Luigi Bienaimé Paintings & Artwork for Sale | Luigi Bienaimé Art Value Price Guide

Nov. 21, 2024
LUIGI BIENAIMÉ (1795-1878), ROME, 1846. Bacchante dansante. H. marbre : 147
Est: €80,000 - €120,000
LUIGI BIENAIMÉ (1795-1878), ROME, 1846. Bacchante dansante. H. marbre : 147 cm (58 in.), H. base : 63 cm.
Christie's
May. 30, 2024
Luigi Bienaime (Italian, 1795-1878) Carrara Marble Sculpture of Young Boy
Est: $1,500 - $2,500
Inscribed 'L. Bienaime, Sculptor Carrara'.
Cottone Auctions
Oct. 24, 2023
Louis Bienaimé Bust of a Gentleman with Moustache
Est: €3,500 - €7,000
Luigi Bienaimé Carrara 1795-Roma 1878 Bust of a Gentleman with Moustache; signed on the back white marble height 67 cm
Casa d'aste ARCADIA
Jul. 12, 2023
The Guardian Angel
Est: £20,000 - £30,000
Workshop of Luigi Bienaimé Italian 1795 - 1878 The Guardian Angel white marble 88.5cm., 34 7/8 in.
Sotheby's
Jun. 07, 2023
LUIGI BIENAIME (1795-1875), 1835 Il principe e la principessa di Wurttember
Est: €12,000 - €18,000
LUIGI BIENAIME (1795-1875), 1835 Il principe e la principessa di Wurttemberg marmo il principe: 52 cm. (altezza); 65 cm. (altezza, totale) la principessa: 57 cm. (altezza); 69.5 cm. (altezza, totale) (2)
Christie's
Dec. 13, 2022
Eros e Anteros. Rilievo in marmo bianco. Firmato Bienaimé. Probabilmente Luigi Bienaimé (Carrara 1795-1878)
Est: €10,000 - €15,000
.
Cambi Casa d'Aste
Nov. 29, 2022
BUSTO MASCHILE IN MARMO
Est: €10,000 - €14,000
Busto maschile in marmo Luigi Bienaimé (Carrara 1795 - Roma 1878) attribuito h 61 cm Lo splendido busto di Luigi Bienaimé trova un ottimo supporto attributivo con il Ritratto pubblicato a pagina 156, figura 229, del Dizionario degli Scultori Italiani dell'Ottocento e Primo Novecento a cura di Alfonso Panzetta. A male bust in marble Luigi Bienaimé (Carrara 1795 - Rome 1878) attributed h 61cm The splendid bust of Luigi Bienaimé published an excellent attributive support with the Portrait on page 156, figure 229, of the Dictionary of Italian Scultori of the 19th and Early 20th Century edited by Alfonso Panzetta.
Lucas Aste
Jul. 12, 2022
LUIGI BIENAIME (Italian, 1795-1878) MARBLE BUST
Est: $300 - $1,000
ATTRIBUTED TO LUIGI BIENAIME (Italian, 1795-1878) MARBLE BUST, SIGNED TO BACK. MEASURES 24" HEIGHT BY 11" WIDTH.
