Angelo Caroselli Paintings & Artwork for Sale | Angelo Caroselli Art Value Price Guide

Jun. 09, 2026
Attributed to CAROSELLI ANGELO (1585 - 1652) - Penitent Courtesan
Est: €8,000 - €12,000
Attributed to CAROSELLI ANGELO (1585 - 1652). Penitent Courtesan. Provenance: Private Collection, Milan. Literature: E. A. Safarik, Malinconia delle Venezie. La raccolta Safarik nella collezione di Luigi Koelliker, catalogo della mostra, Residenzgalerie, Salzburg 2003, pp. 24–28;   V. Sgarbi, Pseudo Caroselli. La morte di Cleopatra, in Quaderni del Barocco, n. 16, Palazzo Chigi Ariccia, p. 11, fig. 15. Comparative literature: A. Ottani Cavina, Su Angelo Caroselli pittore romano, in "Arte Antica e Moderna", 31–32, 1965, pp. 289–297;   L. Salerno, Il dissenso nella pittura. Intorno a Filippo Napoletano, Caroselli, Salvator Rosa e altri, in "Storia dell'Arte", 5, 1970, pp. 34–65;  Id., Immobilismo politico e accademia, in F. Zeri (a cura di), Storia dell'Arte Italiana, VI, 1, Torino 1981, pp. 447–522;   L. Laureati, Francesco Maltese. Benedetto Fioravanti, in La natura morta in Italia, II, Milano 1989, pp. 768–769, figg. 900–901;   F. Lemme, in Il Seicento e Settecento romano nella Collezione Lemme, catalogo della mostra, Roma, Palazzo Barberini, Roma 1998, n. 24, pp. 100–102;   G. Bocchi, U. Bocchi, Pittori di natura morta a Roma. Artisti italiani 1630–1750, Viadana 2005, pp. 153–164;   M. Rossetti, L'arcano Angelo Caroselli, in L'incantesimo di Circe. Temi di magia nella pittura da Dosso Dossi a Salvator Rosa, a cura di S. Macioce, Roma, Logart Press, 2004, pp. 106–151;   D. Semprebene, Angelo Caroselli 1585–1652 un pittore irriverente, Roma 2011. The richly attired female figure, dressed in elaborate garments and wearing a headdress adorned with gilded masks and precious decorations, is captured in a moment of intense emotional expression: the tears upon her face, her gaze turned upward, and the eloquent gesture of her hands convey a state of contrition. In the background, within an architectural opening, appears a Penitent Magdalene, who is not merely a decorative backdrop but rather the iconographic and moral fulcrum of the entire composition. The relationship between the two figures — the courtesan in the foreground and the Magdalene in the background — is deliberate and structurally conceived: the worldly sinner, still enveloped in her sumptuous garments and ornaments, looks upward in a gesture of conversion, finding in the figure of the Magdalene the model and possibility of redemption. This rhetorical device is characteristic of seventeenth-century Roman visual culture, in which the internal painted quotation serves as an allegorical and moral commentary upon the principal scene, almost as a diptych within a unified space: on one side, the life of sin represented through the luxurious clothing and ornaments of the courtesan; on the other, the path of penitence embodied by the Magdalene. The mask-adorned headdress — traditionally an attribute of deception and theatrical vanity — acquires in this context a further significance, alluding to the worldly condition the figure is in the process of abandoning. The technique is distinguished by a particularly polished finish and by the meticulous rendering of textiles — embroideries, brocades, velvets, and lace — described with a precision recalling methods still rooted in sixteenth-century practice. Laureati observed how the painted surface appears almost constructed in relief, with an effect approaching trompe-l’œil, emphasizing affinities with the specialization of Benedetto Fioravanti and Francesco Maltese in the depiction of fabrics, carpets, and damasks. The cultural matrix of the work also reveals a Northern — Dutch or Flemish — component, foreign to the idealization typical of the Italian school, and displaying affinities with the tradition of genre painting cultivated by the Bentvueghels, the lively colony of Netherlandish painters active in Rome during the first half of the seventeenth century. The painting was published by Eduard A. Safarik in 2003 in the catalogue of the exhibition Malinconia delle Venezie as a work executed by Angelo Caroselli in collaboration with Fioravanti for the accessories, according to a workshop practice documented for the Roman painter, whose predilection for genre subjects with moral and allegorical undertones is confirmed by early inventories. Already in the 1627 inventory of Francesco Barberini there appeared a painting depicting a Negromante by Caroselli, while “La Zingara mezza figura del Caroselli” formed part of the estate of Cardinal Giovan Battista Costaguti in 1704. The theme of the repentant courtesan, mediated through the model of the Magdalene, fits perfectly within this production, situated at the boundary between devotional and genre subject matter, between moralizing and erotic painting, according to a deliberate ambiguity that constitutes one of the most distinctive features of Caroselli’s figurative culture. Vittorio Sgarbi, however, attributed the painting to the corpus of the Pseudo Caroselli, a mysterious genre painter, perhaps of Northern origin, closely associated with the manner of Caroselli. He distinguished the anonymous master’s hand from that of the Roman painter on technical grounds: whereas Caroselli’s painting becomes progressively freer and more fluid, that of the Pseudo Caroselli remains extremely polished and meticulous, retaining persistent sixteenth-century suggestions, anatomical awkwardness, and an exacerbated expressive quality tending toward the grotesque and caricatural. The painting constitutes a significant example of Roman painting of the first half of the seventeenth century, in which the refined execution of ornaments and textiles is combined with a sophisticated iconographic construction, effectively conveying the moral and figurative complexity of the subject. . 33 x 40 cm.
