Lavinia Fontana Paintings & Artwork for Sale | Lavinia Fontana Art Value Price Guide

Feb. 13, 2026
Lavinia Fontana (Bologna, 1552 - Roma, 1614) - Ritratto di giovinetto all'età di dodici anni, (1600)
Est: €80,000 - €120,000
Olio su tela, cm. 38,6x30,6. Iscrizione in alto: "DANNI XII". Expertise della Dott.ssa Caroline Pamela Murphy. Questo intenso ritratto, recentemente attribuito a Lavinia Fontana dalla studiosa Caroline Pamela Murphy e confermato dalla professoressa Vera Fortunati (scheda del catalogo mostra di Dublino), rappresenta una significativa testimonianza della ritrattistica bolognese di fine Cinquecento. L’opera, databile intorno al 1600, si colloca in una fase di transizione stilistica cruciale per l'artista: il superamento delle rigidezze manieriste verso il nuovo naturalismo promosso dalla riforma dei Carracci. La tecnica esecutiva, caratterizzata da una stesura cromatica più libera e dall'uso di una biacca corposa, riflette questa evoluzione, trovando riscontri diretti in capolavori della maturità come il Ritratto di famiglia della Pinacoteca di Brera. Il fanciullo è raffigurato di profilo su uno sfondo neutro e scuro che ne esalta la presenza psicologica e l'immediatezza espressiva. L'abbigliamento, pur sobrio, rivela il tipico virtuosismo della Fontana nella resa dei dettagli: la tunica è arricchita da decorazioni e bottoni resi con un particolare pigmento giallo piombo-stagno atto a simulare l'oro, mentre il colletto in pizzo bianco è descritto con minuziosa precisione ottica. La luce colpisce il volto del giovane creando un forte contrasto chiaroscurale che ne modella i tratti, conferendo allo sguardo un'intensità quasi devozionale e malinconica. L'iscrizione "DANNI XII" sulla tela sottolinea il valore documentario del dipinto, commissionato probabilmente per celebrare il passaggio del soggetto all'adolescenza. Tale sensibilità verso il mondo dell'infanzia è una costante nel percorso della Fontana, capace di infondere una rara gravitas e dignità anche ai suoi committenti più giovani. L’opera, rimasta a lungo inedita, si presenta oggi in un eccellente stato di conservazione. Bibliografia: 2023, Lavinia Fontana: Trailblazer, Rule Breaker, 6 May - 27 August, National Gallery of Ireland, Dublin; Cat. 39, pp. 102-103.
Pananti Casa D'Aste SRL
Dec. 10, 2025
LAVINIA FONTANA (attr. a)
Est: €2,000 - €3,000
(Bologna, 1552 - Roma, 1614) Ritratto di dama Olio su tela, cm 52X42,7 Lavinia Fontana fu interprete dell'arte bolognese tardo cinquecentesca allineata ai dettami del naturalismo controriformato. Figlia e allieva di Prospero Fontana, Lavinia esprime una spiccata predisposizione eclettica tipica del suo tempo e raggiunse presto una propria cifra stilistica, interessata alle influenze di carattere nordico e alle suggestioni carraccesche, ma la sua arte si svolse con costante evoluzione lungo tutto l'arco della carriera, in modo particolare dopo il trasferimento a Roma avvenuto nel 1603. Nella città pontificia la pittrice si dedicò alla ritrattistica e, secondo Luigi Lanzi, 'più che da altri fu ambita dalle dame romane, le cui gale ritraea meglio che uomo'. Bibliografia di riferimento: V. Fortunati, Lavinia Fontana (1552 ; 1614), catalogo della mostra a cura di Vera Fortunati, Milano 1994, ad vocem
Wannenes Art Auctions
Nov. 13, 2025
Lavinia Fontana (seguace di) (Bologna 1552 - Roma 1614)
Est: €2,000 - €4,000
Christ and the Samaritan Woman Oil on canvas cm. 103x77,5 The painting is an antique replica of the work by Lavinia Fontana, currently housed in the Museo Nazionale di Capodimonte, Naples.
Bertolami Fine Art s.r.l.
Sep. 25, 2025
Lavinia Fontana, 1552 Bologna – 1614 Rom
Est: €15,000 - €20,000
Andachtsbild:MADONNA ASSUNTA ÜBER EINER LANDSCHAFT MIT DEN HEILIGEN FRANZISKUS UND KATHARINA Öl auf Kupfer. 32 x 21 cm. Beigegeben eine Expertise von Prof. Vera Fortunati, Bologna, sowie eine Dokumentation von Massimo Pirondini, jeweils in Kopie. Das halbrund geschlossene Format lässt an ein kleines Hausaltarbild denken. Die Himmelszone mit der Gestalt der Maria ist durch zwei seitlich hereinschwebende Engel von der irdischen Landschaftsdarstellung abgesetzt. Darunter Franziskus, der zu Maria aufblickt, sowie Katharina mit Krone, Rad und Märtyrerpalme. Die Landschaft zwischen den Figuren zeigt eine Stadt am Fluss, in äußerst feinpinseliger Technik ausgeführt. Das Gemälde wurde bereits Juni 2025 bei Christie’s angeboten als „Bologneser Schule um 1600 – Kreis Lavinia Fontana". Inzwischen konnte durch die Publikation von Massimo Pirondini und das Gutachten von Vera Fortunati die Autorschaft der Malerin Fontana bestätigt werden. Die Untersuchungen gehen auf mehrere Details ein, etwa die Architektur im Hintergrund oder den Vergleich der männlichen Figur mit der Darstellung des Heiligen Cassian in einer weiteren Assunta-Darstellung von 1584, wobei auch die Bildkomposition der beiden Werke nahezu identisch ist. Literatur: Vgl. Whitney Chadwick, Women, Art, and Society, London 1990. Vgl. Caroline P. Murphy, Lavinia Fontana. A Painter and her Patrons in Sixteenth-Century Bologna. New Haven und London 2003. (1451176) (3) (11) Lavinia Fontana, 1552 Bologna – 1614 Rome Devotional image: MADONNA ASSUNTA ABOVE A LANDSCAPE WITH SAINTS Francis AND CATHERINE Oil on copper. 32 x 21 cm. Accompanied by an expert’s report by Professor Vera Fortunati, Bologna, as well as by a documentation by Massimo Pirondini, each in copy. The painting was already offered at Christie’s in June 2025 under the attribution "Bolognese School ca. 1600, circle of Lavinia Fontana". Since then, the publication by Massimo Pirondini and expert opinion by Vera Fortunati have attributed the work directly to Lavinia Fontana. Both texts focus on several specific details to support this attribution. Notably, the architectural background and the comparison of the male figure of Saint Cassian, closely parallel those found in the Assunta depiction from 1584, and the composition of the two works are almost identical. Literature: cf. Whitney Chadwick, Women, Art, and Society, London 1990. cf. Caroline P. Murphy, Lavinia Fontana. A Painter and her Patrons in Sixteenth-Century Bologna, New Haven and London 2003.
