Lucio Massari Paintings & Artwork for Sale | Lucio Massari Art Value Price Guide

Dec. 04, 2024
LUCIO MASSARI (BOLOGNA 1569-1633). The Last Communion of Mary Magdalene. oi
Est: £20,000 - £30,000
LUCIO MASSARI (BOLOGNA 1569-1633). The Last Communion of Mary Magdalene. oil on copper 11 ¾ x 9 1⁄8 in. (29.8 x 23.2 cm.).
Christie's
May. 16, 2024
Lucio Massari, The Triumph of David
Est: €25,000 - €30,000
The Bolognese painter Lucio Massari initially trained in Bartolomeo Passarotti's studio before becoming Ludovico Carracci's assistant at the beginning of the 17th century. The present composition with the Triumph of David is a variant of the larger format in the Galleria Pallavicini oin Rome. It shows the adaption of Annibale and Ludovico Carracci's teachings, skilfully combined by Massari with more recent impulses from the classical works of Annibale's pupil Domenichino. As Federico Zeri observed, Massari's "Triumph" exemplifies those tendencies of the early 17th century and should be considered an important early Baroque work.
Kunsthaus Lempertz KG
Feb. 02, 2024
Saint Sebastian
Est: $1,000 - $1,500
Property from the Estate of William J. Levy, Sold to Benefit the Endowed Scholarship at the University of Pennsylvania Lucio Massari 1569 - 1633 Saint Sebastian Black chalk heightened with white on gray-brown preparation; bears old attribution in black chalk, verso: Guido fec. 259 by 194 mm; 10¼ by 7¾ in.
Sotheby's
Nov. 23, 2023
The Agony in the Garden
Est: €3,500 - €5,000
Oil on panel cm. 40,2x31,7. Framed The painting is derived from a work of similar subject matter attributed to Annibale Carracci now in the Royal Collections at Windsor Castle.
Bertolami Fine Art s.r.l.
Sep. 24, 2020
Lucio Massari, 1569 Bologna – 1633 ebenda, zug.
Est: €40,000 - €60,000
DER TRIUMPH DAVIDS Öl auf Leinwand. Doubliert. 73 x 93 cm. In vergoldetem Prunkrahmen. Das Gemälde veröffentlicht in der Fototeca Zeri, unter der Nummer 55282, datiert 1590-1633, Sammlung L. Woolley, London. Darstellung aus der biblischen Geschichte des Kampfes von David gegen den Riesen Goliath. Im Zentrum der junge David mit leuchtend rotem Mantel, unter dem ein großes Schwert an der Hüftseite hängt, der mit seiner linken Hand den übergroßen Kopf des Riesen nach oben hält, auf dessen Stirn ein roter Blutfleck sichtbar ist. Diesen hatte er mit einer Steinschleuder an der Stirn getroffen und ihm mit seinem Schwert das Haupt abgeschlagen. Rechts von ihm musizierende und tanzende Frauengestalten mit Triangel, Tamburin und Flöten, die seinen Triumph feiern, vor den Mauern der Stadt, auf denen ihm weitere Figuren zujubeln. Links von David steht sein Auftraggeber Saul, der König von Israel, mit goldener Krone und blickt auf die Trophäe. Hinter Saul steht sein Hofstaat mit Soldaten in Rüstung und ein Schimmel, der von einem Mann gehalten wird. Vielfigurige heroische Darstellung unter hohem wolkigen Himmel mit geschickter Lichtführung und teils leuchtend weißer, gelber und roter Farbgebung. (1230323) (18) Lucio Massari, 1569 Bologna – 1633 ibid., attributed THE TRIUMPH OF DAVID Oil on canvas. Relined. 73 x 93 cm. In magnificent gilt frame. The painting published at the Fototeca Zeri, no. 55282, dated 1590-1633; L. Woolley collection, London.
Hampel Fine Art Auctions
Jul. 02, 2020
Lucio Massari, 1569 Bologna – 1633 ebenda, zug.
