolor, heightened with gold and silver, on vellum, oval, in a late 17th century silver-gilt frame of entwined acanthus scrolls, the backing bearing a discharge mark of 1677-80 2¾ x 2 1/8 in. (68 x 52 mm.)
Christie's
Sep. 18, 2007
LIGOZZI, JACOPO
Est: CHF1,200 - CHF1,500
LIGOZZI, JACOPO (Verona 1547 - 1626 Florence), circle of Christ in the tomb awoken by an angel. Pen and brush in brown. 33 x 25.5 cm. Framed LIGOZZI, JACOPO (Verona 1547 - 1626 Florenz), Umkreis Christus im Grab, von einem Engel geweckt. Feder und Pinsel in Braun. 33 x 25,5 cm. Gerahmt
Koller Auctions
Jan. 25, 2007
JACOPO LIGOZZI VERONA 1547 - 1627 FLORENCE
Est: $300,000 - $400,000
A MARRIED PERIOT GREEK WOMAN WITH A MONKEY measurements note 11 by 8 3/4 in.; 27.9 by 22 cm. inscribed upper left SPOSATA PEROTA / Giovane grece da marito tempera and shell gold on paper PROVENANCE Mrs. S.K. Legare, Washington, D.C.; By whose Estate sold, London, Christie's, April 18, 1989, lot 11. NOTE This drawing represents a young married Greek woman of Pera; Nicolay goes on to describe the costume of Greek newlywed brides: [L]e figlie, ò donne novamente andate à marito portano in testa una berretta to[n]da di raso cremesino ò di broccato figurato, avvolta da una ghirlanda larga due dita di seta, & d'oro, tutta piena di perle, & d'altre pietre di pregio. Sono le loro camicie di crespo ò di taffettà di colore porfilato, & rigato d'oro, come sono quelle delle Turche. [The girls, or woman newly married wear on their head a round hat of crimson satin or figured brocade, surrounded by a garland two inches wide of silk, and of gold, all covered in pears and other stones of value. Their blouses are of crepe or of taffeta of a purple color, and striped with gold, as are those of the Turkish ladies]." This drawing was used by the Doccia factory as one of the designs for a group of porcelain platters, manufactured in the mid 18th Century (see fig. 1, and introduction to these lots).
Sotheby's
Jan. 25, 2007
JACOPO LIGOZZI VERONA 1547 - 1627 FLORENCE
Est: $300,000 - $400,000
A MARRIED GREEK WOMAN WITH A RAM measurements note 11 by 8 3/4 in.; 27.9 by 22.7 cm. inscribed upper left Lυo Habitto delle done greche maritate di Costantinopoli et Pera tempera and shell gold, with traces of black chalk, on paper PROVENANCE Mrs. S. K. Legare, Washington, D.C.; By whose Estate sold, London, Christie's, April 18, 1989, lot 12. NOTE The inscription identifies this figure as a married Greek woman, dressed in the costume of Constantinople and Pera. The neighborhood of Pera, across the Golden Horn from the city of Istanbul proper, had been settled since antiquity and in the days of the Byzantine empire was the quarter in which European merchants (mostly the Genoese and Venetians) had lived and operated. After the fall of the city to the Ottomans, the area continued to be inhabited by a mix of people, and many of the Greeks who had lived in the main part of the city moved to the district. The Greek women of Pera clothed themselves opulently. Nicolay in his description of them notes their lavish dress: "Sono gli habiti delle donne, & donzelle Greche, & Perotte tanto ricchi & magnifici, che à chi non avesse veduti sarebbe incredibile. Perciò che no[n] solo pongono ogni lor cura ad essere brave & ben parate, ma che è il peggio spesse siate hanno addosso tutta la loro sostanza , & havere anrdando [sic] per la terra, per le chiese, ò ne' bagni. [The costumes of the Greek and Periot women and maidens are so rich and magnificent that to those who had not seen it, it would be unbelievable. For not only do they take every care to be well and finely attired, but what is the worst is that they often wear all of the riches in their possession on their back, and having done so go out about town, to church or to the baths]."