Hampel Fine Art Auctions
Jul. 19, 2025
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $8,000 - $16,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Jun. 25, 2025
LAVINIA FONTANA (Bolonia, Italia, 1552 - Roma, 1614), Retra
Est: -
LAVINIA FONTANA (Bolonia, Italia, 1552 - Roma, 1614) "Retrato de una dama noble con su sirvienta y un perro. "1604 - 1614. Óleo sobre lienzo Procedencia: -Colección Emilia Balduino, 1993. -Familia Spinola, Castillo de Pasturana, Piamonte, siglo XIX. Se adjunta certificado de Piero Torriti y Mina Gregori firmado en 1991 y certificado de Maria Teresa Cantaro firmado en 2014. La pintura fue catalogada en 2014 por la historiadora del arte Maria Teresa Cantaro a la mano de la pintora boloñesa Lavinia Fontana. Hija del pintor manierista Prospero Fontana, fue educada en el taller familiar donde aprendió la cultura pictórica de la época, sobre todo de la escuela escuela emiliana (desde Parmigianino hasta Pellegrino Tibaldi), la escuela veneciana, donde su mayor influencia sin duda fueron los retratos cortesanos y de la alta nobleza de Veronese, tanto en la suntuosidad de las telas como en las posturas empoderadas de sus figuras femeninas; de la escuela de la Lombardía, cuyo máximo referente fue la otra pintora coetánea a ella, Sofonisba Anguissola, y por último, la escuela manierista Toscana. No obstante, en su ciudad natal tuvo como referencia directa, e incluso en su propia casa, a los hermanos Carracci: Ludovico, Agostino y Annibale. La pintura está datada por Cantaro durante el periodo romano de la artista, entre 1604 y 1614. Cuando, tras la muerte de su padre, ella y su familia se trasladaron a la Ciudad Eterna en el año 1604 de forma permanente, por invitación expresa del papa Clemente VIII, de la familia Aldobrandini. Allí consiguió también el patrocinio de la Casa Boncompagni, de la que era miembro el papa Gregorio XIII. Posteriormente, tras la muerte del papa Clemente VIII, al año siguiente de su llegada, fue electa como retratista de la corte del papa Paulo V, convirtiéndose en una retratista popular y de éxito, lo cual hizo que su popularidad como pintura creciera y toda la aristocracia romana quisiera posar para ella. Fue también elegida como miembro de la Accademia di San Luca, siendo la primera mujer en ser elegida para este puesto. Este retrato sería consecuencia de toda esta carrera prolífica en la capital italiana. En la Italia de la Contrarreforma, la demanda de retratos de familia e hijos aumentó debido al énfasis de la Iglesia Católica en los valores familiares. Fue en Roma donde Lavinia se dejó influir por una nueva corriente en auge. El marcado realismo en la ejecución de esta figura sugiere que la pintora era conocedora y fue contaminada de la influencia de Caravaggio, el cual ya había alcanzado un gran reconocimiento con su estilo: el tenebrismo o naturalismo caravaggista. Sin embargo, la influencia del manierismo es perceptible en la minuciosidad en los detalles y en la importancia que da a los materiales que rodean al tema, como por ejemplo el collar del perro, el collar de perlas o los ricos bordados de las mangas. Su minuciosa atención al detalle dejaba ver la riqueza de la retratada, lo que la hizo popular entre la rica aristocracia romana. La imagen representa a una dama romana que exhibe su personalidad y alto estatus social acompañada de su criada o sirvienta mulata a su izquierda y, sobre un bufete con un mantel verde, un perrito, que acaricia. La figura de la sirvienta, por el tono oscuro de su piel, enfatiza aún más la nobleza de la dama y sus labores de señora de alta alcurnia. Este personaje femenino no era extraño en la obra de Lavinia como se puede apreciar en otras obras como Autorretrato al clavicordio con sirviente, de la Gallera dell’Accademia di San Luca de Roma o Judit y Holofernes conservado en el Museo Davia Bargellini. El alto nivel social de la retratada queda también reflejado por su rica indumentaria y sus joyas: una prenda interior de color blanco plateado, cuyas mangas están bordadas con hilos dorados, y sobre esta una capa oscura que cubre la prenda interior menos en la zona de las mangas y en la zona del pecho se abre para insinuar la prenda inferior. El vestuario termina con un par de guantes sujetos en su mano izquierda. Está peinada a la moda de la época, con la melena recogida hacia atrás. Las joyas, otro símbolo de estatus social, son pendientes de perlas, un collar de perlas y un anillo en el dedo meñique de la mano derecha. La dama, muy probablemente, podría estar casada debido a los símbolos parlantes que apunta el retrato, el perrito, símbolo también de fidelidad matrimonial, y el anillo en su mano. La pintura podría haber sido encargada por la familia Spinola, propietaria hasta de la obra hasta1933, cuando el Castello di Pasturana y sus colecciones fueron vendidos a Emilia Balduino, esposa del marqués Gavotti. Esta pintura pudiera haber sido concebida como pareja del lote 553, ya que ambas muestran el mismo lenguaje pictórico, formato y procedencia de las mismas colecciones. Lavinia Fontana moriría en Roma el 11 de agosto de 1614, a la edad de 61 años, y su cuerpo fue enterrado en la iglesia rom
Magna Art Auctions
Jun. 25, 2025
LAVINIA FONTANA (Bolonia, Italia, 1552 - Roma, 1614), Retra
Est: -
LAVINIA FONTANA (Bolonia, Italia, 1552 - Roma, 1614) "Retrato de dama engolada con niño "1604 - 1614. Óleo sobre lienzo Procedencia: -Colección Emilia Balduino, 1993. -Familia Spinola, Castillo de Pasturana, Piamonte, siglo XIX. Se adjunta certificado de Piero Torriti y Mina Gregori firmado en 1991 y certificado de Maria Teresa Cantaro firmado en 2014. Nuevamente este magnífico cuadro fue también asignado a la mano de la pintora Lavinia Fontana por la historiadora del arte, Maria Teresa Cantaro. La pintura, al igual que el lote 554, Retrato de dama engolada con niño, presenta las mismas características formales en cuanto a su representación, su iconografía retratística y su mensaje aristocrático social de la Roma del siglo XVI. La pintura destaca por una gran precisión y detallismo en su dibujo. Como ya dijimos en la ficha del cuadro precedente, Lavinia aprendió en el taller de su padre las fórmulas pictóricas de muchas escuelas y pintores italianos del momento, entre los que se encontraba Parmigianino, con el cual este retrato se podría comparar con los que hacia el pintor de Parma. Parmigianino fue uno de los máximos representantes del Manierismo italiano. En la tela se ve una mujer