Carlo Dolci Paintings & Artwork for Sale | Carlo Dolci Art Value Price Guide

Jun. 25, 2026
Carlo Dolci (seguace di) (Firenze 1616 - 1686) Madonna con il Bambino dormiente
Est: €2,000 - €3,000
Oil on canvas cm. 40x32. Framed Private collection, Rome.
Bertolami Fine Art s.r.l.
Jun. 25, 2026
Carlo Dolci, 1616 Florenz – 1686 ebenda, Kreis des
Est: €4,000 - €6,000
MYTHOLOGISCHE FIGUR Öl auf Leinwand. Doubliert. 79 x 66 cm. In aufwändig geschnitztem und vergoldetem Rahmen. Vor unbestimmtem Grund die nach rechts gewandte, weibliche Figur mit einem blauen Tuch, dass von einer mit rotem Stein besetzten Agraffe gehalten wird. In ihrer Hand ein Glutgefäß, auf dessen Inhalt sie die andere Hand legt. (1472134) (13)
Hampel Fine Art Auctions
Jun. 25, 2026
DOLCI Carlo (Florence 1616-1686) Entourage de. Portrait de la femme. Trois crayons sur papier. Dim : 15 x 12 cm.
Est: €400 - €500
DOLCI Carlo (Florence 1616-1686) Entourage de. Portrait de la femme. Trois crayons sur papier. Dim : 15 x 12 cm. Ancienne collection Thibaudeau, cachet sec en bas à droite (L.2473) Expert : Cabinet de BAYSER
Boisseau-Pomez - IVOIRE Troyes
Jun. 24, 2026
CARLO DOLCI (1616–1686), COPY AFTER
Est: -
Carlo Dolci (1616–1686), copy after, Christ on the Mount of Olives, anonymous 18th-century copy after the original in Florence, oil on canvas, unsigned, lined, retouched, heavy craquelure, 70 x 55 cm, framed 80 x 67 cm
Historia Auctionata
Mar. 26, 2026
Carlo Dolci, 1616 Florenz – 1686 ebenda, Kreis des
Est: €8,000 - €10,000
SANTA LUCIA Öl auf Leinwand. Doubliert. 79 x 66 cm. In aufwändig geschnitztem und vergoldetem Rahmen. Vor unbestimmtem Grund die nach rechts gewandte weibliche Heilige mit einer von einem Stein besetzten Agraffe gehaltenen blauen Tuch. In ihrer Hand ein Glutgefäß, auf dessen Inhalt sie die andere Hand legt. Laut der Überlieferung wurde Lucia im 4. Jahrhundert während der Christenverfolgungen unter Kaiser Diokletian denunziert. Als man sie vor Gericht stellte, versuchte man, sie zur Aufgabe ihres Glaubens zu zwingen. Eine der bekanntesten Szenen ihrer Legende ist, dass sie ihre Hand in eine Glut legte, um zu beweisen, dass sie keine magischen Kräfte besitze und ihr Glaube rein sei. Gott bewahrte sie vor Verbrennungen. (1472134) (13)
Hampel Fine Art Auctions
Mar. 14, 2026
CARLO DOLCI (NACHFOLGER DES 19. JH.) | MADONNA MIT JESUSKIND
Est: €420 - €840
CARLO DOLCI (FOLLOWER OF THE 19TH CENTURY) 25 May 1616 Florence - 17 January 1686 ibid MADONNA WITH CHILD Oil on canvas. 102 x 75 cm (F. 113 x 87 cm). Part. rest., min. old retouching, craqueleur. Frame. Provenance: Hessian private collection. CARLO DOLCI (NACHFOLGER DES 19. JH.) 25. Mai 1616 Florenz - 17. Januar 1686 ebenda MADONNA MIT JESUSKIND Öl auf Leinwand. 102 x 75 cm (R. 113 x 87 cm). Part. min. rest., min . Altretuschen, Craquelé. Rahmen. Provenienz: Hessische Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Mar. 12, 2026
DOLCI Carlo (Florence 1616-1686) Entourage de.
Est: €600 - €800
DOLCI Carlo (Florence 1616-1686) Entourage de. Portrait de la femme. Trois crayons sur papier. Dim : 15 x 12 cm. Ancienne collection Thibaudeau, cachet sec en bas à droite (L.2473) Expert : Cabinet de BAYSER
Boisseau-Pomez - IVOIRE Troyes
Mar. 10, 2026
Lot withdrawn
Est: £100 - £150
Lot withdrawn
Roseberys
Mar. 07, 2026
Bildplatte "Mater Dolorosa". Nach Carlo Dolci. Meissen. Wohl late 19th cent.
