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Vincenzo Campi Sold at Auction Prices

Painter, Engraver, b. 1536 - d. 1591

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        • Vincenzo Campi (Cremona 1536 - Cremona 1591) bottega/allievo di
          Feb. 20, 2024

          Vincenzo Campi (Cremona 1536 - Cremona 1591) bottega/allievo di

          Est: €1,800 - €2,500

          Vincenzo Campi (Cremona 1536 - Cremona 1591) bottega/allievo di Venditrice di pollame Olio su tela 140,5 x 103 cm L'opera riprende in maniera parziale la tela del Campi oggi alla Pinacoteca di Brera a Milano. Le prime opere mostrano una forte drammaticità, accattivante componente per le masse dei credenti secondo dettami della controriforma. Queste prove giovanili sono documentate per la decorazione del Duomo di Cremona e della Certosa di Pavia. Operò anche a Milano, in collaborazione col fratello Antonio nella chiesa di San Paolo Converso. Per la critica e gli studi dell'arte italiana del Seicento, risulta molto interessante l'opera realizzata nel 1588, San Matteo per la chiesa di San Francesco a Pavia, in cui realismo espresso risulta una testimonianza delle basi a cui attinse la pittura di Caravaggio. La sua produzione risulta curiosamente distinta in due filoni, un primo, sopraccitato, di carattere religioso caratterizzato dal pathos emotivo e un secondo legato all'arte fiamminga, caratterizzato dalla rappresentazione di celebri scene, a volte grottesche, di popolani, con esiti analoghi a quanto realizzato dal contemporaneo Bartolomeo Passerotti e dal più giovane Annibale Carracci, autore del famoso Mangiafagioli. Vincenzo Campi (Cremona 1536 - Cremona 1591) workshop/student of Poultry Seller Oil on canvas 140,5 x 103 cm The artwork partially reproduces Campi's canvas today kept in the Pinacoteca di Brera in Milan.

          Lucas Aste
        • VINCENZO CAMPI (bottega di)
          Dec. 11, 2023

          VINCENZO CAMPI (bottega di)

          Est: €2,800 - €3,200

          (Cremona, 1536 ; 1591) Pollivendola Olio su tela, cm 140X102 Il dipinto è una versione ridotta della Pollivendola conservata alla Pinacoteca di Brera e proveniente dal convento di San Sigismondo a Cremona, che trova altresì confronto con quella del castello di Kirchheim, facente parte della serie delle cinque tele eseguite su commissione del banchiere tedesco Hans Fugger tra il 1580 e il 1581. In queste composizioni emerge la componente umoristica e 'ridicola', che Edgard Wind nel 1977 interpetrò secondo simbologie allusive all'accoppiamento sessuale. Il soggetto riscosse ampio successo in ambito cremonese, tanto che se ne registrano almeno due versioni autografe: una è nota attraverso una riproduzione fotografica conservata alla Fondazione Longhi di Firenze, mentre l'altra, attribuita erroneamente al Campi, è esposta la Museo di Olomouc nella Repubblica Ceca. Infine, nel catalogo della collezione milanese di Giuseppe Vallardi, redatto da lui stesso, compariva una tela con soggetto simile di dimensioni ridotte (102 x 112 cm circa) che venne dispersa in occasione della vendita della collezione avvenuta nel 1872.

          Wannenes Art Auctions
        • VINCENZO CAMPI (CRÉMONE 1536-1591) Portrait d'un homme avec son fils huile
          Nov. 15, 2023

          VINCENZO CAMPI (CRÉMONE 1536-1591) Portrait d'un homme avec son fils huile

          Est: €50,000 - €80,000

          VINCENZO CAMPI (CRÉMONE 1536-1591) Portrait d'un homme avec son fils huile sur toile 97 x 80,6 cm. (38 ¼ x 31 ¾ in.)

          Christie's
        • The Martyrdom of Saint Bartholomew, Cremona Italian school of the 16th century - early 17th century, surroundings of Campi, Vincenzo (1530/35 - Cremona, 1591)
          Oct. 26, 2023

          The Martyrdom of Saint Bartholomew, Cremona Italian school of the 16th century - early 17th century, surroundings of Campi, Vincenzo (1530/35 - Cremona, 1591)

          Est: €12,000 - €14,000

          With important period frame, canvas measurements: 126 x 102 cm, framed measurements: 148 x 129 cm

          Templum Fine Art Auctions
        • Important Nero Playing the Lyre before the Fire of Rome, 16th century Italian school, school of Vincenzo Campi (Cremona, 1530/1535-1591)
          Jul. 06, 2023

          Important Nero Playing the Lyre before the Fire of Rome, 16th century Italian school, school of Vincenzo Campi (Cremona, 1530/1535-1591)

