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Property of a ladyAttributed to Jacopo Chimenti detto l'Empoli (1551 - 1640)The head of a puttoRed and black chalk on buff paperThis drawing is loosely based on a drawing by Pontormo now in the Uffizi, Florence (inv. 654EV), which is a study for the head of the Christ Child in the altarpiece of the Madonna and Saints in the church of the S. Michele-Visdomini, Florence (see Janet Cox-Rearick), The Drawings of Pontormo, New York 1981, pls. 36 and 43).Provenance: Drury-Lowe Collection, Locko Park; Sotheby's London, March 25th 1965, lot 47 (as Federigo Baroccio); Professor J. Isaacs; The Rev. Richard Bagley. Dimensions:10.75 in. (H) x 8.75 in. (W)We are grateful to Professor Carlo Falciani for the attribution to Jacopo Chimenti detto l'Empoli.
Sloane Street AuctionsRefMas121121 This rather unusual pictorial motif showing the first "family" after their expulsion from paradise is based on Florentine prototypes of the early sixteenth century, namely the works of Fra Bartolomeo and Bacchiacca (active 1494-1557). Bacchiacca's "Eve with Cain and Abel" in the Philadelphia Museum of Art, created around 1516-1518, is the direct model for our painting. His work in turn was based on Perugino's "Apollo and Daphnis" in the Musée du Louvre - Perugino was Bacchiacca's teacher. The celebrated painter and draughtsman Jacopo Chimenti, called Jacopo da Empoli, spent his whole life in Florence. Accordingly, his artistic style draws heavily on the Renaissance and Mannerist painting of that city. Besides Bacciacca, Pontormo was an important source of inspiration for him, whose influence is particularly evident in the typology of the figures in our painting. A drawing by Jacopo da Empoli showing our subject was sold at Sotheby's London on 5th July, 2000.
Kunsthaus Lempertz KGJACOPO DA EMPOLI (Florence 1551-1640 Florence) A Fallen Soldier Attended by Two Figures. Red chalk on cream laid paper. 160x255 mm; 6 1/4x10 inches. Provenance: Private collection, Massachusetts. Empoli was an Italian Counter-Maniera (Counter-Mannerism) artist. Born in Florence as Jacopo Chimenti (Empoli being the birthplace of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary Santi di Tito, he gravitated to a style often more crisp, less contorted and less crowded than Florentine mannerist predecessors like Vasari. After the 1620s, working in a manner atypical of Florentine artists at the time, he completed a series of exceptional still-life paintings.
Swann Auction GalleriesAttributed to Jacopo Chimenti, called Jacopo da Empoli (Empoli 1554-1640) The Birth of Saint John the Baptist black chalk, pen and brown ink, brown wash, inscribed with an arched top 5 x 3 1/8 in. (12.7 x 8 cm)
Christie'sThis rather unusual pictorial motif showing the first "family" after their expulsion from paradise is based on Florentine prototypes of the early sixteenth century, namely the works of Fra Bartolomeo and Bacchiacca (active 1494-1557). Bacchiacca's "Eve with Cain and Abel" in the Philadelphia Museum of Art, created around 1516-1518, is the direct model for our painting. His work in turn was based on Perugino's "Apollo and Daphnis" in the Musée du Louvre - Perugino was Bacchiacca's teacher. The celebrated painter and draughtsman Jacopo Chimenti, called Jacopo da Empoli, spent his whole life in Florence. Accordingly, his artistic style draws heavily on the Renaissance and Mannerist painting of that city. Besides Bacciacca, Pontormo was an important source of inspiration for him, whose influence is particularly evident in the typology of the figures in our painting. A drawing by Jacopo da Empoli showing our subject was sold at Sotheby's London on 5th July, 2000.
Kunsthaus Lempertz KGJacopo CHIMENTI da Empoli (Attrib.) (C.1554-1640) "Presentation of the virgin in the temple" oil on canvas 80x90 cm. An attribution describes "the penultimate figure on the left of the viewer is the portrait of the author."
Arce SubastasAttributed to Jacopo da Empoli (1554-1640) sanguine chalk Clotho Matthiesen Ltd label verso 5 x 4.75in.
