Girolamo Mazzola Paintings & Artwork for Sale | Girolamo Mazzola Art Value Price Guide

Mar. 25, 2026
Girolamo Francesco MAZZOLA, dit IL PARMIGIANINO
Est: €60,000 - €80,000
Girolamo Francesco MAZZOLA, dit IL PARMIGIANINO (Parme, 1503 - Casalmaggiore, 1540) Deux études de figures drapées au violon Plume et encre brune Collé en plein sur un montage ancien (numéroté en haut à gauche au crayon noir 2.395.6.6, et en haut à droite 91) Annoté 'école italienne. Parmesan, tiré du cabinet Denon, ce dessin et celui qui suit ont été vendus 72 francs à cette vente Denon' au verso du montage à l’encre brune 10,5 x 5 cm 10,5 x 5,5 cm Sans cadre Two studies of draped figures with violin, pen and brown ink, by G. F. M. Mazzola, called Il Parmigianino 4.13 x 1.97 in. & 4.13 x 2.16 in. Provenance : Probablement collection de Thomas Howard, comte d'Arundel (1585-1646) ; Probablement collection d'Anton Maria Zanetti l'Ancien (1680-1767) ; Collection de Dominique-Vivant Denon (1747-1825), son cachet (L.779) en bas à droite ; Probablement sa vente, Paris, 1er mai 1826, n° 395 ; Collection Defer-Dumesnil, son cachet (L.739) en bas à gauche du montage ; Vente anonyme ; Paris, Hôtel Drouot, Me Néret-Minet, 5 février 2004, n° 14-15, repr. ; Collection particulière, Paris Sans être directement préparatoires à une œuvre connue, ces deux esquisses peuvent être rapprochées du travail de Parmesan à l’église Santa Maria della Steccata, lorsqu’il revient à Parme en 1530. Parmesan travaille sur ce projet de décor de 1530 à 1539, avant d’être écarté du chantier par le conseil de la fabrique de l’église, las de ne pas voir le projet évoluer. Le thème musical de nos dessins se rapproche de celui des figures peintes par Parmesan qui ornaient les volets de l’orgue de Santa Maria della Steccata. Elles représentent David et sainte Cécile, tenant des violes. Peintes bien avant, on suppose qu’elles furent exécutées pour l’orgue de l’oratoire de San Giovanni della Steccata, avant la construction de l’église (selon différentes hypothèses, entre 1521 et 1524). Les deux peintures, abîmées et largement repeintes, ornent maintenant les murs de l’église. Tout au long de sa carrière, Parmesan représente des figures jouant de la musique, aussi bien en peintures qu’en dessins. Il s’agit pour lui de la représentation de l’ineffable autant que du plaisir mélomane. Comme Léonard de Vinci, « Francesco se plaisait à jouer du luth, son esprit et sa main y étaient si disposés, qu’il ne fut pas moins excellent en cela que dans la peinture », nous rapporte Vasari dans ses Vite1. La musique semble avoir été une importante source d’inspiration quand Parmesan était au travail, comme l’indique Dominique Cordellier dans le catalogue qu’il consacre aux dessins de l’artiste2. Concernant la provenance, l’historien de l’art britannique Arthur E. Popham écrit dans son catalogue en 1971 que tous les dessins de Parmesan de la collection d'Anton Maria Zanetti (il en possédait 130) provenaient de la collection du comte d'Arundel. Il ajoute que les 40 dessins de la collection de Dominique-Vivant Denon provenaient tous de chez Zanetti3. 1. Giorgio Vasari, Vite, édition de 1568, éd. Bettarini et Barocchi, Florence, 1967-1969, IV, p. 545. 2. Voir le catalogue d’exposition, Parmigianino Dessins du Louvre, Paris, ed. Musée du Louvre, 2015, p. 17. 3. Voir Arthur E. Popham, Catalogue of the Drawings of Parmigianino, 3 vol., New Haven et Londres, ed. Yale University Press, 1971. Nous remercions le professeur David Ekserdjian de nous avoir aimablement confirmé l’authenticité de ces dessins dans un courriel en date du 6 octobre 2025 et après un examen de visu en date du 20 janvier 2026. Girolamo Francesco MAZZOLA, dit IL PARMIGIANINO (Parme, 1503 - Casalmaggiore, 1540)
Artcurial
Mar. 25, 2026
Girolamo Francesco MAZZOLA, dit IL PARMIGIANINO
Est: €30,000 - €40,000