          Est: €10,000 - €12,000

          Oil on canvas, canvas measures: 112 x 94 cm, framed measures: 124 x 105 cm. Origin: important Madrid private collection. Vincenzo Campi (Cremona, 1530/1535-1591). Italian painter. Belonging to a family of painters and architects, Vincenzo developed his apprenticeship in the domestic environment in Cremona. He collaborated with his brothers Giulio and Antonio and his earliest known works, dated to the 1560s, show few original details. His Pietà for the cathedral of Cremona responds to the demands that were being made from the Counter-Reformation spheres for a religious image in which expository clarity was combined with a certain sentimental and pious tone. Little by little, Vincenzo's painting became more interested in the representation of genre scenes, that portray daily life with greater naturalism. This approach to the reproduction of more realistic figures is transferred to his religious work, as shown by The Crucifixion (Prado), which it has been said was seen by the young Caravaggio. At the same time, Vincenzo knew how to incorporate into his painting the novelties that were taking place in Venetian painting, emphasizing color and chiaroscuro. In this way, he followed several parallel lines in his work. On the one hand, he continued to compose everyday scenes, occasionally including humorous themes influenced by Flemish painters such as Beuckelaer and Aertsen. In addition, he carried out, first in collaboration with his brother Antonio and later alone, perspective decorations such as those made in the frescoes of San Paolo Converso in Milan. Finally, He continued making altar paintings in which he developed a naturalism of such great intensity that it has been seen as the closest precedent to the work of Caravaggio. The Prado Museum has three works by Vincenzo Campi. Happy Table and Kitchen Still Life represent his way of approaching still life, while The Crucifixion is a sample of his religious painting. Reference bibliography: Klerck, Bram de, The Brothers Campi: Images and Devotion. Religious Painting in Sixteenth-Century Lombardy, Amsterdam, Amsterdam University Press, 1999. Happy Table and Kitchen Still Life represent his way of approaching still life, while The Crucifixion is an example of his religious painting. Reference bibliography: Klerck, Bram de, The Brothers Campi: Images and Devotion. Religious Painting in Sixteenth-Century Lombardy, Amsterdam, Amsterdam University Press, 1999. Happy Table and Kitchen Still Life represent his way of approaching still life, while The Crucifixion is an example of his religious painting. Reference bibliography: Klerck, Bram de, The Brothers Campi: Images and Devotion. Religious Painting in Sixteenth-Century Lombardy, Amsterdam, Amsterdam University Press, 1999.

          Templum Fine Art Auctions
        • CERCHIA DI VINCENZO CAMPI (CREMONA 1530/5-1591) Melone e uva in una ciotola
          Jun. 07, 2023

          CERCHIA DI VINCENZO CAMPI (CREMONA 1530/5-1591) Melone e uva in una ciotola

          Est: €5,000 - €7,000

          CERCHIA DI VINCENZO CAMPI (CREMONA 1530/5-1591) Melone e uva in una ciotola con mele e pere olio su tela 40 x 56.1 cm.

          Christie's
        • (bottega di)
          May. 13, 2023

          (bottega di)

          Est: -

          (bottega di) Il pestazucchero Olio su tela, 87x64,5 cm

          Meeting Art Casa D'Aste
        • Vincenzo Campi
          Nov. 09, 2022

          Vincenzo Campi

          Est: €40,000 - €60,000

          (Cremona 1536–1591) The Mocking of Christ, oil on canvas, 81 x 98 cm, unframed Provenance: Private European collection We are grateful to Marco Tanzi for suggesting the attribution of the present painting and for his help in cataloguing this lot. The present Mocking of Christ is, according Tanzi, one of the most significant works by the Cremonese artist, Vincenzo Campi, and it was executed during one of the most successful periods of the artist´s activity. It is a painting intended for private devotion, datable between the mid-1570s and the early 1580s. Significant comparisons can be made with the Christ Being Nailed to the Cross in the Certosa di Pavia of 1575, and with another canvas with the same subject conserved in the Prado, Madrid painted in 1577. The manner of execution and the colour palette are characteristic of Vincenzo Campi, as is the refined rendering of the different surfaces. Although Vincenzo Campi is generally regarded as a painter of genre scenes, his work also reflects the style of painting prevalent in Lombardy in the last quarter of the sixteenth century, both in his naturalistic approach, influenced by his brother Antonio, and for his interest in perspectival illusion which can be observed in his frescoed vaults in San Paolo in Converso in Milan.

          Dorotheum
        • LARGE STILL LIFE WITH CHARACTERS AROUND A TABLE, ITALIAN SCHOOL OF THE 17TH CENTURY, IN THE MANNER OF VINCENZO CAMPI (CREMONA, 1530/1535-1591)
          May. 13, 2022

          LARGE STILL LIFE WITH CHARACTERS AROUND A TABLE, ITALIAN SCHOOL OF THE 17TH CENTURY, IN THE MANNER OF VINCENZO CAMPI (CREMONA, 1530/1535-1591)

          Est: €3,000 - €4,000

          Oil on canvas, framed measurements: 190 x 164, canvas measurements: 152 x 126 cm

          Templum Fine Art Auctions
        • Vincenzo Campi, 1532/36 – 1591, Nachfolge
          Mar. 31, 2022

          Vincenzo Campi, 1532/36 – 1591, Nachfolge

          Est: €8,000 - €10,000

          KÜCHENINTERIEUR MIT FIGUREN Öl auf Leinwand. Doubliert. 146 x 215 cm. Blick in eine Küche mit zahlreichen arbeitenden Frauen und Männern mit einer großen offenen Feuerstelle im Hintergrund, einigen kupfernen Kesseln an der Wand hängend und rechtsseitig mehreren aufgestellten Zinntellern. Linksseitig zwei Männer beim Ausnehmen einer hängenden Kuh, in der Mitte eine sitzende ältere Frau und rechts von ihr zwei weitere Frauen beim Rupfen und Zerlegen von Federvieh, während in der Mitte an einem Tisch zwei Frauen gerade Teig zubereiten. Am rechten Bildrand zudem ein Mann, der das gerupfte Federvieh gerade auf einen langen Spieß aufbringt. Im Hintergrund links fällt der Blick durch eine Tür in einen Festsaal auf einen großen Tisch mit Tischdecke und rot bezogenen Stühlen, quasi als Hinweis für das in Vorbereitung befindliche Festmahl. Im Vordergrund des Bildes am Boden zudem eine Katze, die sich ein Stück Fleisch geschnappt hat und von einem kleinen weiß-braunen Hund böse angebellt wird. Am unteren linken Bildrand zudem ein Kind mit gold-blonden Haaren, das auf einem umgedrehten kupfernen Sieb sitzt und versucht bei geröteten Wangen eine Blase mit Luft zu füllen. Figurenreiche Darstellung mit vielen, teils humorigen Details. Vereinzelt Rest., teils Farbabrieb, Retuschen. (1301561) (18)

