Simone Cantarini Paintings & Artwork for Sale | Simone Cantarini Art Value Price Guide

Sep. 12, 2026
SIMONE CANTARINI | 'DER HEILIGE ANTONIUS VON PADUA BEI DER ANBETUNG DES CHRISTUSKINDES'
Est: €420 - €840
SIMONE CANTARINI 1612 Pesaro - 1648 Verona 'SAINT ANTHONY OF PADUA ADORING THE CHRIST CHILD' Etching on laid paper. Sheet size 36.5 x 26.5 cm, plate size 26.5 x 17.5 cm. Inscribed in the plate at the bottom left 'Simone Cantarini In: e. Fe: originale' and at the bottom right 'Gio. Jacomo Roßi formis Romae alla Pace'. Minimally stained. Mounted in a passe-partout. SIMONE CANTARINI 1612 Pesaro - 1648 Verona 'DER HEILIGE ANTONIUS VON PADUA BEI DER ANBETUNG DES CHRISTUSKINDES' Radierung auf Bütten. BM 36,5 x 26,5 cm, DM 26,5 x 17,5 cm. Unten links in der Platte bez. 'Simone Cantarini In: e. Fe: originale' sowie unten rechts 'Gio. Jacomo Roßi formis Romae alla Pace'. Min. fleckig. In ein Passepartout montiert.
Hargesheimer Kunstauktionen Düsseldorf
Jul. 15, 2026
SIMONE CANTARINI
Est: €1,500 - €2,600
(Pesaro, 1612 - Verona, 1648) Madonna con il Bambino e San Giuseppe Olio su tavola, diam. cm 18 Secondo il Malvasia, Cantarini apprese i primi insegnamenti a Pesaro nelle botteghe di Giovan Giacomo Pandolfi e di Claudio Ridolfi, la cui tempra veneta predispose il giovane a una peculiare sensibilitÃ cromatica, senza dimenticare l'influenza di Federico Barocci. Il trasferimento a Bologna e la frequentazione della bottega di Guido Reni avvenne intorno ai primi anni Trenta fino al 1635 e possiamo affermare che Cantarini era giÃ un pittore d'esperienza. Fatto ritorno in patria, Cantarini soggiornÃ² a Roma per studiare la scultura classica e la pittura rinascimentale, per poi fare ritorno a Bologna alla morte del Reni nel 1642. Detto ciÃ², l'artista fu indubbiamente il migliore allievo del maestro bolognese, l'unico pittore della sua cerchia in grado di esprimere uno stile personale connotato da un felice pittoricismo e una creativitÃ compositiva. L'opera Ã¨ corredata da una perizia di Mina Gregori. Due fori visibili da foto. La superficie pittorica si presenta in patina e sporca con vernice ingiallita e ossidata, lievi difetti e cadute di colore. Forniamo foto HD del fronte, del verso e a luce di Wood per documentare lo stato di conservazione. Two holes visible in photos. The pictorial surface is in patina and dirt with yellowed and oxidised paint, slight defects and color drops. We provide HD photos of the front, the reverse and under UV to document the conservation status.
Wannenes Art Auctions
Jun. 03, 2026
Simone CANTARINI (1612-1648)
Est: €100 - €200
Simone CANTARINI (1612-1648) La Sainte Famille, l'enfant Jésus et Saint-Jean Baptiste - Saint Antoine de Padoue tenant l'enfant Jésus Eaux-fortes Belles épreuves, tirage du XVIIIe siècle Angles supérieurs collés, petites marges Ensemble 2 planches Etching, fine proofs, print run from 18th century Upper corners glued, tiny margins Set of two plates SUJET : 8 x 6,1 CM ; FEUILLET : 12,5 x 9 CM - IMAGE : 3,1 x 2,4 IN ; SHEET : 4,9 x 3,5 IN
Tajan
May. 28, 2026
SIMONE CANTARINI Detto Il Pesarese, Rara Acquaforte
Est: €2,500 - €3,000
SIMONE CANTARINI Detto Il Pesarese (Pesaro 1612 - Verona 1648) Marte, Venere e Cupido (Epoca 1637-1639) Rara Acquaforte da una invenzione di Paolo Caliari Detto "Veronese" (Verona, 1528 - Venezia 1588). cm 26 x 20.
Benedetto Trionfante Auction House s.r.l
Jan. 14, 2026
SIMONE CANTARINI (1612-1648) Madonna and chalk red chalk Paul Michels Düsseldorf gallery label 12 x 8cm
Est: £500 - £700
SIMONE CANTARINI (1612-1648) Madonna and chalk red chalk Paul Michels Düsseldorf gallery label 12 x 8cm
John Nicholson's Fine Art Auctioneers & Valuers
Jan. 12, 2026
Simone Cantarini (Italian, Pesaro 16121648 Veron)
Est: $50 - $1,000
Simone Cantarini (Italian, Pesaro 16121648 Verona) Holy Family with St. John the Baptist Etching signed (ll) Sight 5 1/4"h x 3 3/4"w Condition: Some minor stains, scratches and scuffs to frame
The Auction Barn
Dec. 12, 2025
SIMONE CANTARINI ETCHING
Est: $75 - $150
SIMONE CANTARINI ETCHING *INFANT*, APPROXIMATELY 5 IN X 6 IN
Dennis Auction Service
Dec. 10, 2025
SIMONE CANTARINI (Pesaro, 1612 – Verona, 1648). “Couple of Puttos”. Oil on canvas. They present restorations. They have a 17th century frame.