Sotheby's
Jan. 25, 2007
JACOPO LIGOZZI VERONA 1547 - 1627 FLORENCE
Est: $300,000 - $400,000
A TURBANNED PASHA WITH AN ELEPHANT measurements note 10 7/8 by 8 3/4 in.; 27.8 by 22.1 cm. inscribed upper left Bassà over Chiaus et spaì and to the right of the elephant's thigh Elefante. tempera and shell gold on paper PROVENANCE Private Collection, England; With Trinity Fine Art, London, by 1998 NOTE The inscription on this drawing identifies the figure as a Pasha (Bassà in the Italian of the day), a high official in the Ottoman empire. This was normally a much higher rank than the Chiaus, which was a sort of Imperial envoy, also mentioned in the inscription, although a contemporary of Ligozzi makes reference to a Chiaus Pasha. William Harebrowne, the English Ambassador to the Sublime Porte during the reign of Elizabeth I, describing the various salaries of high Ottoman officials noted that the Sultan paid the "Chiaus Pasha, captain of the pensioners, one hundred and twenty aspers the day, and amounteth to, by the year, in sterling money, two hundred threescore and two pounds, sixteen shillings." The other term in the inscription, "spaì" was the contemporary Italian spelling of the Turkish work sipahi which was an elite unit of the Ottoman cavalry. As the requirement for membership in this corp was the ownership of land (and pure Turkish ancestry), the term was sometimes used for that class as a whole.
Sotheby's
Jan. 25, 2007
JACOPO LIGOZZI VERONA 1547 - 1627 FLORENCE
Est: $350,000 - $450,000
TWO SOLAK ARCHERS WITH A DOG measurements note 10 7/8 by 8 3/4 in.; 27.6 by 22.2 cm. inscribed upper left SVLACCHI / Sonno quelli che caminano a piedi / dinanci al grn Sigυor Co Arch, frecie tempera and shell gold on paper NOTE The Solaks were an elite corps of archers specially chosen from the ranks of the Janissaries for their skill with the bow and for their ferocity. Their uniforms were particularly sumptuous and they were fitted out in damask or white satin, with white felt toques decorated with large and costly feathers. As the inscription on this drawing indicates, the Solaks were specially attached to the Sultan himselfυ 1. Nicolay describes them in detail: "Quando il gran Turco va fuor della terra, ò alla Moschea, marciano in questo ordine à due à due intorno al sua persona, ciò è un'ordine dalla banda destra, che sono mancini & un'altra à sinestra che sono diritti; osservando tale ordine affine che, s'egli avvenisse, che ò per necessità, ò per piacere del Signore, bisognasse loro scoccare non voltassero le spalle al padrone. Imperoche tengono questo per gra[n]de irreverenza, vergogna, & dispregio, & per tal cagione sono chiamati Solachi ò Czolachari, che vuol dire mancini. [When the Great Turk goes about, or to the mosque, they march in order, two by two about his person, that is to say one rank from the right group, who are left-handed, and another from the left, who are right-handed; maintaining such ranks until, if it happens whether out of need or at the pleasure of the Lord, it becomes necessary to shoot their arrows, they do not turn their back on their Master. Because they do this with such great insolence, pride and scorn, and for this reason they are called "Solachi" or "Czolachari," that is to say 'lefties.']"υ2 1 Trans: "Sulacchi, they are those that walk in front of the Great Lord with bows and arrows." 2 The Turkish word for left-handed is "Solak". See N. de Nicolay, p. 86.
Sotheby's
Jul. 06, 2006
Jacopo Ligozzi (Verona circa 1547-1627 Florence)
Est: £80,000 - £120,000
Two red vases with lilies, carnations, an iris, verbena and other flowers oil on canvas 19 1/2 x 24 1/4 in. (49.5 x 61.6 cm.)
Christie's
Apr. 06, 2006
Jacopo Ligozzi (Verona 1547-1627 Florence)
Est: $200,000 - $300,000
Two grey terracotta vases with flowers oil on canvas 19 5/8 x 24 3/4 in. (50 x 63 cm.)
Christie's