          Hampel Fine Art Auctions
        • Attributed to VICENZO CAMPI (Cremona, Italy, 1536 - 1591). "Kitchen still life". Oil on canvas. Re-coloring of the nineteenth century. It presents repainting, restorations and frame of later period. Size: 145 x 216 cm; 172 x 241 cm (frame).
          Dec. 28, 2021

          Attributed to VICENZO CAMPI (Cremona, Italy, 1536 - 1591). "Kitchen still life". Oil on canvas. Re-coloring of the nineteenth century. It presents repainting, restorations and frame of later period. Size: 145 x 216 cm; 172 x 241 cm (frame).

          Est: €22,000 - €24,000

          Attributed to VICENZO CAMPI (Cremona, Italy, 1536 - 1591). "Kitchen still life". Oil on canvas. Re-coloring of the nineteenth century. It presents repainting, restorations and frame of later period. Size: 145 x 216 cm; 172 x 241 cm (frame). In this work a scene is represented whose theme oscillates between the pictorial tradition of the genre of the still life, and the costumbrismo. The author configures a composition centered on the foreground, starring a man and a woman inserted in a large still life, which is arranged, for the most part, in the side areas of the pictorial surface. The author slightly captures the exterior, barely visible due to the amount of elements that make up the scene. By presenting the main characters in an active way, holding both birds in their hands, the author shows that the protagonists are carrying out a commercial activity. This concrete characteristic indicates that the painting is inscribed within the aesthetic current that represents customs, one of the genres that enjoyed the greatest development in the baroque school. Thus, the space is clearly defined and meticulously described, and the figures are represented at a large size: both the two people and the animals that are found throughout the composition. However, despite this aesthetic feature, the group of animals distributed throughout the surface, especially those located in the foreground, have been posed as a real independent still life. This shows how the author has combined two different themes in the same piece, making them coexist in harmony. Both for the theme and for the way of approaching it, this work can be directly related to the figure of the Italian painter Vincenzo Campi, whose realism is understood by critics as an important precedent for Caravaggio's painting. Belonging to a family of painters and architects, Vincenzo developed his apprenticeship in the domestic environment in Cremona. He collaborated with his brothers Giulio and Antonio and his earliest known works, dating from the 1560s, show few original details. Gradually, Campi's painting became more interested in the representation of genre scenes, which portray everyday life with greater naturalism. This approach to the reproduction of more realistic figures is transferred to his religious work, as evidenced by the "Crucifixion" (Prado), which has been said to have been seen by the young Caravaggio. At the same time, Vincenzo Campi knew how to incorporate into his painting the novelties that were taking place in Venetian painting, emphasizing color and chiaroscuro. In this way, he followed several parallel lines in his work. On the one hand, he continued to compose everyday scenes, sometimes including humorous themes influenced by Flemish painters such as Beuckelaer and Aertsen. In addition, he carried out decorations with marked perspectives, such as those in the frescoes of San Paolo Converso in Milan. Finally, he continued to produce altar paintings in which he developed a naturalism of such great intensity that it has been seen as the closest precedent to the work of Caravaggio. The work we present here could be included in the group of Flemish-influenced genre scenes, and in fact has very similar characteristics to those of the canvas "The Cheese Eaters", preserved in the Museum of Fine Arts in Milan. In this work we also see a composition in the foreground, with buffoonish characters placed in the foreground against a dark background. One of them, moreover, appears as here holding a ladle.

          Setdart Auction House
        • Circle of Vincenzo Campi (Cremona 1532-1591) A peasant carrying a basket of vegetables with a cook in a kitchen
          Dec. 08, 2021

          Circle of Vincenzo Campi (Cremona 1532-1591) A peasant carrying a basket of vegetables with a cook in a kitchen

          Est: £7,000 - £9,000

          Circle of Vincenzo Campi (Cremona 1532-1591) A peasant carrying a basket of vegetables with a cook in a kitchen oil on canvas 181.3 x 140.5cm (71 3/8 x 55 5/16in). For further information on this lot please visit the Bonhams website

          Bonhams
        • Circle of Vincenzo Campi (Cremona 1532-1591) A kitchen boy with a chicken and a basket, before a landscape
          Dec. 08, 2021

          Circle of Vincenzo Campi (Cremona 1532-1591) A kitchen boy with a chicken and a basket, before a landscape

          Est: £6,000 - £8,000

          Circle of Vincenzo Campi (Cremona 1532-1591) A kitchen boy with a chicken and a basket, before a landscape oil on canvas 175.4 x 125.6cm (69 1/16 x 49 7/16in). For further information on this lot please visit the Bonhams website

          Bonhams
        • Follower of VINCENZO CAMPI (Italian, 1536-1591)
          Nov. 21, 2021

          Follower of VINCENZO CAMPI (Italian, 1536-1591)

          Est: $1,500 - $2,500

          Fruit seller oil on canvas 17th/18th century, no apparent signature, framed h. 31-1/4 w. 39 in. overall: 39 x 46-1/2 in. (frame)

          Butterscotch Auction Gallery LLC
        • Attributed to VICENZO CAMPI (Cremona, Italy, 1536 - 1591). "Kitchen still life". Oil on canvas. Re-coloring of the nineteenth century.
          Jul. 14, 2021

          Attributed to VICENZO CAMPI (Cremona, Italy, 1536 - 1591). "Kitchen still life". Oil on canvas. Re-coloring of the nineteenth century.