Est: €12,000 - €16,000
SIMONE CANTARINI (Pesaro, 1612 - Verona, 1648). "Couple of Puttos". Oil on canvas. With restorations. They have a 17th century frame. Measurements: 66 x 88 cm (x2); 79 x 102 cm (frames, x2). This set of canvases starring in both cases a little angel offers us a tender image inspired by the sleeping cupids of Roman origin, creating a model that starts from the sweetness and innocence of a sleeping child, although at the same time it presents us the fleetingness of time and life. In this particular case the two scenes present us with a different composition. One of the angels leans on his own shoulder, looking at the viewer, holding a purple cloth and a staff. This is a model that was widely used in the representation of John the Baptist as a Child. The other scene allows us to see a monumental child angel turning his face away from the viewer and looking towards two figures who are barely visible in the scene. Although the presence of these figures is sketchy, it is possible to establish that this is a representation of Venus stealing Cupid's bow. Aesthetically, this is a composition typical of Baroque naturalism, more typical of the first half of the 17th century, but which was nevertheless maintained in the 17th century mainly in devotional works by followers of early Baroque masters, such as Simone Cantarini. In fact, in this canvas we can appreciate some of the basic characteristics of Cantarini's style, such as the profoundly naturalistic style and the mastery of light and colour typical of Venetian painters, given that during his youth he made a trip to Venice that would mark the development of his work in the future. In this particular case Cantarini was based on a model by Guido Reni, the master with whom he trained from 1635 to 1638, and he also had the opportunity to see first-hand the work of Orazio Gentileschi and Giovan Francesco Guerrieri, both of whom possessed the naturalistic style that interested Cantarini so much. On the other hand, his contact with Guido Reni influenced a certain classicism that is evident in his figures, although they are somewhat more realistic or less idealised than those of the Bolognese artist. There is no documentary information on Cantarini's early training. He may initially have been a pupil of Giovanni Giacomo Pandolfi. A priest from a church in Pesaro who supported Cantarini's artistic career accompanied the young artist on a trip to Venice. In Venice he benefited from the guidance of the Venetian Mannerist painter Sante Peranda and learned to draw from Francesco Mingucci, a fellow citizen of Pesaro who lived in Venice. He returned to Pesaro and received his first commissions from the Augustinian order in Pesaro and nearby Fano. His first commissions included the painting Saint Rita of Cascia, now in the Church of Saint Augustine in Pesaro, and The Immaculate Conception with the Saints (Pinacoteca Nazionale di Bologna). It is assumed that Cantarini became a pupil of Claudio Ridolfi, although the precise moment of his training is not known. Ridolfi would have passed on to him the Venetian style and a strong appreciation of the work of Federico Barocci, Ridolfi's collaborator in Urbino. After Ridolfi left Pesaro in 1629, Cantarini was left without a teacher and was therefore obliged to continue his artistic training on his own. As he was not taught by a single master in his early years, Simone Cantarini was largely self-taught and absorbed the styles of other painters by making copies or sketches of their works. The Carracci prints together with the work of Federico Barocci were important influences on the young artist. In addition, he was inspired by the Caravaggesque art of Orazio Gentileschi, who worked in the Marche region during the 1610s, and Giovanni Francesco Guerrieri of nearby Fossombrone.
Setdart Auction House
Nov. 28, 2025
Cantarini, Simone (1612-1648). (The rape of Europe).
Est: €50 - €70
Cantarini, Simone (1612-1648). (The rape of Europe). Engraving after Guido RENI, 22,5x31,5 cm., w. engr. "A Renus in et fec." near lower edge, on thick laid paper (some foxing, sl. later impression(?)). Bartolozzi, Francesco (1727-1815). (The assassination). (Flora and a putto). Two engravings after GUERCINO, both ±22x30 cm., "F. Bartolozzi fe" or "(...) scul. in Londra 1764" and "Guercino inv." engr. below the image. - Apart from some foxed spots both fine. = De Vesme 2130 and 2134. AND 2 others, both 18th/ 19th cent.(?) impressions of Italian engravings i.a. by Marcantonio RAIMONDI.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Nov. 26, 2025
Cantarini, Simone: Allegorie des Foglia Flusses mit dem Wappen von Pesaro
Est: €700 - €900
Allegorie des Foglia Flusses mit dem Wappen von Pesaro. Radierung. 13,5 x 8,7 cm. B. 35, Bellini 27. Wz. Lilie im Kreis (Fragment). Wie viele, zeitweise in Rom tätige Künstler unterhielt auch Cantarini durch stete Besuche und unterschiedliche Aufträge regen Kontakt zu seinem Heimatort. Daher erklärt sich auch die Darstellung der Allegorie, die als Buchfrontispiz diente. Ausgezeichneter Druck mit Rand um die Plattenkante. Lediglich minimal fleckig und gebräunt, Montierungsreste verso, sonst sehr gut. Aus den Sammlungen des Martin-von-Wagner-Museum der Universität Würzburg (Lugt 2541c), Philipp Hermann (Lugt 1352a) und Dr. Volkmar Reichmann (Lugt 6224). Beigegeben von demselben drei Radierungen "Die Ruhe auf der Flucht nach Ägypten", "Madonna mit Kind und dem Vogel", nach Guido Reni und "Merkur und Argus" (B. 8, 18 und 31). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Nov. 25, 2025
SIMONE CANTARINI
Est: €800 - €1,200
(Pesaro, 1612 - Verona, 1648) Fanciullo che beve Sanguigna su carta, cm 22,3X16 Provenienza: Milano, collezione Riccoboni Milano, collezione privata Secondo il Malvasia, Cantarini apprese i primi insegnamenti a Pesaro nelle botteghe di Giovan Giacomo Pandolfi e di Claudio Ridolfi, la cui tempra veneta predispose il giovane a una peculiare sensibilità cromatica, senza dimenticare l'influenza di Federico Barocci. Il trasferimento a Bologna e la frequentazione della bottega di Guido Reni avvenne intorno ai primi anni Trenta fino al 1635 e possiamo affermare che Cantarini era già un pittore d'esperienza. Fatto ritorno in patria, Cantarini soggiornò a Roma per studiare la scultura classica e la pittura rinascimentale, per poi fare ritorno a Bologna alla morte del Reni nel 1642. Detto ciò, l'artista fu indubbiamente il migliore allievo del maestro bolognese, l'unico pittore della sua cerchia in grado di esprimere uno stile personale connotato da un felice pittoricismo e una creatività compositiva. Non da meno, dal punto di vista qualitativo, fu la sua produzione grafica, spesso di piccolo formato entro cui le figure sono animate da un segno energico e vibrante, con ombreggiature veloci a tratti paralleli, che influenzeranno lo stile dei disegnatori bolognesi del secolo successivo. L'attribuzione è stata confermata da Daniele Benati su fotografia.
Wannenes Art Auctions
Nov. 12, 2025
Simone Cantarini, 1612-1648). The Rest on the Flight into Egypt, engraving
Est: £100 - £150
Simone Cantarini, 1612-1648). The Rest on the Flight into Egypt, engraving * After Simone Cantarini (1612-1648). The Rest on the Flight into Egypt, etching on laid paper, a very close copy after Cantarini's etching of circa 1630-1648, trimmed to platemark, sheet size 215 × 146 mm (8 3/8 × 5 3/4 ins), inset to later (19th or early 20th century) paper, framed and glazed QTY: (1) NOTE: Provenance: With Colnaghi & Co., London; Private Collection, London, UK. See Bartsch 5; Massari 17.
Dominic Winter Auctions
Oct. 14, 2025
CANTARINI SIMONE (1612 - 1648) - Circle of. Holy Family with St. John the Baptist and angels
Est: €1,500 - €2,500
CANTARINI SIMONE (1612 - 1648). Circle of. Holy Family with St. John the Baptist and angels. Provenance: Pincherle Collection, Milan; By inheritance, to the current owner.. 40,50 x 58,50 cm.