con un vestido oscuro de cuello alto sobre un fondo oscuro. Lleva el cabello peinado hacia atrás y su cabeza está cubierta por un velo de viuda. Con el brazo derecho abraza al niño que está a su lado, seguramente su hijo, al que le ofrece una manzana con su mano izquierda. La manzana podría aludir simbólicamente a que, tras la muerte de su padre, el niño lo sucederá como heredero de una dinastía. La manzana amarilla, puede hacer referencia al color del oro, es decir a las manzanas del Jardín de las Hespérides cuyos árboles frutales daban manzanas doradas. Hércules, en uno de sus doce trabajos, tuvo como misión lograr hacerse con ellas. Estas codiciadas frutas concedían la inmortalidad a quien las comiera. El Renacimiento, además, añadió a este codiciado manjar las otorgó las virtudes de Hércules. Con lo cual el mensaje que deposita el fruto en la pintura es una esperanza de larga vida al niño, primogénito de una noble familia y una serie de virtudes dignas de un héroe y de un buen gobernante. El niño sería como un pequeño Hércules protegido por su madre que le otorga la manzana, como si de la diosa Venus se tratase. La madre, aún con la manzana en la mano, actúa como intermediaria y cabeza de familia hasta que su hijo alcance la mayoría de edad. Que la figura femenina esté tocada con velo y con ausencia de joyas, es símbolo de su sufrimiento por la pérdida de su esposo. La artista se concentró especialmente en la representación de texturas, ornamentos y complexiones, lo que subraya su atención al detalle. En el Museo Nacional del Prado se conserva un retrato de Pamigiuanio, Camilla Gonzaga, condesa de San Segundo, y sus hijos (P000280), fechado en 1535 – 1537. Esta obra tiene un gran interés ya que muestra por primera vez en Italia una madre rodeada de sus hijos como personificación de la Caridad clásica. Esta pintura guarda cierta relación con la obra presentada. Tiene el mismo arquetipo de retrato social de madre con su hijo que le desea un largo porvenir y protección ante la alta mortalidad infantil. En este caso la Condesa lleva sobre el hombro una marta cibelina disecada. Este animal tuvo a veces un cierto carácter apotropaico. Camilla, querría impedir, como madre que era, la muerte de sus vástagos y con este animal en el retrato les protegía, sobre todo a los que lo tocan, al igual que el otro niño con la manzana dorada. Para poner el cuadro en relación con otro de Fontana, la historiadora del arte, Caroline P. Murphy Murphy, señaló semejanzas razonables, a nivel de psicología maternal y de protección, con la pintura Retrato de una dama noble con un niño conservado en la Pinacoteca Nazionale de Bolonia, datado en torno a 1595, donde se ve a la retratada que muestra un gesto protector al rodear con el brazo los hombros del niño1. Al igual que el lote 554, esta pintura procede originalmente de la Colección Spinola, y es muy probable que la familia la encargara a Lavinia Fontana durante su estancia en Roma. Medidas:112 x 93 cm.
Magna Art Auctions
Jun. 15, 2025
Maria Magdalena (Samaritan woman) & Jesus, attributed to Lavinia Fontana (1552-1614), Italy
Est: $8,000 - $16,000
Maria Magdalena (Samaritan woman) and Jesus, oil painting, attributed to Lavinia Fontana (1552-1614), Italy. Possibly a study before painting the main picture, Lavinia Fontana school or and an old copy. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. Size of the frame: 21.75 x 15.75 = 54.4 cm x 39.4 cm Weight of the frame: 840 g = 2 lb. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Condition: very good for the age. Provenance: purchased at the big and reputable auction house in Italy. Full painting is located in another collection. Attributed to Lavinia Fontana. The last 2 photos show the original painting and the signature of the artist on original painting, which is not for sale.
Eternity Gallery
Jun. 10, 2025
FONTANA LAVINIA (1552 - 1614) -
Est: €25,000 - €45,000
FONTANA LAVINIA (1552 - 1614). Provenance: Zanasi Foundation, Modena.. 66 x 94,50 cm.
Capitolium Art
May. 18, 2025
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $8,000 - $16,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Apr. 23, 2025
Attributed to Lavinia Fontana (Bologna, 1552 – Rome, 1614) - Portrait of a young lady with a dog and a book
Est: €20,000 - €40,000
Oil on canvas. Dimensions: 99 x 80 cm. This elegant three-quarter portrait depicts a young noble lady, dressed in elaborate period costume and accompanied by a small lapdog, a frequent symbol of fidelity and status. The figure holds a book with one of her fingers placed between the pages, a gesture that alludes not only to reading as a feminine virtue, but also to intellectual introspection. The work we present here is a more academic model, though from the same period, which differs significantly from the painting by Veronese housed in the Thyssen Museum. In this case, the stylistic and technical elements diverge notably from the color palette typically associated with the Venetian school. In terms of form and use of color, the piece is closer to the style of Lavinia Fontana or an artist from the Roman circle, which highlights its uniqueness within the artistic context of its time.The work has been attributed to Lavinia Fontana, one of the first recognized female painters of the late Renaissance, for several formal and contextual reasons. First, the genre of the female portrait was central to her output, and this work fits perfectly into that corpus. The support, the palette, and the sitter's attitude—particularly her expression of gazing calmly and serenely at the viewer—are strong references to other compositions by Fontana. A key detail that supports this attribution is the inclusion of the finger inside the book, a compositional motif found in the celebrated Portrait of Lucia Bonasoni Garzoni (1590). Likewise, the refined and naturalistic manner of depicting the hands, with delicate fingers and a measured pose, bears a close resemblance to works such as Portrait of a Lady, Three-Quarter Length, sold at Sotheby's in 2017. Although Fontana's direct authorship cannot be confirmed with certainty, the numerous elements common to his style make it plausible that he was directly involved, or that it was executed within his circle or workshop. The combination of stylistic characteristics allows this work to be valued as part of the immediate entourage of one of the most important female figures of Italian Mannerist art. Located in international storage.