          Est: €22,000 - €24,000

          Attributed to VICENZO CAMPI (Cremona, Italy, 1536 - 1591). "Kitchen still life". Oil on canvas. Re-coloring of the nineteenth century. It presents repainting, restorations and frame of later period. Size: 145 x 216 cm; 172 x 241 cm (frame). In this work is represented, in a composition centered in the foreground, a costumbrista scene starring a man and a woman inserted in a large still life that is arranged along the entire pictorial surface. The author picks up from outside, barely visible due to the amount of elements that make up the composition, in which a man and a woman hold birds in their hands, indicating that they are performing. The painting is part of the aesthetic current that represents the customs, one of the genres that enjoyed greater development in the baroque school. Thus, the space is clearly defined and meticulously described, and the figures are represented at a large size. Both the two people, as well as the animals that are found throughout the composition. Although competing with them in prominence is the group of animals that are distributed throughout the surface, posed as a real independent still life. This shows how the author has combined two different themes in the same piece, making them coexist in harmony. Both for the theme and the way of approaching it, this work can be directly related to the figure of the Italian painter Vincenzo Campi, whose realism is understood by critics as an important precedent for Caravaggio's painting. Belonging to a family of painters and architects, Vincenzo developed his apprenticeship in the domestic environment in Cremona. He collaborated with his brothers Giulio and Antonio and his earliest known works, dating from the 1560s, show few original details. Gradually, Campi's painting became more interested in the representation of genre scenes, which portray everyday life with greater naturalism. This approach to the reproduction of more realistic figures is transferred to his religious work, as evidenced by the "Crucifixion" (Prado), which has been said to have been seen by the young Caravaggio. At the same time, Vincenzo Campi knew how to incorporate into his painting the novelties that were taking place in Venetian painting, emphasizing color and chiaroscuro. In this way, he followed several parallel lines in his work. On the one hand, he continued to compose everyday scenes, sometimes including humorous themes influenced by Flemish painters such as Beuckelaer and Aertsen. In addition, he carried out perspectival decorations such as those in the frescoes of San Paolo Converso in Milan. Finally, he continued to produce altar paintings in which he developed a naturalism of such great intensity that it has been seen as the closest precedent to the work of Caravaggio. The work we present here could be included in the group of Flemish-influenced genre scenes, and in fact has very similar characteristics to those of the canvas "The Cheese Eaters", preserved in the Museum of Fine Arts in Milan. In this work we also see a composition in the foreground, with buffoonish characters placed in the foreground against a dark background. One of them, moreover, appears as here holding a ladle.

          Setdart Auction House
        • VINCENZO CAMPI (CREMONA 1530/5-1591) Portrait of a gentleman, half-length,
          Apr. 22, 2021

          VINCENZO CAMPI (CREMONA 1530/5-1591) Portrait of a gentleman, half-length,

          Est: $60,000 - $80,000

          VINCENZO CAMPI (CREMONA 1530/5-1591) Portrait of a gentleman, half-length, in a black doublet and cloak oil on canvas, unlined 29 ¼ x 24 3/8 in. (74.3 x 61.9 cm.)

          Christie's
        • Attributed to VICENZO CAMPI (Cremona, Italy, 1536 - 1591). "Kitchen still life". Oil on canvas. Reengineered from the 19th century. It has repaints, restorations and a frame from a later period.
          Mar. 11, 2021

          Attributed to VICENZO CAMPI (Cremona, Italy, 1536 - 1591). "Kitchen still life". Oil on canvas. Reengineered from the 19th century. It has repaints, restorations and a frame from a later period.

          Est: €22,000 - €24,000

          Attributed to VICENZO CAMPI (Cremona, Italy, 1536 - 1591). "Kitchen still life". Oil on canvas. Reengineered from the 19th century. It has repaints, restorations and a frame from a later period. Measurements: 145 x 216 cm; 172 x 241 cm (frame). In this work is represented, in a composition centered on the foreground, a traditional scene starring a man and a woman inserted in a large still life that is arranged along the entire pictorial surface. The author picks up from outside, barely visible due to the amount of elements that make up the composition, in which a man and a woman hold birds in their hands, indicating that they are performing. The painting is part of the aesthetic current that represents the customs, one of the genres that enjoyed greater development in the baroque school. Thus, the space is clearly defined and meticulously described, and the figures are represented at a large size. Both the two people, as well as the animals that are found throughout the composition. Although competing with them in prominence is the group of animals that are distributed throughout the surface, posed as a real independent still life. This shows how the author has combined two different themes in the same piece, making them coexist in harmony. Both for the theme and the way of approaching it, this work can be directly related to the figure of the Italian painter Vincenzo Campi, whose realism is understood by critics as an important precedent for Caravaggio's painting. Belonging to a family of painters and architects, Vincenzo developed his apprenticeship in the domestic environment in Cremona. He collaborated with his brothers Giulio and Antonio and his earliest known works, dating from the 1560s, show few original details. Gradually, Campi's painting became more interested in the representation of genre scenes, which portray everyday life with greater naturalism. This approach to the reproduction of more realistic figures is transferred to his religious work, as evidenced by the "Crucifixion" (Prado), which has been said to have been seen by the young Caravaggio. At the same time, Vincenzo Campi knew how to incorporate into his painting the novelties that were taking place in Venetian painting, emphasizing color and chiaroscuro. In this way, he followed several parallel lines in his work. On the one hand, he continued to compose everyday scenes, sometimes including humorous themes influenced by Flemish painters such as Beuckelaer and Aertsen. In addition, he carried out perspectival decorations such as those in the frescoes of San Paolo Converso in Milan. Finally, he continued to produce altar paintings in which he developed a naturalism of such great intensity that it has been seen as the closest precedent to the work of Caravaggio. The work we present here could be included in the group of Flemish-influenced genre scenes, and in fact has very similar characteristics to those of the canvas "The Cheese Eaters", preserved in the Museum of Fine Arts in Milan. In this work we also see a composition in the foreground, with buffoonish characters placed in the foreground against a dark background. One of them, moreover, appears as here holding a ladle.