Girolamo Francesco MAZZOLA, dit IL PARMIGIANINO (Parme, 1503 - Casalmaggiore, 1540) Etude de tête d'homme de profil portant un masque de satyre Plume, encre brune et lavis brun Porte le numéro '260' et annoté 'Parmig...' en bas à droite Study of a man's head in profile wearing a satyr mask, pen, brown ink and wash, by G. F. M. Mazzola, called Il Parmigianino 4.33 x 2.95 in. 11 x 7.5 cm Provenance : Chez Jean-Luc Baroni en 2019 ; Acquis auprès de ce dernier par l'actuelle propriétaire ; Collection particulière, Paris Il est possible de dater notre dessin de la dernière période de Parmesan après son retour à Parme en 1530. Nous retrouvons l'emploi de croisillons réalisés à la plume et cette légèreté d'exécution dans les traits de nombreuses études de têtes aujourd’hui conservées dans divers musées et en collections particulières : collection du duc de Devonshire (inv. 342), Londres, British Museum (inv. Pp,2-132), Vienne, Albertina (inv. 2623). Nous observons également la même inspiration antique de l’homme portant le masque de Silène, dans une feuille du musée du Louvre (inv. 6652, fig. 1), elle aussi datée lors de l’exposition de 2015 des dernières années de l’artiste à Parme1. 1. Voir D. Cordellier, L. Angelucci, L. Lhinares, R. Serra, Parmigianino, dessins du Louvre, catalogue d’exposition 17 décembre 2015 – 15 février 2016, n°61, repr. p. 159 Nous remercions le professeur David Ekserdjian, qui nous a aimablement confirmé l’authenticité de ce dessin dans un courriel en date du 15 janvier 2026 et après un examen de visu en date du 20 janvier 2026. Girolamo Francesco MAZZOLA, dit IL PARMIGIANINO (Parme, 1503 - Casalmaggiore, 1540) 11 x 7.5 cm
Artcurial
Dec. 11, 2025
Girolamo Francesco Mazzola 1503 Parma-1540 Parma, attribuito a Diana cacciatrice Filosofo (Euclide?)
Est: €4,000 - €5,000
recto/verso reca al verso a sinistra iscrizione: 'il Parmesano' Non sono purtroppo note la data e le circostanze dell'acquisto del disegno da parte di Erich Schleier (1934-2023), uno dei massimi e più raffinati conoscitori di arte italiana Sei-Settecentesca del secondo Novecento. Noto soprattutto per i suoi studi sulla pittura del barocco e del classicismo romano e emiliano, Schleier aveva raccolto una collezione di disegni e dipinti legati ai temi dei studi suoi (Lanfranco, Girolamo Troppa, Giacomo Cavedone, vari artisti napoletani) e della moglie Mary Newcome (numerose opere grafiche di scuola genovese). In questo contesto, non è del tutto chiara la vicenda attributiva del foglio: che il nome di Parmigianino - e non quella di una generica assegnazione a «scuola» parmense - sia il punto su cui è necessario fare i conti, è evidente a un primo esame dei disegni del recto e del verso. I due bozzetti sono infatti chiaramente ricollegabili a un piccolo gruppo di studi a matita riuniti da Popham (1971, pp. 16-17) sotto l'etichetta di «metal point series» per il legame con alcune incisioni di formato ridotto, siglate con l'appellativo «F.P.». Si tratta, com'è noto, di disegni eseguiti su ritagli di fogli delle dimensioni di carte da gioco, la cui superficie è occupata quasi per intero da una singola figura, con un minimo accenno di ambientazione. Il Filosofo sul verso del foglio in esame appare infatti in stretto rapporto con due disegni autografi del gruppo, oggi nelle raccolte del Louvre (inv. RF 6504 e RF 583r, Popham 1971, nn. 416 e 417). La freschezza e l'immediatezza del tratto, e la presenza di alcune varianti nella composizione (come le pieghe del drappo ricadente verso il suolo, la posizione leggermente diversa del «profilo perduto» del volto e l'inclinazione del braccio destro, più sollevato rispetto a entrambi i fogli parigini) collocano il disegno in esame ancora nella fase di ideazione preliminare, escludendo che si tratti di un d'apres. Di importanza ancora maggiore è il collegamento con due altre incisioni con Diana cacciatrice. La prima è un chiaroscuro assegnabile a Antonio da Trento (103x145 mm)@@@ la seconda è a bulino, siglata «V.C.» (240x305 mm) ed è stata attribuita al bolognese Vincenzo Caccianemici (Catelli Isola 1976-77, p. 33, n. 9) o, in alternativa, a Giulio Bonasone (come «after Caccianemici»@@@ Bartsch, 1813, XV.176.5@@@ Oberhuber 1963, p. 62@@@ cfr. Massari 1983, pp. 43-44, n. 16). In tutte le derivazioni incise, la dea, in una posa quasi identica al disegno (qualche minima variante è nell'inclinazione delle braccia e nella rotazione del capo), è vista di profilo, nell'atto di incedere da destra a sinistra@@@ nella stampa siglata «V.C.» è inserita in un'ampia composizione paesaggistica con rocce, alberi, armenti, colline