Capitolium Art
May. 28, 2026
Caravaggista Master; Possibly ANGELO CAROSELLI (Rome, 1585- 1652). "St. Sebastian assisted by St. Irene". Oil on canvas. It has frame, c. 1820 with case.
Est: €15,000 - €16,000
Caravaggista Master; Possibly ANGELO CAROSELLI (Rome, 1585- 1652). "St. Sebastian assisted by St. Irene". Oil on canvas. It has frame, c. 1820 with case. Measurements: 37 x 30.5 cm; 46 x 38 cm (frame). In this painting Caravaggio's inheritance is translated in a painting of strong dramatic intensity and emotional proximity. The scene captures the instant after the martyrdom of Saint Sebastian: his body, still suspended and overcome by pain, collapses in a tense diagonal that crosses the composition, while Saint Irene approaches with a restrained gesture to attend to his wounds. The treatment of light is the true protagonist. A directed beam crudely illuminates the saint's anatomy, modeling each muscle with almost sculptural precision, while the background is submerged in a dense penumbra. This contrast is not merely formal: it acts as a narrative vehicle, separating the world of physical suffering from a barely suggested spiritual dimension. Sebastian's pale skin, crossed by subtle traces of martyrdom, becomes an expressive surface. In terms of pictorial quality, the work reveals the sensibility of a master close to Caroselli's circle, characterized by his ability to synthesize naturalism and theatricality without falling into rhetorical excess. In fact, in the Pushkin Museum of Fine Arts, Russia, there is a similar model attributed to the Roman artist (no. inv 2686)- The brushstroke, although controlled, maintains a certain freedom in the drapery and in the secondary elements, such as the jug that Irene carries, bringing dynamism and veracity to the scene. The theme, deeply rooted in post-Tridentine spirituality, is articulated here from an intimate perspective: the heroism of martyrdom is not emphasized, but the human moment of care and compassion. This choice reinforces the devotional function of the image, inviting the viewer not only to contemplate, but to participate emotionally in the episode. In short, the painting is presented as an eloquent example of the ability of Caravaggism to transform religious drama into an immediate and moving visual experience.
Setdart Auction House
Mar. 19, 2026
ANGELO CAROSELLI (1585-1652), ATTRIBUÉ, JÉSUS AVEC SAINT-JOSEPH
Est: €1,200 - €1,400
ANGELO CAROSELLI (1585-1652), attribué Jésus avec Saint-Joseph Huile sur toile attribuée à Angelo Caroselli. Dimensions : 64,5 x 49 cm Peintre baroque italien né à Rome, Angelo Caroselli est actif dans sa ville natale dans la première moitié du 17ème siècle. Artiste autodidacte expérimental et inquiet, il a l'occasion d'établir des contacts et de faire des rencontres également en dehors du milieu de la peinture romaine qui est néanmoins le lieu principal de son activité. De style éclectique, Angelo Caroselli est fortement influencé par La Caravage et les Bamboccianti. Beau-frère de Filippo Lauri, son fils Carlo Caroselli ainsi que Pietro Paolini figureront parmi ses élèves. Oeuvres à la Santa Francesca Romana et au Palais du Quirinal.
Accademia Fine Art
Nov. 27, 2025
Angelo Caroselli [attribuito a], San Sebastiano e Sant'Irene. 1615-1652.
Est: -
Olio su tela. cm 36,5x30,5. Replica dell'olio di identico soggetto conservato al Museo Statale di Belle Arti S. A. Puskin di Mosca (inv. 2686), il dipinto acquistato in Italia per l'Ermitage nel 1846 è pervenuto al museo moscovita nel 1930. All'Ermitage era considerato opera del Ribera e a seguire della scuola di Caravaggio. Roberto Longhi lo assegnava al Guercino (Longhi, 1926), Sterling a Orazio Gentileschi, Pallucchini ad anonimo francese, Nicolson a Orazio Riminaldi, Brejon de Lavergnée a Nicolas Tournier. L'attribuzione a Caroselli si deve a Vittoria Markova.
Gonnelli Casa d'Aste
Jul. 02, 2025
Angelo Caroselli (Rome 1585-1652) A young woman holding a mask
Est: £6,000 - £8,000
Angelo Caroselli (Rome 1585-1652) A young woman holding a mask oil on canvas 50.4 x 40.5cm (19 13/16 x 15 15/16in).
Bonhams
Jun. 10, 2025
CAROSELLI ANGELO (1585 - 1652) - Saint Francis
Est: €4,000 - €6,000
CAROSELLI ANGELO (1585 - 1652). Saint Francis. Thanks to Dr. Marta Rossetti for confirming the attribution of the work on a photographic basis.. 101,50 x 73,50 cm.