          Setdart Auction House
        • Vincenzo Campi Nachfolge
          Feb. 20, 2021

          Vincenzo Campi Nachfolge

          Est: -

          Öl/Leinwand, doubliert. Mädchen bei der liebevollen Fütterung einer in Tuch gewickelten Katze. Das Gemälde gehört zu der Strömung der satirischen Malerei des späten 16. Jh. Rest., altersbedingte Erhaltung. Italien, 16./17. Jh. H x B ca. 70 x 57 cm, prächtig ger.

          Kunst & Auktionshaus Walter Ginhart
        • Vincenzo Campi Nachfolge
          Jul. 25, 2020

          Vincenzo Campi Nachfolge

          Est: -

          Öl/Leinwand, doubliert. Mädchen bei der liebevollen Fütterung einer gewickelten Katze. Das Gemälde gehört zu der Strömung der satirischen Malerei des späten 16. Jh. Rest., altersbedingte Erhaltung. Italien, 16./17. Jh. H x B ca. 70 x 57 cm, prächtig ger.

          Kunst & Auktionshaus Walter Ginhart
        • Vincenzo Campi Nachfolge
          May. 25, 2020

          Vincenzo Campi Nachfolge

          Est: -

          Öl/Leinwand, doubliert. Mädchen bei der liebevollen Fütterung einer gewickelten Katze. Das Gemälde gehört zu der Strömung der satirischen Malerei des späten 16. Jh. Rest., altersbedingte Erhaltung. Italien, 16./17. Jh. H x B ca. 70 x 57 cm, prächtig ger.

          Kunst & Auktionshaus Walter Ginhart
        • Vincenzo Campi, 1536 – 1591, Nachfolge
          Dec. 05, 2019

          Vincenzo Campi, 1536 – 1591, Nachfolge

          Est: €1,800 - €2,300

          LIEBEVOLLE FÜTTERUNG EINER GEWICKELTEN KATZE Öl auf Leinwand. Doubliert. 70 x 57 cm. In einem grob gefassten und vergoldeten Kassettenrahmen. Im Mittelpunkt des Gemäldes eine elegant gekleidete Dame, die mit einem Löffel aus einem Schälchen heraus eine in einen Schal gewickelte Katze füttert, die von einem Jungen gehalten wird. Auf der linken Schulter der Frau sitzt ein kleines Kätzchen, das mit großen leuchtenden Augen aus dem Bild herausschaut. Im Hintergrund der blaue Himmel mit großen weißen Wolken, von links ragt ein Teil eines Gebäudes ins Bild. Diese ungewöhnliche, teils bizarre Darstellung hat wohl ihren Ursprung in einem alten Sprichwort im 16. Jahrhundert und stellt emblematisch wohl die menschliche Dummheit dar. Von Italien aus soll sich das Motiv nördlich der Alpen, vor allem auch in Frankreich und in den Niederlanden, verbreitet haben. In einigen Werken sind diese Katzenfütterer auch in Gesellschaft anderer zu sehen. Malerei in überwiegend beige-brauner Farbgebung. Retuschen. (1211019) (18)

          Hampel Fine Art Auctions
        • Vincenzo Campi, 1530 – 1591, Werkstatt
          Dec. 05, 2019