Templum Fine Art Auctions
Apr. 12, 2025
Maria Magdalena (Samaritan woman) & Jesus, attributed to Lavinia Fontana (1552-1614), Italy
Est: $8,000 - $16,000
Maria Magdalena (Samaritan woman) and Jesus, oil painting, attributed to Lavinia Fontana (1552-1614), Italy. Possibly a study before painting the main picture, Lavinia Fontana school or and an old copy. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. Size of the frame: 21.75 x 15.75 = 54.4 cm x 39.4 cm Weight of the frame: 840 g = 2 lb. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Condition: very good for the age. Provenance: purchased at the big and reputable auction house in Italy. Full painting is located in another collection. Attributed to Lavinia Fontana. The last 2 photos show the original painting and the signature of the artist on original painting, which is not for sale.
Eternity Gallery
Mar. 09, 2025
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $8,000 - $16,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Feb. 06, 2025
Circle of Lavinia Fontana (1552 - 1614), Portrait of a courtly lady, possibly the Infanta Isabella Clara Eugenia, Archduchess of Austria (1566-1633)
Est: £8,000 - £12,000
Circle of Lavinia Fontana (1552 - 1614) Portrait of a courtly lady, possibly the Infanta Isabella Clara Eugenia, Archduchess of Austria (1566-1633) Late 16th Century Oil on canvas With old label verso Dimensions: (Canvas) 26.75 in. (H) x 20.25 in. (W)
Sloane Street Auctions
Jan. 29, 2025
OIL PAINTING BY LAVINIA FONTANA, att. to
Est: €1,500 - €2,500
LAVINIA FONTANA, attribuito (Bologna 1552 - Roma 1614) RITRATTO DI FANCIULLO CON LIBRO Olio su tela, cm. 43 x 34 CONDITION REPORT Rintelo recente, punti e linee di restauri diffusi CORNICE Cornice antica in legno dorato con intagli recanti motivi a fogliame e volute
Casa d'Aste Babuino
Dec. 28, 2024
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $8,000 - $16,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Dec. 12, 2024
Attributed to Lavinia Fontana (Bologna, 1552 - Rome, 1614) - Portrait of a young girl with a book
Est: €10,000 - €15,000
Oil on canvas. Dimensions: 52 x 42 cm. Provenance: French private collection.
Templum Fine Art Auctions
Oct. 12, 2024
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $8,000 - $16,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Sep. 26, 2024
LAVINIA FONTANA, 1552 BOLOGNA – 1614 ROM
Est: €100,000 - €150,000
SELBSTBILDNIS Öl auf Kupfer, versilbert. 14 x 10 cm. Altes Rähmchen, Nussholz, mit Blumen und Früchten beschnitzt. Beigegeben Expertisen von Vera Fortunati, o.D., sowie von Prof. Daniele Benati, 13. Februar 2009, in Kopie. Das Werk wird in den in Vorbereitung befindlichen Catalogue raisonné von Vera Fortunati aufgenommen. Die Malerin zeigt sich hier, wie auch in anderen Selbstbildnissen, etwa am Spinett, äußerst selbstbewusst. Lavinia wurde von ihrem Vater, dem Maler Prospero Fontana ausgebildet, sah jedoch in der zwanzig Jahre älteren Sofonisba Anguissola (ca. 1530-1625) ihr Vorbild. Es ist anzunehmen, dass sie bei Denis Calvart weiterstudiert hat. Sie gilt zweifellos als eine der bedeutendsten Malerinnen ihrer und der nachfolgenden Zeit. Als Portraitistin erhielt sie vor allem von adeligen Damen ihre Aufträge. Aus jedem Gesicht dieser weiblichen Bildnisse spricht Selbstbewusstsein, Stolz und nahezu Ausdruck einer Überlegenheit. So erstaunt es nicht, dass sie sich in ihrem Oeuvre dem Thema Judith und Holofernes gewidmet hat, aber als erste Malerin auch dem Thema der Aktmalerei. Ihr großer Erfolg, auch unterstützt durch Papst Gregor XIII. sicherte ihr hohe Honorare, vergleichbar mit denen für Van Dyck. So folgten auch Familienporträts, etwa „Bianca Degli Utili Maselli mit ihren Kindern“. Die Künstlerin war eine italienische Malerin des Manierismus. Sie ist insbesondere für ihre Portraits und historischen Darstellungen sowie religiöse Motive bekannt. Ab den 1580er-Jahren malte sie auch großformatige Altarbilder. 1603 zog sie mit ihrer Familie auf Einladung des Papstes Clemens VII nach Rom und es folgten weitere Aufträge für Altargemälde sowie private Historienbilder. Sie war sehr erfolgreich und zählt zu den besten Malpersönlichkeiten ihrer Zeit. Anmerkung: Das kleine Gemälde ist laut beiliegenden Expertisen eine in Abwandlung des Formats geschaffene Wiederholung nach dem in den Uffizien in Florenz aufbewahrten Rundbild. Das Museumsexponat mit einem Durchmesser von 15,7 cm ist auf Kupfer gemalt und auf 1579 datiert. In beiden Bildern hat sich die Künstlerin nach links sitzend wiedergegeben, den Blick auf den Betrachter gerichtet. Kleidung, Halskrause und Haartracht sind in beiden Bildern entsprechend. Im Uffizien-Tondo ist ihre Hand mit Schreibfeder auf einem mit Papierbogen gezeigt, am Bildrand sowie im dunklen Hintergrund lassen sich Statuetten erkennen. Das hochquadratische Format hier dagegen verzichtet auf diese zusätzlichen Bildinhalte. Die Malweise zeigt sich in derselben Feinheit, die Silberplatte anstelle von Kupfer verrät hier eine besondere Wertgebung. Die Zuweisung des Gemäldes an die Malerin erfolgte 2009 durch Prof. Daniele Benati, der die Entstehung in den Zeitraum 1579/80 setzt, also in Nähe mit ihrem Selbstbildnis am Spinett von 1577, von dem es ebenfalls eine Wiederholung gibt (Christie‘s 2013). Beigegeben ein Aufsatz von T. Cantaro zum Thema der Selbstbildnisse im Spinett. Literatur: Vgl. Caroline P. Murphy, Lavinia Fontana. A Painter and Her Patrons in Sixteenth-Century Bologna, New Haven 2003. Vgl. Debra N. Mancoff, Frauen, die die Kunst veränderten, München 2012. Vgl. Leticia Ruiz Gómez (Hrsg.), A tale of two women painters. Sofonisba Anguissola and Lavinia Fontana, Madrid 2019. Vgl. Maria Teresa Cantaro, Lavinia Fontana. Il primo autoritratto alla Spinetta ritrovato e una breve disamina sugli autoritratti della pittrice, 2014. (1411057) (11) Lavinia Fontana, 1552 Bologna – 1614 Rome SELF-PORTRAIT Oil on silver copper. 