Capitolium Art
Oct. 01, 2025
SIMONE CANTARINI Pesaro, Italy (1612) / Verona, Italy (1648) "Putti"
Est: €16,500 - €22,000
Pair of oil paintings on canvas Measurements: each Measurements: 66.5 x 88 cm
Ansorena
Jul. 16, 2025
Simone Cantarini, 1612-1648). The Rest on the Flight into Egypt, engraving
Est: £150 - £200
Simone Cantarini, 1612-1648). The Rest on the Flight into Egypt, engraving * After Simone Cantarini (1612-1648). The Rest on the Flight into Egypt, etching on laid paper, a very close copy after Cantarini's etching of circa 1630-1648, trimmed to platemark, sheet size 215 × 146 mm (8 3/8 × 5 3/4 ins), inset to later (19th or early 20th century) paper, framed and glazed QTY: (1) NOTE: Provenance: With Colnaghi & Co., London; Private Collection, London, UK. See Bartsch 5; Massari 17.
Dominic Winter Auctions
Jul. 09, 2025
Simone Cantarini, Italian 1612-1648- Rest on the Flight into Egypt; et
Est: £200 - £300
Simone Cantarini, Italian 1612-1648- Rest on the Flight into Egypt; etching on paper, 17.7 x 25.2 cm. Provenance: Private Collection, UK. Note: Little is known with certainty about Cantarini's early artistic training, but it is believed that he studied under Claudio Ridolfi (1560-1644), after which - presumably around 1634 - he joined the studio of Guido Reni (1575-1642). Cantarini is particularly celebrated for his etchings, which are striking for their delicacy and vitality. The present work is based on an original painting of the same composition by Cantarini, which is in the collection of Burghley House [PIC253].
Roseberys
Jul. 02, 2025
Jupiter hurling a thunderbolt
Est: £7,000 - £9,000
Drawn to Life – Works on Paper from a Distinguished Private Collection Simone Cantarini, called Il Pesarese (Pesaro 1612 - 1648 Verona) Jupiter hurling a thunderbolt Red chalk; bears pen and brown ink inscription, possibly autograph, the first line partly cut: ....in casa Fava (?)in Bologna feci no 31 203 by 175 mm
Sotheby's
Jun. 18, 2025
OIL PAINTING BY CIRCLE OF SIMONE CANTARINI
Est: €800 - €1,200
SIMONE CANTARINI, ambito di (Pesaro 1612 -Verona 1648) TESTA DI UOMO DI PROFILO Olio su tela, cm.30 x 24 PROVENIENZA Famiglia emiliana CONDITION REPORT Rintelo novecentesco. Diffusi interventi di integrazione pittorica interessano il volto, la spalla ed il fondo. Probabilmente parte di un dipinto di più grandi dimensioni CORNICE Cornice in legno dorato ed intagliato, del XX secolo
Casa d'Aste Babuino
May. 20, 2025
Simone Cantarini, Venere e Adone. 1637-1639.
Est: €400 - €800
Acquaforte. mm 115x174. Foglio: mm 160x220. Bartsch, XIX,33. Bellini (Cantarini), 12. Incisione rara eseguita con pochi tratti in forma di schizzo. Bellissima prova nel I stato di 2, avanti la comparsa della scritta in basso "G. Renus in. et fec.". Carta vergellata lievemente rigida con filigrana "grande stemma coronato con corno da caccia". Al verso marchio in rosso della collezione del pittore milanese Agostino Caironi (Lugt, 426) e altro "COLL: EUG.TINTO" (non su Lugt).
Gonnelli Casa d'Aste
May. 20, 2025
Simone Cantarini, San Sebastiano. 1639.
Est: €320 - €640
Acquaforte. mm 191x127. Foglio: mm 194x131. Bartsch, 24. Bellini (Cantarini), 25. Senza alcuna sigla o iscrizione in lastra. Bellissima impressione nell'unico stato stampata con segno pieno e bel contrasto su carta vergellata lievemente spessa priva di filigrana.
Gonnelli Casa d'Aste
May. 20, 2025
Simone Cantarini, Il piccolo san Giovanni Battista. 1635-1636.
Est: €480 - €960
Acquaforte. mm 103x90. Foglio: mm 174x138. Bartsch, XIX, 22. Bellini (Cantarini), 2. Incisione verosimilmente da riferire agli inizi dell'attività artistica del Cantarini, collocabile nel periodo trascorso presso Guido Reni. Bellissima prova nell'unico stato, stampata con segno brillante e pieno e lieve tonalità su carta vergellata lievemente rigida priva di filigrana.
Gonnelli Casa d'Aste
Mar. 29, 2025
Simone Cantarini (Italian, 1612-1648) Rest on the Flight into Egypt, ink and chalk on paper, Sight-6 3/4" x 8 1/2", Framed-15 1/4" x 19 3/4"
Est: $500 - $700
Simone Cantarini (Italian, 1612-1648) Rest on the Flight into Egypt, ink and chalk on paper, Sight-6 3/4" x 8 1/2", Framed-15 1/4" x 19 3/4"
Auction Gallery of the Palm Beaches
Feb. 25, 2025
SIMONE CANTARINI (Pesaro, 1612 – Verona, 1648). “Couple of Puttos”. Oil on canvas. They present restorations. They have a 17th century frame.
Est: €18,000 - €20,000
SIMONE CANTARINI (Pesaro, 1612 - Verona, 1648). "Couple of Puttos". Oil on canvas. With restorations. They have a 17th century frame. Measurements: 66 x 88 cm (x2); 79 x 102 cm (frames, x2). This set of canvases starring in both cases a little angel offers us a tender image inspired by the sleeping cupids of Roman origin, creating a model that starts from the sweetness and innocence of a sleeping child, although at the same time it presents us the fleetingness of time and life. In this particular case the two scenes present us with a different composition. One of the angels leans on his own shoulder, looking at the viewer, holding a purple cloth and a staff. This is a model that was widely used in the representation of John the Baptist as a Child. The other scene allows us to see a monumental child angel turning his face away from the viewer and looking towards two figures who are barely visible in the scene. Although the presence of these figures is sketchy, it is possible to establish that this is a representation of Venus stealing Cupid's bow. Aesthetically, this is a composition typical of Baroque naturalism, more typical of the first half of the 17th century, but which was nevertheless maintained in the 17th century mainly in devotional works by followers of early Baroque masters, such as Simone Cantarini. In fact, in this canvas we can appreciate some of the basic characteristics of Cantarini's style, such as the profoundly naturalistic style and the mastery of light and colour typical of Venetian painters, given that during his youth he made a trip to Venice that would mark the development of his work in the future. In this particular case Cantarini was based on a model by Guido Reni, the master with whom he trained from 1635 to 1638, and he also had the opportunity to see first-hand the work of Orazio Gentileschi and Giovan Francesco Guerrieri, both of whom possessed the naturalistic style that interested Cantarini so much. On the other hand, his contact with Guido Reni influenced a certain classicism that is evident in his figures, although they are somewhat more realistic or less idealised than those of the Bolognese artist. There is no documentary information on Cantarini's early training. He may initially have been a pupil of Giovanni Giacomo Pandolfi. A priest from a church in Pesaro who supported Cantarini's artistic career accompanied the young artist on a trip to Venice. In Venice he benefited from the guidance of the Venetian Mannerist painter Sante Peranda and learned to draw from Francesco Mingucci, a fellow citizen of Pesaro who lived in Venice. He returned to Pesaro and received his first commissions from the Augustinian order in Pesaro and nearby Fano. His first commissions included the painting Saint Rita of Cascia, now in the Church of Saint Augustine in Pesaro, and The Immaculate Conception with the Saints (Pinacoteca Nazionale di Bologna). It is assumed that Cantarini became a pupil of Claudio Ridolfi, although the precise moment of his training is not known. Ridolfi would have passed on to him the Venetian style and a strong appreciation of the work of Federico Barocci, Ridolfi's collaborator in Urbino. After Ridolfi left Pesaro in 1629, Cantarini was left without a teacher and was therefore obliged to continue his artistic training on his own. As he was not taught by a single master in his early years, Simone Cantarini was largely self-taught and absorbed the styles of other painters by making copies or sketches of their works. The Carracci prints together with the work of Federico Barocci were important influences on the young artist. In addition, he was inspired by the Caravaggesque art of Orazio Gentileschi, who worked in the Marche region during the 1610s, and Giovanni Francesco Guerrieri of nearby Fossombrone.
