Giovanni Battista Cima da Conegliano Paintings & Artwork for Sale | Giovanni Battista Cima da Conegliano Art Value Price Guide

Oct. 23, 2020
Giovanni Battista Cima Successor "Madonna and Child, St. Paul and John the Baptist" | Giovanni Battista Cima Nachfolger "Madonna mit Kind, dem Hl. Paulus und Johannes der Täufer"
Est: €10,500 - €14,000
Giovanni Battista Cima, called Cima da Conegliano, Conegliano 1459 / 60-1517 / 18 Conegliano / Venice, was an Italian painter. During his time in Venice he orientated himself on the painting Giovanni Bellini. This particular type of Sacra Conversazione was inspired by Giovanni Bellini's works from the late 15th century, which were often reinterpreted. Cima attacks Bellini for his three-quarter-length figures, which seem to stand illusionistically behind a marble parapet that separates them from the viewer, as in the group with the virgin and the child. The couple's regal nature is emphasized by the central shawl and the way the two outer figures bow slightly. Oil on canvas Dimensions: 77 x 117 cm, (with frame 93 x 135 cm) | Giovanni Battista Cima, genannt Cima da Conegliano, Conegliano 1459/60-1517/18 Conegliano/Venedig, war ein italienischer Maler. Während seiner Zeit in Venedig orientierte er sich an der Malerei Giovanni Bellini. Diese besondere Art der Sacra Conversazione wurde von Giovanni Bellinis Werken aus dem späten 15. Jahrhundert inspiriert, die oft neu interpretiert wurden. Cima greift Bellini für seine dreiviertel langen Figuren an, die illusionistisch hinter einer Marmorbrüstung zu stehen scheinen, die sie vom Betrachter trennt, wie in der Gruppe mit der Jungfrau und dem Kind. Die königliche Natur des Paares wird durch das zentrale Tuch und die Art und Weise, wie sich die beiden äußeren Figuren leicht verbeugen, unterstrichen. Öl auf Leinwand, Abmessungen: 77 x 117 cm, ( mit Rahmen 93 x 135 cm)
Amadeus Auction
Oct. 21, 2014
Conegliano?s Four Saints, Michelangelo?s Christ on the Cross
Est: £60 - £100
Set of two lithographic prints comprising:lithographic print of painting by Cima da Conegliano entitled Altarpiece and the Annunciation, originally painted c.1500-1510Acquired by Queen Victoria (1819-1901) through Ludwig Gruner from Minardi of Rome in 1847 and given by the Queen to Prince Albert on his birthday, 26 August 1847. The bottom left panel depicts St George and the Dragon, bottom right panel St Theodore or St Liberale and the top two panels represent the Annunciation. During the 1490s Cima became the leading painter of altarpieces in Venice. Characteristic of a late work by the artist, these oils on panel form the centre part of a larger work.Print size inches: 6.7 x 9.9 together with lithographic print of drawing by Michelangelo entitled Christ on the Cross between the Virgin and St. John, originally drawn First recorded in The Royal Collection c.1810.Black chalk. One of a group of drawings by Michelangelo depicting the Crucifixion; though none of them are finished works they relate as independent works of art and not preparatory to a projected painting.Print size inches: 5.6 x 9.8
William George & Co
Oct. 21, 2014
Cima da Conegliano Lithographic Print
Est: £30 - £50
Lithographic print of painting by Cima da Conegliano entitled Altarpiece and the Annunciation, originally painted c.1500-1510Acquired by Queen Victoria (1819-1901) through Ludwig Gruner from Minardi of Rome in 1847 and given by the Queen to Prince Albert on his birthday, 26 August 1847. The bottom left panel depicts St George and the Dragon, bottom right panel St Theodore or St Liberale and the top two panels represent the Annunciation. During the 1490s Cima became the leading painter of altarpieces in Venice. Characteristic of a late work by the artist, these oils on panel form the centre part of a larger work.Print size inches: 6.7 x 9.9
William George & Co
May. 28, 2011
MADONNA AND CHILD - CUT FROM A LARGER PAINTING
Est: Kč80,000 - Kč120,000
Tempera on poplar panel, 51 x 54 cm, first quarter of the 16th century, from either Venice or Emilia-Romagna. Pigment sample analysis conducted.
Arcimboldo Auctions
Apr. 19, 2007
The Madonna and Child in a landscape
Est: $2,000,000 - $3,000,000
Cima da Conegliano Conegliano 1459/60-1517/8 Conegliano or Venice The Madonna and Child in a landscape signed 'IOANNE S BAPTISTA P' (lower right) oil on panel 28¾ x 23 3/8 in. 73 x 59.5 cm.