Capitolium Art
Jul. 09, 2024
Follower of Angelo Caroselli, Italian 1585-1652- The Toilet of Venus;
Est: £500 - £800
Follower of Angelo Caroselli, Italian 1585-1652- The Toilet of Venus; oil on canvas, 112 x 90 cm.
Roseberys
Jun. 27, 2024
Angelo Caroselli, 1585 Rom – 1653 ebenda
Est: €14,000 - €16,000
DER HEILIGE FRANZISKUS ALS EREMIT Öl auf Leinwand. Doubliert. 119 x 92 cm. In breitem vergoldetem, ornamental verziertem Rahmen. Beigegeben eine Expertise von Prof. Massimo Pulini, Montiano, 17. Dezember 2021, in Kopie. Auf einem Felsblock liegt ein Schädel, darüber, in optischer Verkürzung, geschickt dargestellt ein von hinten gesehenes Kruzifix, der aufmontierte Christus mit Kreuznimbus, dem Heiligen zugewandt, der hinter dem Steinblock in seiner Franziskaner-Kutte sitzt und im Begriff ist seine Stigmata zu empfangen. Neben ihm ein offenes Buch, rückwärtig mit Böschung und reizvoller hügeliger Landschaft, ganz dem Gefühl der umbrischen Gegend entsprechend. In seinem Gutachten vergleicht Pollini das vorliegende Gemälde mit einer querformatigen Darstellung von Angelo Caroselli, ebenfalls den Heiligen Franziskus darstellend, in den Staatlichen Gemäldesammlungen sowie in einer Privatsammlung befindlich. Auch die Darstellung des Heiligen Franziskus im Palazzo Colonna in Stigliano hält als Vergleich her. (1401721) (4) (13) Angelo Caroselli, 1585 Rome– 1653 ibid. SAINT FRANCIS AS A HERMIT Oil on canvas. Relined. 119 x 92 cm. Accompanied by an expert’s report by Professor Massimo Pulini, Montiano, 17 December 2021, in copy.
Hampel Fine Art Auctions
May. 09, 2024
Enigmatic Portrait
Est: €3,000 - €4,000
17th century, oil on canvas, 131x100 cm
Arte Investimenti
Mar. 21, 2024
Angelo Caroselli, 1585 Rom – 1652, zugeschrieben
Est: €4,000 - €6,000
ALLEGORIE DER MUSIK Öl auf Leinwand. Doubliert. 147 x 92 cm. In mit Blattwerk verziertem Rahmen. Im Hintergrund wird im Freien getafelt, während drei seltsam theatralisch geschmückte junge Figuren im Vordergrund musizieren. Eine Laute wird gespielt, eine Flöte, eine weitere androgyne Figur hält zusammengerollte Noten- oder Textblätter und scheint im Begriff zu sein, zu singen. Anmerkung: Am 18.10.2006 hat ein Tondo des Künstlers ebenfalls mit musikalischer Szene bei Sotheby´s, Mailand, unter Lot 259 einen Zuschlagspreis von Euro 85.000 erreicht. (1391609) (1) (13)
Hampel Fine Art Auctions
Mar. 19, 2024
OIL PAINTING BY ANGELO CAROSELLI, circle of
Est: €2,500 - €3,500
ANGELO CAROSELLI, ambito di (Roma 1585 - Roma 1652) SUONATORE DI FLAUTO Olio su tela, cm. 60 x 46 CONDITION REPORT Rintelo recente. Una piccola zona di restauro all'angolo in alto a sinistra. Il dipinto è in buono stato di conservazione CORNICE Cornice in legno dorato scolpita a foglie con bordi a palmette e ghirlanda, del XVII secolo
Casa d'Aste Babuino
Nov. 23, 2023
Flute player with feathered hat
Est: €8,000 - €12,000
Oil on canvas cm. 62x48. Framed
Bertolami Fine Art s.r.l.
Jul. 07, 2023
ANGELO CAROSELLI (ROME 1585-1652) David presenting the head of Goliath to S
Est: £40,000 - £60,000
ANGELO CAROSELLI (ROME 1585-1652) David presenting the head of Goliath to Saul oil on canvas 36 3/8 x 44 3/8 (92.5 x 112.7 cm.)
Christie's
Jun. 29, 2023
Angelo Caroselli, 1585 Rom – 1653 ebenda
Est: €15,000 - €20,000
DER HEILIGE FRANZISKUS ALS EREMIT Öl auf Leinwand. Doubliert. 121 x 92 cm. Verso auf dem Rahmen mit alten Besitzervermerken. In vergoldetem, ornamental verziertem Rahmen. Beigegeben ein Gutachten von Massimo Pulini, Montiano, 17. Dezember 2021, in Kopie. Das Gemälde ist von der Lichtführung und der Ausrichtung des Kopfes ungefähr vergleichbar mit dem Gemälde in der Galleria Spada in Rom sowie dem Gemälde mit der nach links gerichteten Ester in der Galerie Aldomani in Pesaro, oder auch mit dem Franziskus im Palazzo Colonna. Darstellung des bekannten Heiligen vor einem Hügel, auf dessen Erhebung die erste Kirche Assisis steht. Franziskus selbst vor einem Felsblock sitzend, an dem ein Kruzifix auf einem Schädel in waghalsiger Verkürzung lehnt, mit davorliegendem geöffneten Buch, im Begriff die Vision zu empfangen, welche als Lichtstrahl oben links zu sehen ist. (1361806) (4) (13) Angelo Caroselli, 1585 Rom – 1653 ibid. SAINT FRANCIS AS A HERMIT Oil on canvas. Relined. 121 x 92 cm. Accompanied by a copy of an expert’s report by Massimo Pulini, Montiano, 17 December 2021, in copy.