e casupole di stampo nordicheggiante. Quanto a Caccianemici, «bolognese nobilissimo», va ricordato che Vasari (iI quale lo dice morto nel 1542), ne parla, nella vita di Parmigianino, come del principale tra gli «amici suoi»@@@ questa stretta prossimità personale, se è vera l'identificazione con il maestro «V.C.», assume un significato di un certo interesse nell'ottica delle valutazioni sull'autografia del foglio in esame. Riguardo alla cronologia, i dati di stile e i numerosi richiami all'attività incisoria suggeriscono una datazione intorno al 1530, tra gli ultimi anni del soggiorno romano e il momento del passaggio di Parmigianino in terra bolognese (Mussini 2003). matita nera su carta
Cambi Casa d'Aste
Nov. 13, 2025
Girolamo Mazzola Bedoli (attribuito a) (Parma 1500 - 1569)
Est: €4,500 - €6,500
Allegory of the Immaculate Conception Oil on canvas cm. 99x71,5. Framed The painting may constitute the model for the altarpiece executed by Girolamo Mazzola Bedoli for the Confraternity of the Conception in the church of San Francesco del Prato in Parma, today preserved at the National Gallery of the same city.
Bertolami Fine Art s.r.l.
Apr. 19, 2024
Girolamo Bedoli (1500 - 1569) - Sacra Famiglia
Est: €32,000 - €40,000
Olio su tavola, cm. 47x33,5. Bibliografia: 1998 - 1999, in Parma per l'arte, Rivista d'arte e cultura. Nuova Serie, Anno IV - V, Fascicolo 2 (1998), Fascicolo 1 (1999), tav. 10.
Pananti Casa D'Aste SRL
Mar. 23, 2024
Girolamo Mazzolan Bedoli The Annunciatio Print
Est: -
The Annunciation: A Design For A Lunette. Frame Is In Good Condition. Frame Measures Approximately 32in X 42in. Kt20225 Sa
EJ'S Auction & Appraisal
Feb. 16, 2024
GIROLAMO BEDOLI (1500 - 1569) - SACRA FAMIGLIA
Est: €40,000 - €50,000
Olio su tavola, cm. 47x33,5.
Pananti Casa D'Aste SRL
Oct. 19, 2023
Girolamo Francesco Maria Mazzola "The Resurrection of Christ" etching on paper with unidentified watermark With carved and gilded wood frame (defects) On the back unidentified collection's stamp...
Est: €300 - €400
(Parma 1503 - Casalmaggiore 1540) "The Resurrection of Christ" etching on paper with unidentified watermark With carved and gilded wood frame (defects) On the back unidentified collection's stamp IT "La Resurrezione di Cristo" acquaforte su carta con filigrana scudo non identificata (foglio mm 208x135) In cornice in legno intagliato e dorato (difetti) Al verso timbro di collezione non individuato
Il Ponte Auction House
Jun. 18, 2022
GIROLAMO MAZZOLA BEDOLI (1500-1569), attribué Madone à l'Enfant
Est: €15,000 - €20,000
GIROLAMO MAZZOLA BEDOLI (1500-1569), attribué Madone à l'Enfant Virgin with Child Important oil on circular canvas Diameter: 100 cm - Frame: 108 cm
Accademia Fine Art
May. 20, 2022
Attribué à Girolamo MAZZOLA BEDOLI (1500-1569) Figure of a caryatid
Est: €600 - €1,200
Attribué à Girolamo MAZZOLA BEDOLI (1500-1569) Figure of a caryatid Sanguine. On the reverse: "F51" Attribuito a Girolamo MAZZOLA BEDOLI Una canefora. Sanguigna 20,9 x 10,5 cm Provenance : - Former Giuseppe Vallardi collection, his stamp on the lower left (L.1223) - Sale, Milan, 30 November 1982, Finarte, Disegni dal XVI al XIX secolo, Lot 62, repr. p. 21 (as Girolamo Mazzola Bedoli) - Sale London, 8 July 1987, Sotheby's, lot 41, repr. (as attributed to Girolamo Mazzola Bedoli) Related works: The Parmesan drawing in the Albertina at Vienna (inv. N° 17661) The Parmesan fresco, south wall in Santa Maria della Steccata, Parma Bibliography: J. Stock, Il valore dei disegni antichi. Turin, s.d., p. 133, repr. Figure de cariatide Sanguine. Au verso : « F51 » Attribuito a Girolamo MAZZOLA BEDOLI Una canefora. Sanguigna 20,9 x 10,5 cm Provenance : - Ancienne collection Giuseppe Vallardi, son cachet en bas à gauche (L.1223) - Vente, Milan, 30 novembre 1982, Finarte, Disegni dal XVI al XIX secolo, Lot 62, repr. p. 21 (comme Girolamo Mazzola Bedoli) - Vente Londres, 8 juillet 1987, Sotheby's, lot 41, repr. (comme attribué à Girolamo Mazzola Bedoli) OEuvres en rapport : Le dessin de Parmesan conservé à l'Albertina à Vienne (inv. N° 17661) La fresque de Parmesan, mur sud à Santa Maria della Steccata, Parme Bibliographie : J. Stock, Il valore dei disegni antichi. Turin, s.d., p. 133, répr.
