Astolfo Petrazzi Paintings & Artwork for Sale | Astolfo Petrazzi Art Value Price Guide

Dec. 19, 2024
Attributed to ASTOLFO PETRAZZI (Siena, 1580-1653). "Three little lovebirds arranging a floral center". Oil on canvas. Relined. Cataloged in "The sense of pleasure. A collection of still life paintings" by John T. Spike. Ed. Skira, pg 68.
Est: €22,000 - €24,000
Attributed to ASTOLFO PETRAZZI (Siena, 1580-1653). "Three little lovebirds arranging a floral center". Oil on canvas. Relined. Cataloged in "The sense of pleasure. A collection of still life paintings" by John T. Spike. Ed. Skira, pg 68. Measurements: 70 x 115 cm; 84 x 126 cm (frame). Three little lovebirds with volumetric bodies, masterfully modeled by a baroque light, are seated on a stone parapet around a basket overflowing with flowers. The one in the middle brings a flower to each of his companions, inviting them to smell its fragrance. The plump little legs protrude deftly foreshortened, breaking the two-dimensionality of the painting. This work, attributed to Astolfo Petrazzi, is an excellent example of the melting pot of influences that marked the work of this Sienese painter, resulting in a style of his own: thus, the luminous naturalism of the Roman Baroque is masterfully combined with the decorative elegance of the Sienese Baroque, creating a delicate, sensual and vibrant work. The coexistence between the ornamental and the narrative characterized his style. Although during his stay in Rome he met the Caravaggists, he moved away from their raw dramatism, but was interested in their search for expressive verism. He was inclined, in part, to an ornamental sense, as can be seen in the detailed representation of the fragrant floral corollas. The plump bodies, on the other hand, are naturalistic anatomies. The result is captivating without being overbearing, thanks to a balanced composition and a bold use of hallmarks. Astolfo Petrazzi was an Italian painter of the Baroque period, active mainly in his hometown of Siena, but also in Spoleto and Rome. He was a pupil mainly of Francesco Vanni, but also worked with Ventura Salimbeni and Pietro Sorri. In Rome, he received important commissions such as the story of the martyrdom of Sant'Eustachio in the church of the same name, as well as commissions for the church of San Gio. dei Fiorentini and the Capponi Chapel, where he did St. Mary Magdalene supported by angels. In San Biagio, he depicted the figure of the Virgin Mary with angels and saints. And, in the Chiesa Nuova, of the Padri della Congregazione dell'Oratorio di San Filippo Neri, he painted twenty large paintings with the image of Jesus Christ, the Virgin Mary and other saints (information collected by F. Baldinucci, "Notizie de' professori del disegno da Cimabue in qua", Milan 1812, pp. 299-302). Archival research indicates that Petrazzi's capitoline activity took place between 1618 and 1625. His great admirer and biographer, the physician Giulio Mancini, also outlines his Roman activity and his approach to naturalism, which he undoubtedly learned in Siena in the circle of Rutilio Manetti (1571-1639) and Francesco Rustici (1592-1626). Archival research and sources indicate that the painter also worked for private collecting, as can be deduced from a letter sent to Siena by Prince Mattias de' Medici on May 15, 1630, citing a painting with musical instruments commissioned by Giovan Carlo de' Medici, Mattias' brother, in which Petrazzi defines himself as superior to Manetti himself in this type of composition (Bisogni - Ciampolini 1987, p. 101). Consequently, it follows that the painter's production of still lifes was extraordinarily sought after. Selection of works in Siena: "Ascension", Museo dell'Opera del Duomo, Siena Cathedral; "The Christian Bishop of Mainz", Palazzo Pubblico, Siena; "Eternal Father and Saints", Basilica of San Francesco, Siena; "The Madonna and the Plague of Siena", San Clemente in the Basilica of Santa Maria dei Servi, Siena, among many others. Today, after Marco Ciampolini's research, the painter's physiognomy and character have finally been delineated, but certainly a large part of the still lifes destined for the collectors' market are still to be traced.