14 x 10 cm. Accompanied by expert’s reports by Vera Fortunati; Prof Daniele Benati, 13 February 2009, in copy. The work will be included in the catalogue raisonné by Vera Fortunati, currently in preparation. Notes: According to the accompanying reports, the small painting is a repetition of the round painting held at the Uffizi in Florence, but in a different format. The museum exhibit, with a diameter of 15.7 cm, is painted on copper and dated 1579. In both paintings, the artist is depicted sitting to the left, looking at the viewer. Her attire, ruff and hairstyle are the same in both paintings. In the Uffizi tondo, her hand holding a quill is shown on a sheet of paper, and there are statuettes at the edge of the painting and in the dark background. By contrast the tall square format here dispenses with this additional image content. The painting style is just as delicate, and the material of a silver plate instead versus copper shows special appreciation here. Professor Daniele Benati attributed the painting to the female painter in 2009 and dated the painting to ca. 1579/80, close to her Self-portrait at the Spinet of 1577, of which there is also a repetition (Christie’s 2013). Attached is an essay by T. Cantaro about self-portraits at the spinet. Literature: cf. Caroline P. Murphy, Lavinia Fontana. A Painter and Her Patrons in Sixteenth-Century Bologna, New Haven 2003. cf. Debra N. Mancoff, Frauen, die die Kunst veränderten, Munich 2012. cf. Leticia Ruiz Gómez (ed.), A tale of two women painters. Sofonisba Anguissola and Lavinia Fontana. Museo Nacional del Prado, Madrid 2019. cf. Maria Teresa Cantaro, Lavinia Fontana. Il primo autoritratto alla Spinetta ritrovato e una breve disamina sugli autoritratti della pittrice. (†)
Hampel Fine Art Auctions
Aug. 03, 2024
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $6,000 - $12,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Jul. 05, 2024
Lavinia Fontana 1552 Bologna -1614 Roma, attribuito a Ritratto del Cardinal Cenci
Est: €3,000 - €4,000
.
Cambi Casa d'Aste
Jun. 18, 2024
PITTORE ATTIVO A BOLOGNA NEL XVI-XVII SECOLO
Est: €2,000 - €3,000
Giuditta e Oloferne Olio su tavola, cm 86,5X69,5 Provenienza: Roma, collezione privata La tavola mostra caratteri emiliani di fine Cinquecento, affinità con le creazioni di Lavinia Fontana (Bologna, 1552 ; Roma, 1614), ma anche una singolare suggestione nordica. Difatti, il tenore metallico delle stesure, l'energia espressiva e la pervicace attenzione nel descrivere i gioielli e i ricami delle vesti, suggeriscono il confronto con le creazioni di Denys Calvaert (Anversa, 1540 circa ; Bologna, 1619). Un valido parallelo ci viene offerto dalla Giuditta della Pinacoteca Stuard di Parma, nella quale osserviamo un volto somigliante con il medesimo sguardo, la forma indispettita delle labbra e un affine disegno delle mani e dei gesti (fig. 1). Altrettanto utile è il confronto con la Santa Cecilia della Galleria Nazionale di Parma, in cui sovvengono analoghe soluzioni sartoriali con l'uso di gioielli a guisa di spilla. Pertanto, l'opera a dispetto di una necessaria messa a punto della superficie, rivela un'alta qualità d'esecuzione, a sua volta avvalorata dalla preziosità dei pigmenti e della conduzione pittorica, contraddistinta da sapienti passaggi a velatura e cromie cangianti secondo la miglior arte fiamminga di gusto italianizzante. Come sappiamo, Calvaert lasciò Anversa in giovane età per recarsi in Italia e, raggiunta Bologna, fu allievo di Prospero Fontana e Lorenzo Sabatini, per poi soggiornare a Roma dal 1570 al 1572 per studiare le opere degli artisti rinascimentali. Tornato a Bologna aprì con successo la propria bottega creando opere in cui il possente colorismo dei manieristi fiamminghi si coniuga con la migliore tradizione italiana.
Wannenes Art Auctions
May. 11, 2024
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $5,000 - $10,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Jan. 14, 2024
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $5,000 - $10,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Dec. 13, 2023
Circle of LAVINIA FONTANA (Bologna, 1552-Rome, 1614). "Portrait of a gentleman," c. 1600. Oil on copper. It presents faults and restorations on the pictorial surface.
Est: €4,000 - €4,500
Circle of LAVINIA FONTANA (Bologna, 1552-Rome, 1614). "Portrait of a gentleman," c. 1600. Oil on copper. It presents faults and restorations on the pictorial surface. Measures: 5.8 x 5 cm. Portrait in miniature of a gentleman. The protagonist has been captured through a language based on the rigor of the drawing and the meticulous brushstroke. This portrait shows a composition typical of the early Baroque, with the model in the foreground, on a dark and neutral background that enhances her physical presence. The light treatment stands out at a formal level, very studied and contrasted. Thus, the figure is illuminated, standing out against the background, and the painter models the volumes and shapes through very elaborate half-lights. The brushstroke used is changing, much more precise, practically invisible, in the face, hair and bust. The technical quality and the pictorial style of the painting bring us closer to the production of the artist Lavinia Fontana, who was the daughter of the painter Prospero Fontana, who belonged to the school of Bologna. This fact meant that the artist was able to opt for an artistic education that was deprived or relatively scarce for the women of the time, limiting them even in the representative themes. Lavinia's style was very close to the aesthetic patterns of the Bologna school, which was characterized by a late mannerism, a style also practiced by her father. Already at a very young age, the artist achieved great recognition as a painter of small cabinet works that consisted mainly of portraits. In 1577 she married Gian Paolo Zappi, a well-to-do disciple of her father, which allowed him to continue painting during her marriage. The family moved to Rome in 1603, where she was admitted to the Academy of Fine Arts at the invitation of Pope Clement VII and thanks to her technical virtuosity, the artist obtained the protection and patronage of the Buoncampagni family. Gradually her style adapted to the classicist characteristics of the Carracci, contemporaries and protagonists of the Bolognese art scene, who with their academy defended the classicist postulates that left Mannerism behind. Lavinia Fontana was influenced by artists such as Correggio and Scipione Pulzone. Today his work is distributed among important private collections and relevant artistic centers among which are the Borguese Gallery in Rome, the Pitti Palace in Florence and the Escorial Monastery among many others.