Elite Auctioneers, LLC
Nov. 09, 2021
Luigi BIENAIMÉ Carrare, 1795 - Rome, 1878 Portrait présumé d'Anthony Sampayo (1795-1844), vers 1833 Buste en marbre blanc
Est: €3,000 - €4,000
Luigi BIENAIMÉ Carrare, 1795 - Rome, 1878 Portrait présumé d'Anthony Sampayo (1795-1844), vers 1833 Buste en marbre blanc Signé 'L. BIENAIME F.' et titré 'SAMPAYO' au revers Hauteur : 71 cm Presumed portrait of Anthony Sampayo, white marble, signed, by L. Bienaimé H. 27,95 in. Bibliographie : en rapport : Léon Séché, 'Muses romantiques. Hortense Allart de méritens, dans ses rapports avec Chateaubriand, Béranger, Lamennais, Sainte-Beuve, G. Sand, Mme D'Agoult', Paris, 1898 'Nouvelles lettres à Sainte-Beuve, 1832-1864 : les lettres de la collection Lovenjoul', Paris, 1965, p.52, note 5 Jorgen Birkedal Hartmann, "La triade italiana del Thorvaldsen. Alcune considerazioni su temi mitologici e cristiani ", in 'Antologia di Belle Arti', 1984, n° 23-24, p. 90-115 'Bertel Thorvaldsen 1770-1844, scultore danese a Roma', cat. exp. Rome, Galleria Nazionale d'Arte Moderna, 1989, - 1990, p.17, 20, 23, 101-102, 111, 113, 124, 129, 313, 331 Commentaire : " Religieux, prélat, poète ensemble, sévère et satyrique, il réunissait des qualités, frappantes et opposées ", tels sont les mots avec lesquels l'écrivain Hortense Allart décrit son premier amant Anthony Sampayo dans son roman publié grâce à Chateaubriand dans les années 1830. Opposés sont aussi ce portrait à l'Antique, figé dans le marbre, pétri d'un esprit néoclassique pur et sévère et la vie tumultueuse de ce fils d'ancien consul général de Portugal en Angleterre. Né à Cork en 1785, notre homme, fervent catholique, a non seulement été l'époux de Blanche Liévine Sophie Buffault, nièce de la célèbre Laure Guesnon de Bonneuil, comtesse Regnault de Saint-Jean d'Angély, mais aussi le premier amant et le héros du deuxième roman de Hortense Allart, grande femme de lettres de la veine romantique. Il rencontre son épouse puis sa maîtresse à l'abbaye de Val qui n'est autre que la demeure de la comtesse. " Ma jeunesse a été formée par Sampayo, un grand esprit, au dire de ceux qui l'ont connu, mais un esprit dédaigneux qui, à part la politique et le sublime, ne voyait rien. " écrit Hortense à son ami intime, l'écrivain Sainte-Beuve des années plus tard. Quittant la France et son amant alors qu'elle est enceinte quelques mois après leur rencontre, cette jeune femme libre et passionnée gardera toute sa vie une admiration sans faille pour cet aristocrate délicat. Sampayo a très certainement été familiarisé au " Sublime " de l'art grâce aux liens qui l'unissaient aux Saint Jean d'Angely, eux même proches de la famille impériale, amateurs d'art, collectionneurs, et même bienfaiteurs du sculpteur Bartolini. Lors d'un séjour à Rome, Sampayo rencontre le célèbre sculpteur danois Thorvaldsen en 1833 à qui il commande pour son frère un 'Amour'. Les archives Thovaldsen (m18 1833, nr. 116) mentionnent également plusieurs autres œuvres commandées à " son élève et ami Mr. Bienaimé ", un " saint Jean ", et un "premier buste". Les archives sont lacunaires et nous n'avons pas trouvé mention du " deuxième buste " qui permettrait de déterminer si notre portrait est précisément celui d'Anthony ou de son frère. Cette information dans les archives met en exergue les liens étroits qui unissent le célèbre sculpteur danois, chef de fil du néoclassicisme à Rome avec Luigi Bienaimé. Né à Carrare, Bienaimé commence en tant qu'élève puis devient le chef de l'atelier de Thorvaldsen. Ce dernier l'encourage aussi à exercer son art de manière indépendante, comme en témoigne notre commande réalisée probablement vers 1833 avant la mort du sculpteur danois (1844). Ils partagent alors les mêmes commanditaires, ici le comte de Sampayo, mais aussi le duc de Devonshire (copies d'antiques pour le jardin de Chatsworth House), le tsar Nicolas Ier ('Portrait du Tsar', 1846, marbre, Saint-Pétersbourg, musée de l'Ermitage, n°inv. ?.??-1363) ou encore le prince Alessandro Torlonia ('Vénus', 1842, Rome, Palazzo Corsini). Ce rare portrait identifié de l'artiste Bienaimé témoigne de l'empreinte de son maître Thorvaldsen par la synthèse, l'épure et la force froide de ce buste à l'antique. Estimation 3 000 - 4 000 €
Artcurial
Sep. 14, 2019
Luigi Bienaime (Italian, 1795-1878)
Est: $15,000 - $25,000
Luigi Bienaime (Italian, 1795-1878) , "Psyche", 1843, marble, signed, dated and inscribed "F. Roma", h. 54 in . Provenance: Oaklawn Manor, Franklin, LA; Estates of George and Mary Beth Thomson, Franklin, LA
Neal Auction Company
Jun. 25, 2019
Luigi Bienaimé
Est: €2,000 - €3,000
Luigi Bienaimé, A pair of italian white marble putti's busts depicting The Allegory of Spring and The Allegory of Autumn resting on a circular green cipollino base signed Bienaime Paris, Carrara 1795 - Roma 1878
Colasanti Casa d'Aste
Dec. 08, 2018
Luigi Bienaimé (Carrara, 4. März 1795 -Florenz, 17. April 1878), Bozetto zu Liegende Bacchantin, 1837/38, Terracotta. Mit Überfang. Auf profiliertem und vergoldetem Holzsockel. L = 24 cm.