Setdart Auction House
Dec. 05, 2024
The Holy Family with the infant Saint John the Baptist
Est: £20,000 - £30,000
Astolfo Petrazzi Siena 1580–1653 The Holy Family with the infant Saint John the Baptist oil on canvas unframed: 97.7 x 74.5 cm.; 38½ x 29⅜ in. framed: 116.2 x 93.1 cm.; 45¾ x 36⅝ in.
Sotheby's
Dec. 05, 2024
The Holy Family with the infant Saint John the Baptist
Est: £8,000 - £12,000
Astolfo Petrazzi Siena 1580–1653 The Holy Family with the infant Saint John the Baptist oil on canvas unframed: 61 x 47.5 cm.; 24 x 18¾ in. framed: 80 x 65 cm.; 31½ x 25⅝ in.
Sotheby's
Jul. 22, 2024
ASTOLFO PETRAZZI Siena (1580 / 1653) "Musician angels"
Est: €27,000 - €36,000
Pair of oil paintings on canvas Origin: Madrid, private collection. This pair of large canvases are a good example of Sienese baroque painting. Coming from the Italian antique market and acquired as works by Astolfo Petrazzi, they represent a pair of musical angels, one of them playing the serpent and the other a lute. Their monumental tone stands out, as they are figures that slightly exceed life size and both are inside a pair of architectural niches made of white stone, topped with semicircular arches. Knowing Roman naturalism, Petrazzi plays with the contrasts of light and shadow to give his compositions greater depth and works with perspective so that the angels seem to escape from the architectural frames that enclose them, giving both compositions great movement. Nothing is known about their remote origin, although, due to the substance of the paintings, it is easy to assume that they must have been part of a commission of great importance carried out in Siena, Spoleto or Rome; cities in which he developed his activity. From the testimony of sources we know that Petrazzi produced countless public works and that he also took on many private commissions, creating elegant works intended for domestic devotion. Within this last group, the genre paintings stand out in which the artist resorted on more than one occasion to painting kitchen interiors and series dedicated to the seasons. Measurements: 230 x 94 cm
Ansorena
Oct. 25, 2023
Astolfo Petrazzi Seller of fish
Est: €12,500 - €15,000
Astolfo Petrazzi Siena 1583 -Siena 1665 Seller of authentic fish by Professor Euard A. Safarik Oil on canvas 130x172 cm - In frame 158x198 cm
Casa d'aste ARCADIA
Jun. 27, 2023
Astolfo Petrazzi Interno di cucina con pesci, cacciagione e ceste di ortaggi
Est: €6,000 - €8,000
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Cambi Casa d'Aste
Jun. 27, 2023
Astolfo Petrazzi Interno di cucina con mortaio, pollame e vaso di fiori
Est: €6,000 - €8,000
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Cambi Casa d'Aste
Dec. 14, 2022
ASTOLFO PETRAZZI Siena (1580 / 1653) "Musician Angels"
Est: €42,000 - €56,000
Pair of oil paintings on canvas Origin: Madrid, private collection. This pair of large canvases is a fine example of Sienese Baroque painting. Coming from the Italian antiquarian market and acquired as works by Astolfo Petrazzi, they represent a pair of musician angels, one of them playing a serpentine and the other a lute. Its monumental tone stands out, since they are figures that slightly exceed the size of life and both are inside a pair of architectural niches made of white stone, topped with semicircular arches. Connoisseur of Roman naturalism, Petrazzi plays with the contrasts of light and shadow to give his compositions greater depth and works on perspective so that the angels seem to escape from the architectural frames that enclose them, giving both compositions great movement. Nothing is known about their remote origin, although, due to the substance of the paintings, it is easy to suppose that they must have been part of a commission of great importance carried out in Siena, Spoleto or Rome; cities in which he developed his activity. From the testimony of the sources we know that Petrazzi carried out innumerable public works and that he also took care of many private commissions creating elegant works destined for domestic devotion. Within this last group, the genre paintings stand out, in which the artist resorted on more than one occasion to painting kitchen interiors and series dedicated to the seasons. Measurements: 230 x 94 cm
Ansorena
Mar. 02, 2022
ASTOLFO PETRAZZI. Siena (1580 / 1653). "Angels musicians" .