Est: €60,000 - €80,000
DER TRIUMPh DAVIDS Öl auf Leinwand. Doubliert. 73 x 93 cm. In vergoldetem Prunkrahmen. Ein Gemälde des Künstlers mit dem gleichen Motiv ist abgebildet und veröffentlicht in der Fototeca Zeri, unter der Nummer 55284, datiert 1609-1612; als Größe wird jedoch 350 x 460 cm angegeben. Darstellung aus der biblischen Geschichte des Kampfes von David gegen den Riesen Goliath. Im Zentrum der junge David mit leuchtend rotem Mantel, unter dem ein großes Schwert an der Hüftseite hängt, der mit seiner linken Hand den übergroßen Kopf des Riesen nach oben hält, auf dessen Stirn ein roter Blutfleck sichtbar ist. Diesen hatte er mit einer Steinschleuder an der Stirn getroffen und mit seinem Schwert das Haupt abgeschlagen. Rechts von ihm musizierende und leicht tanzende Frauengestalten mit Triangel, Tamburin und Flöten, die seinen Triumpf feiern, vor den Mauern der Stadt, auf denen ihm weitere Figuren zujubeln. Links von David steht sein Auftraggeber Saul, der König von Israel, mit goldener Krone und schaut auf die Trophäe. Hinter Saul steht sein Hofstaat mit Soldaten in Rüstung und einem Schimmel, das von einem Mann gehalten wird. Vielfigurige heroische Darstellung unter hohem wolkigen Himmel mit geschickter Lichtführung und teils leuchtender weißer, gelber und roter Farbgebung. (1230323) (18) Lucio Massari, 1569 Bologna – 1633 ibid., attributed THE TRIUMPH OF DAVID Oil on canvas. Relined. 73 x 93 cm. In magnificent gilt frame. A painting by the artist with the same motif is illustrated and published at the Fototeca Zeri, no. 55284, dated 1609-1612; however the dimensions are noted as 350 x 460 cm.
Hampel Fine Art Auctions
Dec. 04, 2017
Lucio Massari - Martyrdom of saint Erasmus
Est: €6,000 - €8,000
Lucio Massari (Bologna, 1569 - 1633) Martyrdom of saint Erasmus oil on canvas, cm 38,5x30,5. With an antique frame The present painting comes with a certificate issued by Emilio Negro
Bertolami Fine Art s.r.l.
Jan. 31, 2013
Lucio Massari (Bologna 1569-1633)
Est: $7,000 - $10,000
Lucio Massari (Bologna 1569-1633) Angels and putti making music in the clouds: design for a vault with inscription 'Lodovico Carracci del/d'après la couppole/Peinte/d'Antonio da Coreggio f.' black chalk, pen and brown ink, brown wash heightened with white (partly oxidized) on brown prepared paper in an inscribed lunette, watermark kneeling angel in a cartouche 20 1/8 x 15¾ in. (51 x 40.3 cm.)
Christie's
May. 11, 2012
Bologneser Meister um 1700 Römische Soldaten. Lavis über schwarzem Stift auf Büttenpapier mit Wasserzeichen (angeschnitten PA). 17,5 x 12cm. Provenienz: Prvatsammlung Mainz Rückseitig: In schwarzem Stift die Bezeichnung "Massari 100", die vermutlich
Est: €800 - €1,000
Bolognese Master circa 1700 Roman Soldiers. Indian ink drawing over black pencil on laid, watermarked paper (truncated PA). 17.5 x 12cm. Private Collection Mainz On verso: "Massari 100" written in black pencil, this presumably refers to Lucio Massari (Bologna 1569 - 1633).
Van Ham Kunstauktionen
Jan. 29, 2009
Lucio Massari , Bologna 1569 1633 The Last Communion of the Magdalene oil on canvas, in a 17th century Italian frame
Est: $120,000 - $160,000
oil on canvas, in a 17th century Italian frame
Sotheby's
Oct. 29, 2008
Circle of Lucio Massari (Bologna 1569-1633) Saint Jerome
Est: £5,000 - £7,000
Saint Jerome oil on canvas 197.5 x 161.5cm (77 3/4 x 63 9/16in).
Bonhams
Jul. 09, 2008
Saint Paul and the burning of pagan books at Ephesus
Est: £50,000 - £70,000
Lucio Massari (Bologna 1569-1633) Saint Paul and the burning of pagan books at Ephesus the frame inscribed with the 'JL' monogram of Johann I (lower centre) oil on canvas 76 x 109¼ in. (193 x 277.5 cm.)