Pierre Bergé & Associés
Nov. 03, 2021
GIROLAMO MAZZOLA BEDOLI (ATTRIBUTED TO) (Parma circa 1500-1569 Parma) Seated Virgin and Child.
Est: $7,000 - $10,000
GIROLAMO MAZZOLA BEDOLI (ATTRIBUTED TO) (Parma circa 1500-1569 Parma) Seated Virgin and Child. Pen and brown ink and gray wash with white heightening on bluish gray laid paper. 208x153 mm; 8 1/4x6 1/4 inches. Provenance: William Sharp (Lugt 2650, on the mount verso); Lord St. Helms; Sotheby's, London, July 6, 2005, lot 108. Published: M. di Giampaolo, Girolamo Bedoli 1500-1569, Florence, 1997, number 5. According to Giampaolo, the original attribution for this drawing to Bedoli was made by Philip Pouncey, who noted the original pen and ink and wash drawing by Bedoli with the white gouache highlights added later, possibly by a student of Bedoli, and dated the drawing to around 1540 (see A. E. Popham and M. di Giampaolo, Disegni di Girolamo Bedoli, Viadana, 1971, page 49, figure 35). Bedoli was a native of Parma in a family that came from Viadana in Lombardy. He was a near contemporary of Parmigianino (1503-1540), and after the early death of the latter master, he completed some frescoes initially commissioned from Parmigianino, including works in the apse of Santa Maria della Steccata in Parma. He is known to have worked in the studio of the Parmigianino's uncles in Parma and he married the daughter of Pier Ilaro Mazzola, a cousin of Parmigianino, hence he added to his name the better known Mazzola appellation.
Swann Auction Galleries
Oct. 16, 2021
Mazzola, Girolamo Francesco Maria, gen. Parmigianino, nach
Est: €140 - €200
(1505 - 1540). Schwur des Helden beim heiligen Altarfeuer. Radierung und Aquatinta von Josef Schmidt. Ende 18./Anf. 19. Jhd. Ca. 16 x 10 cm. Blgr. ca. 37 x 31 cm. Leicht braunfleckig. Unter Passep. ╔Dabei╗: Der Schwätzer. Moralisierende Berufsdarstellung. - Gabriel Spitzel. Schabkunst. 18. Jhdt. Plgr. 23,5 x 17,8 cm. Unter Passep. - Der Nachtwächter mti Horn und Rakete. Jacob Gole nach Coenelius Dusart. Ende 17./Anf. 18. Jhdt. Schabkunst. Ca. 24,5 x 17,7 cm. Stark über den Plattenrand beschn. Unter Passep. R
Kiefer Buch- und Kunstauktionen
Oct. 15, 2020
Girolamo Mazzola Bedoli (Parma c. 1505-1569) - The Penitent Saint Jerome
Est: $100,000 - $150,000
Girolamo Mazzola Bedoli (Parma c. 1505-1569) The Penitent Saint Jerome oil on panel 19 5/8 x 16 ½ in. (50.7 x 41.9 cm.)
Christie's
Jul. 02, 2020
Girolamo Mazzola Bedoli, um 1500 – 1569, zug.