Est: €60,000 - €120,000
230 x 94 cm. Pair of oils on canvas. Provenance: Madrid, private collection. This pair of large canvases is a good example of Sienese Baroque painting. From the Italian antiquarian market and acquired as works by Astolfo Petrazzi, they depict a pair of musical angels, one playing a serpent and the other a lute. Their monumental tone is noteworthy, as the figures are slightly larger than life-size and both are inside a pair of architectural niches made of white stone, topped by semicircular arches. A connoisseur of Roman naturalism, Petrazzi played with contrasts of light and shade to give his compositions greater depth and worked with perspective in such a way that the angels seem to escape from the architectural frames that enclose them, giving both compositions great movement. Nothing is known of the artist's remote provenance although, given the importance of the paintings, it is easy to assume that they must have been part of a major commission in Siena, Spoleto or Rome, the cities where he was active. From the sources we know that Petrazzi executed innumerable public works and that he also undertook many private commissions, creating elegant works for domestic devotion. Of particular note in the latter group are the genre paintings in which the artist on more than one occasion painted kitchen interiors and series dedicated to the seasons.
Ansorena
Sep. 21, 2021
ASTOLFO PETRAZZI?
Est: €8,000 - €12,000
(Siena, 1580 - 1653) Tre amorini che dispongono fiori in un cesto Olio su tela, cm 70X115 Bibliografia: J. T. Spike, Il senso del piacere. Una collezione di nature morte, Milano 2002, pp. 68 ; 69, n. 23 Astolfo Petrazzi che si formì alla '... scuola del Cav. Francesco Vanni, oltre ad altri buoni pittori, de' quali a suo luogo abbiamo parlato... cittadino senese, il quale avendo dipoi studiato molto appresso il Cav. Ventura Salimbeni e Pietro Sorri, moltissime opere fece nella sua patria... Fu poi chiamato a Roma, dove condusse di sua mano, per la chiesa di Sant'Eustachio, la storia del suo martirio... per la chiesa di San Gio. dei Fiorentini colorì la tavola per la Cappella de' Capponi, dove fece la Santa Maria Maddalena sostenuta dagli angeli. Un'altra tavola fece in San Biagio, in cui espresse la figura di Maria Vergine con alcuni angeli e Santi. E finalmente per la Chiesa Nuova, de' Padri della Congregazione dell'Oratorio di San Filippo Neri, dipinse venti gran quadri con l'immagine di Gesù Cristo, di Maria Vergine e altri Santi' (F. Baldinucci, Notizie de' professori del disegno da Cimabue in qua, Milano 1812, pp. 299-302). Sino a pochi anni fa queste erano le poche informazioni utili per conoscere a grandi linee la biografia di Astolfo Petrazzi, tuttavia anche il suo gran estimatore e biografo, il medico Giulio Mancini, è altrettanto avaro nel delinearne l'attività romana e il suo avvicinamento al naturalismo, certamente appreso a Siena nell'ambito di Rutilio Manetti (1571-1639) e Francesco Rustici (1592-1626). Ricerche d'archivio indicano che l'attività capitolina del Petrazzi si è svolta tra il 1618 e il 1625 e la committenza Chigi dettata dal dipinto Barberini suggerisce una discreta fortuna critica. Le ricerche d'archivio e le fonti indicano altresì che il pittore formulì la sua carriera per il collezionismo privato, come si evince da una lettera inviata a Siena