Christie's
Jan. 26, 2001
LUCIO MASSARI (Bologna 1569-1633)
Est: $50,000 - $70,000
Venus and Adonis oil on canvas 371/2 x 52 in. (95.3 x 132 cm.) NOTES It is only in recent years that the Bolognese artist Lucio Massari has emerged as a more complex artistic personality than the simple follower of Ludovico Carracci that Malvasia suggested in his Felsine Pittrice, 1678, ed. G. Zanotti, Bologna, 1841, I, pp. 389-390 (for a detailed discussion of Massari's career, see Marina Cellini, La Scuola dei Carracci. I seguaci di Annibale e Agostino, Modena, 1995, pp. 217-250). The first recorded work by the artist is a large altarpiece, Madonna and Child with Saints, in the church of Santa Maria dei Poveri in Bologna, executed in 1604. The sobriety of mood and simplicity of the composition recall the art of Bartolomeo Cesi, while the sculptural and monumental figures reveal the influence of Annibale Carracci - indeed it has been argued by a number of scholars (Cellini, op. cit., p. 220) that Massari may well have collaborated with Annibale on the latter's altarpiece of 1593, Madonna and Child enthroned with Saints (Pinacoteca Nazionale, Bologna). Towards the end of the 1590s, Massari travelled to Rome, where he was to come into full contact with the classical revival he had been introduced to in Bologna, and he met the movement's other leading protagonists, including Albani, Domenichino and Lanfranco. It was here in the Eternal City that he produced some of his finest works, including Lot and his Daughters and two rare mythological paintings, Rinaldo and Armida and Juno and Aeolus (the first two in the Galleria Pallavicini, Rome, the last in the Galleria Doria-Pamphilj, Rome). Arguably his most notable achievement of this period was the large Triumph of David in the Galleria Pallavicini, Rome, whose importance 'per la storia del classicismo seicentesco Š fondementale' (F. Zeri, La Galleria Pallavicini in Roma, Florence, 1956, p. 176, no. 300). By 1613 Massari had returned to Bologna, where he produced, over the next two decades, a number of large altarpieces, essentially in the same restrained classical idiom outlined above. He died in 1633. The subject of the present work is drawn from Ovid's Metamorphoses (X, 532-539 and 705-709). Although it was a popular theme among artists in the 17th century, the most famous treatment of the subject was undoubtedly that of Titian, known in several versions, some of which were executed with studio assistance (Prado Museum, Madrid; J. Paul Getty Museum, Los Angeles; the National Gallery of Art, Washington; and the Metropolitan Museum of Art, New York). A lost version was also executed for the Palazzo Farnese in Rome and it is tempting to speculate that Massari might have seen Titian's original during his Roman sojourn. Certainly the position of Adonis' head in the present work recalls that of the Greek hero in Titian's masterpiece. In keeping with the artistic personality outlined above, Massari's handling of the subject shows a degree of restraint not to be found in the more dramatic, near-contemporary renderings of the subject by Rubens (Kunstakademie, Dusseldorf, 1610-11) and Van Dyck (sold, Christie's, New York, 29 January 1998, lot 63, circa 1618-21). However, the artist has introduced a degree of animation to the scene in the form of the billowing drapery of Venus and the sharp twist of the hound's head. The Roman feel to the landscape and the similarity of the facial types here to other works of the period by Massari (Adonis to the figure of David in The Triumph of David, and Venus to the leftmost daughter in Lot and his daughters ) would suggest a dating of the present work to Massari's Roman period or shortly thereafter; that is circa 1610-15. We are grateful to Dr. Stephen Pepper for suggesting the attribution to Massari on the basis of a transparency (verbal communication, 2 August 2000).
Christie's
Jan. 24, 2001
Lucio Massari (1568-1633)
Est: $8,000 - $12,000
The Flagellation of Christ black chalk, pen and brown ink, brown wash heightened with white on light brown paper, squared in black chalk 131/2 x 9 in. (345 x 229 mm.) PROVENANCE Sir Peter Lely (L. 2092). Possibly N. Lanier (L. 2908). N.F. Haym (L. 1972). P.-J. Mariette (L. 1852, twice); F. Basan, Paris, 15 November 1775, lot 324 (as 'Louis Carrache... N.S. attach‚ … la colonne, & flagell‚ par quatre bourreaux impitoyables, qui exercent leurs fureur sur son corps: ce sujet, en hauteur, est … la plume & au bistre & de la touche la plus savante'). LITERATURE C. von Prybram-Gladona, Unbekannte Zeichnungen alter Meister aus europ„ischem Privatbesitz, Munich, 1969, no. 57, illustrated. NOTES Although the present drawing was included in the Mariette sale of 1775 as Ludovico Carracci, it can be compared to another sheet of the same subject also in Mariette's sale and correctly attributed by him to Massari, C. Legrand, Le dessin … Bologne, La r‚forme des trois Carracci, exhib. cat. Paris, Mus‚e du Louvre, 1994, no. 75. Catherine Legrand and Babette Bohn reconstructed a small corpus of drawings around the Louvre drawing, whose attribution probably dates back to Crozat. The famous financier and collector had gathered a large group of drawings by the Carracci and their followers. To the Louvre drawing Catherine Legrand connected another Flagellation at Windsor Castle, C. Legrand, op. cit., p. 112. Both drawings are very close in handling to this sheet, though their compositions are quite different. Catherine Legrand dates the Louvre and Windsor drawings to before 1600 and probably after 1592-4, the dates of Ludovico's own version of the Flagellation now in the Pinacoteca in Bologna.
Christie's