Hampel Fine Art Auctions
Jan. 25, 2023
ANGELO CAROSELLI (ROME 1585-1652) Lesbia mourning her pet sparrow
Est: $150,000 - $250,000
ANGELO CAROSELLI (ROME 1585-1652) Lesbia mourning her pet sparrow oil on canvas 38 1/4 x 53 in. (97.2 x 134.6 cm.) Read more
Christie's
Dec. 08, 2022
Angelo Caroselli, 1585 Rom – 1652, zugeschrieben
Est: €4,000 - €6,000
Allegorie der Musik Öl auf Leinwand. Doubliert. 147 x 92 cm. In mit Blattwerk verziertem Rahmen. Im Hintergrund wird im Freien getafelt, während drei seltsam theatralisch geschmückte junge Figuren im Vordergrund musizieren. Eine Laute wird gespielt, eine Flöte, eine weitere androgyne Figur hält zusammengerollte Noten- oder Textblätter und scheint im Begriff zu sein, zu singen. Anmerkung: Am 18.10.2006 hat ein Tondo des Künstlers ebenfalls mit musikalischer Szene bei Sotheby‘s, Mailand, unter Lot 259 einen Zuschlagspreis von Euro 85.000 erreicht. (13413316) (1) (13) Angelo Caroselli, 1585 Rome – 1652, attributed ALLEGORY OF MUSIC Oil on canvas. Relined. 147 x 92 cm. Notes: On 18 October 2006, a tondo by the artist, also with a musical scene, achieved a hammer price of Euro 85.000 at Sotheby‘s, Milan, under lot 259.
Hampel Fine Art Auctions
Jun. 18, 2022
ANGELO CAROSELLI (1585-1652), attribué Jésus avec Saint-Joseph
Est: €4,000 - €8,000
ANGELO CAROSELLI (1585-1652), attribué Jésus avec Saint-Joseph The Child with Saint Joseph, oil on unlined canvas 64,5 x 49 cm. Angelo Caroselli or Carosèlli was an Italian painter of the Baroque period, active mainly in his native Rome. He created religious works, allegories, portraits as well as genre scenes in the vein of the Caravaggisti. He also returned regularly to scenes of witchcraft and sorcery. His style is eclectic style and shows influences principally from Caravaggio and the painters of 'low-life' scenes active in Rome called the Bamboccianti. His work is characterised by its search for originality. This is demonstrated in the potent naturalism and chiaroscuro that characterise his compositions and his preference for depicting colorful characters of contemporary Rome and scenes of witchcraft and musicians. The work of Caroselli was influential on other Caravaggisti such as the Lucchese painter Pietro Paolini and the Dutch painter Dirck van Baburen.
Accademia Fine Art
Apr. 12, 2022
Attributed to Angelo Caroselli (Rome 1585-1652) The Massacre of the Innocents
Est: £3,000 - £5,000
Attributed to Angelo Caroselli (Rome 1585-1652) The Massacre of the Innocents oil on canvas 48.2 x 51.8cm (19 x 20 3/8in). For further information on this lot please visit the Bonhams website
Bonhams
Apr. 23, 2021
ATTRIBUTED TO ANGELO CAROSELLI (ROME 1585-1652) Portrait of a boy, bust-le
Est: $8,000 - $12,000
ATTRIBUTED TO ANGELO CAROSELLI (ROME 1585-1652) Portrait of a boy, bust-length oil on panel, tondo 11 ¼ inches (28.4 cm.) diameter
Christie's
Sep. 24, 2020
Angelo Caroselli, 1585 Rom – 1652, Kreis des
Est: €4,000 - €5,000
BILDNIS DER LAURA DIANTI MIT EINEM MOHRENKNABEN Öl auf Leinwand. 70 x 55 cm. Das Gemälde in aufwendig geschnitztem vergoldeten Akanthusrahmen mit bekrönendem Wappen und Zackenkrone. Laura Dianti, von der lediglich das Sterbejahr 1573 verbürgt ist, war die Geliebte von Alfonso I d‘Este, Herzog von Ferrara, nach dem Tod von dessen Gemahlin Lucrezia Borgia. Für die Kunstgeschichte bekannt geworden ist sie durch das berühmte Gemälde von Tiziano Vecellio (1485/89-1576) aus dem Jahre 1523 (Privatsammlung Schweiz), in dem sie ebenfalls bereits mit einem Mohrenknaben als Pagen portraitiert wurde. Das größerformatige Gemälde von Tizian stellt sie in blauem Kleid mit goldfarbenem Scherpentuch und ähnlichem Kopfputz dar, wie es auch in dem vorliegenden Gemälde zu sehen ist. Der Mohrenknabe in Tizians Bild trägt ein aufwendiger gestaltetes, gestreiftes Kostüm, die Haltung der Dame in dem vorliegenden Bild ist jedoch identisch mit dem Tizian-Gemälde. Allerdings hat, im Gegensatz zu dort, der Maler hier einen Fensterausblick hinzugefügt, der eine bergige Landschaft mit Gebäuden zeigt. Sollte sich die Zuschreibung an Caroselli bestätigen, so würde es sich bei vorliegendem Bild um eine Motivwiederholung handeln, posthum entstanden, nach dem Vorbild Tizians und wohl im Sinne einer Ferraresischen Ahnengalerie, wie dies für hochrangige Personen des Adels üblich war. Literatur: Vgl. Alexander Rauch, Malerei der Hochrenaissance und des Manierismus in Rom und Mittelitalien, in: Rolf Toman (Hrsg.), Kunst der italienischen Renaissance, Köln 1994. (1221162) (3) (11)