Setdart Auction House
Dec. 11, 2024
Italian School 17th Century Nativity
Est: -
Sanguine on paper. Traditionally linked to the work of Simone Cantarini (1612-1648).
Duran Arte y Subastas
Nov. 25, 2024
SIMONE CANTARINI (Pesaro, 1612 – Verona, 1648). “Couple of Puttos”. Oil on canvas. They present restorations. They have a 17th century frame.
Est: €30,000 - €35,000
SIMONE CANTARINI (Pesaro, 1612 - Verona, 1648). "Couple of Puttos". Oil on canvas. With restorations. They have a 17th century frame. Measurements: 66 x 88 cm (x2); 79 x 102 cm (frames, x2). This set of canvases starring in both cases a little angel offers us a tender image inspired by the sleeping cupids of Roman origin, creating a model that starts from the sweetness and innocence of a sleeping child, although at the same time it presents us the fleetingness of time and life. In this particular case the two scenes present us with a different composition. One of the angels leans on his own shoulder, looking at the viewer, holding a purple cloth and a staff. This is a model that was widely used in the representation of John the Baptist as a Child. The other scene allows us to see a monumental child angel turning his face away from the viewer and looking towards two figures who are barely visible in the scene. Although the presence of these figures is sketchy, it is possible to establish that this is a representation of Venus stealing Cupid's bow. Aesthetically, this is a composition typical of Baroque naturalism, more typical of the first half of the 17th century, but which was nevertheless maintained in the 17th century mainly in devotional works by followers of early Baroque masters, such as Simone Cantarini. In fact, in this canvas we can appreciate some of the basic characteristics of Cantarini's style, such as the profoundly naturalistic style and the mastery of light and colour typical of Venetian painters, given that during his youth he made a trip to Venice that would mark the development of his work in the future. In this particular case Cantarini was based on a model by Guido Reni, the master with whom he trained from 1635 to 1638, and he also had the opportunity to see first-hand the work of Orazio Gentileschi and Giovan Francesco Guerrieri, both of whom possessed the naturalistic style that interested Cantarini so much. On the other hand, his contact with Guido Reni influenced a certain classicism that is evident in his figures, although they are somewhat more realistic or less idealised than those of the Bolognese artist. There is no documentary information on Cantarini's early training. He may initially have been a pupil of Giovanni Giacomo Pandolfi. A priest from a church in Pesaro who supported Cantarini's artistic career accompanied the young artist on a trip to Venice. In Venice he benefited from the guidance of the Venetian Mannerist painter Sante Peranda and learned to draw from Francesco Mingucci, a fellow citizen of Pesaro who lived in Venice. He returned to Pesaro and received his first commissions from the Augustinian order in Pesaro and nearby Fano. His first commissions included the painting Saint Rita of Cascia, now in the Church of Saint Augustine in Pesaro, and The Immaculate Conception with the Saints (Pinacoteca Nazionale di Bologna). It is assumed that Cantarini became a pupil of Claudio Ridolfi, although the precise moment of his training is not known. Ridolfi would have passed on to him the Venetian style and a strong appreciation of the work of Federico Barocci, Ridolfi's collaborator in Urbino. After Ridolfi left Pesaro in 1629, Cantarini was left without a teacher and was therefore obliged to continue his artistic training on his own. As he was not taught by a single master in his early years, Simone Cantarini was largely self-taught and absorbed the styles of other painters by making copies or sketches of their works. The Carracci prints together with the work of Federico Barocci were important influences on the young artist. In addition, he was inspired by the Caravaggesque art of Orazio Gentileschi, who worked in the Marche region during the 1610s, and Giovanni Francesco Guerrieri of nearby Fossombrone.
Setdart Auction House
Oct. 16, 2024
Simone Cantarini
Est: $1,000 - $3,000
Italian, 1612-1648 Life Study of a Nude Youth, for a Figure of John the Baptist Inscribed A in blue chalk (lr) Red chalk on paper Verso: red chalk drawing of a male nude from the shoulders down, inscribed Flaminio Torre in brown ink; bears stamp RAB Watermark: the letters IHS below a Greek cross within an oval 19 1/4 x 12 1/8 inches (49 x 30.8 cm) Frame 25 1/4 x 18 1/8 inches (64.2 x 46.4 cm) Provenance: Mia N. Weiner Old Master Drawings, New York Note: Flaminio Torre was a student of Guido Reni, Giacomo Cavedone, and Simone Cantarini. Mounted in a passe-partout mat. Horizontal crease at center. Gray watercolor stain; small gray splatters. Other minor staining.