Est: €30,000 - €40,000
DIE HEILIGE FAMILIE MIT DER HEILIGEN KATHARINA Öl auf Nadelholz. 63,5 x 53 cm. Ungerahmt, ca. 1 cm breite Ansatzleiste oben. Beigegeben in Kopie eine Expertise von Emilio Negro sowie von Dr. D. Stephen Pepper, welcher das Gemälde dem genannten Künstler zuschreibt. Die Werke Mazzolas und dessen Werkstatt werden der reifen Stufe des Manierismus zugeschrieben. Demgemäß finden wir auch im vorliegendem Gemälde alle typischen Merkmale dieses Stils. Zunächst ist es die „aus sich selbst leuchtende Farbe“, wie hier etwa das Hellrot im Kleid der Maria, das dem Türkisgrün des Manteltuches farbkomplementär entgegengesetzt ist. Zum anderen ist es die „Figura serpentinata“ genannte Komposition der Figur selbst, deren Oberkörper leicht nach links geneigt dargestellt ist, während der Kopf betont nach rechts gewandt wird. Ähnlich ist auch das Kind in leichter Drehung gezeigt. Als ein stilistisches Erbe des Parmigianino, dessen Fresken Mazzola nach 1540 vollendet hat, ist der jeweils elegant leicht überlängte Hals der Frauengestalten zu sehen. Trotz der Leuchtkraft des Kleides dominiert jedoch die Hauptfigur, das Jesuskind, von diesem Hellrot bedeutungsgebend hinterfangen. Das Knäblein ist auch die einzige Figur, die mit dem Betrachter mit großen Augen Blickkontakt aufnimmt, während es in der rechten, der Mutter entgegengehaltenen Hand ein Vöglein hält. Maria ist in Halbfigur gezeigt, zu beiden Seiten erscheinen hinter ihren Schultern die Begleitfiguren in Halbbildnissen, der Heilige Josef mit Stab, sowie die Heilige Katharina, deren Benennung aus der Besitzertradition hervorgeht; ein hinweisendes Attribut fehlt, sieht man von dem roten, ihre adelige Herkunft andeutenden Haarband ab. Die Frisuren sind in höfischer Weise hochgebunden und gelockt. Die Anmut der weiblichen Gesichter mit leicht geneigten Häuptern, geschlossenen, aber kräftigen Lippen ist ganz offensichtlich auch ein Stilelement der Schule von Parma. Hinzu kommt der Gesichtstyp mit leicht „züchtig“, wie ebenso nachdenklich halbgesenkten Augenlidern. Die genannten Stilmerkmale finden wir in der Malerei Mazzolas bei den meisten seiner Werke. Da wären etwa zu nennen: die „Verkündigung“ (Gwynne Andrews Fund, James S. Deely Gift), die „Mystische Vermählung der Heiligen Katharina mit dem Heiligen Johannes Ev.“ (Parma), oder auch die „Jungfrau mit dem Kind in Landschaft“ (Fogg-Museum Massachusetts, Cambridge). A. R. (1230851) (3) (11) Girolamo Mazzola Bedoli, ca. 1500 – 1569, attributed THE HOLY FAMILY WITH SAINT CATHERINE Oil on softwood. 63.5 x 53 cm. Unframed, ca. 1 cm wide slat attached to the top. Accompanied by a copy of the expert’s report by Emilio Negro and by an expert's report by Dr. D. Stephen Pepper, who is attributing the painting to the artist. Similar stylistic features can be found in most of Mazzola’s paintings, such as “The Annunciation” (Gwynne Andrews Fund, James S. Deely Gift), “The Mystic Marriage of Saint Catherine with Saint John the Evangelist” (Parma), or also the “The Virgin and Child in a Landscape” (Fogg-Museum Massachusetts, Cambridge).