Setdart Auction House
Dec. 07, 2023
Lavinia Fontana, 1552 Bologna – 1614 Rom, zugeschrieben
Est: €8,000 - €10,000
DIE MYSTISCHE VERMÄHLUNG DER HEILIGEN KATHARINA Öl auf Leinwand. Doubliert. 115,5 x 99,5 cm. Ungerahmt. Beigegeben eine Expertise von Emilio Negro, Bologna, in Kopie vorliegend, das Gemälde an genannte Künstlerin zuschreibend. Vor einem braunen Vorhang Maria in rosa-blauem Gewand, den auf einem hellen Kissen mit goldenen Quasten sitzenden nackten Jesusknaben haltend, der gerade einen goldenen Ring an einen Finger der rechten Hand der Heiligen Katharina streift. Sie wird wiedergegeben in einem prachtvollen Kleid mit wertvollem Halsgebinde, einer goldenen Krone auf dem Haupt und einem ihr attributiv zugeordneten, mit Nägeln versehenen Rad am unteren rechten Rand. Beide schauen sich liebevoll an. Hinter Maria der stehende Josef, der diese Vermählung voller Aufmerksamkeit betrachtet. Malerei eines beliebten Themas in zurückhaltender Farbigkeit. Emilio Negro ordnet das vorliegende Gemälde den reifen Werken von Lavinia Fontana zu und nennt zudem in seiner Expertise Vergleiche. (1381602) (18)
Hampel Fine Art Auctions
Nov. 28, 2023
Lavinia Fontana 1552 Bologna -1614 Roma Ritratto di fanciullo con cagnolino
Est: €7,000 - €9,000
firmato e datato in basso a destra: \LAVINIA FONTANA DE ZAPPIS PINGEBAT MDL...\"
Cambi Casa d'Aste
Oct. 28, 2023
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $5,000 - $10,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Oct. 17, 2023
LAVINIA FONTANA (Bologna, 1552-Rome, 1614). "Portrait of Francesco Panigarola. Oil on canvas. Relined. Signed and dated at lower right. "Lavinia Font. de Zappis Facie MDLXXXVI. Size: 148 x 111 cm; 170 x 134 cm (frame).
Est: €450,000 - €500,000
LAVINIA FONTANA (Bologna, 1552-Rome, 1614). "Portrait of Francesco Panigarola. Oil on canvas. Relined. Signed and dated at lower right. "Lavinia Font. de Zappis Facie MDLXXXVI. Size: 148 x 111 cm; 170 x 134 cm (frame). This portrait shows Francesco Panigarola, bishop of the city of Asti and author of the treatise "Del modo di comporre una predica" of 1599. Lavinia Fontana takes up the representation of the cleric, portrayed at the age of 38, already a year earlier in the signed and dated 1585, which can be seen in the Pitti Gallery in Florence. Both autograph versions are signed and dated, are very similar in composition, but are not exact replicas, as each work has variations (such as the architecture or the inkwell). This is a very exclusive piece, as only 32 dated and signed works by Lavinia Fontana are known to date. The painting depicts the friar of the Order of Friars Minor Observant Francesco Panigarola, preacher in several cities in northern Italy and bishop of Asti. Probably painted in Bologna, where Panigarola was located in 1585, it is evidence of Lavinia's adherence to Counter-Reformation painting. Fra Francesco Panigarola (Milan, 6 February 1548 - 31 May 1594, Asti) was a member of the order of the Minims and bishop of Asti of the Minims and bishop of Asti. A celebrated preacher in his native Milan and popular with laymen and scholars, his fervour and eloquence eventually turned him against Henry IV. Not surprisingly, Panigarola was a favourite of Carlo Borromeo. He was also a prolific author of several theological works, including a series of anti-Calvinist treatises. This portrait employs some of the same types of iconography and compositional motifs as other portraits of scholars by Lavinia. Pangarla is seated at a desk with a book, pen and inkwell. However, he is not simply in a study with books, but the background of the painting suggests instead that he is in a spiritual setting. The right-hand side of the background is a long corridor with arched, rectangular doors. That they perhaps form part of a cloister is suggested by the light source, which comes from the left, illuminating what must be open spaces along the corridor. Indeed, the use of light plays a narrative role in this portrait. Panigarola does not have the same air of relaxed geniality seen in Lavinia's portrait of a friar of 1581. He maintains eye contact with the viewer, but his face is serious and sombre, yet at the same time compassionate. He is positioned in front of a dark wall and his body is in shadow. However, his head and right hand are illuminated and it seems as if this light source radiates from the book on which Panigarola holds his right hand. As a man of manners, the book is undoubtedly a religious one and perhaps a work of Panigarola himself. In this way he receives divine illumination and his source of light comes from God. Panigarola, like other illustrious clients of Lavinia Fontana, left his approval in writing. Romeo Galli refers to a source, which unfortunately he does not cite, in which he records Panigarola as the author of the following sentence: "And it is true that, while over the centuries women have been able to compete with men in letters, in this century Lavinia does so in the most noble art of painting". Lavinia Fontana was the daughter of the painter Prospero Fontana, who belonged to the Bologna school. This fact meant that the artist was eligible for an artistic education that was deprived or relatively scarce for women of the time, limiting them even to representational subjects. Lavinia's style was very close to the aesthetic patterns of the Bologna school, which was characterised by a late Mannerism, a style also practised by her father.
Setdart Auction House
Sep. 22, 2023
FONTANA, LAVINIA
Est: CHF6,000 - CHF10,000
(Bologna 1552–1614 Rom) Umkreis Portrait einer Edelfrau. Öl auf Leinwand. Verso Reste eines Etiketts "Monte dei Pa[schi] di Siena". 54x41 cm. Gerahmt.
Schuler Auktionen
Jul. 29, 2023
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $5,000 - $10,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Jun. 27, 2023
Lavinia Fontana Ritratto del Cardinal Cenci
Est: €4,000 - €5,000
.