Hampel Fine Art Auctions
Jul. 02, 2020
Angelo Caroselli, 1585 Rom – 1652, Kreis des
Est: €5,000 - €6,000
BILDNIS DER LAURA DIANTI MIT EINEM MOHRENKNABEN Öl auf Leinwand. 70 x 55 cm. Das Gemälde in aufwendig geschnitztem vergoldeten Akanthusrahmen mit bekrönendem Wappen und Zackenkrone. Laura Dianti, von der lediglich das Sterbejahr 1573 verbürgt ist, war die Geliebte von Alfonso I dEste, Herzog von Ferrara, nach dem Tod von dessen Gemahlin Lucrezia Borgia. Für die Kunstgeschichte bekannt geworden ist sie durch das berühmte Gemälde von Tiziano Vecellio (1485/89-1576) aus dem Jahre 1523 (Privatsammlung Schweiz), in dem sie ebenfalls bereits mit einem Mohrenknaben als Pagen portraitiert wurde. Das größerformatige Gemälde von Tizian stellt sie in blauem Kleid mit gold farbenem Scherpentuch und ähnlichem Kopfputz dar, wie es auch in dem vorliegenden Gemälde zu sehen ist. Der Mohrenknabe in Tizians Bild trägt ein aufwendiger gestaltetes, gestreiftes Kostüm, die Haltung der Dame in dem vorliegenden Bild ist jedoch identisch mit dem Tizian-Gemälde. Allerdings hat, im Gegensatz zu dort, der Maler hier einen Fensterausblick hinzugefügt, der eine bergige Landschaft mit Gebäuden zeigt. Sollte sich die Zuschreibung an Caroselli bestätigen, so würde es sich bei vorliegendem Bild um eine Motivwiederholung handeln, posthum entstanden, nach dem Vorbild Tizians und wohl im Sinne einer Ferraresischen Ahnengalerie, wie dies für hochrangige Personen des Adels üblich war. Literatur: Vgl. Alexander Rauch, Malerei der Hochrenaissance und des Manierismus in Rom und Mittelitalien, in: Rolf Toman (Hrsg.), Kunst der italienischen Renaissance, Köln 1994. (1221162) (3) (11)
Hampel Fine Art Auctions
Apr. 02, 2020
Angelo Caroselli, 1585 Rom – 1652, Kreis des
Est: €8,000 - €10,000
BILDNIS DER LAURA DIANTI MIT EINEM MOHRENKNABEN Öl auf Leinwand. 70 x 55 cm. Das Gemälde in aufwendig geschnitztem vergoldeten Akanthusrahmen mit bekrönendem Wappen und Zackenkrone. Laura Dianti, von der lediglich das Sterbejahr 1573 verbürgt ist, war die Geliebte von Alfonso I d'Este, Herzog von Ferrara nach dem Tod von dessen Gemahlin Lucrezia Borgia. Für die Kunstgeschichte bekannt geworden ist sie durch das berühmte Gemälde von Tiziano Vecellio (1485/89-1576) aus dem Jahre 1523 (Privatsammlung Schweiz), in dem sie ebenfalls bereits mit einem Mohrenknaben als Pagen portraitiert wurde. Das größerformatige Gemälde von Tizian stellt sie in blauem Kleid mit goldfarbenem Scherpentuch und ähnlichem Kopfputz dar, wie wir es auch in dem vorliegenden Gemälde sehen. Der Mohrenknabe in Tizians Bild trägt ein aufwendiger gestaltetes, gestreiftes Kostüm, die Haltung der Dame in dem vorliegenden Bild ist jedoch identisch mit dem Tizian-Gemälde. Allerdings hat, im Gegensatz zu dort, der Maler hier einen Fensterausblick hinzugefügt, der eine bergige Landschaft mit Gebäuden zeigt. Sollte sich die Zuschreibung an Caroselli bestätigen, so würde es sich bei vorliegendem Bild um eine Motivwiederholung handeln, posthum entstanden, nach dem Vorbild Tizians und wohl im Sinne einer Ferraresischen Ahnengalerie, wie dies für hochrangige Personen des Adels üblich war. Literatur: Alexander Rauch, Malerei der Hochrenaissance und des Manierismus in Rom und Mittelitalien, in: Kunst der italienischen Renaissance, Rolf Toman (Hrsg.), Köln 1994. (1221162) (3) (11)
Hampel Fine Art Auctions
Feb. 05, 2019
Angelo Caroselli (circle)
Est: €2,000 - €3,000
Portrait of a painter oil on canvas, 67by55cm.