Est: CHF800 - CHF1,200
Luigi Bienaimé (Carrara, 4. März 1795 -Florenz, 17. April 1878), Bozetto zu Liegende Bacchantin, 1837/38, Terracotta. Mit Überfang. Auf profiliertem und vergoldetem Holzsockel. L = 24 cm.
Stuker
Dec. 13, 2017
LUIGI BIENAIMÉ | L'Amor Divino (Divine Love)
Est: £20,000 - £30,000
white marble
Sotheby's
Apr. 19, 2013
LUIGI BIENAIME
Est: $7,000 - $10,000
ITALIAN 1795 - 1878 A YOUNG GIRL WITH LILIES AND A BUTTERFLY signed Prof. R. H. Park Sculp. 1879 white Carrara marble height 49 in. 124.5 cm
Sotheby's
Jul. 03, 2012
LUIGI BIENAIMÉ (1795-1878),ITALIAN, 1835
Est: £70,000 - £100,000
PROPERTY OF AN ENGLISH PRIVATE COLLECTOR TELEMACHUS ARMING signed: L. BIENAIMÉ. F. and dated: ROMA. 1835. white marble 193cm., 76in.
Sotheby's
Dec. 07, 2010
Attributed to Luigi Bienaimé, Italian (1795-1878) An early 19th century carved Carrara marble bust of a girl on a Blue John veneered plinth
Est: £4,000 - £6,000
depicted all'antica, her hair in tight curls to the front and in an elaborate coiffure to the back, raised on a stepped plinth base of Blue John, white marble and black slate, 52cm high
Bonhams
Sep. 08, 2010
A marble standing figure of a classical youth
Est: £2,000 - £3,000
After Luigi Bienaime (Italian, 1795-1878), A marble standing figure of a classical youth, on naturalistic base, 24ins
Gorringes
Dec. 02, 2008
- Luigi Bienaimé (1795-1878) Italian, 19th century , bust of Christian Friedrich Samuel Hahnemann (1755 1843) white marble
Est: £15,000 - £20,000
signed and dated: L. Bienaimé f. Roma 1821 white marble
Sotheby's
Apr. 20, 2005
LUIGI BIENAIMÉ ITALIAN, 1795-1878 THE INFANT ST. JOHN THE BAPTIST
Est: £12,000 - £18,000
the banner inscribed: AGNUS. DEI white marble CATALOGUE NOTE Although unsigned, this is a very fine quality carving of Bienaimé's well-known Infant St. John the Baptist. Another example, dated 1836, is in the Metropolitan Museum, New York, and a third version dated three years earlier appeared in these rooms as lot 62, 12 May 1995. Bienaimé is best known as one of the most dedicated of Throvaldsen's assistants. His style was fundamentally influenced by the great Danish sculptor, but achieved a marked individuality by a certain degree of eclecticism. While Thorvaldsen's relief of the Madonna and Child with the Infant St. John, excecuted as part of a baptismal font in 1805-7, seems to be the starting point for Bienaimé's Infant St. John, one of the most striking sources for this figure is Michelangelo's masterpiece, The Risen Christ, 1519-20, in Santa Maria Sopra Minerva, Rome. Both works show a standing figure in contraposto and supporting a crucifix. Bienaimé in no way emulates Michelangelo's complex pose or wonderful anatomical treatment, but the slight twist to his figure and the fluid handling of the fleece do suggest that he was aware of this famous late Renaissance sculpture. RELATED LITERATURE Hubert, p.456; Hartmann, pp.99-108
Sotheby's
Jul. 09, 2004
LUIGI BIENAIMÉ ITALIAN, 1795-1878
Est: £10,000 - £15,000
signed and dated: L. BIENAIMÉ / F. / 1833 white marble
Sotheby's
May. 20, 1994
BERTEL THORWALDSEN (DANISH, 1770-1844) AND LUIGI BIENAIME (ITALIAN, 1795-1878)