          Vincenzo Campi, 1530 – 1591, Werkstatt

          Est: €20,000 - €35,000

          JAGDBEUTE Öl auf Leinwand. Doubliert. 143 x 213 cm. Im Mittelpunkt des Gemäldes, in freier bergiger Natur, ein seltsamer Stand, an dem überwiegend Jagdbeute, teils von oben herabhängend, teils auf dem Boden liegend, angeboten wird. Zu den erlegten Tieren gehören überwiegend Hühner, Enten, Wachteln und Rebhühner. Eine Frau auf der linken Bildseite, in überwiegend roter Kleidung, hält in ihren Armen ein bereits erlegtes Federvieh, während rechts von ihr ein junger Mann, der über seinen Schultern ein erlegtes Lamm trägt, seine Hände in Richtung des Halses einer Ente ausgestreckt hat und mit aufgeplusterten Backen voller Anstrengung aus dem Bild herausschaut. Unter einem umgedrehten Korb schauen einige Hühner mit ihren roten Kämmen heraus, während auf der rechten unteren Seite eine Ente sitzt und dahinter ein Schaf. In der rechten unteren Ecke leckt ein kleiner weißer Hund an einem wohl zerbrochenen Ei. Im Hintergrund eine Frau mit einem Korb auf dem Kopf tragend und ein weiterer Mann erkennbar. Insgesamt umfangreiche detailgetreue Präsentation des überwiegend erlegten Federviehs in zurückhaltender Farbigkeit, wobei die Kleidung der beiden Dargestellten sowie die am Boden sitzende Ente und das kleine Hündchen in Weiß farblich herausragen. Restauriert, teils Retuschen. (1210776) (130800) (18) Vincenzo Campi, 1530 – 1591, workshop of Hunters’ Catchers Oil on canvas. Relined. 143 x 213 cm. A stand with kill from a hunt is depicted at the centre of this painting against a backdrop of open, mountainous countryside. The kill is displayed hanging from the stand or draped on the floor. Restored, retouched in places.

          Hampel Fine Art Auctions
        • Attribué à Vincenzo CAMPI (Crémone 1536-1591)
          May. 15, 2019

          Attribué à Vincenzo CAMPI (Crémone 1536-1591)

          Est: €800 - €1,200

          Attribué à Vincenzo CAMPI (Crémone 1536-1591) Recto: étude de putto en pied Verso: étude de jambe Crayon noir sur papier préparé au lavis de sanguine Manque important restauré en bas à droite par une bande de papier ajouté (2,4 x10 cm) Attr. to V. Campi; Recto: Full-length study of a putto; Verso: Leg’s study; black pencil on prepared paper with sanguine wash 16 x 8,5 CM - 6 1/4 X 3 3/8 IN. €800-1,200 Provenance Ancienne collection Stefen von Licht, son cachet en bas à droite (L.789b) Dans un email du 29 octobre 2015, Jonathan Bober suggère une attribution du dessin à Vincenzo Campi.

          Tajan
        • PITTORE LOMBARDO DEL XVI SECOLO
          Mar. 07, 2019

          PITTORE LOMBARDO DEL XVI SECOLO

          Est: €1,000 - €2,000

          San Giovanni Battista Olio su tela, cm 86X72 Raffigurante San Giovanni battista alla fonte, la tela reca una tradizionale attribuzione a Vincenzo Campi (Cremona, 1536 - ivi, 3 ottobre 1591). L'artista, per lo più noto per la sua produzione di scene di mercato, conta un altrettanto importante attività nel genere dell¿arte sacra. Nel nostro caso, l'opera manifesta chiaramente quel sentimento naturalistico che ha caratterizzato la pittura lombarda cinquecentesca, creando i presupposti verso alla fine del secolo alla formazione di Michelangelo Merisi. Possiamo ben vedere anche la sapiente commistione di quest'opera con il manierismo emiliano e del centro Italia.

          Wannenes Art Auctions
        • VINCENZO CAMPI (seguace di)
          Nov. 29, 2018

          VINCENZO CAMPI (seguace di)

          Est: €800 - €1,200

          (Cremona, 1536 - 1591) Scena ridicola Olio su tela, cm 95X75 L'opera in esame replica la tela raffigurante il Mangiafagioli la cui versione autografa è andata dispersa ma è nota attraverso due copie antiche conservate presso il Szépmuvészeti Múzeum a Budapest e in una collezione privata bergamasca. Questa in esame è allora la terza redazione e attesta la fortuna illustrativa del dipinto. La composizione nasce dalla tradizione delle Pitture ridicole illustrate da Giovanni Paolo Lomazzo nel suo celebre trattato, ma altrettanto importante è quel sentimento naturalistico che permea la pittura norditaliana dell'epoca. La produzione di queste creazioni si colloca intorno al nono decennio, e Vincenzo Campi sembra reiterare le sue formule iconografiche descrivendo pescivendoli, mangia ricotta e fruttivendole inaugurando un genere assolutamente inedito nel panorama figurativo italiano. È altresì importante considerare quanto siano state fondamentali per la pittura naturalistica seicentesca queste immagini, tuttavia, in Campi emerge una narrativa irriverente, beffarda e talvolta licenziosa, la cui genesi è la Commedia dell'Arte, le 'Facetie ridicole' del Ruzante e dei racconti di Poncino della Torre. Bibliografia di riferimento: M. Kahn Rossi e F. Porzio, 'Rabisch. Il grottesco nell'arte del Cinquecento', catalogo della mostra, Milano 1998, ad vocem F. Paliaga, 'Vincenzo Campi scene dal quotidiano', catalogo della mostra, Milano 2000, ad vocem F. Porzio, 'Pitture ridicole. Scene di genere e cultura popolare', Milano 2008, ad vocem

          Wannenes Art Auctions
        • Vincenzo Campi (1532/36-1591), scuola di, Interno con cacciagione
          Nov. 14, 2018

          Vincenzo Campi (1532/36-1591), scuola di, Interno con cacciagione

          Est: €3,500 - €4,500

          olio su tela, cm 215x145

          Cambi Casa d'Aste
        • Vincenzo Campi (1532/36-1591), scuola di, Interno con cacciagione
          May. 30, 2018

          Vincenzo Campi (1532/36-1591), scuola di, Interno con cacciagione

          Est: €5,000 - €6,000

          olio su tela, cm 215x145

          Cambi Casa d'Aste
        • Vincenzo Campi (1536-1591), Ecole de
          Feb. 24, 2018