Bolli & Romiti s.r.l
Nov. 27, 2018
Angelo Caroselli (Roma 1585 –1652) [4234] - Giovane musico
Est: €5,000 - €8,000
Young musician oil on board, 63,3 x 44 cm
Finarte Roma
Nov. 14, 2018
Caravaggesque painter, first half of the 17th century
Est: €5,000 - €7,000
Caravaggesque painter, first half of the 17th century Allegory of Autumn Oil on canvas, cm. 66x50 The Laura Tansini Collection, Rome - The sale proceeds for this lot will benefit philanthropic activities. LITERATURE: M. Rossetti, Angelo Caroselli 1585-1562 pittore romano. Copista, pasticheur, restauratore, conoscitore, Roma, Campisano, 2015, n. 35, pp. 260-261.
Bertolami Fine Art s.r.l.
May. 22, 2018
ATTRIBUTED TO ANGELO CAROSELLI | The Holy Family
Est: $10,000 - $15,000
oil on canvas
Sotheby's
May. 08, 2018
ANGELO CAROSELLI 1585 Roma - 1653 Virgen con el Niño y Santa Ana
Est: -
ANGELO CAROSELLI 1585 Roma - 1653 Virgen con el Niño y Santa Ana This artist developed his artistic career in his hometown, in Florence and Naples, where he came into contact with Caravaggio from whom he learned his technique of chiaroscuro. Among his extensive production, small-format devotions stand out for private clients in which the figures are shown with a naturalism of Caravaggio origin that combines with a certain archaic accent, which brought him closer in his maturity to the style of Orazio Gentileschi or the Nordic artists . A table very similar to this one was presented in Wetternald-Rannou-Cassegrain, Nice, in 2004. With an important frame of the 18th century in carved and gilded wood. Oil on board 48 x 37 cm Antique painting and 19th C.
Isbilya Subastas
Apr. 19, 2018
ATTRIBUTED TO ANGELO CAROSELLI (ROME 1585-1652) Portrait of a boy, bust-length oil on
Est: $15,000 - $20,000
ATTRIBUTED TO ANGELO CAROSELLI (ROME 1585-1652) Portrait of a boy, bust-length oil on panel, tondo 11 1/4 inches (28.4 cm.) diameter
Christie's
Jan. 31, 2018
ATTRIBUTED TO ANGELO CAROSELLI | An allegory of love with a singing violinist and a courtesan with coins in her palm
Est: $60,000 - $80,000
oil on slate, circular
Sotheby's
Dec. 04, 2017
Angelo Caroselli - Christ and the adulteress
Est: €35,000 - €60,000
Angelo Caroselli (Rome, 1585 - 1652) Christ and the adulteress oil on canvas, cm 124x145 Although it is well known to critics, the impressive canvas shown here marks the finding of a work had for decades been considered in an unknown and unreachable location. It is a masterpiece that adds an important part to our vision of the Roman art scene around 1630s, a period of different tendencies coexisting together, as the last glimpse of the caravaggesque stile, classicisms, neo-Venetian tendencies and early baroque. Our painting expresses at the highest level the composite, primitive and multiforme artistic personality of Angelo Caroselli. Among the multitude of talents that animated the capitol's artistic world, he occupies an abnormal and peculiar position, though not easy to outline (also due to the small data related to his biography and his work), where they coexist tradition sixteenth century and naturalistic innovation, aulicity and comic book, convention and eccentricity. The canvas has a secular documentary history, which unfortunately does not go back to its genesis. His most ancient quotation is in the inventory of Flavio Chigi, written in 1692 by the painter Francesco Corallo, accurately described and attributed to Massimo Stanzione: “Un quadro p.mi 6 e 5 (...) con prospettiva, e varie figure in piedi, con Christo, et una donna piangente, che rappresenta la Dultera, mano del Cavaliere Massimi” (eng: "A painting p.mi 6 and 5 (...) with perspective, and various standing figures, with Christo, and a weeping woman, representing the Dultera, of the Cavaliere Massimi". In the last century the great canvas was appropriately taken from Stanzione's hand and referred to Aniello Falcone by Sergio Ortolani and again by Giuliano Briganti in the inventory of Eleonora Chigi della Rocchetta in 1962. Finally, starting from an essay by Maurizio Marini and the first edition of Benedict Nicholson's caravaggesque paintings repertoire, both published in 1979, the painting was unanimously recognized as a corpus by Angelo Caroselli. In his contribution, Marini proposed, among other things, to move the articulated classic architectural background to the hand of Filippo Gagliardi: a hypothesis that, while not having found particular follow in the critical literature, had the merit of emphasizing the participation in the execution of canvas an artist specialized in prospective and architectural invention. In the painting it is easy to find strict stylistic tangencies with the principal works of the great painter between the second half of the third decade and the end of the fourth decade of the seventeenth century. It is evident here a profound assimilation of the