Est: €1,700 - €2,000
Porzellan-Manufaktur Meissen 1710 Meißen Francesco Bartolozzi 1728 Florenz – 1815 Lissabon Carlo Dolci 1616 Florenz – 1686 ebenda Porzellan, glasiert, in polychromen Aufglasurfarben staffiert. Spiegelbildliche Wiedergabe der "Mater Dolorosa" von Carlo Dolci. Verso unglasiert, mit der Knaufschwertermarke in Blau sowie zwei übereinander klebemontierten, fragmentarisch erhaltenen Papieretiketten versehen, diese mit Angaben zur Vorlage. Beigegeben: durchbrocher geschnitzter Schmuckrahmen, mit einem ovalen Bildausschnitt. Wohl nach einer Radierung von Francesco Bartolozzi nach: Carlo Dolci (Werkstatt) "Mater Dolorosa", genannt "Madonna del Dito", 17. Jh., Galleria degli Uffizi, Florenz, InvNr. 65. Eine weitere Bildplatte mit demselben Motiv vgl.: Sabine Bergmann, Thomas Bergmann: 1350 Gemälde auf Porzellanplatten: Porzellankopien nach Gemälden aus vier Jahrhunderten mit Angabe der Maler der originalen Werke. Möhrendorf 2021. S. 125, KatNr. 372, dort eine Ausführung von KPM Berlin. Wir danken Herrn Thomas Bergmann, Erlangen, für freundliche Hinweise. Porzellan-Manufaktur Meissen 1710 Meißen Nach der Erfindung des europäischen Hartporzellans durch Johann Friedrich Böttger 1710 von August dem Starken als erste Porzellanmanufaktur in der westlichen Welt gegründet. Bis 1863 befand sich die gesamte Produktion auf der Meißener Albrechtsburg, um dann in das neu angelegte Fabrikgebäude im Triebischtal umzuziehen. Ihre große Blüte erlebte die Manufaktur in den Jahren um 1720 bis 1750, verbunden mit den Namen Johann Gregorius Höroldt (Malerei) und Johann Joachim Kändler (Plastik). Francesco Bartolozzi 1728 Florenz – 1815 Lissabon Studium an der Akademie in Florenz. 1745 Eintritt in das Atelier J. Wagners in Venedig. 1764 ging er nach England. Ernennung zum Kupferstecher des Königs und seit 1769 Mitglied der Royal Academy. Ging 1802 nach Lissabon, wo er als Direktor der Kunstakademie wirkte. Carlo Dolci 1616 Florenz – 1686 ebenda Carlo Dolci war ein italienischer Maler des Barock, sehr geschätzt als Porträtist und für seine religiösen Bilder. Er studierte in der Werkstatt von Jacopo Vignali und schon mit fünfzehn Jahren zeigte sich bereits sein Können als er ein Porträt des Künstlers Stefan della Bella malte. Für das Jahr 1648 ist er unter den akademischen Künstlern in Florenz aufgeführt. Carlo Dolci verbrachte sein ganzes Leben in Florenz, mit Ausnahme einiger Monate, in denen er 1672 nach Innsbruck reiste, um das Porträt von Claudia Felizitas von Österreich und Anna de'' Medici, der zukünftigen Gemahlin Kaiser Leopolds I., zu malen.
Schmidt Kunstauktionen Dresden OHG
Feb. 07, 2026
Dolci, Carlo (1616 Florence - 1686 Florence), copy after, (probably 19th century),
Est: -
Dolci, Carlo (1616 Florence - 1686 Florence), copy after, (probably 19th century), "Madonna with sleeping Christ Child", oil on canvas (mounted), 100 x 75 cm Dolci, Carlo (1616 Florenz - 1686 Florenz), Kopie nach (wohl 19. Jahrhundert), "Madonna mit schlafendem Christuskind", Öl auf Leinwand (doubliert), 100 x 75 cm
Auktionshaus Plückbaum
Dec. 02, 2025
CARLO DOLCI (FLORENCE 1616-1687). A female martyr saint. oil on canvas22 1/
Est: £150,000 - £200,000
CARLO DOLCI (FLORENCE 1616-1687). A female martyr saint. oil on canvas22 1/8 x 17 ½ in. (56.2 x 44.4 cm.).
Christie's
Nov. 29, 2025
Dolci, Carlo 1616 Florenz - 1686 Florenz (nach)
Est: -
Dolci, Carlo 1616 Florenz - 1686 Florenz (nach) Magdalena. Öl/Lwd., 75 x 58 cm.
Dusseldorfer Auktionshaus
Nov. 22, 2025
CARLO DOLCI (Seguace di), Olio su tela
Est: €400 - €600
CARLO DOLCI (Seguace di) (Firenze 1616 - 1686) L'allegoria della poesia Olio su tela Cornice in legno dorato e laccato nero Provenienza: Collezione privata Palermo. cm 53 x 41.
Benedetto Trionfante Auction House s.r.l
Nov. 13, 2025
Carlo Dolci (Firenze 1616 - 1686)
Est: €20,000 - €30,000
Angel of the Annunciation Oil on octagonal canvas cm. 72x60. Framed The painting is accompanied by an expertise by Prof. Sandro Bellesi. This exquisite painting has been attributed to Carlo Dolci by Professor Sandro Bellesi, who recognizes in it the refined execution and luminous clarity typical of the master’s devotional works. The youthful archangel, identifiable as Gabriel by the white lilies, is rendered with Dolci’s meticulous realism and smooth, porcelain-like finish. Closely related to the Announcing Angel in the Uffizi Galleries, the work likely dates to the early 1650s, during the artist’s mature period.
