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Giovanni Ghisolfi Sold at Auction Prices

Painter, b. 1623 - d. 1683

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    • GIOVANNI GHISOLFI (Italy, 1623-1683). "San Pedro released from prison". Oil on canvas. Keep the original fabric. Presents restorations.
      Jan. 25, 2024

      GIOVANNI GHISOLFI (Italy, 1623-1683). "San Pedro released from prison". Oil on canvas. Keep the original fabric. Presents restorations.

      Est: €7,000 - €8,000

      GIOVANNI GHISOLFI (Italy, 1623-1683). "Saint Peter Released from Prison". Oil on canvas. The original canvas is preserved. It presents restorations. Measurements: 53 x 33 cm; 68 x 47 cm (frame). This oil on canvas has the same composition and subject matter as the work by the artist Giovanni Ghisolfi, in the church of Santa Maria della Vittoria in Milan. In this particular case, the technique and reduced dimensions compared to the work in Milan indicate that it is a preparatory work, designed to establish the composition and tonalities, as a preparatory exercise. As for the scene, which is vertical in form, the artist arranges the figures in such a way as to form a pyramidal figure with their bodies; in the upper area two little angels embrace each other, below them a large angel, followed by an archangel above the two figures that form the base of the scene, a sleeping soldier and Saint Peter, who can be recognised by his beard and by the keys, which are lying on the ground in the lower right-hand corner. The image depicts the story of St Peter's release from the prison of Agrippa I the Great. Giovanni Ghisolfi was a Baroque painter born in Milan, where he began his training with his uncle, the painter Antonio Volpino. At the age of 17 he moved to Rome with Antonio Busca, where he worked on "vedutta" and "capricci", i.e. mainly landscapes with ruins and architectural elements, usually with figures. He is also known for religious works. In 1661 he worked in Pavia and three years later he was called to Vicenza for landscapes in the Palazzo Trissino Baston and the Palazzo Guistiniani Baggio. He worked on other palaces and chapels in Caetano, Varese, etc. Today his work is preserved in some of the chapels for which he painted, in important private collections and in major institutions (National Gallery in Prague, Musée des Beaux-Arts in Narbonne, the NGV International in Melbourne, Australia, the Liechenstein Museum in Vienna, etc.), among others.

      Setdart Auction House
    • Giovanni Ghisolfi (Italian, circa 1623-1683) Trajan's column with figures nearby; and An architectural capriccio with an obelisk (2)
      Dec. 06, 2023

      Giovanni Ghisolfi (Italian, circa 1623-1683) Trajan's column with figures nearby; and An architectural capriccio with an obelisk (2)

      Est: £12,000 - £18,000

      Giovanni Ghisolfi (Italian, circa 1623-1683) Trajan's column with figures nearby; and An architectural capriccio with an obelisk a pair, oil on canvas 97.4 x 41.3cm (38 3/8 x 16 1/4in). (2)