GorringesRed chalk within partial black chalk framing lines ( recto); Red and black chalk ( verso)
Sotheby'sPen and brown ink and wash over red and black chalk
Sotheby'sJACOPO CHIMENTI, CALLED JACOPO DA EMPOLI (EMPOLI 1554-1640) An elegantly dressed young man wearing a hat traces of black chalk, pen and brown ink, brown wash 11 3/8 x 5 3/4 in. (29 x 14.7 cm)
Christie'sStudio of: Jacopo (da Empoli) Chimenti (ITALIAN, BORN CIRCA 1554–1640) oil on canvas, Saint Catherine of Alexandria, 41 x 32-1/4 inches
Bill Hood & Sons Arts & Antiques AuctionsJacopo di Chimenti da Empoli (Firenze 1551-1640) LA CREAZI0NE DI ADAMO olio su tela, cm 194x148 al retro della tela e presente la scritta ' IO JACOPO DI CHIMENTI DA EMPOLI/DI ETA DI ANNI OTTANTADUE E MESI/UNO E GIORNI XII O DIPINTO E FINITO DETTO QUADRO A X DI GIUGNO' Bibliografia di riferimento A. Marabottini, Jacopo di Chimenti da Empoli, Roma, 1988, pp. 268-269, scheda 119 Il dipinto e menzionato da Alessandro Marabottini quale penultima opera nota di Jacopo da Empoli ormai ottantaduenne, come il pittore stesso sembra dichiarare nella scritta posta a tergo della tela. Nel deposito delle Gallerie fiorentine e conservata una Creazione di Adamo, dipinta per don Lorenzo de' Medici, di composizione identica al nostro e che medesimamente presentava, secondo l' inventario del 1825, l' iscrizione: " 1632 di mano di Jacopo da Empoli di eta 82" . Le consuete figure del pittore fiorentino, racchiuse entro un netto ed elegante contorno, si stagliano, nella tela qui offerta, al di sopra di un chiaro e luminoso fondale, a differenza dell' altra versione citata dove il Marabottini scorgeva un goffo tentativo di Jacopo di indirizzare la tavolozza verso tonalita piu scure, quasi preludendo ai risultati di Furini. Jacopo di Chimenti da Empoli (Firenze 1551-1640) creation of adam oil on canvas, cm 194x148 al retro della tela è presente la scritta "IO JACOPO DI CHIMENTI DA EMPOLI/DI ETA DI ANNI OTTANTADUE E MESI/UNO E GIORNI XII O DIPINTO E FINITO DETTO QUADRO A X DI GIUGNO" Bibliografia di riferimento A. Marabottini, Jacopo di Chimenti da Empoli, Roma, 1988, pp. 268-269, scheda 119 Il dipinto è menzionato da Alessandro Marabottini quale penultima opera nota di Jacopo da Empoli ormai ottantaduenne, come il pittore stesso sembra dichiarare nella scritta posta a tergo della tela. Nel deposito delle Gallerie fiorentine è conservata una Creazione di Adamo, dipinta per don Lorenzo de' Medici, di composizione identica al nostro e che medesimamente presentava, secondo l'inventario del 1825, l'iscrizione: "1632 di mano di Jacopo da Empoli di eta 82". Le consuete figure del pittore fiorentino, racchiuse entro un netto ed elegante contorno, si stagliano, nella tela qui offerta, al di sopra di un chiaro e luminoso fondale, a differenza dell'altra versione citata dove il Marabottini scorgeva un goffo tentativo di Jacopo di indirizzare la tavolozza verso tonalita piu scure, quasi preludendo ai risultati di Furini.