Bertolami Fine Art s.r.l.
Nov. 11, 2025
CARLO DOLCI (1616-1686), COPY AFTER, '
Est: -
Carlo Dolci (1616-1686), copy after, ''Saint Agnes of Rome with the Lamb,'' anonymous 19th-century copy, oil on canvas, unsigned, scratches, storage marks, 91 x 74 cm, framed 101 x 84 cm
Historia Auctionata
Nov. 05, 2025
Attributed to CARLO DOLCI (Florence, 1616 - 1686). "Madonna and Child". Oil on copper. It has frame of the nineteenth century.
Est: €17,000 - €19,000
Attributed to CARLO DOLCI (Florence, 1616 - 1686). "Madonna and Child". Oil on copper. It has frame of the nineteenth century. Measurements: 16 x 12 cm; 26 x 20 cm (frame). This work follows the model of the iconic painting by Carlo Dolci known as "The Madonna of the veil". In the center of the composition are two key figures of Christianity: the Virgin Mary and the Child Jesus. Mary is depicted in a serene, loving and recollected attitude. Her face, with soft and delicate features, leans towards the Child with an expression of pious contemplation. The soft light and the chromatic palette, dominated by warm reds and deep blues, contribute to emphasize her purity and devotion. Her head is crowned by a golden halo, symbol of holiness, as is that of the Child. The Child Jesus lies peacefully asleep on a white sheet, alluding to both his innocence and the purity of his birth. The light falling on his naked body makes him the focus of visual and spiritual attention, reinforcing his divine character. The posture of the child, completely relaxed, reinforces the humanity of the incarnate Christ, a recurring theme in Baroque iconography that seeks to emphasize the emotional closeness with the viewer. Stylistically the work is firmly within Dolci's orbit, taking into account features such as; the softness and perfection of the modeling, especially in the faces, the meticulous treatment of the fabric and the details (folds of the cloth, transparency of the veil), the intimate and devotional atmosphere or the use of subtle golden halos more as pictorial than physical elements. According to critics, Carlo Dolci was the most outstanding Baroque painter in Florence in the 17th century. In addition to paintings intended to ornament church altars, Dolci popularized compositions with half-length images of the Virgin, Mary Magdalene, saints and other sacred figures, of polished and detailed technique, which were well received by the late Baroque clientele. Among his first works signed as an independent artist are portraits, a genre that the painter worked on throughout his career and for which he was particularly renowned. He forged his style by copying the works of the great masters of the 15th and 16th centuries, including Fra Angelico, Ghirlandaio, Michelangelo and Correggio. He was also in contact with the Medici collection, which had a great influence on his work of the Dutch painters of his time, such as Willem van der Aelst. Throughout his career and after his death he had numerous disciples, among them Agnese Dolci, his daughter, who followed the family tradition and made numerous copies of Carlos Dolci's paintings.
Setdart Auction House
Nov. 05, 2025
L'archange saint Michel
Est: €200,000 - €300,000
Carlo Dolci Florence 1616 - 1686 The Archangel Michael oil on canvas, oval 54 x 42.1 cm.; 21¼ x 16⅝ in.
Sotheby's
Nov. 04, 2025
Carlo Dolci (Italian, 1616-1686) The Holy Family with God the Father and the Holy Spirit above: a Sacra Conversazione
Est: $80,000 - $120,000
Carlo Dolci (Italian, 1616-1686) The Holy Family with God the Father and the Holy Spirit above: a Sacra Conversazione oil on copper Please note this lot will be on view at Freeman's | Hindman Manhattan galleries, located at 32 E. 67th St, from October 20th to November 1st (10am-5pm). 11 1/2 x 9 1/2 in. (29.2 x 24.1cm) Property from a Private Collection This lot is located in Philadelphia.
Freeman’s
Oct. 25, 2025
Attrib. to Carlo Dolci (Italian, 1616-1686) oil
Est: $600 - $900
The Annunciation oil on cradled panel. 8 x 10"
Rachel Davis Fine Arts
Oct. 23, 2025
19th Century European School
Est: $300 - $500
Image of the Maddonna in the manner of Carlo Dolci's (Italian, 1616 - 1687) 'Mater Dolorosa' currently housed at the National Museum of Western Art in Japan (NMWA). Oil on panel. Unattributed signature (pictured) on the bottom left. Northern european auction label on the verso stamped with '25 Juni, 1964'. 11 x 8 3/4" Provenance: property of a Southern Massachusetts collection.