lesson of Caravaggio, which first emerges from the posture of the two beggars introducing the scene occupying the two sides of the first floor, inspired by the similar figures of the Martyrdom of St. Matthew in S. Luigi dei Francesi – Rome; but also from other figures derived more or less literally from the Seven Mercy of Pio Monte della Misericordia - Naples and the Madonna of the Rosary today at the Kunsthistorisches Museum in Wien (as Marta Rossetti put it in his accurate monograph of the painter). But our canvas expresses in all its amplitude the figurative culture of Caroselli: in addition to the primary influence of Caravaggio, in fact, Christ and adulterous show painter's attention and tangents towards Caravaggio artists of the first and second generations (Orazio Gentileschi , Borgianni, Cavarozzi, Cecco del Caravaggio, Paolini), but also signs of a superficial update on Nicolas Poussin's classicism. Of the latter, Caroselli was a brilliant copywriter in real time, as attested to his version of Azoth's Plague, which is now preserved at the National Gallery in London. The work was in fact executed in Rome at the beginning of 1631, commissioned for 35 scudi by the noble Palermitan Fabrizio Valguarnera, who had assured for 110 scudi the original Poussinian (now preserved at the Musée du Louvre). PROVENANCE: Cardinal Flavio Chigi (1631-1693); Chigi Collection; since 1917, Eleonora Chigi Incisa della Rocchetta for the legacy of Mario Chigi; Auction Finarte Milano 18 April 1972, l. 12; Italian private collection. LITERATURE: A.Ottani Cavina, voce Caroselli, Angelo, in DBI, Roma 1977, XX, p. 549; M. Marini, San Pietro Nolasco trasportato dagli angeli: Bartolomeo Cavarozzi e Cecco del Caravaggio, in “Antologia di belle arti”, 9-12,1979, pp. 68-76; B. Nicholson, The International Caravaggesque movement, Oxford, Phaidon Press, 1979, p. 41; Id., Caravaggism in Europe, Ed. by L. Vertova, Torino, Allemandi, 1990, v. I, p. 95; F. Petrucci, in La “schola” del Caravaggio. Dipinti dalla collezione Koelliker, cat. della mostra, a cura di G. Papi, Ariccia, Palazzo Chigi, 13 ottobre 2006-11 febbraio 2007, Milano, Skira, 2006, p. 26; D. Semprebene, Angelo Caroselli 1585-1652. Un pittore irriverente, Roma, Gangemi, 2011, p. 112; M. Rossetti, Angelo Caroselli 1585 – 1652 pittore romano. Copista, pasticheur, restauratore, conoscitore, Roma, Campisano, 2015, n. 56, pp. 336-340. Because of its historical-artistic importance, the painting is subject to notification by the Italian State.
Bertolami Fine Art s.r.l.
Nov. 30, 2016
ANGELO CAROSELLI (Rome,1585-1652) The Virgin and Child with Saint Anne
Est: -
ANGELO CAROSELLI (Roma,1585-1652) Virgen con el Niño y Santa Ana, Óleo sobre tabla de roble de 48 x 37 cm.Angelo Caroselli desarrolló su carrera artística en su ciudad natal, donde aparece como miembro de la Academia de San Luca entre 1608-1635.Su estilo, cuando trata temas de vánitas o alegorías, muestra unnaturalismo de origen caravaggiesco, mientras que en susrepresentaciones de "Madonna col bambino", como la obra quepresentamos o la conservada en la Galeria Corsini de Roma, denota unestilo ecléctico. Una tabla muy similar a ésta se presentó enWetternald-Rannou-Cassegrain, Niza, en 2004.En importante marco del siglo XVIII en madera tallada y dorada.
Sala Retiro Subastas
Apr. 07, 2016
Angelo Caroselli,1585 - 1652, nach
Est: €4,000 - €6,000
JUNGES MÄDCHEN BEIM ANLEGEN EINER PERLENKETTE Öl auf Leinwand. 66,5 x 79 cm. Verso mehrere Papieraufkleber, in Englisch bedruckt. Das Mädchen im Halbbildnis wiedergegeben, der Blick ist mit sprechendem Ausdruck auf den Betrachter gerichtet, nachdenklich und auch ein wenig skeptisch. Sie legt sich eine Perlenkette um den Hals, während ihr eine Dienerin rechts den Spiegel entgegenhält. Die Bildauffassung und die Einbringung von Gegenständen, wie Deckelvase oder Glasvase über einem Buch auf einem reliefierten Sockel, reflektiert die Vorbilder aus der niederländischen Malerei. Jedoch überwiegt schon gänzlich der psychologische Aspekt der Darstellung, wie dies schon im ausgehenden 18. und beginnenden 19. Jahrhunderts üblich war. (1042342) (11)
Hampel Fine Art Auctions
Oct. 07, 2015
ANGELO CAROSELLI (Rome, 1585-1652) - Virgin with child and Saint Ana
Est: -
ÌÒleo sobre tabla de roble de 48 x 37 cm. Angelo Caroselli desarrollÌ_ su carrera artÌ_stica en su ciudad natal, donde aparece como miembro de la Academia de San Luca entre 1608-1635. Su estilo, cuando trata temas de vÌÁnitas o alegorÌ_as, muestra un naturalismo de origen caravaggiesco, mientras que en sus representaciones de "Madonna col bambino", como la obra que presentamos o la conservada en la Galeria Corsini de Roma, denota un estilo eclÌ©ctico. Una tabla muy similar a Ì©sta se presentÌ_ en Wetternald-Rannou-Cassegrain, Niza, en 2004. En importante marco del siglo XVIII en madera tallada y dorada.