Pandolfini Casa d'AstePen and brown ink and reddish brown wash, over black and red chalk, heightened with white, squared for transfer in black chalk; bears old attribution in brown ink, verso: Hanibal Caracci and a further old attribution, verso: Caracci
Sotheby'sFeder in Braun über Spuren schwarzer Kreide, laviert auf sandfarben eingetöntem Bütten. 29,2 x15 cm. ∆ - Jacopo da Empoli hat viel nach dem lebenden Modell gezeichnet. “Eine Besonderheit stellen die Studien in Feder zu Knaben in Zeittracht dar, sie sind - fern der herrschenden akademischen Tradition - ganz vom Reiz des Kreatürlichen bestimmt (...). Für die Einzelstudie benutzt er gern kolorierte Papiere in Weinrot, Grau, Grün, Blau oder Sandfarben“ (Thiem, S. 272). Vorliegende Zeichnung kann gut mit dem bei Phillips, London, Auktion 17.4.1996, Los 86 versteigerten Blatt eines jungen Mannes verglichen werden. Möglicherweise ist hier dasselbe Modell dargestellt. - Alt auf Sammlungsuntersatz mit Zierlinienumrahmung aufgelegt. Kleine Wurmlöchlein am oberen Rand, Braunfleck außen links, ansonsten gut.∆∆Wir danken Prof. Dr. Miles Chappell, Williamsburg, für die freundliche Bestätigung der Zuschreibung auf Grundlage einer digitalen Photographie.
Karl & FaberPen and brown ink and blue wash, over black chalk, squared in red chalk for transfer; bears inventory numberings, verso, in the lower corners: E-121; a. 22, 4
Sotheby'sATTRIBUTED TO JACOPO CHIMENTI (Italy, 1551-1640, also known as Jacopo Empoli), INK AND CRAYON ON LAID PAPER. Female saint seated on cloud holding the host (Communion bread) with a cross behind her and on the bottom right corner of the page a portrait of a bearded man in red crayon. Signed by a later hand "Empoli" lower left. Paper measures 11" x 8". In a wood frame, 22" x 18.75" overall. Provenance: by descent from Kirk Askew, owner of Durlacher Brothers Gallery, Manhattan, circa 1930's-1950's. Label on verso states: ex-collections of Baron Finalay - Landau, Florence and Theodore A. Heinrich, Canada.
O'GallerieRed chalk
Sotheby'sATTRIBUE A JACOPO CHIMENTI DIT JACOPO DA EMPOLI (1551 - 1640) LE REPAS À EMMAÜS Toile Manques et soulèvements 122 X 160 CM - 48 X 62 15/16 IN. The Meal at Emmaus. Canvas.
TajanATTRIBUTED TO JACOPO CHIMENTI, CALLED JACOPO DA EMPOLI (Empoli circa 1554-1640 Florence) A standing youth leaning against a wall unframed
BonhamsAttribué à Jacopo CHIMENTI dit Jacopo da EMPOLI (1551-1640) Nature morte au chevreau, au lièvre et aux fromages Toile 118 x 83,5 cm Porte au revers du châssis, une ancienne attribution à Jacopo da Empoli Restaurations anciennes
TajanAttribué à Jacopo Chimenti dit Jacopo da Empoli (1551 - 1640) LE REPAS À EMMAÜS Toile 122 X 160 CM Manques et soulèvements
TajanCircle of Jacopo Chimenti, called Jacopo da Empoli (Empoli 1554-1640) The Coronation of the Virgin with Saints Francis and Anthony, inscribed in a cartouche with floral swags and an armorial device numbered 'P 9' black chalk, pen and brown ink, brown wash, squared in black chalk, the contours of the figures of the two saints partly incised for transfer (recto); partly blackened with chalk for transfer (verso) 16 3/8 x 11 1/8 in. (41.7 x 28.2 cm.)
Christie'sAttribué à Jacopo Chimenti da EMPOLI (Emopli 1554 - 1640) Etude de berger agenouillé "Pierre noire sur papier préparé en beige, traces de rehauts de" craie blanche 33 x 21 cm "Dessin doublé, pliures, petits trous restaurés et taches" On peut rapprocher notre dessin d'une autre étude de bergers préparatoire « L 'adoration des bergers avec saint André et saint "Borromée », conservé à Florence dans la chapelle Rossi, (voir" "Alessandro Marabottini, « L'Empoli », Del Luca edizioni de" "Arte, Rome, 1988, n°116 et 116 c)" "Provenance : ancienne collection John Du Pan, son cachet en" bas à droite (L.1440)
Millon & AssociesJacopo da Empoli (Florence 1551-1640), attributed to
Dorotheum