Vallot Auctioneers
Sep. 13, 2025
CARLO DOLCI (NACHFOLGER DES 18./19. JH.) | DIE HEILIGE CÄCILIA
Est: €300 - €600
CARLO DOLCI (FOLLOWER OF THE 18TH/19TH CENTURY) 1616 Grand Duchy of Tuscany - 1686 Florence ST. CECILIA Oil on canvas (old relined). 97 x 80 cm (F. 115 x 100 cm). Part. min. old rest., min. old retouching, marginal area with minimal losses of colour. Frame. Provenance: South German private collection.CARLO DOLCI (NACHFOLGER DES 18./19. JH.) 1616 Grossherzogstum Toskana - 1686 Florenz DIE HEILIGE CÄCILIA Öl auf Leinwand (altdoubl.). 97 x 80 cm (R. 115 x 100 cm). Part. min. altrest., min. Altretuschen, Randbereich mit minimalen Farbverlusten. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Sep. 13, 2025
Dolci, Carlo (1616 Florenz - 1686 ebenda, Nachfolger wohl um
Est: €200 - €600
Dolci, Carlo (1616 Florenz - 1686 ebenda, Nachfolger wohl um 1800) - Mater Dolorosa (Schmerzensmutter), zarte Darstellung der betenden Madonna mit gesenktem Blick und im Gebet gefalteten Händen nach einem Vorbild des florentinischen Barockmalers Carlo Dolci, Öl auf Holz, ca. 25 x 18,5 cm, Altersspuren, sichtbare Wurmgänge, Tafel rückseitig mit Inventarnummer 15, Rahmung, Gesamtmaße ca. 30 x 24 cm
Auktionshaus Blank
Sep. 10, 2025
Italian school of the seventeenth century, ancient attribution to CARLO DOLCI (Florence, Italy, 1616-1686). "Saint Catherine of Siena." Oil on canvas. Relined.
Est: €4,000 - €5,000
Italian school of the seventeenth century, ancient attribution to CARLO DOLCI (Florence, Italy, 1616-1686). "Saint Catherine of Siena." Oil on canvas. Relined. With label on the back. It presents xylophages and damages in the frame and stretcher frame. Measurements: 61,5 x 50,5 cm; 64 x 52 cm (frame). This work is a remarkable example of the style of the Florentine baroque painter Carlino Dolci. The painting represents Saint Catherine of Siena, in a moment of ecstasy or deep devotion. A lateral light source selectively illuminates the face, veil, hands and symbolic objects. This chiaroscuro models the forms while infusing the scene with a deep spirituality, focusing the viewer's attention on the face and gesture of the saint. Unlike the crude realism of other Baroque painters, Dolci is famous for the sweetness and idealization of his figures. The face of the saint is of a serene and delicate beauty, with her eyes lowered in a gesture of humility and inner contemplation. Her expression is of an intense but soft and melancholic piety. The saint's skin is depicted with extremely smooth color transitions, giving her a porcelain-like appearance. Every detail, from the folds of the veil to the petals of the lilies and the texture of the wood of the crucifix, is executed with meticulous precision. The work features a close, half-length framing that eliminates any distractions and creates an intimate, personal connection with the figure. The composition is carefully balanced: the diagonal of the tilted face is complemented by the diagonal of her hands and the crucifix, guiding the viewer's gaze through the key elements of the painting. As was common in Counter-Reformation religious painting, each element has a meaning: the lilies are a traditional symbol of purity and virginity, and the crucifix is a badge of devotion. Carlino Dolci was an Italian Baroque painter, active mainly in Florence, known for his religious paintings, which were often copied by other artists of successive generations. He was born in Florence, the grandson of a painter on his mother's side. He began his apprenticeship with Jacopo Vignali at a very early age, later becoming apprentice to Mario Balassi, at whose death he completed some works left unfinished by the master. According to his biographer Filippo Baldinucci he was not a prolific painter, hence he did not do fresco painting, which needs a certain speed in execution. Although his works are small in size, he made some life-size ones. He repeated his compositions frequently, slightly modifying the versions. His daughter, Agnese Dolci, made copies of many of them. His anecdotes, contradictory and legendary, suggest that in 1682 he suffered a deep depression when he learned that Luca Giordano, nicknamed Luca fa presto, painted in five hours what had taken him several months. He died in Florence in 1686.
Setdart Auction House
Jun. 21, 2025
Bildplatte "Mater Dolorosa". Nach Carlo Dolci. Meissen. Wohl late 19th cent.