Sala Retiro Subastas
May. 19, 2015
Angelo Caroselli (Roma 1585 - 1652)
Est: €20,000 - €30,000
Allegoria dell’Autunno olio su tela, cm 66 x 49,5 PROVENIENZA: Asta Christie’s, Roma, 16 maggio 1985, lotto 285 come “attribuito a Pietro Paolini”.
Finarte Roma
Nov. 20, 2013
Der Triumph des David
Est: CHF4,000 - CHF6,000
Der Triumph des David ANGELO CAROSELLI Rom 1585-1653 Rom Entstanden gegen Ende 16. Jh / Anfangs 17. Jh. Wir danken Prof. Mauro Natale für seine Hilfe bei der Erstellung dieses Katalogeintrages.
Galerie Fischer Auktionen AG
Sep. 25, 2013
Ambito di Angelo Caroselli
Est: -
Ambito di Angelo Caroselli Testa di Medusa Olio su tavola, restauri e mancanze Altezza cm. 64, Larghezza cm. 52. Copia del noto dipinto del Caravaggio. Il dipinto è stato attribuito come opera di Angelo Caroselli (1585-1652) con perizie scritte del professor Briganti e del prof. Maurizio Marini Opening Price € 1000
Aste Bolaffi
Jan. 30, 2013
Angelo Caroselli (Rome 1585-1652)
Est: $200,000 - $300,000
Angelo Caroselli (Rome 1585-1652) A woman with coins and a man making music and singing oil on slate, circular 13 in. (33 cm.) diameter
Christie's
Jan. 18, 2012
Angelo Caroselli (Rome 1585-1652) A young man playing a lute by candlelight
Est: £7,000 - £10,000
A young man playing a lute by candlelight oil on canvas 71.6 x 63cm (28 3/16 x 24 13/16in).
Bonhams
Oct. 26, 2011
Angelo Caroselli (Rome 1585-1652) A young man playing a lute by candlelight
Est: £10,000 - £15,000
A young man playing a lute by candlelight oil on canvas 71.6 x 63cm (28 3/16 x 24 13/16in).
Bonhams
Jul. 07, 2011
ANGELO CAROSELLI
Est: £20,000 - £30,000
THE PROPERTY OF A LADY ROME 1585 - 1652 OMPHALE inscribed on the stretcher: Une Sarague... de Bolo... attribué... oil on canvas 74.8 by 58.2 cm.; 29 1/2 by 22 7/8 in.
Sotheby's
Apr. 13, 2011
Angelo Caroselli (Rome 1585-1652) A young man playing a lute by candlelight
Est: £15,000 - £20,000
A young man playing a lute by candlelight oil on canvas 71.6 x 63cm (28 3/16 x 24 13/16in).
Bonhams
Jan. 27, 2011
SCHOOL OF ANGELO CAROSELLI (1585-1653) Allegory On
Est: £5,000 - £7,000
SCHOOL OF ANGELO CAROSELLI (1585-1653) Allegory On Love and Infidelity (All'idola del mio cuore) oil on canvas 44cm x 56cm
McTear's
Jul. 08, 2009
Angelo Caroselli (Rome 1585-1652) A young man playing a lute by candlelight
Est: £30,000 - £50,000
A young man playing a lute by candlelight oil on canvas 71.6 x 63cm (28 3/16 x 24 13/16in).
Bonhams
Oct. 15, 2008
Angelo Caroselli (Roma 1585 - 1652) Allegorie der
Est: €22,000 - €26,000
Angelo Caroselli (Roma 1585 - 1652) Allegorie der Vergänglichkeit, Allegoria della Vanità, Öl auf Leinwand, 151 x 124 cm, o. R., (Wo)
Dorotheum
Oct. 18, 2006
ANGELO CAROSELLI ROMA 1585-1652
Est: €30,000 - €50,000
ALLEGORIA DELL'AMORE measurements note diametro 33 cm. olio su lavagna, tondo
Sotheby's
Jan. 22, 2004
* ANGELO CAROSELLI ROME 1585 - 1652
Est: $25,000 - $35,000
A LADY WITH HER DOG, AN ALLEGORY
Sotheby's