dal principe Mattias de' Medici il 15 maggio 1630, nel quale è citato un dipinto con strumenti musicali commissionato da Giovan Carlo de' Medici, fratello di Mattias, dove il Petrazzi è definito in questo tipo di composizioni superiore allo stesso Manetti (Bisogni - Ciampolini 1987, p. 101). Si evince di conseguenza che la produzione di nature morte del pittore era straordinariamente ricercata. Oggi, dopo le ricerche di Marco Ciampolini la fisionomia e il carattere del pittore sono finalmente delineate, ma certamente è ancora da rintracciare gran parte delle nature morte destinate al collezionismo. Bibliografia di riferimento: M. Ciampolini, Pittori senesi del Seicento, Siena 2010, pp. 563 ; 607
Wannenes Art Auctions
Dec. 03, 2020
Astolfo Petrazzi, 1580 Siena – 1653 ebenda, zugeschrieben
Est: €90,000 - €150,000
STILLLEBEN MIT BLUMEN, ARTISCHOCKEN, SPARGEL, FEIGEN UND WEITEREN FRÜCHTEN Öl auf Leinwand. Doubliert. 77 x 107 cm. In reich dekoriertem Profilrahmen. Provenienz: Das in der Fondazione Zeri unter der Nummer 96735 dokumentierte Gemälde war in den 1990er-Jahren in einer Privatsammlung in Rivoli (Piemont) befindlich. Das von Mina Gregori an Petrazzi gegebene Gemälde zeigt ein vertikal zweigeteiltes Stillleben. Während die linke Hälfte durch das stark leuchtende Kolorit des mannigfaltig zusammengestellten Blumenstraußes mit seinem gleichmäßigen ovalen Umriss leuchtet, ist die rechte Bildhälfte weitestgehend verschattet. Nur das gewundene Korbgeflecht reflektiert das Licht und leitet somit das Auge auf die Leckereien, welche der Korb beinhaltet. Frühlingszwiebeln, Artischocken, Spargel, Feigen, Rettich und eine Schale mit Erdbeeren werden überfangen von Zitrusfrüchten und sich nur knapp vor dem dunklen Fond absetzenden dickfleischigen Blättern. Literatur: Alberto Cottino, La natura morta al tempo di Caravaggio, 1995, S. 189. Mina Gregori, La natura morta italiana. Da Caravaggio al Settecento, 2003, S. 175. Pierluigi Carofano, Luce e Ombra. Caravaggismo e naturalismo nella pittura toscana del Seicento, 2005, S. 124. Marco Ciampolini, Pittori senesi del Seicento, 2010, S. 871. Ausstellung: La natura morta al tempo di Caravaggio, Kapitolinisches Museum, Rom, 05 Dezember 1995 - 14 April 1996. La natura morta da Caravaggio al 700, Palazzo Strozzi, Florenz, 26 Juni - 12 Oktober 2003. München, Hypo-Kunsthalle, Stille Welten, 2003 (laut rückwärtigem Etikett). ( ) (2) (13) Astolfo Petrazzi, 1580 Siena - 1653 ibid., attributed STILL LIFE WITH FLOWERS, ARTICHOKES, ASPARAGUS, FIGS AND OTHER FRUIT Oil on canvas. Relined. 77 x 107 cm. In richly decorated profiled frame. Provenance: The painting is listed at Fondazione Zeri, no. 96735 and was held in a private collection in Rivoli (Piedmont) during the 1990s. Literature: A. Cottino, La natura morta al tempo di Caravaggio, 1995, p. 189. M. Gregori, La natura morta italiana. Da Caravaggio al Settecento, 2003, p. 175. P. Carofano, Luce e Ombra. Caravaggismo e naturalismo nella pittura toscana del Seicento, 2005, p. 124. M. Ciampolini, Pittori senesi del Seicento, 2010, p. 871. Exhibitions: La natura morta al tempo di Caravaggio, Capitoline Museums, Rome, 05 December 1995 - 14 April 1996. La natura morta da Caravaggio al 700, Palazzo Strozzi, Florence, 26 June - 12 October 2003. Stille Welten, 2003, Hypo-Kunsthalle, Munich (according to label on the reverse).