          Vincenzo Campi (1536-1591), Ecole de

          Est: €2,800 - €3,000

          Vincenzo Campi (1536-1591), Ecole de Portrait de jeune homme Toile, XVIème Cadre ancien 37 x 27 cm

          Rois & Vauprès
        • VINCENZO CAMPI | A fruit and vegetable seller, surrounded by her wares
          Feb. 01, 2018

          VINCENZO CAMPI | A fruit and vegetable seller, surrounded by her wares

          Est: $400,000 - $600,000

          oil on canvas

          Sotheby's
        • ATTRIBUTED TO VINCENZO CAMPI | An old peasant woman with a distaff and spindle flanked by two male peasants
          Jan. 31, 2018

          ATTRIBUTED TO VINCENZO CAMPI | An old peasant woman with a distaff and spindle flanked by two male peasants

          Est: $40,000 - $60,000

          oil on canvas

          Sotheby's
        • VINCENZO CAMPI | The ill-matched lovers
          Dec. 07, 2017

          VINCENZO CAMPI | The ill-matched lovers

          Est: £20,000 - £30,000

          oil on panel

          Sotheby's
        • Vincenzo Campi (1532/36-1591), scuola di, Interno con cacciagione
          Oct. 25, 2017

          Vincenzo Campi (1532/36-1591), scuola di, Interno con cacciagione

          Est: €6,000 - €8,000

          olio su tela, cm 215x145

          Cambi Casa d'Aste
        • Vincenzo Campi Plate of Figs with fruit and a Pomegranate
          Jun. 03, 2017

          Vincenzo Campi Plate of Figs with fruit and a Pomegranate

          Est: $90,000 - $120,000

          Plate of Figs with Apples, Cherries, and a Pomegranate. Vincenzo Campi (1530/35 - 1591). Oil on Canvas. Provenace: The Silvano Lodi collection. 15 3/4 x 22 inches canvas, 24 1/2 x 31 inches framed. Purchased: Christie’s, April 6 2006, $80,000. The present painting is one of a small cohesive group that scholars have identified as among the earliest known Italian still lifes. Luigi Salerno was the first to recognize the importance of this Plate of figs with apples, cherries and a pomegranate, publishing it as by Vincenzo Campi in 1984 (with a pendant still life of melon and grapes also in the Lodi collection). Although a few independent still lifes (i.e. without figures) had previously been attributed to Campi, none were of sufficently high quality to attract the attention of scholars. Campi’s reputation is based on his innovative and influential production of market and kitchen scenes in which fruits, fish and poultry are given precedence over the human actors. His interest in such subjects was clearly inspired by the paintings of two Netherlandish artists, Pieter Aertsen and his pupil, Joachim Beuckelaer. Although motivated by Northern examples, Campi’s style was based on the naturalistic roots of Lombard paintings. His willingness to cast off Mannerist artificality in favor of an objective description of the sensuosity and substance of nature had a profound impact on the evolution of still life painting in Italy and in particular on a young artist born a few miles outside of Cremona in the rural town of Caravaggio. Typical of the earliest surviving still lifes, the present painting examines the fruits one-by-one without attempting to organize them into a decorative arrangement. The viewer senses the painter’s delight in the adventure and effort to abandon the old habit of viewing nature in a generalized way. Each piece casts its own separate shadow. The resulting sense of isolation and weight account for the timeless, even ‘modern’, sensibility of this remarkable still life. - John T. Spike

          Arader Galleries
        • Circle of Vincenzo Campi (Cremona 1530/5-1591) A kitchen interior with a ma
          Dec. 01, 2015

          Circle of Vincenzo Campi (Cremona 1530/5-1591) A kitchen interior with a ma

          Est: -

          Circle of Vincenzo Campi (Cremona 1530/5-1591) A kitchen interior with a maid, game, meat and fish with a huntsman

          Christie's
        • VINCENZO CAMPI, Marktszene
          Jun. 17, 2015

          VINCENZO CAMPI, Marktszene

          Est: CHF2,800 - CHF3,200

          VINCENZO CAMPI, Marktszene, Nachfolger des , Cremona um 1530-1591 Cremona, Lombardische Schule um 1600., Öl auf Lwd., 122 x 198 cm, doubliert,

          Galerie Fischer Auktionen AG
        • CIRCLE OF VINCENZO CAMPI, (ITALIAN 1532-1591), ANGEL WITH PRAYING CHRIST IN GETHSEMANE GARDEN
          Jun. 16, 2015

          CIRCLE OF VINCENZO CAMPI, (ITALIAN 1532-1591), ANGEL WITH PRAYING CHRIST IN GETHSEMANE GARDEN

          Est: $4,000 - $6,000

          CIRCLE OF VINCENZO CAMPI (italian 1532-1591)/span ANGEL WITH PRAYING CHRIST IN GETHSEMANE GARDEN Oil on canvas 72 x 51 in. (182.8 x 129.5cm) provenance: /spanAuctionhaus Michael Zeller, Lindau, Germany, sale of October 1994, lot 1384. Private Collection, Delaware.

          Freeman's
        • Attributed to Vincenzo Campi (ITALIAN, 1532-1591)
          Aug. 20, 2013

          Attributed to Vincenzo Campi (ITALIAN, 1532-1591)

          Est: $5,000 - $7,000

          Attributed to Vincenzo Campi (ITALIAN, 1532-1591) oil on panel, "di Ricotta Eaters", 10" x 12"

          Bill Hood & Sons Arts & Antiques Auctions
        • Circle of Vincenzo Campi (Cremona 1532-1591)
          Apr. 10, 2013

          Circle of Vincenzo Campi (Cremona 1532-1591)

          Est: £800 - £1,200

          A young woman cooking meat in a kitchen interior oil on canvas 72 x 46.7cm (28 3/8 x 18 3/8in).