DOYLE Auctioneers & Appraisers
Sep. 26, 2024
Simone Cantarini (1612 - 1648) (pupil of Guido Ren
Est: £200 - £300
Simone Cantarini (1612 - 1648) (pupil of Guido Reni), pair of etching, Saint Sebastien, and Saint John The Baptist, 19cm x 12cm, framed
Burstow & Hewett
Sep. 24, 2024
Simone Cantarini (ambito di) (Pesaro, 1612 - Verona, 1648) Apparizione inchiostro e acquerello cm 20x14,5
Est: €1,000 - €1,300
Simone Cantarini (ambito di) (Pesaro, 1612 - Verona, 1648) Apparizione inchiostro e acquerello cm 20x14,5in folder al verso: tracce antiche di colla lungo tutto il perimetro
Gliubich Casa d'Aste
Sep. 23, 2024
Simone CANTARINI
Est: €200 - €300
Simone CANTARINI (Pesaro, 1612 – Vérone, 1648) Saint Paul, saint Jean et saint Pierre Contre-épreuve de sanguine Annoté 'S. da Pesaro' en bas à droite Sans cadre H : 16.0 cm, L : 14.0 cm Simone CANTARINI (Pesaro, 1612 – Vérone, 1648) H : 16.0 cm, L : 14.0 cm
Artcurial
Jul. 17, 2024
Simone Cantarini (1612 - 1648) San Gerolamo
Est: -
Simone Cantarini (1612 - 1648) San Gerolamo Olio su tela 158,1 x 120,6 cm Elementi distintivi: al verso, in gesso bianco, annotazione di passaggio d'asta («56 16 DEC 98»); inventario d'asta in stencil («RS380»); etichetta Christie's ed etichetta Gander & White per Panzironi, relativa ad un trasporto Provenienza: Christie's, Londra, 1998 Bibliografia: Andrea Emiliani, scheda 19, "Simone Cantarini (il Pesarese), San Girolamo", in Yadranka Bentini, a cura di, "Percorsi del barocco. Acquisti, doni e depositi alla Pinacoteca nazionale di Bologna 1990-1999", Bologna, 1999, pp. 64-65, ill.; Massimo Pulini, "Gianandrea Sirani, una storia da riscrivere. Il “recitar dipinto” di un maestro da rivalutare: Gianandrea Sirani pittore di recitativi e rifinitore di incompiuti reniani", AboutArt, Bologna, 2020 (www.aboutartonline.com/pulini/) Esposizioni: Pinacoteca Nazionale di Bologna (inv. 10018) Stato di conservazione. Supporto: 90% (rintelo) Stato di conservazione. Superficie: 90% (non visibili danni rilevanti; vernice protettiva sull'intera superficie) Prendendo le mosse dalla testimonianza del grande biografo degli artisti emiliani, il conte Carlo Cesare Malvasia (1616-1693), quasi coetaneo e amico di Cantarini - che ricorda «come Simone si educasse soprattutto sull'ammirazione giovanile di un grande dipinto d'altare», la Pala che la famiglia pesarese degli Olivieri aveva commissionato al Reni intorno al 1632-1634 e posto sull'altar maggiore della cattedrale», oggi alla Pinacoteca Vaticana, «Disegnandola perciò più volte, e dipingendola» e di cui l'opera in asta cita la figura di San Tommaso, e dal rapporto «con la splendida "Disputa degli Apostoli" che sta oggi a San Pietroburgo [...] in quei tempi a Mantova», databile intorno al 1625, Andrea Emiliani (1999), ritiene il dipinto in asta «tipico di Simone da Pesaro giunto da poco alle soglie di quello studio famoso che Guido teneva aperto proprio nel Palazzo dei banchi, affacciato su Piazza Maggiore e a ridosso della chiesa della Madonna della Vita». Acquistato a trattativa privata a Christie's nel 1998, dopo puntuale restituzione a Cantarini da parte di Denis Mahon, nel 1999 fu concesso in prestito di lungo termine dalla famiglia degli attuali proprietari alla Pinacoteca Nazionale di Bologna, dove fu esposto fino al 2018 (inv. 10018), nella sala 26, dedicata al Classicismo, insieme ad altri capolavori di Cantarini come il "San Gerolamo che legge" (inv. 43, olio su tela, 117x88 cm, datato 1637-1639) e la pala con la "Madonna in gloria e i Santi Giovanni Evangelista, Eufemia e Nicola da Tolentino" (inv. 435, olio su tela, 244x140 cm, 1632-1634). Muovendo dal paragone con una tela in collezione privata raffigurante Sant'Andrea a mezzo busto, nella identica posizione, Massimo Pulini ha proposto di identificare nella tela un'opera incompiuta dell'ultimo Guido Reni, rifinita da Gianandrea Sirani: una lettura che conferma la stretta assonanza stilistica con la produzione matura ed ultima di Guido Reni. «L’Apostolo rivolge gli occhi al cielo, aderendo a una formula votiva che è reniana per eccellenza e tutta la testa, sofficemente spettinata e barbuta, dimostra di essere stata lavorata tanto da Guido quanto da Gianandrea, stessa cosa può dirsi per la mano che tiene segno infilando le dita tra le pagine di un libro. Medesima posa, sviluppata su figura intera, la ritroviamo in un dipinto già noto, ma finora assegnato a Simone Cantarini, proprio sulla spinta di quell’incompiutezza che domina l’opera e che fu caratteristica indipendente del Pesarese. Mi riferisco a un San Girolamo conservato alla Pinacoteca Nazionale di Bologna, ed è proprio grazie al recente ritrovamento del Sant’Andrea che possiamo comprendere l’analoga duplicità di intervento, quasi un modus operandi di Sirani quando il suo pennello si innesta su un ‘primo movimento’ di Reni» (Pulini 2020). In effetti, la ripresa fotografica in ultravioletto, che rende anche più evidente il profilo della gamba nuda, sembra evidenziare un secondo livello di lavorazione del panneggio, che si poggia su una prima stesura più semplice e austera.
Bonino
Jul. 09, 2024
Follower of Simone Cantarini, Italian 1612-1648- Sketch of cherubs in fl
Est: £200 - £300
Follower of Simone Cantarini, Italian 1612-1648- Sketch of cherubs in flight; pencil, pen, and brown ink on paper, 17.7 x 24.9 cm. Provenance: Private Collection, UK. Note: The present work recalls Cantarini's sketches, which are defined by their loose, free handling, imparting the works with a sense of movement and spontaneity, as in the artist's study of Madonna and Child with angels and putto in the Musée des Beaux-Arts d'Orléans, and in his Study of the Madonna and Child adored by saints in the collection of the Minneapolis Institute of Art [2012.58.135].
Roseberys
Jul. 02, 2024
SIMONE CANTARINI (1612-1648). Jupiter, Neptune, and Pluto offering their Cr
Est: - £3,000
SIMONE CANTARINI (1612-1648). Jupiter, Neptune, and Pluto offering their Crowns to the Arms of Cardinal.... Sheet 314 x 433 mm..
Christie's
Jul. 02, 2024
SIMONE CANTARINI (1612-1648). Saint Anthony of Padua adoring the Christ Chi
Est: - £1,500
SIMONE CANTARINI (1612-1648). Saint Anthony of Padua adoring the Christ Child in Glory. Plate & Sheet 265 x 177 mm..
Christie's
Jun. 13, 2024
Simone Cantarini 1612 Pesaro-1648 Verona San Giuseppe
Est: €2,000 - €3,000
reca antica attribuzione a Guercino lungo il margine inferiore reca tracce di antico numero di inventario in alto a destra
Cambi Casa d'Aste
Jun. 07, 2024
Cantarini, Simone (Pesaro 1612-1648 Verona),
Est: €80 - €120
Madonna mit Kind in der Glorie. Radierung. In der Platte monogr., nicht dat. (um 1640). 14,1 x 11,4 cm. - Auf Trägerpapier aufgezogen. - Bartsch XIX, 77, 17 und Le Blanc I, 582, 10, jeweils Zustand II mit dem Monogr. "S. C. da Pesare".