Cambi Casa d'Aste
Jun. 04, 2023
LAVINIA FONTANA (ITALIENNE, 1552-1614) PORTRAIT D'ANTONIETTA GONSALVUS TOILE. HAUT. 54,
Est: €15,000 - €20,000
Lavinia Fontana (Italienne, 1552-1614) Portrait d'Antonietta Gonsalvus Toile. Haut. 54,5 Larg. 47 cm. (restaurations anciennes) Cadre ancien en bois sculpté et doré. Provenance : - collection du docteur Edgar Bérillon (Saint-Fargeau, 1859 - Paris, 1948), célèbre franc-maçon et psychiatre français, connu pour ses travaux sur l'hypnose, qui publia une intéressante "Étude psychologique et sociologique sur les femmes à barbe" dans La revue de l'hypnotisme (n°19, 1905), avec de nombreuses reproductions mais pas celle de cette oeuvre. - par descendance familiale, collection Berillon, Yonne. A 16th century portrait of Antonietta Gonsalvus attributed to Lavinia Fontana. In a carved giltwood frame. Le portrait de Tognina Gonsalvus à l’âge de 10 ans La jeune Antonietta Gonsalvus, aussi appelée Tognina Gonzales, est passée à la postérité grâce à son portrait à l’huile réalisé vers 1595 par la peintre bolonaise Lavinia Fontana (Musée des Beaux-Arts, château de Blois, n°997.1.1). Comme son père et la plupart de ses frères et sœurs, « Tognina » souffre d’hypertrichose, une maladie génétique provoquant une pilosité envahissante. En 1547, son père Pedro Gonzales, né à Ténérife et alors âgé de 10 ans, est offert au roi de France Henri II à l’occasion de son sacre. La possession de cet « homme sauvage » est source de prestige pour le monarque, qui lui attribue une partie du parc du château de Fontainebleau et l’élève avec les autres enfants de la Cour. Pedro prend alors le nom de Petrus Gonsalvus. Au décès du roi Henri II en 1559, il est marié à Catherine Raffelin, nourrissant la légende du conte « La belle et la bête ». Au décès de Catherine de Médicis en 1589, la famille Gonzalvus et ses sept enfants est envoyée en Italie, accueillie chez différents nobles. L’inscription en italien sur le feuillet que tient ici Antonietta, semblable à celle du portrait Blois, raconte le parcours familial : « Don Pietro, un homme sauvage découvert dans les iles Canaries, a été transporté chez son altesse sérénissime Henri, roi de France, et de là chez son excellence le Duc de Parme. C’est de lui que je suis issue, Antonietta, et que l’on me trouve aujourd’hui à la cour de Dame Isabella Pallavicina, l’honorable marquise de Soragna ». Le périple des Gonsalvus depuis la France vers l’Italie est connu grâce aux observations scientifiques qui sont réalisées à chaque étape. Merry Wiesner-Hanks l’a remarquablement documenté dans son ouvrage publié en 2009 aux presses de Yale : « The Marvelous Hairy Girls : The Gonzales Sisters and their Worlds ». A Bâle, le physicien Felix Platter étudie ainsi deux enfants et commande leurs portraits. Les tableaux seront ensuite envoyés à l’archiduc Ferdinand II et accrochés en son château d’Ambras, lequel donnera son nom au syndrome pileux représentés sur ces toiles. En 1594, Antonietta alors âgée d'une dizaine d'années est examinée à Bologne par Ulisse Aldrovandi, dont les notes scientifiques ne seront publiées qu’en 1642 dans l’ouvrage « Monstrorum Historia ». C’est à ce moment que son amie la peintre Lavinia Fontana, formée par Sophonisba Anguissola, réalise le portrait de Blois qu’elle signe. Fontana collabore alors en effet avec d’autres peintres, hommes et femmes, au projet éditorial à venir d’Aldrovandi, dont sont conservées 8.000 aquarelles. Sur l’une d’elles, un autre portrait ressemblant à celui d’Antonietta, avec les mêmes fleurs dans les cheveux et la même robe de brocard, diffère par son inscription : « Une femme poilue de vingt ans dont la tête ressemble à un singe, mais qui n'est pas poilue sur le reste du corps ». Suscitant la plus grande des curiosités de son vivant, allant de la crainte sauvage à la défiance animale en passant par le statut d’objets précieux offert en présent, Antonietta est une petite fille sans équivalent dans l’histoire de la peinture. L’apparition de cette toile inconnue, peinte par une artiste femme, est d’autant plus marquante qu’elle représente une enfant dont la trace disparait à la fin du XVIe siècle en Italie, alors même que se déroule au Musée des arts décoratif à Paris l’exposition évènement « Des cheveux et des poils ».
Rouillac
May. 20, 2023
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $5,000 - $10,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
May. 13, 2023
(seguace del XIX secolo)
Est: -
(seguace del XIX secolo) Cristo e la samaritana al pozzo Olio su tela, 103x77 cm
Meeting Art Casa D'Aste
Mar. 31, 2023
Attributed to LAVINIA FONTANA
Est: CHF30,000 - CHF40,000
Attributed to LAVINIA FONTANA (Bologna 1552–1614 Rome) Portrait of a man in a red and yellow brocade coat. Oil on copper. 15 cm D (round). Provenance: - With Haboldt, Paris. - Private collection, Germany. - Sale Christie's, London, 6.7.2007, Lot 221. - Sale Bonhams, London, 6.12.2017, Lot 24. - European private collection. --------------- LAVINIA FONTANA, zugeschrieben (Bologna 1552–1614 Rom) Porträt eines Mannes in einem roten und gelben Brokatjackett. Öl auf Kupfer. 15 cm D (rund). Provenienz: - Haboldt, Paris. - Privatsammlung, Deutschland. - Auktion Christie's, London, 6.7.2007, Los 221. - Auktion Bonhams, London, 6.12.2017, Los 24. - Europäische Privatsammlung. ---------------
Koller Auctions
Feb. 19, 2023
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $5,000 - $10,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Dec. 14, 2022
Fontana Lavinia attribuito a, Noli me tangere
Est: €4,000 - €6,000
olio su rame, W. 21 - H. 26 Cm
Cambi Casa d'Aste
Dec. 09, 2022
LAVINIA FONTANA (BOLOGNA 1552-1614 ROME) The Annunciation oil on canvas 34
Est: £40,000 - £60,000
LAVINIA FONTANA (BOLOGNA 1552-1614 ROME) The Annunciation oil on canvas 34 1/2 x 29 1/2 in. (87.6 x 75 cm.)