          Bonhams
        • Follower of Vincenzo Campi, Italian 1532/36-1591,
          Jan. 19, 2013

          Follower of Vincenzo Campi, Italian 1532/36-1591,

          Est: £150 - £200

          Follower of Vincenzo Campi, Italian 1532/36-1591, 17th century- An allegory of learning; oil on canvas laid down on board, irregular shape, 44x60cm

          Roseberys
        • Follower of Vincenzo Campi, Italian 1532/36-1591,
          Nov. 10, 2012

          Follower of Vincenzo Campi, Italian 1532/36-1591,

          Est: £250 - £350

          Follower of Vincenzo Campi, Italian 1532/36-1591, 17th century- An allegory of learning; oil on canvas laid down on board, irregular shape, 44x60cm

          Roseberys
        • VINCENZO CAMPI - "Gesù nell'orto degli ulivi"
          Jun. 13, 2012

          VINCENZO CAMPI - "Gesù nell'orto degli ulivi"

          Est: CHF55,000 - CHF75,000

          VINCENZO CAMPI Cremona 1536-1591 "Gesù nell'orto degli ulivi" Öl auf Lwd., doubliert, 160 x 118 cm

          Galerie Fischer Auktionen AG
        • Attributed to Vincenzo Campi (Cremona circa 1530/35-1591)
          Jun. 06, 2012

          Attributed to Vincenzo Campi (Cremona circa 1530/35-1591)

          Est: $70,000 - $100,000

          Attributed to Vincenzo Campi (Cremona circa 1530/35-1591) Boy with a basket of poultry inscribed 'ALMol[t]o Ill[ustrissim]o Sign[o]r mio[?]/pro[?] Colen[dissim]o il Sign[o]r M[...?]/Antonio Brognoli/Brescia' (lower right, on the paper) oil on canvas 20¾ x 16¼ in. (52.7 x 41.2 cm.)

          Christie's
        • Circle of Vincenzo Campi (Cremona 1530/5-1591)
          Dec. 07, 2011

          Circle of Vincenzo Campi (Cremona 1530/5-1591)

          Est: £20,000 - £30,000

          Circle of Vincenzo Campi (Cremona 1530/5-1591) A peasant boy carrying a cockerel and a basket of eggs, meat and a duck, in an open interior, a mountainous landscape with a river and ruins beyond oil on canvas 19 x 49½ in. (175.2 x 125.8 cm.)

          Christie's
        • Gesù nell'orto degli ulivi
          Nov. 23, 2011

          Gesù nell'orto degli ulivi

          Est: CHF80,000 - CHF120,000

          VINCENZO CAMPI Gesù nell'orto degli ulivi Cremona 1536-1591 Öl auf Lwd., doubliert, 160 x 118 cm Expertise Maurizio Marini, Rom (15. Dezember 1998)Expertise Arnaldo Poma, Lugano (29. November 2010)Email Prof. Mina Gregori (9. September 2011)

          Galerie Fischer Auktionen AG
        • Vincenzo Campi (Cremona 1530/35-1591)
          Apr. 06, 2006

          Vincenzo Campi (Cremona 1530/35-1591)

          Est: $150,000 - $200,000

          Plate of figs with apples, cherries and a pomegranate oil on canvas 15 3/4 x 22 in. (40 x 56 cm.)

          Christie's
        • Studio of Vincenzo Campi
          Apr. 26, 2001

          Studio of Vincenzo Campi

          Est: £8,000 - £12,000

          Studio of Vincenzo Campi Cremona 1536 - 1591 a merry peasant couple eating from a bowl of beans, the woman holding a crying baby with a cat scratching its leg oil on canvas 81.5 by 62.5 cm.; 32 by 24 1/2 in. The composition is thought to follow a lost painting by Campi. Francesco Paliaga (Vincenzo Campi, Soncino 1997, p.p. 203-4, no. 89) considers that the original, of horizontal rather than vertical format, may have been that formerly in the collection of the Antwerp merchant Cornelis van der Geest (1555-1638), and depicted by Willem van Haecht (who was also Van der Geest's curator) in his depiction of the collection entitled Alexander visiting the studio of Apelles of circa 1628-30, now in The Hague, Mauritshuis (inv. no. 266, detail reproduced in F. Paliaga, op. cit., fig. 64). If this were the case then Campi's original would have been in the North from a very early date. Apart from the present painting Paliaga (op. cit., pp. 203-4, cat. no. 89, plates xl and xli, figs. 19,20) lists further versions in the Szepmuveszeti Museum, Budapest (inv. n. 50:28), and private collections in Rome and Bergamo, all of which he considers to be copies. In addition to these, there is a closely related pen and ink drawing in the Museo Civico, Bassano del Grappa, once thought to be autograph but now considered a copy (idem., p. 231, fig. 19). The figures also appear separately on either side of Campi's Fish-Sellers, one of five large canvases now in Schloss Fugger, Kirchheim (idem., p. 177, no. 29, p. 230, fig. 17). The composition was also engraved, in reverse, by Bernard Picart, entitled 'Le Mangeur de lentille' and apparently derived from a painting in Picart's own collection in Amsterdam.

          Sotheby's
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