Est: €2,200 - €2,500
Porzellan-Manufaktur Meissen 1710 Meißen Francesco Bartolozzi 1728 Florenz – 1815 Lissabon Carlo Dolci 1616 Florenz – 1686 ebenda Porzellan, glasiert, in polychromen Aufglasurfarben staffiert. Spiegelbildliche Wiedergabe der "Mater Dolorosa" von Carlo Dolci. Verso unglasiert, mit der Knaufschwertermarke in Blau sowie zwei übereinander klebemontierten, fragmentarisch erhaltenen Papieretiketten versehen, diese mit Angaben zur Vorlage. Beigegeben: durchbrocher geschnitzter Schmuckrahmen, mit einem ovalen Bildausschnitt. Wohl nach einer Radierung von Francesco Bartolozzi nach: Carlo Dolci (Werkstatt) "Mater Dolorosa", genannt "Madonna del Dito", 17. Jh., Galleria degli Uffizi, Florenz, InvNr. 65. Eine weitere Bildplatte mit demselben Motiv vgl.: Sabine Bergmann, Thomas Bergmann: 1350 Gemälde auf Porzellanplatten: Porzellankopien nach Gemälden aus vier Jahrhunderten mit Angabe der Maler der originalen Werke. Möhrendorf 2021. S. 125, KatNr. 372, dort eine Ausführung von KPM Berlin. Wir danken Thomas Bergmann, Erlangen, für freundliche Hinweise. Porzellan-Manufaktur Meissen 1710 Meißen Nach der Erfindung des europäischen Hartporzellans durch Johann Friedrich Böttger 1710 von August dem Starken als erste Porzellanmanufaktur in der westlichen Welt gegründet. Bis 1863 befand sich die gesamte Produktion auf der Meißener Albrechtsburg, um dann in das neu angelegte Fabrikgebäude im Triebischtal umzuziehen. Ihre große Blüte erlebte die Manufaktur in den Jahren um 1720 bis 1750, verbunden mit den Namen Johann Gregorius Höroldt (Malerei) und Johann Joachim Kändler (Plastik). Francesco Bartolozzi 1728 Florenz – 1815 Lissabon Studium an der Akademie in Florenz. 1745 Eintritt in das Atelier J. Wagners in Venedig. 1764 ging er nach England. Ernennung zum Kupferstecher des Königs und seit 1769 Mitglied der Royal Academy. Ging 1802 nach Lissabon, wo er als Direktor der Kunstakademie wirkte. Carlo Dolci 1616 Florenz – 1686 ebenda Carlo Dolci war ein italienischer Maler des Barock, sehr geschätzt als Porträtist und für seine religiösen Bilder. Er studierte in der Werkstatt von Jacopo Vignali und schon mit fünfzehn Jahren zeigte sich bereits sein Können als er ein Porträt des Künstlers Stefan della Bella malte. Für das Jahr 1648 ist er unter den akademischen Künstlern in Florenz aufgeführt. Carlo Dolci verbrachte sein ganzes Leben in Florenz, mit Ausnahme einiger Monate, in denen er 1672 nach Innsbruck reiste, um das Porträt von Claudia Felizitas von Österreich und Anna de'' Medici, der zukünftigen Gemahlin Kaiser Leopolds I., zu malen.
Schmidt Kunstauktionen Dresden OHG
Jun. 18, 2025
OIL PAINTING BY FOLLOWER OF CARLO DOLCI
Est: €700 - €1,000
CARLO DOLCI, seguace di (Firenze, 1616 - 1686) VERGINE MARIA Olio su tela, cm.59 x 48. PROVENIENZA Famiglia emiliana CONDITION REPORT Rintelo novecentesco. Punti di restauro al bordo destro e in basso sotto le mani CORNICE Cornice in legno dorato a sezione piatta incisa a foglie, con bordi a ghirlande, del XVII secolo
Casa d'Aste Babuino
Jun. 12, 2025
Carlo Dolci, copy of
Est: €400 - €500
18th-19th century, 60x43 cm., "Portrait of Santa Caterina da Siena", oil on panel, within frame
Colasanti Casa d'Aste
Jun. 04, 2025
CARLO DOLCI (copia del XX secolo)
Est: €200 - €500
(Firenze, 1616 - 1686) Maddalena Olio su tela, cm 22,7X17,8
Wannenes Art Auctions
May. 24, 2025
Dolci, Carlo...
Est: -
Dolci, Carlo 1616 Florenz - 1686 Florenz (nach) Heilige Cäcilia. Öl/Lwd., 93 x 68 cm.
Dusseldorfer Auktionshaus
May. 21, 2025
CARLO DOLCI (FLORENCE 1616-1687). The penitent Saint Jerome. oil on panel,
Est: $40,000 - $60,000
CARLO DOLCI (FLORENCE 1616-1687). The penitent Saint Jerome. oil on panel, an oval11 ½ x 8 ½ in. (29 x 21.6 cm.).