Hampel Fine Art Auctions
Jun. 02, 2020
Attributed to Girolamo Mazzola Bedoli (Viadana, 1500 - Parma, 1569) "The Madonna and Child"
Est: €1,500 - €1,800
"The Madonna and Child" Oil on copper Study of Elisabetta Fadda included 24,5 x 19,5 cm
Goya Subastas
Jan. 28, 2020
Girolamo Mazzola Bedoli (Parma ca. 1505-1569) - The death of Lucretia
Est: $7,000 - $10,000
Girolamo Mazzola Bedoli (Parma ca. 1505-1569) The death of Lucretia black chalk, pen and brown ink, brown wash heightened with white 11 ¼ x 7 ¾ in. (28.7 x 19.7 cm)
Christie's
Jan. 30, 2019
GIROLAMO MAZZOLA BEDOLI | Portrait of a gentleman
Est: $200,000 - $300,000
oil on canvas
Sotheby's
Jan. 30, 2019
GIROLAMO FRANCESCO MARIA MAZZOLA, CALLED PARMIGIANINO | Recto: The Baptism of Christ Verso: Study of Sarcophagi
Est: $12,000 - $18,000
Red chalk ( recto and verso)
Sotheby's
Jan. 31, 2018
GIROLAMO FRANCESCO MARIA MAZZOLA, CALLED PARMIGIANINO | Recto: Studies of Shepherds for an Adoration; Verso: Two Putti Among Foliage
Est: $300,000 - $500,000
Pen and brown ink and wash ( recto and verso), with corrections in white heightening ( recto); On the verso traces of an indecipherable black chalk sketch under the putti; made up along the left edge, bottom and corners
Sotheby's
Nov. 15, 2017
Girolamo Mazzola Bedoli (1500-1569) attribuito a, Studio di Angeli
Est: €750 - €900
penna e biacca e acquerello bruno su carta, mm 144x263
Cambi Casa d'Aste
Jul. 05, 2017
Girolamo Mazzola Bedoli (Parma circa - The Virgin Mary with the Christ Child with a monk behind
Est: £12,000 - £18,000
Girolamo Mazzola Bedoli (Parma circa The Virgin Mary with the Christ Child with a monk behind red chalk 7 7/8 x 6 7/8 in. (19.9 x 15.7 cm.)
Christie's
Jul. 05, 2017
CIRCLE OF GIROLAMO MAZZOLA, CALLED BEDOLI (PARMA 1500-1569) Portrait of a soldier, fu
Est: £10,000 - £15,000
CIRCLE OF GIROLAMO MAZZOLA, CALLED BEDOLI (PARMA 1500-1569) Portrait of a soldier, full-length, standing in armour, with a dog oil on canvas 196.5 x 120cm (77 3/8 x 47 1/4in).
Bonhams
Sep. 28, 2016
Girolamo Mazzola Bedoli (attr.), 1530-1535 ca., Madonna con il Bambino e san Giovannino
Est: €5,000 - €10,000
Olio su tela, 31 x 21,5 cm. Anche se privo della figura di san Giuseppe leggente nel paesaggio sulla destra, il quadro costituisce una replica della Sacra famiglia con san Giovannino del Parmigianino, conservata nel Museo di Capodimonte a Napoli e databile al soggiorno bolognese del maestro (1527-1530). Ascrivibile a Girolamo Mazzola Bedoli (1500 ca.-1569), allievo e cugino acquisito del Parmigianino, l’opera va datata intorno al 1530-1535, in prossimità della Sacra famiglia con san Giovannino e angeli dell’Accademia di Belle arti a Napoli, della Sacra famiglia con san Francesco dello Szépmüvészeti Múzeum a Budapest e della Madonna con il Bambino, san Giovannino e la Maddalena del Sudely Castle in Gran Bretagna, dipinti con cui condivide la tipologia del panneggio, il tenue cromatismo e la resa del volto della Vergine.
Ansuini 1860 Auctions
Jan. 28, 2016
GIROLAMO MAZZOLA BEDOLI | Portrait of a lady, bust length, in a black gown and linen partlet
Est: $250,000 - $350,000
oil on panel
Sotheby's
Nov. 05, 2014
Attribué à Girolamo Mazzola BEDOLI (Parme 1500-1569) Vierge à l’enfant Plume et encre brune sur traits de crayon noir, lavis brun et...
Est: €8,000 - €10,000
Attribué à Girolamo Mazzola BEDOLI (Parme 1500-1569) Vierge à l’enfant Plume et encre brune sur traits de crayon noir, lavis brun et rehauts de gouache blanche 17 x 15,5cm Déchirures, mouillures, doublé
Tajan
Dec. 12, 2013
Maler der italienischen Schule aus dem Nachfolgekreis von Girolamo Mazzola Bedoli, um 1500 - 1569 Parma
Est: €14,000 - €18,000
MYTHOLOGISCHE SZENE Öl auf Holz. 46 x 64 cm. Verso alter Aufkleber in holländischer Sprache mit mehrzeiliger handschriftlicher Aufschrift und Nennung des Herkules als Figur des Dargestellten. In einem reich geschnitzten Hochrenaissance-Rahmen in Vergoldung. Die Darstellung zeigt eine nächtliche Kahnfahrt eines kräftigen Mannes, der eine junge Frau offensichtlich entführt. Der Mann legt sich kräftig in die Ruder, gehalten von einem Jüngling, der ihn am Hals umfängt. Beide Hauptgestalten blicken dem Betrachter entgegen. Möglicherweise eine nicht näher geklärte Szene aus der mythologischen Sagenwelt des Herkules. (952434) Painter of the Italian School in the succession/ circle of Girolamo Mazzola Bedoli, circa 1500 - 1569 Parma MYTHOLOGICAL SCENE Oil on panel. 46 x 64 cm.