Zisska & Lacher
May. 29, 2024
Cantarini, Simone: Die Ruhe auf der Flucht mit dem Engel
Est: €360 - €450
Die Ruhe auf der Flucht mit dem Engel. Radierung nach Guido Reni. 21 x 17,3 cm. B. 3 I (von II), Bellini 23. Wz. Anker im Kreis mit Stern. Vor der Schrift. Ganz ausgezeichneter Druck bis an, partiell minimal knapp in die Plattenkante beschnitten. Unauffällig geglättete Horizontalfalte verso, leicht gebräunt und stockfleckig, lichtrandig, geschlossenes Löchlein in Mariens rechtem Handgelenk, dünne Stellen vornehmlich in der unteren Blatthälfte, diese sorgsam hinterfasert, sonst gleichwohl gutes Exemplar. Erste Zustände sind selten. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
May. 15, 2024
Simone Cantarini (1612 - 1648) San Gerolamo
Est: -
Simone Cantarini (1612 - 1648) San Gerolamo Olio su tela 158,1 x 120,6 cm Elementi distintivi: al verso, in gesso bianco, annotazione di passaggio d'asta («56 16 DEC 98»); inventario d'asta in stencil («RS380»); etichetta Christie's ed etichetta Gander & White per Panzironi, relativa ad un trasporto Provenienza: Christie's, Londra, 1998 Bibliografia: Andrea Emiliani, scheda 19, "Simone Cantarini (il Pesarese), San Girolamo", in Yadranka Bentini, a cura di, "Percorsi del barocco. Acquisti, doni e depositi alla Pinacoteca nazionale di Bologna 1990-1999", Bologna, 1999, pp. 64-65, ill.; Massimo Pulini, "Gianandrea Sirani, una storia da riscrivere. Il “recitar dipinto” di un maestro da rivalutare: Gianandrea Sirani pittore di recitativi e rifinitore di incompiuti reniani", AboutArt, Bologna, 2020 (www.aboutartonline.com/pulini/) Esposizioni: Pinacoteca Nazionale di Bologna (inv. 10018) Stato di conservazione. Supporto: 90% (rintelo) Stato di conservazione. Superficie: 90% (non visibili danni rilevanti; vernice protettiva sull'intera superficie) Prendendo le mosse dalla testimonianza del grande biografo degli artisti emiliani, il conte Carlo Cesare Malvasia (1616-1693), quasi coetaneo e amico di Cantarini - che ricorda «come Simone si educasse soprattutto sull'ammirazione giovanile di un grande dipinto d'altare», la Pala che la famiglia pesarese degli Olivieri aveva commissionato al Reni intorno al 1632-1634 e posto sull'altar maggiore della cattedrale», oggi alla Pinacoteca Vaticana, «Disegnandola perciò più volte, e dipingendola» e di cui l'opera in asta cita la figura di San Tommaso, e dal rapporto «con la splendida "Disputa degli Apostoli" che sta oggi a San Pietroburgo [...] in quei tempi a Mantova», databile intorno al 1625, Andrea Emiliani (1999), ritiene il dipinto in asta «tipico di Simone da Pesaro giunto da poco alle soglie di quello studio famoso che Guido teneva aperto proprio nel Palazzo dei banchi, affacciato su Piazza Maggiore e a ridosso della chiesa della Madonna della Vita». Acquistato a trattativa privata a Christie's nel 1998, dopo puntuale restituzione a Cantarini da parte di Denis Mahon, nel 1999 fu concesso in prestito di lungo termine dalla famiglia degli attuali proprietari alla Pinacoteca Nazionale di Bologna, dove fu esposto fino al 2018 (inv. 10018), nella sala 26, dedicata al Classicismo, insieme ad altri capolavori di Cantarini come il "San Gerolamo che legge" (inv. 43, olio su tela, 117x88 cm, datato 1637-1639) e la pala con la "Madonna in gloria e i Santi Giovanni Evangelista, Eufemia e Nicola da Tolentino" (inv. 435, olio su tela, 244x140 cm, 1632-1634). Muovendo dal paragone con una tela in collezione privata raffigurante Sant'Andrea a mezzo busto, nella identica posizione, Massimo Pulini ha proposto di identificare nella tela un'opera incompiuta dell'ultimo Guido Reni, rifinita da Gianandrea Sirani: una lettura che conferma la stretta assonanza stilistica con la produzione matura ed ultima di Guido Reni. «L’Apostolo rivolge gli occhi al cielo, aderendo a una formula votiva che è reniana per eccellenza e tutta la testa, sofficemente spettinata e barbuta, dimostra di essere stata lavorata tanto da Guido quanto da Gianandrea, stessa cosa può dirsi per la mano che tiene segno infilando le dita tra le pagine di un libro. Medesima posa, sviluppata su figura intera, la ritroviamo in un dipinto già noto, ma finora assegnato a Simone Cantarini, proprio sulla spinta di quell’incompiutezza che domina l’opera e che fu caratteristica indipendente del Pesarese. Mi riferisco a un San Girolamo conservato alla Pinacoteca Nazionale di Bologna, ed è proprio grazie al recente ritrovamento del Sant’Andrea che possiamo comprendere l’analoga duplicità di intervento, quasi un modus operandi di Sirani quando il suo pennello si innesta su un ‘primo movimento’ di Reni» (Pulini 2020). In effetti, la ripresa fotografica in ultravioletto, che rende anche più evidente il profilo della gamba nuda, sembra evidenziare un secondo livello di lavorazione del panneggio, che si poggia su una prima stesura più semplice e austera.
Bonino
Apr. 19, 2024
Simone Cantarini Il Pesarese (Pesaro 1612-Verona 1648). Holy Family
Est: €300 - €400
Etching, 135 x 90 mm. Bartsch XIX.13. Fine impression on laid paper. Trimmed, with small margins beyond the plate mark. Some short tears along the edges. Some slight stains, paper residues on the reverse.
Bertolami Fine Art s.r.l.
Apr. 18, 2024
SIMONE CANTARINI St. Anthony of Padua Adoring the Christ Child.
Est: $1,000 - $1,500
SIMONE CANTARINI St. Anthony of Padua Adoring the Christ Child. Etching, circa 1640. 261x176 mm; 10¼x7 inches, thread margins. First state (of 3), before the artist's and publisher's names. Circle with a cross on three mounts watermark. A superb, richly-inked impression with strong contrasts and no sign of wear. Provenance: Karl Ferdinand Friedrich von Nagler, Berlin, ink stamp verso (Lugt 2529); Staatliche Museen zu Berlin Kupferstichkabinett, ink stamps verso (Lugt 4957 and 1606). Bartsch 25; Bellini 26.