Christie's
May. 21, 2025
Carlo Dolci (Firenze 1616 - 1687) bottega di
Est: €1,800 - €2,800
Carlo Dolci (Firenze 1616 - 1687) bottega di Ecce Homo Olio su tela 28,5 x 24 cm Dolci fu il maggior pittore fiorentino del Seicento, godette di fama straordinaria grazie ai suoi soggetti religiosi, ritratti e fiori. Nel 1625 entrò nella bottega di Jacopo Vignali, già allievo di Matteo Rosselli. Ebbe un importante carriera sostenuta dai Medici e da commissioni provenienti da tutta Italia. Uscì da Firenze una sola volta nella sua vita, andando a Innsbruck per sostituire Giusto Sustermans quale ritrattista degli Asburgo. Per sopperire alla massa di commissioni Carlo operò spesso con la sua bottega, dove esercitarono rimarchevoli pittori, quali: Onorio Marinari, Bartolomeo Mancini, Alessandro Loni e la figlia di Carlo Agnese Dolci. Carlo Dolci (Florence 1616 - 1687) workshop of Ecce Homo Oil on canvas 28,5 x 24 cm
Lucas Aste
May. 20, 2025
Style of Carlo Dolci (1616-1686), "Angel of the Annunciation," (19th Century)
Est: $400 - $600
Style of Carlo Dolci (1616-1686) "Angel of the Annunciation," (19th Century) Oil on canvas laid to canvas Unsigned
John Moran Auctioneers
May. 15, 2025
Dolci, Carlo (Nachfolger/Follower)
Est: €400 - €700
Dolci, Carlo (Nachfolger/Follower) Florenz 1616 - 1686 66 x 49 cm The Virgin in Prayer. Oil/canvas, relined. Maria-Helga and Erwin Ziegler Collection, Pforzheim Dolci, Carlo (Nachfolger/Follower) Florenz 1616 - 1686 66 x 49 cm Die Madonna im Gebet. Öl/Lwd., doubl. Sammlung Maria-Helga und Erwin Ziegler, Pforzheim
Nagel Auction
Apr. 17, 2025
DOLCI CARLO (1616 - 1686) - After. Our Lady in prayer
Est: €300 - €500
DOLCI CARLO (1616 - 1686). After. Our Lady in prayer. 20 x 25,50 cm.
Capitolium Art
Mar. 30, 2025
AFTER CARLO DOLCI (D.1686) ITALIAN SCHOOL PAINTING, MARY MAGDALENE
Est: $600 - $1,200
Framed Italian School oil on canvas painting, Portrait of Mary Magdalene, after Carlo Dolci (Italian, 1616-1686), apparently unsigned, small area of paint flaking at lower right corner, sight: approx 28.25"h, 22.5"w, overall: approx 39.5"h, 34"w, 13.25lbs
Austin Auction Gallery
Mar. 28, 2025
Carlo Dolci, Florence 1616 - 1686
Est: €1,500 - €3,000
Carlo Dolci Florence 1616 - 1686 Follower Christ Oil on wood 26.5 x 20 cm, with frame 46,1 x 39 cm minimal paint chipping at the lower edge see photo
Tiberius Auctions
Mar. 28, 2025
Carlo Dolci, Florence 1616 - 1686 Florence
Est: €400 - €800
Carlo Dolci Florence 1616 - 1686 Florence Follower Mary with child Oil on canvas, relined 95.5 x 78 cm, with frame 113 x 97 cm High-quality, masterly repetition after the world-famous painting by Carlo Dolci, KHM Vienna
Tiberius Auctions
Feb. 25, 2025
Spanish school of the 18th century. "Dolorosa". Oil on panel. Presents faults.
Est: €900 - €1,200
Spanish school of the 18th century. "Dolorosa". Oil on panel. Presents faults. Measurements: 63 x 49 cm; 71 x 64 cm (frame). This work is inspired in the wake of Carlo Dolci (Florence, 1616-1686) in that the Virgin is in a posture of classical profile, a taste that began to be renewed in the Italian Peninsula during the fifteenth century and that will characterize the Renaissance and the later Baroque period.
Setdart Auction House
Feb. 04, 2025
CARLO DOLCI (FLORENCE 1616-1686). Study of a veiled woman standing and a sm
Est: $15,000 - $25,000
CARLO DOLCI (FLORENCE 1616-1686). Study of a veiled woman standing and a smaller study of the same figure.... red and black chalk13 ¼ x 8 ½ in. (33.6 x 21.5 cm).