Hampel Fine Art Auctions
Jun. 16, 2020
Astolfo PETRAZZI Sienne, 1580 - 1653 Salomé portant la tête de saint Jean-Baptiste Huile sur toile
Est: €15,000 - €20,000
Astolfo PETRAZZI Sienne, 1580 - 1653 Salomé portant la tête de saint Jean-Baptiste Huile sur toile Salome with the head of saint John the Baptist, oil on canvas, by A. Petrazzi h: 80 w: 67 cm Provenance : Collection Guy et Christiane de Aldecoa ; Leur vente, Paris, Hôtel Drouot, Beaussant-Lefèvre, 15 octobre 2008, n° 22 ; Acquis lors de cette vente par l''actuel propriétaire ; Collection particulière, Yvelines
Artcurial
Oct. 27, 2015
ASTOLFO PETRAZZI | A youth playing a guitar
Est: £6,000 - £8,000
oil on canvas
Sotheby's
Jan. 26, 2006
n - ASTOLFO PETRAZZI SIENA 1580 - 1653
Est: $40,000 - $60,000
PROPERTY OF A PRIVATE COLLECTOR, SOLD WITHOUT RESERVE A YOUTH PLAYING A GUITAR measurements note 48 by 36 1/4 in.; 122 by 92 cm. oil on canvas PROVENANCE W.R.M. Wynne, Esq., by March 20, 1885, no. 13, as by Murillo (from an old hand written label on the reverse); Major M. Williams, Penredw Hall (stenciled on the reverse of the canvas); Anonymous sale ("Property of a Private Collector"), London, Sotheby's, July 11, 2002, lot 189 (as Domenico Cresti, called Domenico Passignano). NOTE We are grateful to Alessandro Bagnoli who, on the basis of photographs, has identified this painting to be by Petrazzi. The Sienese artist, Astolfo Petrazzi is an artist about whom little is known. His early works, mostly religious compositions, reflect the style of Ventura Salimbeni and Francesco Vanni; however, after a lengthy stay in Rome (1621-31) his style began to change. This change is most notable in his floral still lifes where one can see the influence of a naturalism in style embraced by Caravaggio and his followers. An alternate attribution to Rutilio Manetti (Siena 1571-1639) has been suggested for this painting.
Sotheby's
Jan. 24, 2002
*ASTOLFO PETRAZZI (1580-1653)
Est: $300,000 - $400,000
oil on canvas The Sienese artist Astolfo Petrazzi (or Petrassi) is an artist about whom very little biographical information is known. His early works, which are mainly of a religious nature, are reminiscent of the paintings of Ventura Salimbeni and Raffaello Vanni (see F. Bisogni & M. Ciampolini, Bernardino Mei e la pittura barocca a Siena, Siena, Palazzo Chigi Saracini, 1987, p. 59 ff., particularly figs. 21-23). He was to develop, however, into one of the most significant still-life painters working in Tuscany during the first half of the 17th century. His earlier still lifes adhere to the tradition set out by contemporary still-life painters in Tuscany, such as Jacopo da Empoli (see, for example, Petrazzi's Kitchen still life with a cat in a private collection; L. Salerno, La natura morta italiana 1560-1805, p. 128, illus. fig. 31.1), but after a lengthy sojourn in Rome (1621-1631), he introduced a post-caravaggesque style to his works. Petrazzi's still lifes display a familiarity with both Caravaggesque and northern examples in the genre, in particular with paintings by Jan Brueghel, the Elder, whose works were to be found in Italy - particularly in Rome - already in the 17th century (see C. del Bravo, ``Due nature morte di Astolfo Petrazzi', in Paragone, vol. XII, no. 139, July 1961, p. 58). Petrazzi successfully combined both influences, in a way not dissimilar to the Master of the Hartford Still Life (compare the latter's eponymous work at the Wadsworth Atheneum, Hartford; The Genius of Rome 1592-1623, exhibition catalogue, London, Royal Academy of Arts, January 20-April 16, 2001, cat. no. 18, illus. in color in the catalogue). This painting may be compared to two other works by Petrazzi: one, a Still life of fruit, vegetables and flowers laid on a table, together with a monkey (L. Salerno, La natura morta italiana 1560-1805, 1985, illus. fig. 312), and another, a Personification of Winter, the first still life by the artist to have bee
Sotheby's