Swann Auction Galleries
Apr. 10, 2024
SIMONE CANTARINI Pesaro, Italy (1612) / Verona, Italy (1648) "Putti"
Est: €18,000 - €24,000
Pair of oil paintings on canvas Measurements: 66.5 x 88 cm each
Ansorena
Mar. 23, 2024
After CANTARINI (*1612), Escape to Egypt, around 1680, Etching
Est: €150 - €200
After Simone Cantarini (1612 Oropezza - 1648 Verona): The Holy Family on the Flight into Egypt, c. 1680, Etching Technique: Etching on Paper Date: c. 1680 Description: Beautiful side-inverted copy after Simone Cantarini, called "Il Pesarese". Biblical scene of the Holy Family resting on the flight to Egypt in impressive realism. An angel appears to the fugitives and orders them to return to Bethlehem. | Watermark: Ostensorium(?) with "PM". Keywords: Jesus Christ, Madonna, Boy, Holy Family, Angel, Bible, 17th century, Rococo, Religious, Italy,
Fichter Kunsthandel
Mar. 02, 2024
Simone Cantarini oder Domenico Peruzzini "Heiliger Antonius von Padua mit Madonna und Kind". 1640.
Est: €600 - €700
Simone Cantarini 1612 Pesaro – 1648 Verona Domenico Peruzzini 1602 Urbania – 1672 aktiv A.P.F. Robert-Dumesnil 1778 Périers (Manche) – 1864 Paris Radierung auf Bütten mit Wasserzeichen "REV Camera Apostolica Liga". U. li. datiert "1640". U.Mi. mit Trockenstempel "R.D." (Lugt 2200). Nicht in Bartsch (Peintre Graveur). Provenienz: Sammlung A. P. F. Robert-Dumesnil (1778–1864). Entstanden ist diese seltene Radierung während des Pontifikats Papst Urban VIII. (1623–1644) und gehört damit in die Zeit des römischen Hochbarocks. Rom war neben Bologna bereits Zentrum des Frühbarocks und blieb auch im Hochbarock Hauptstadt der Künste in Italien. Dies war nicht zuletzt der Anwesenheit päpstlicher Auftraggeber zu verdanken, die damit die Kunst zur Präsentation kirchlicher und profaner Machtansprüche nutzten. Simone Cantarini 1612 Pesaro – 1648 Verona Erster künstlerischer Unterricht bei Simone Cantarini durch Giovanni Giacomo Pandolfi. Nach kurzer Venedigreise lernte er im Atelier bei Claudio Ridolfi, einem Schüler von Paolo Veronese. Nach 1629 lernt Cantarini autodidaktisch weiter. Ca. um 1634 Schüler von Guido Reni. Domenico Peruzzini 1602 Urbania – 1672 aktiv Wurde in einer Pesareser Familie von Maiolica-Malern geboren. Domenico wurde von Giovanni Giacomo Pandolfi ausgebildet. Sein Sohn Giovanni Peruzzini wurde in Ancona geboren und war Schüler von Simone Cantarini. A.P.F. Robert-Dumesnil 1778 Périers (Manche) – 1864 Paris Notar, Kunsthistoriker und Autor des "Peintre-Graveur Français", Paris.
Schmidt Kunstauktionen Dresden OHG
Feb. 29, 2024
Simone Cantarini (1612 - 1648) San Gerolamo
Est: -
Simone Cantarini (1612 - 1648) San Gerolamo Olio su tela 158,1 x 120,6 cm Elementi distintivi: al verso, in gesso bianco, annotazione di passaggio d'asta («56 16 DEC 98»); inventario d'asta in stencil («RS380»); etichetta Christie's ed etichetta Gander & White per Panzironi, relativa ad un trasporto Provenienza: Christie's, Londra, 1998 Bibliografia: Andrea Emiliani, scheda 19, "Simone Cantarini (il Pesarese), San Girolamo", in Yadranka Bentini, a cura di, "Percorsi del barocco. Acquisti, doni e depositi alla Pinacoteca nazionale di Bologna 1990-1999", Bologna, 1999, pp. 64-65, ill.; Massimo Pulini, "Gianandrea Sirani, una storia da riscrivere. Il “recitar dipinto” di un maestro da rivalutare: Gianandrea Sirani pittore di recitativi e rifinitore di incompiuti reniani", AboutArt, Bologna, 2020 (www.aboutartonline.com/pulini/) Esposizioni: Pinacoteca Nazionale di Bologna (inv. 10018) Stato di conservazione. Supporto: 90% (rintelo) Stato di conservazione. Superficie: 90% (non visibili danni rilevanti; vernice protettiva sull'intera superficie) Prendendo le mosse dalla testimonianza del grande biografo degli artisti emiliani, il conte Carlo Cesare Malvasia (1616-1693), quasi coetaneo e amico di Cantarini - che ricorda «come Simone si educasse soprattutto sull'ammirazione giovanile di un grande dipinto d'altare», la Pala che la famiglia pesarese degli Olivieri aveva commissionato al Reni intorno al 1632-1634 e posto sull'altar maggiore della cattedrale», oggi alla Pinacoteca Vaticana, «Disegnandola perciò più volte, e dipingendola» e di cui l'opera in asta cita la figura di San Tommaso, e dal rapporto «con la splendida "Disputa degli Apostoli" che sta oggi a San Pietroburgo [...] in quei tempi a Mantova», databile intorno al 1625, Andrea Emiliani (1999), ritiene il dipinto in asta «tipico di Simone da Pesaro giunto da poco alle soglie di quello studio famoso che Guido teneva aperto proprio nel Palazzo dei banchi, affacciato su Piazza Maggiore e a ridosso della chiesa della Madonna della Vita». Acquistato a trattativa privata a Christie's nel 1998, dopo puntuale restituzione a Cantarini da parte di Denis Mahon, nel 1999 fu concesso in prestito di lungo termine dalla famiglia degli attuali proprietari alla Pinacoteca Nazionale di Bologna, dove fu esposto fino al 2018 (inv. 10018), nella sala 26, dedicata al Classicismo, insieme ad altri capolavori di Cantarini come il "San Gerolamo che legge" (inv. 43, olio su tela, 117x88 cm, datato 1637-1639) e la pala con la "Madonna in gloria e i Santi Giovanni Evangelista, Eufemia e Nicola da Tolentino" (inv. 435, olio su tela, 244x140 cm, 1632-1634). Muovendo dal paragone con una tela in collezione privata raffigurante Sant'Andrea a mezzo busto, nella identica posizione, Massimo Pulini ha proposto di identificare nella tela un'opera incompiuta dell'ultimo Guido Reni, rifinita da Gianandrea Sirani: una lettura che conferma la stretta assonanza stilistica con la produzione matura ed ultima di Guido Reni. «L’Apostolo rivolge gli occhi al cielo, aderendo a una formula votiva che è reniana per eccellenza e tutta la testa, sofficemente spettinata e barbuta, dimostra di essere stata lavorata tanto da Guido quanto da Gianandrea, stessa cosa può dirsi per la mano che tiene segno infilando le dita tra le pagine di un libro. Medesima posa, sviluppata su figura intera, la ritroviamo in un dipinto già noto, ma finora assegnato a Simone Cantarini, proprio sulla spinta di quell’incompiutezza che domina l’opera e che fu caratteristica indipendente del Pesarese. Mi riferisco a un San Girolamo conservato alla Pinacoteca Nazionale di Bologna, ed è proprio grazie al recente ritrovamento del Sant’Andrea che possiamo comprendere l’analoga duplicità di intervento, quasi un modus operandi di Sirani quando il suo pennello si innesta su un ‘primo movimento’ di Reni» (Pulini 2020). In effetti, la ripresa fotografica in ultravioletto, che rende anche più evidente il profilo della gamba nuda, sembra evidenziare un secondo livello di lavorazione del panneggio, che si poggia su una prima stesura più semplice e austera.