Est: -
W.J. LYSLEY AND CAROLINE LYSLEY, A PAIR OF BUSTS Each inscribed with the name of the sitter, dated and signed Roma 1829 A. Thorwaldsen. L. Bienaime F. White marble, on socles 73 cm (28 1/2 in) (2) Provenance: Baldwin-Wallace College, Berea, Ohio, 1907 William John Lysley (1792-1873), the only son of William Lysley (d.1792), became a barrister in 1825. In 1829 he married and went on the Grand Tour with his bride. He was made sheriff of Hertfordshire in 1851 and the Member of Parliament for Chippenham eight years later. A Fellow of the Society of Antiquaries of London, he died at St. Leonards-on-Sea, East Sussex. While visiting Rome, William Lysley commissioned portraits of himself and his wife from Thorvaldsen's highly respected studio. The studios of the leading sculptors in Rome were large, traditional workshops. In addition to the numerous routine carvers, technicians and aspiring students, the Master relied on a few established sculptors to assist in the important final stages of a commission and to take charge of the practical management of the workforce. Thorvaldsen was aided in this capacity by three sculptors: Pietro Tenerani, Pietro Galli and Luigi Bienaime. Bienaime went to Rome in 1818 on a scholarship from the Accademia di Belle Arti in Carrara. He immediately entered Thorvaldsen's studio where his technical competence and total adherence to his master's style took him to the top of the studio hierarchy within nine years. Bienaime worked for Thorvaldsen for two decades. After the Danish sculptor's death in 1844, he inherited the unfinished commissions and the running of the workshop. From 1820 Bienaime executed sculptures in his own right, with St John the Baptist, (1820, Metropolitan Museum, New York) The Guardian Angel and Innocence amongst his best known works. Bienaime's busts of Mr and Mrs Lysley show that by 1829 Thorvaldsen was entrusting him with entire commissions and allowing their names to stand side by side. Thorvaldsen made over 178 busts and it is clear that he found this task increasingly onorous. "Again and again we find him complaining that his busts occupied too much of his time and took him away from what he considered his proper task, namely to create statues and reliefs. As he gradually became financially independent of the orders for portraits, he declined many, and from the 1820's, the period of his greatest monuments, the number of portrait busts he made dwindled rapidly.' (E. Kai Sass, op.cit.) Comparison of Bienaime's busts of the Lysleys with Thorvaldsen's busts of John Campbell, Lord and Lady Glenorchy of the same period, illustrates how closely the former has adhered to his master's style. Indeed Bienaime, perhaps with more time and enthusiasm, has made the bust of Mrs Lysley more elaborate than is common in Thorvaldsen's manner. Comparative Literature: E. Kai Sass, Thorvaldsens Portraetbuster, vol. III, p.7 Copenhagen, 1965 J.B. Hartmann, "La Triade Italiana del Thorvaldsen, alcune considerazioni su temi mitologici e cristiani", Antologia di Belle Arti, Nuova Serie NN.34-24, 1984, pp90-115.
Sotheby's