Hampel Fine Art Auctions
Mar. 21, 2013
SEGUIDOR DE GIROLAMO MAZZOLA BEDOLI ("Virgen con
Est: - €10,000
SEGUIDOR DE GIROLAMO MAZZOLA BEDOLI ("Virgen con Niño y San Juanito". O/...)
Duran Arte y Subastas
Jan. 28, 2010
GIROLAMO MAZZOLA BEDOLI
Est: $100,000 - $150,000
INFANT CHRIST WITH THE INFANT SAINT JOHN THE BAPTIST
Sotheby's
Dec. 02, 2008
Girolamo Mazzola il Parmigianino Italien
Est: kr20,000 - kr25,000
Girolamo Mazzola il Parmigianino Italien 1503-1540. Efter. Omkring år 1600. Madonnan med barnet och helgon. Olja på kopparpannå, 50 x 33,5. Obetydliga retuscher.
Auktionskammare Uppsala
Nov. 17, 2008
Girolamo Mazzola Bedoli , Viadana c.1510-c.1569 Parma Ritratto di bambina in abito rosa (Ritratto di Anna Eleonora Sanvitale?) olio su tela
Est: €30,000 - €40,000
numeri di inventario sul retro del telaio: 246 Inv. N. 6 ; 544 Inv. N. 4 olio su tela
Sotheby's
Dec. 16, 2005
Attribué à Girolamo Mazzola Bedoli (1500-1569)
Est: €1,500 - €2,000
Vénus désarmant l'Amour, d'après Parmigianino craie rouge 194 x 147 mm.
Christie's
Jul. 08, 2005
Girolamo Mazzola Bedoli (Viadana c. 1505-c. 1569/70 Parma)
Est: £300,000 - £500,000
Portrait of a philosopher, half-length, seated, in a black cloak and satin jacket and a white shirt, his hand resting on an hour glass sitting on a book, a trunk beneath oil on canvas 35 x 26 3/8 in. (88.8 x 66.9 cm.)
Christie's
Jul. 06, 2005
f - GIROLAMO MAZZOLA BEDOLI VIADANA C.1510-C.1569 PARMA MADONNA AND CHILD
Est: £25,000 - £35,000
pen and brown ink and grey wash heightened with white, on paper washed light grey PROVENANCE W. Sharp (L.2650); Lord St. Helens; Mrs M. Edwards; By whom sold, London, Christie's, 4 July 1972, lot 169, bt. by Wallis; De Giovanni Collection EXHIBITED London, Istituto Italiano di Cultura, Disegni e Dipinti dal Cinquecento all' Ottocento, 1995, pp. 24-5, cat. no. 5, reproduced LITERATURE AND REFERENCES Mario di Giampaolo, Girolamo Mazzola Bedoli, Florence 1997, p. 183, cat. no. 102, illustration 184 and p. 169, under cat. no. 81 CATALOGUE NOTE Mario di Giampaolo (loc.cit.) writes that this drawing was brought to his attention by Philip Pouncey, who first made the attribution to Bedoli. He dates it in the 1540s and compares it stylistically to two other drawings of the same period: The Mystic Marriage of St. Catherine, sold in these Rooms, 1 July 1971, lot 193; and the Madonna and Child with St. John the Baptist, in the Royal Institute of Cornwall, Truro (see Literature, nos. 81 and 131, both reproduced).
Sotheby's
Apr. 20, 2005
Attributed to Girolamo Mazzola Bedoli (Parma 1500-1569)
Est: -
Head of a young woman with indistinct inscription (lower centre) black chalk on discoloured blue paper 170 x 130mm
Bonhams
Jan. 22, 2004
Girolamo Mazzola Bedoli (Parma 1500-1569)
Est: $30,000 - $50,000
Saint Alexander filling a censer held by an angel black chalk, pen and brown ink, brown wash heightened with white on light brown paper 8 x 5 1/2 in. (206 x 141 mm.)