Christie's
Dec. 07, 2005
GIOVANNI BATTISTA CIMA, CALLED CIMA DA CONEGLIANO CONEGLIANO 1459/60 - 1517/18 CONEGLIANO OR VENICE
Est: £300,000 - £400,000
GIOVANNI BATTISTA CIMA, CALLED CIMA DA CONEGLIANO CONEGLIANO 1459/60 - 1517/18 CONEGLIANO OR VENICE THE PROPERTY OF A PRIVATE COLLECTOR SAINT CHRISTOPHER WITH THE INFANT CHRIST AND SAINT PETER measurements note 72.5 by 56 cm.; 28 1/2 by 22 in. oil on poplar panel, originally arched top; the present top corners are later additions and are covered by the framing PROVENANCE Perhaps in the collection of the Baronne de Conantré, Château de Conantré (Seine-et-Marne), which was formed circa 1835-60; In the collection of the Baronne's direct descendant, the Comtesse de Bryas; Acquired from the heirs of Mme. de Bryas by Cailleux, Paris, in 1960; With Thomas Agnew & Sons Ltd. (inv. 26323), London, from whom acquired by the Countess Spencer in 1965; By whom sold ("The Property of the Countess Spencer"), London, Sotheby's, 3 July 1985, lot 7, for £230,000, where bought by the present owner. LITERATURE F. Heinemann, "Ein unbekanntes werk des Cima da Conegliano", in Arte Veneta, vol. XX, 1966, p. 236, reproduced fig. 286; F. Watson, The Wallace Collection, London 1968, p. 64; P. Humfrey, Cima da Conegliano, Cambridge 1983, p. 101, cat. no. 47, p. 116, under cat. no. 73, and p. 153, under cat. no. 144, reproduced plate 124; J. Ingamells, The Wallace Collection. Catalogue of Pictures, vol. I, London 1985, pp. 258 and 262, foonote 6. NOTE Cima was born in Conegliano, near Treviso, the place from which he takes his name, and he probably studied there before he went to Venice, where he is recorded by 1486. Cima's paintings are clearly influenced by the works of his contemporaries Giovanni Bellini and Antonello da Messina, but the rich colour palette and sharply defined style of painting visible in his paintings make Cima's style entirely his own. A number of the artist's works are signed and a few are documented or dated, but since his style did not change substantially throughout his career a clear chronology of his work is somewhat hard to establish. Although known to scholars since the 1960s, when it was in an English private collection, opinion has been divided as to this painting's original function. When the painting was sold in 1985 it was accompanied by a photostat of a letter by Prof. Federico Zeri, dated 1968, who believed the panel to have originally formed part of the left wing of a triptych, as yet untraced. Watson (see Literature) also believed the panel once belonged to a larger polyptych and suggested that this panel once stood on the upper register of the triptych formerly on the high altar of S. Rocco in Mestre; the signed central panel of which is in the Wallace Collection, London, and the two flanking panels of Saints Sebastian and Roch in the Musée des Beaux-Arts, Strasbourg (see Humfrey, under Literature, p. 115, cat. no. 73, reproduced plate 103, and p. 145, cat. no. 133, reproduced plates 104-5). Both these theories were rejected by Humfrey who considers the panel a fragment from a larger Sacra conversazione altarpiece; an opinion further shared by Ingamells (see Literature). Humfrey argues that Watson's theory is implausible on both visual and historical grounds: there are no parallels in Cima's ~uvre for representing figures in an upper register in knee-length format and foreshortened dal sotto in su; compare, for example, the single figures in the upper register of the Miglionico triptych of 1499 which are not foreshortened and are only shown bust-length (reproduced in Humfrey, op. cit., pp. 118-9, cat. no. 79, fig. 71). Furthermore various early references to the Mestre triptych make no mention of missing saints and the engraving of the altarpiece by A. Baratti (1724-87), presumably showing the triptych before it was dismembered, consists of the three full-length saints and a lunette with The Madonna and Child with two Franciscan saints above, but no sign of the present panel. Humfrey dates the Saints Christopher and Peter to the middle of the first decade of the 16th century, that is to circa 1504-6, on the basis of a stylistic comparison with Cima's Incredulity of St. Thomas with St. Magnus in the Accademia, Venice, which can be dated to just before 1505-6 (op. cit., pp. 151-2, cat. no. 143, reproduced plate 121). Both paintings share the same rich use of colour and crisp modelling so characteristic of Cima's works. The figure of St. Peter is re-elaborated by Cima a couple of years later, in circa 1507-9, when he uses the same figure - his head is identical and seen from the same viewpoint although the saint is shown full-length - in his S. Fior polyptych, where St. Peter appears with another saint in the lower register on the left (ibid., cat. no. 130, reproduced plate 146). St. Christopher on the other hand does not relate compositionally to any other known treatments of the subject in Cima's ~uvre, though Humfrey tentatively suggests that it may reflect the appearance of a work by Antonello da Messina formerly in the church of S. Giuliano, Venice, recorded there by Sansovino in 1581 but since lost.
Sotheby's
Jul. 12, 2002
Follower of Giovanni Battista da Conegliano, called Cima da Conegliano
Est: $6,320 - $9,480
Saint Christopher oil on panel 563/4 x 301/4 in. (144 x 76.8 cm.) PROVENANCE with Galerie St. Lucas whence acquired by the family of the present owners, 10 October 1945.
Christie's
Apr. 19, 2002
Follower of Cima da Conegliano
Est: $4,350 - $7,250
Christ the Redeemer oil on panel 50 x 351/4 in. (127 x 89.5 cm.).
Christie's