Christie's
Dec. 12, 2024
Carlo Dolci 1616 Firenze-1686 Firenze, attribuito a Erodiade
Est: €15,000 - €20,000
Erodiade “La tela raffigura Salomè con la testa del Battista, nella invenzione fortunatissima di Carlo Dolci (Firenze 1616-1687). Numerose sono le repliche e le copie che si conservano in musei e collezioni private a testimonianza della fama e della notorietà di questa invenzione di Carlo Dolci, artista tra i più desiderati tra gli estimatori della pittura fiorentina del Seicento. Sappiamo con sicurezza che l'unica versione autografa è quella eseguita dall'artista intorno al 1670, su commissione di Sir John Finch, che la donò a Carlo Il re d'Inghilterra, tela ancora nelle collezioni reali Inglesi. Come abbiamo detto numerose sono le copie, facilmente riconoscibili, mentre più problematiche, circa l'autografia, sono le repliche eseguite nella bottega dell'artista dai valenti aiuti del pittore quali furono Onorio Marinari e la figlia Agnese, talvolta completate e rifinite dallo stesso Dolci. Tra le repliche di bottega, a volte solo parzialmente eseguite dall'artista, emergono a nostro parere la Salomè dell'Art Gallery and Museum di Glasgow, la più somigliante nella tipologia del viso a questa inedita di collezione privata milanese insieme a quella delle Gallerie fiorentine oggi conservata a Palazzo Madama a Roma. La somiglianza della modella e la qualità della pittura accomuna queste tre opere che riteniamo autografe dell'artista. La variante più curiosa è rappresentata dalla bizzarra acconciatura di Salomè e dalla evidente maggiore qualità dell'esecuzione pittorica, che ci parve evidente, al primo incontro con questa tela, che si presentava con una superficie pittorica alterata dall'ossidazione e ingiallimento delle vernici e dalla sporcizia accumulata, dopo una pulitura, avvenuta quasi certamente nel corso del 'Ottocento. Abbiamo seguito personalmente le varie fasi della pulitura della tela che ha svelato una buona conservazione, ma soprattutto una qualità pittorica che nulla ha a che vedere con le altre repliche di bottega come si può facilmente osservare nella finezza dell'esecuzione del volto di Salomè e nella raffinata fattura dei dettagli della veste sontuosa, convincendoci della positiva impressione di trovarci di fronte ad una inedita ed autografa versione di questo fortunato soggetto di Carlo Dolci.” cm 126X96 olio su tela Expertise Prof. G. Cantelli Collezione privata, Milano “La tela raffigura Salomè con la testa del Battista, nella invenzione fortunatissima di Carlo Dolci (Firenze 1616-1687). Numerose sono le repliche e le copie che si conservano in musei e collezioni private a testimonianza della fama e della notorietà di questa invenzione di Carlo Dolci, artista tra i più desiderati tra gli estimatori della pittura fiorentina del Seicento. Sappiamo con sicurezza che l'unica versione autografa è quella eseguita dall'artista intorno al 1670, su commissione di Sir John Finch, che la donò a Carlo Il re d'Inghilterra, tela ancora nelle collezioni reali Inglesi. Come abbiamo detto numerose sono le copie, facilmente riconoscibili, mentre più problematiche, circa l'autografia, sono le repliche eseguite nella bottega dell'artista dai valenti aiuti del pittore quali furono Onorio Marinari e la figlia Agnese, talvolta completate e rifinite dallo stesso Dolci. Tra le repliche di bottega, a volte solo parzialmente eseguite dall'artista, emergono a nostro parere la Salomè dell'Art Gallery and Museum di Glasgow, la più somigliante nella tipologia del viso a questa inedita di collezione privata milanese insieme a quella delle Gallerie fiorentine oggi conservata a Palazzo Madama a Roma. La somiglianza della modella e la qualità della pittura accomuna queste tre opere che riteniamo autografe dell'artista. La variante più curiosa è rappresentata dalla bizzarra acconciatura di Salomè e dalla evidente maggiore qualità dell'esecuzione pittorica, che ci parve evidente, al primo incontro con questa tela, che si presentava con una superficie pittorica alterata dall'ossidazione e ingiallimento delle vernici e dalla sporcizia accumulata, dopo una pulitura, avvenuta quasi certamente nel corso del 'Ottocento. Abbiamo seguito personalmente le varie fasi della pulitura della tela che ha svelato una buona conservazione, ma soprattutto una qualità pittorica che nulla ha a che vedere con le altre repliche di bottega come si può facilmente osservare nella finezza dell'esecuzione del volto di Salomè e nella raffinata fattura dei dettagli della veste sontuosa, convincendoci della positiva impressione di trovarci di fronte ad una inedita ed autografa versione di questo fortunato soggetto di Carlo Dolci.”
Cambi Casa d'Aste
Dec. 05, 2024
Carlo Dolci, 1616 Florenz – 1686 ebenda, nach
Est: €5,000 - €7,000
JUDITH MIT DEM HAUPT DES HOLOFERNES Öl auf Leinwand. 114 x 91 cm. In ornamental reliefiertem Rahmen. Die Tötung des Holofernes wird im Buch Judith im Alten Testament berichtet. Nach etlichem Brandschatzen und Morden im gesamten Vorderen Orient, gelangt Holofernes nach Betulia, wo es Judith gelingt, ihn und sein Gefolge in ein Gelage zu verwickeln. Sie und ihre Magd nutzen seine Trunkenheit aus und enthaupten ihn. Vor abgedunkeltem Grund die etwas nach links gedrehte Halbfigur der Judith in ihrer Hand die Platte mit dem Haupt des Holofernes haltend. Wiederholung nach dem Gemälde aus der Staatlichen Kunstsammlung Dresden. Riss. (1401532) (13) Carlo Dolci, 1616 Florence - 1686 ibid., after JUDITH WITH THE HEAD OF HOLOFERNES Oil on canvas. 114 x 91 cm. Copy after the painting held at the Staatliche Kunstsammlungen, Dresden.