Christie's
Jul. 10, 2002
Girolamo Mazzola Bedoli (Viadana c.1505-c. 1569/70)
Est: $109,200 - $156,000
The Madonna and Child with Saint Joseph oil on panel 93/4 x 11 3/8 in. (24.7 x 29 cm.) PROVENANCE Sir Abraham Hume, Bt., by 1824, and by descent through his daughter Sophia (d. 1814), wife of John, 2nd Baron and 1st Earl Brownlow, to their grandson Adelbert Wellington, 3rd Earl Brownlow, Ashridge Park, Buckinghamshire; Christie's LITERATURE Sir Abraham Hume, A Descriptive Catalogue of a Collection of Pictures, comprehending specimens of all the various schools of painting: belonging to..........., 2nd edn., London, 1824, no. 57, as Parmigian[in]o, 'When painting this little picture he seems to have had Correggio in his eye, as may be observed in the Virgin and Child, which are beautifully composed, and drawn with grace and elegance. The Joseph sitting in the distance is entirely in Parmigiano's own manner.' NOTES The traditional attribution to Parmigianino notwithstanding, this is a relatively early work by his kinsman and pupil Bedoli, as David Ekserdjian, after inspection, and Ann Milstein Guit‚, on the basis of a transparency, confirm. Sir Abraham Hume, with characteristic perspicacity, recognised that while the main group clearly emulates Correggio, the Saint Joseph is altogether Parmigianinesque, as is the delicate landscape. Ann Milstein Guit‚ considers that this is of circa 1530, while David Ekserdjian advanced a date of circa 1535-7. A comparison may be made with the small Correggiesque Madonna and Child in the Fogg Art Museum, Cambridge, Mass. (A.R. Milstein, The Paintings of Giralomo Mazzolo Bedoli, New York and London, 1978, fig. 26): in both, as in a number of other relatively early works the artist's design seems to extend beyond the limitations of his panel. An old copy was in the Northwick Park collection ( Catalogue of the Collection of Pictures at Northwick Park, London, 1921, no. 56, as School of Parmigianino). The picture will be discussed in a forthcoming lecture by David Ekserdjian. SALESROOM NOTICE We are grateful to Dr. Mario Di Giampaolo for confirming the attribution on the basis of a transparency.
Christie's
Jan. 23, 2002
Girolamo Bedoli (1500-1569)
Est: $40,000 - $60,000
Adam holding an apple, seated, in a medallion; and Aaron looking up, seated, in a medallion black chalk, pen and brown ink, brown wash heightened with white, squared in black chalk (2) 12 7/8 x 4 3/8 in. (326 x 112 mm.) and 13 1/8 x 41/2 in. (333 x 114 mm.) PROVENANCE A. Rutgers, his inscriptions 'Franco Parmigo: 1536.' (1) and 'Franco Parmigiano f t 1536-' (2). H.A.R. Munro of Novar G.A. Watson. H.E. Neville Clark. with W.R. Jeudwine. Peter Josten, New York. LITERATURE L. Fr”hlich-Bum, 'Five Unpublished Drawings by Parmigianino', Pantheon, 1960, 18, 5, pp. 239-41, illustrated (as Parmigianino). M. Di Giampaolo, Girolamo Bedoli, Florence, 1997, nos. 140-1 (as Attributed to Bedoli). EXHIBITION New York, Master Drawings in Private Collections, 1962, nos. 15-6 (as Parmigianino). New York, The Metropolitan Museum of Art, Sixteenth-Century Italian Drawings in New York Collections, 1994, nos. 9a-b (entry by Linda Wolk-Simon). NOTES The attribution of the drawings to Bedoli was kindly confirmed by Mario Di Giampaolo on the basis of transparencies. These two drawings record Parmigianino grisaille compositions on the east vault of the Church of Santa Maria della Steccata, in Parma. These two drawings were previously attributed to Parmigianino and Linda Wolk-Simon was the first to re-attribute them to Girolamo Bedoli, Parmigianino's cousin. Dr. Wolk-Simon compared the style of the drawings to Bedoli's Meeting at the Golden Gate in the Art Institute of Chicago and the two walking figures at Christ Church, Oxford (M. Di Giampaolo, op. cit., nos. 67 and 107). The drawings were probably executed during the years 1547-1553, when Bedoli was decorating the northern apse of the Steccata with frescoes of the Pentecost and The Adoration of the Shepherds (M. Di Giampaolo, op. cit., nos. 27 and 36). In each of these frescoes he introduced two medallions in grisaille with Old Testament figures, rather similar in composition to these two drawings, and certainly inspired by the frescoes of his cousin on the opposite side of the church.
Christie's