Bonino
Jan. 27, 2024
ATTRIBUTED TO SIMONE CANTARINI (ITALIAN 1612-1648)
Est: $2,000 - $3,000
ATTRIBUTED TO SIMONE CANTARINI (ITALIAN 1612-1648) Head of a Putto oil on panel 18 x 23 cm (7 1/8 x 9 in.); framed dimensions: 29 x 35 cm (11 3/8 x 13 3/4 in.) CONDITION Observed out of frame, the painting is in age-appropriate condition, overall unevenness to the surface and craquelure, some rubbing along the perimeter. UV light showed heavy varnish and overall retouching to the face. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Shapiro Auctions LLC
Dec. 19, 2023
Simone Cantarini (attribuito a) (Pesaro, 1612 - Verona, 1648) Sacra famiglia olio su tela cm 106x88
Est: €2,000 - €3,000
Simone Cantarini (attribuito a) (Pesaro, 1612 - Verona, 1648) Sacra famiglia olio su tela cm 106x88Un'attenta analisi con la lampada di Wood ha evidenziato zone diffuse di resturo eseguito a regola d'arte con la tecnica del rigatino che interessano la metà inferiore della tela
Gliubich Casa d'Aste
Dec. 13, 2023
SIMONE CANTARINI (Pesaro, 1612 – Verona, 1648). “Couple of Puttos”. Oil on canvas. They present restorations. They have a 17th century frame.
Est: €42,000 - €45,000
SIMONE CANTARINI (Pesaro, 1612 - Verona, 1648). "Couple of Puttos". Oil on canvas. With restorations. They have a 17th century frame. Measurements: 66 x 88 cm (x2); 79 x 102 cm (frames, x2). This set of canvases starring in both cases a little angel offers us a tender image inspired by the sleeping cupids of Roman origin, creating a model that starts from the sweetness and innocence of a sleeping child, although at the same time it presents us the fleetingness of time and life. In this particular case the two scenes present us with a different composition. One of the angels leans on his own shoulder, looking at the viewer, holding a purple cloth and a staff. This is a model that was widely used in the representation of John the Baptist as a Child. The other scene allows us to see a monumental child angel turning his face away from the viewer and looking towards two figures who are barely visible in the scene. Although the presence of these figures is sketchy, it is possible to establish that this is a representation of Venus stealing Cupid's bow. Aesthetically, this is a composition typical of Baroque naturalism, more typical of the first half of the 17th century, but which was nevertheless maintained in the 17th century mainly in devotional works by followers of early Baroque masters, such as Simone Cantarini. In fact, in this canvas we can appreciate some of the basic characteristics of Cantarini's style, such as the profoundly naturalistic style and the mastery of light and colour typical of Venetian painters, given that during his youth he made a trip to Venice that would mark the development of his work in the future. In this particular case Cantarini was based on a model by Guido Reni, the master with whom he trained from 1635 to 1638, and he also had the opportunity to see first-hand the work of Orazio Gentileschi and Giovan Francesco Guerrieri, both of whom possessed the naturalistic style that interested Cantarini so much. On the other hand, his contact with Guido Reni influenced a certain classicism that is evident in his figures, although they are somewhat more realistic or less idealised than those of the Bolognese artist. There is no documentary information on Cantarini's early training. He may initially have been a pupil of Giovanni Giacomo Pandolfi. A priest from a church in Pesaro who supported Cantarini's artistic career accompanied the young artist on a trip to Venice. In Venice he benefited from the guidance of the Venetian Mannerist painter Sante Peranda and learned to draw from Francesco Mingucci, a fellow citizen of Pesaro who lived in Venice. He returned to Pesaro and received his first commissions from the Augustinian order in Pesaro and nearby Fano. His first commissions included the painting Saint Rita of Cascia, now in the Church of Saint Augustine in Pesaro, and The Immaculate Conception with the Saints (Pinacoteca Nazionale di Bologna). It is assumed that Cantarini became a pupil of Claudio Ridolfi, although the precise moment of his training is not known. Ridolfi would have passed on to him the Venetian style and a strong appreciation of the work of Federico Barocci, Ridolfi's collaborator in Urbino. After Ridolfi left Pesaro in 1629, Cantarini was left without a teacher and was therefore obliged to continue his artistic training on his own. As he was not taught by a single master in his early years, Simone Cantarini was largely self-taught and absorbed the styles of other painters by making copies or sketches of their works. The Carracci prints together with the work of Federico Barocci were important influences on the young artist. In addition, he was inspired by the Caravaggesque art of Orazio Gentileschi, who worked in the Marche region during the 1610s, and Giovanni Francesco Guerrieri of nearby Fossombrone.
Setdart Auction House
Nov. 22, 2023
Simone Cantarini, - Adam and Eve; …
Est: £100 - £200
Simone Cantarini, Italian 1612-1648- Adam and Eve; etching on paper, 19.8 x 17.2 cm. Provenance: Private Collection, UK. Note: Little is known with certainty about Cantarini's early artistic training, but it is believed that he studied under Claudio Ridolfi (1560-1644), after which - presumably around 1634 - he joined the studio of Guido Reni (1575-1642). Cantarini is particularly celebrated for his etchings, which are striking for their delicacy and vitality, with the free, loose lines of the present work, especially in the foliage and in Eve's flowing hair, imparting it with a sense of swirling movement.
Roseberys
Nov. 11, 2023
After CANTARINI (*1612), Escape to Egypt, around 1680, Etching
Est: €150 - €200
After Simone Cantarini (1612 Oropezza - 1648 Verona): The Holy Family on the Flight into Egypt, c. 1680, Etching Technique: Etching on Paper Date: c. 1680 Description: Beautiful side-inverted copy after Simone Cantarini, called "Il Pesarese". Biblical scene of the Holy Family resting on the flight to Egypt in impressive realism. An angel appears to the fugitives and orders them to return to Bethlehem. | Watermark: Ostensorium(?) with "PM". Keywords: Jesus Christ, Madonna, Boy, Holy Family, Angel, Bible, 17th century, Rococo, Religious, Italy,
Fichter Kunsthandel