Christie's
Dec. 08, 2022
Lavinia Fontana, 1552 Bologna – 1614 Rom, zugeschrieben
Est: €6,000 - €10,000
Portrait eines jungen Adeligen Öl auf Leinwand. Doubliert. 50,5 x 38,5 cm. In dekorativem Rahmen. Vor braunem Hintergrund der junge Mann, leicht nach rechts in rotem Gewand mit Stickerei und goldenen Knöpfen, darüber eine pelzverbrämte Weste und schließlich eine weiße Spitzenkrause um seinen Hals. Er hat hellbraunes Haar, leicht gerötete Wangen, einen roten Mund und mit seinen blauen Augen schaut er nachdenklich aus dem Bild heraus. Feine repräsentative Darstellung der insbesondere für ihre Portraits bekannten italienischen Malerin. (1340712) (18)
Hampel Fine Art Auctions
Dec. 04, 2022
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $5,000 - $10,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Nov. 15, 2022
Lavinia Fontana, Bologna 1552 - 1614 Rome, Circle of, Portrait of a young woman
Est: €800 - €1,000
Lavinia Fontana Bologna 1552 - 1614 Rome, Circle of Portrait of a young woman Oil on copper 4,6 x 3,7 cm
Tiberius Auctions
Sep. 25, 2022
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $5,000 - $10,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Jul. 08, 2022
LAVINIA FONTANA (BOLOGNA 1552-1614 ROME) Portrait of a lady, bust-length, i
Est: £10,000 - £15,000
LAVINIA FONTANA (BOLOGNA 1552-1614 ROME) Portrait of a lady, bust-length, in a gold embroidered bodice with a high... oil on copper, oval 2 1/4 x 1 3/4 in. (5.6 x 4.5 cm.)
Christie's
Jun. 26, 2022
Maria Magdalena & Jesus, Attributed to Lavinia Fontana (1552-1614), Italy
Est: $5,000 - $10,000
Oil painting, - Maria Magdalena washing Jesus Christ, Italy. Attributed to Lavinia Fontana. Other opinion: woman of Samaria at the well. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy. The last photo shows the full original painting of Maria Magdalena with Jesus Christ. Lavinia Fontana, (born 1552, Bologna [Italy]died August 11, 1614, Rome), Italian painter of the Mannerist school and one of the most important portraitists in Bologna during the late 16th century. She was one of the first women to execute large, publicly commissioned figure paintings. Condition: very good for the age, natural aging of the oil paint; Low Estimate: $5,000; High Estimate: $10,000; Original: Yes;
Eternity Gallery
Jun. 09, 2022
Manner of Lavinia Fontana (Italian, 1552-1614) Portrait of a lady and her dog Oi
Est: $1,500 - $2,500
Manner of Lavinia Fontana (Italian, 1552-1614) Portrait of a lady and her dog Oil on copper 7-1/2 x 6-1/4 inches (19.1 x 15.9 cm) Property from the Estates of Ramon Osuna and Robert Lennon, Washington, D.C. HID01801242017
Heritage Auctions
Jun. 09, 2022
LAVINIA FONTANA (attr. a)
Est: €200 - €500
(Bologna, 1552 - Roma, 1614) Ritratto di giovane donna Olio su rame, diam. cm 8 Lavinia Fontana, singolare pittrice che andava al pari delli primi uomini di quella professione (Avvisi Urbinati, Lat. 1077, c. 428 A-B in M. T. Cantaro, Lavinia Fontana Bolognese pittora singolare 1552-1614, Milano-Roma, 1989, p. 1), fu squisita interprete dell'arte bolognese tardo cinquecentesca allineata ai dettami del naturalismo controriformato. Figlia e allieva di Prospero Fontana, Lavinia esprime una spiccata predisposizione eclettica tipica del suo tempo e raggiunse assai presto una propria cifra stilistica, interessata alle influenze di carattere nordico e alle suggestioni carraccesche, ma la sua arte si svolse con costante evoluzione lungo tutto l'arco della carriera, in modo particolare dopo il trasferimento a Roma avvenuto nel 1603 su richiesta di Gregorio XIII. Nella città pontificia, grazie alla prestigiosa protezione, la pittrice oltre a produrre pale d'altare e opere a carattere profano si dedicò intensamente alla ritrattistica e, secondo Luigi Lanzi: più che da altri fu ambita dalle dame romane, le cui gale ritraea meglio che uomo'. A questi anni si daterebbe il rame in esame, caratterizzato da uno spiccato realismo e sprezzatura, giocata sul vivace contrasto cromatico della veste che si staglia sul fondo violaceo. Il volto, colto al naturale, presenta strette analogie con la coeva ritrattistica di Scipione Pulzone e Jacopo Zucchi. Bibliografia di riferimento: V. Fortunati, Lavinia Fontana (1552 - 1614), catalogo della mostra a cura di Vera Fortunati, Milano, 1994 C. P. Murphy, Lavinia Fontana. A Painter and Her Patrons in Sixteenth Century Bologna, New Haven, London, 2003, p. 89 V. Fortunati, Verso una storia delle donne artiste a Bologna tra il Rinascimento e del Barocco: Aggiunte e spiegazioni, in Donne Artiste italiane dal Rinascimento al Barocco, National Museum of Women in the Arts, Washington DC, marzo ; luglio 2007, pp. 45-47
Wannenes Art Auctions
Jun. 09, 2022
PITTORE ATTIVO A ROMA NEL XVII SECOLO
Est: €3,000 - €5,000
Ritratto di giovane Olio su tavola, cm 65,5X50 Il ritratto reca una attribuzione collezionistica a Lavinia Fontana (Bologna, 1552 - Roma, 1614). Figlia e allieva di Prospero Fontana, Lavinia esprime una spiccata predisposizione eclettica tipica del suo tempo e raggiunse assai presto una propria cifra stilistica, interessata alle influenze di carattere nordico e alle suggestioni carraccesche, ma la sua arte si svolse con costante evoluzione lungo tutto l'arco della carriera, in modo particolare dopo il trasferimento a Roma avvenuto nel 1603 su richiesta di Gregorio XIII. Nella città pontificia, grazie alla prestigiosa protezione, la pittrice oltre a produrre pale d'altare e opere a carattere profano si dedicò intensamente alla ritrattistica. Bibliografia di riferimento: M. T Cantaro, Lavinia Fontana pittora singolare, Roma 1989, ad vocem
Wannenes Art Auctions