Hampel Fine Art Auctions
Dec. 04, 2024
Carlo Dolci, Nachfolge Our Lady of Sorrows
Est: €400 - €500
Carlo Dolci, Nachfolge 1616 Florenz - 1686 ebenda Our Lady of Sorrows Pastel auf parchment. 23.5 x 30 cm. Minor damage to frame (41.5 x 35.5 cm). Not deframed for the description. Based on a painting by the artist Carlo Dolci, cf. for example Fondazione Zeri, Catalogo Fototeca number 52485. Provenienz: private collection, South Germany.
Neumeister
Nov. 30, 2024
Dolci, Carlo
Est: -
Dolci, Carlo 1616 Florenz - 1686 Florenz (nach) Madonna mit Kind. Öl/Lwd., 95 x 78 cm.
Dusseldorfer Auktionshaus
Oct. 24, 2024
19th C Weeping Madonna Painting After Carlo Dolci
Est: $200 - $400
19th century oil on 9.75" W x 12.5" H canvas of "Weeping Madonna" after Carlo Dolci (IT 1616-1686) in antique gilt frame. Painting is unsigned and has some craquelure present.
Keystone Auctions LLC
Oct. 23, 2024
Carlo Dolci "St. Anthony Abbot" oil on canvas (82.5x67.5 cm.) framed (defects) Literature F. Baldassari, Carlo Dolci, Torino 1995, tav. XVII, p. 79 e p. 80 fig. 45; E. Fumagalli, Scheda n. 26 in Carlo Dolci 1616 - 1687, a cura di S. Belles...
Est: €50,000 - €60,000
(Firenze 1616 - 1686) "St. Anthony Abbot" oil on canvas (82.5x67.5 cm.) framed (defects) Literature F. Baldassari, Carlo Dolci, Torino 1995, tav. XVII, p. 79 e p. 80 fig. 45; E. Fumagalli, Scheda n. 26 in Carlo Dolci 1616 - 1687, a cura di S. Bellesi e A. Bisceglia, Livorno 2015, p. 218 IT "Sant'Antonio Abate" olio su tela (cm 82,5x67,5) in cornice (difetti) Bibliografia F. Baldassari, Carlo Dolci, Torino 1995, tav. XVII, p. 79 e p. 80 fig. 45; E. Fumagalli, Scheda n. 26 in Carlo Dolci 1616 - 1687, a cura di S. Bellesi e A. Bisceglia, Livorno 2015, p. 218
Il Ponte Auction House
Oct. 02, 2024
Luigi Bigazzi (Italian, 1814-unk)
Est: $400 - $600
"Mary Magdalene." After Carlo Dolci (Italian, 1616-1686). Circa 1800s. Oil on oval shaped panel in an ornate gilded carved frame. Unsigned. 8 1/2 x 7"; 16 1/2 x 14 1/2" (overall). Framed.
Vallot Auctioneers
Oct. 01, 2024
DIPINTO
Est: €3,000 - €3,400
Scuola toscana sec.XVII 'Ritratto di Simone Peruzzi' olio d.to 1677 nel retro attribuzione a Carlo Dolci cm. 58x70
Aste Boetto SRL
Sep. 26, 2024
CARLO DOLCI, 1616 FLORENZ – 1686 EBENDA, NACH
Est: €1,000 - €1,500
MADONNA MIT GESENKTEM HAUPT Öl auf Leinwand. Doubliert. 50 x 37 cm. In bronziertem profilierten Rahmen. 56 x 46 cm. Vor unbestimmtem licht schimmernden Grund das leicht nach links gewandte Brustportrait der Heiligen Mutter Gottes mit gefalteten Händen, darauf gerichtetem, gesenktem Blick und die Stirn sanft überfangenem Tuch. (1400149) (13)
Hampel Fine Art Auctions
Sep. 26, 2024
CARLO DOLCI, 1616 FLORENZ – 1686 EBENDA, NACH
Est: €10,000 - €15,000
JUDITH MIT DEM HAUPT DES HOLOFERNES Öl auf Leinwand. 114 x 91 cm. In ornamental reliefiertem Rahmen. Die Tötung des Holofernes wird im Buch Judith im Alten Testament berichtet. Nach etlichem Brandschatzen und Morden im gesamten Vorderen Orient, gelangt Holofernes nach Betulia, wo es Judith gelingt, ihn und sein Gefolge in ein Gelage zu verwickeln. Sie und ihre Magd nutzen seine Trunkenheit aus und enthaupten ihn. Vor abgedunkeltem Grund die etwas nach links gedrehte Halbfigur der Judith in ihrer Hand die Platte mit dem Haupt des Holofernes haltend. Wiederholung nach dem Gemälde aus der Staatlichen Kunstsammlung Dresden. Riss. (1401532) (13) Carlo Dolci, 1616 Florence – 1686 Ibid., after JUDITH WITH THE HEAD OF HOLOFERNES Oil on canvas. 114 x 91 cm. Copy after the painting held at the Staatliche Kunstsammlungen, Dresden.
Hampel Fine Art Auctions