      Bonhams
    • GIOVANNI GHISOLFI
      Nov. 29, 2023

      GIOVANNI GHISOLFI

      Est: €7,000 - €12,000

      (Milano, 1623 - 1683) Capriccio architettonico con figure Siglato in basso a destra Olio su tela, cm 132X172 Provenienza: Milano, collezione privata Si avverte la difficoltà da parte del grande pubblico di percepire Giovanni Ghisolfi come un importante antesignano di un genere pittorico che solo nel XVIII secolo ; e con Giovanni Paolo Pannini ; conseguirà una fortuna illustrativa straordinaria. Ghisolfi, ricordiamolo, è nato a Milano, si formò in ambito familiare e si trasferì a Roma intorno al 1650, beneficiando della lezione cortonesca ma soprattutto del periodo trascorso in collaborazione con Salvator Rosa, dedicandosi a dipingere paesaggi e vedute architettoniche. Questa propensione paesaggistica e archeologica rivelò presto un'intima vena classicista, contrassegnata da eleganti equilibri compositivi, che, non lo si ripeterà mai abbastanza, costituirà un precedente essenziale per il Panini. Tipico del suo stile è altresì la modalità con cui costruisce le sequenze prospettiche, trattando lo sfondo con una cromia chiara e leggera, mentre i brani d'architettura sono delineati con pennellate accurate e precise, forti contrasti e tocchi di nero nei dettagli plastici. È interessante anche notare come traspaiano nei brani di figura curiose reminiscenze venete. Si compie così una curiosa miscela di istanze nord italiane con lo stile rosiano, il medesimo che si esprime nella tela del Museo Nazionale di Praga (Busiri 1992, p. 79, n. 32) e in quelle di Collezione Almagià (Busiri 1992, pp. 80; 81, nn. 33; 34). Bibliografia di riferimento: A. Busiri Vici, Giovanni Ghisolfi (1623-1683). Un pittore milanese di rovine romane, Roma 1992, ad vocem G. Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Roma 2015, vol. II, pp. 112-181

      Wannenes Art Auctions
    • Ghisolfi, Giovanni (Kreis/Circle)
      Nov. 09, 2023

      Ghisolfi, Giovanni (Kreis/Circle)

      Est: €1,200 - €1,800

      Ghisolfi, Giovanni (Kreis/Circle) Mailand 1623 - 1683 32 x 41 cm Landscape with ancient ruins. Oil/canvas, relined. Southern German private collection.

      Nagel Auction
    • ATTRIBUÉ À GIOVANNI GHISOLFI (1623-1683) MARIE MADELEINE PRÉSENTANT LE CRUCIFIX Toile doublée Porte une trace de signature (?)...
      Oct. 26, 2023

      ATTRIBUÉ À GIOVANNI GHISOLFI (1623-1683) MARIE MADELEINE PRÉSENTANT LE CRUCIFIX Toile doublée Porte une trace de signature (?)...

      Est: €2,000 - €3,000

      ATTRIBUÉ À GIOVANNI GHISOLFI (1623-1683) MARIE MADELEINE PRÉSENTANT LE CRUCIFIX Toile doublée Porte une trace de signature (?) « CHASELE » (?) à droite et une date 1675 Restaurations anciennes Attr. to G. Ghisolfi, Mary Magdalene, lined canvas, bears a trace of signature (?) « CHASELE » (?) on the right and a date 1675, old restorations 44,50 x 65,50 CM - 17,5 x 25,8 IN

      Tajan
    • Giovanni Ghisolfi, 1623/32 Mailand – 1683, zugeschrieben
      Sep. 28, 2023

      Giovanni Ghisolfi, 1623/32 Mailand – 1683, zugeschrieben

      Est: €4,000 - €6,000

      ANTIKE RUINENLANDSCHAFT MIT VERFALLENEM RUNDTEMPEL Öl auf Leinwand. 46 x 54 cm. Gerahmt. Ghisolfi wirkte als Maler und Freskant. 1650 traf er zusammen mit seinem Kollegen Antonio Rusca in Rom ein, um im Atelier des Salvator Rosa zu arbeiten. Er zählt zu den früheren Vertretern der italienischen Ruinenmalerei und gilt daher als einer der Vorläufer etwa von Giovanni Paolo Panini und anderen. Diese frühe Auffassung zeigt sich auch im vorliegenden Bild, wobei hier noch eine weitgehend sachliche, weniger morbide Detailbehandlung der architektonischen Details festzustellen ist. Hier dominiert im Zentrum ein Rundtempel in hellem Stein, mit tuskanischen Rustikasäulen, ruinös überwuchert, mit einer Nischenfigur, davor ein kleinerer Kuppelbau, ebenfalls figürlich bereichert. Die seitlichen Gebäude dienen als verschattetes Repoussoir, während die Figurenstaffage mit Hirten und Landvolk in bunter Farbigkeit die Gesamtdarstellung belebt. Werke seiner Hand finden sich in öffentlichen Sammlungen, wie etwa in Dresden „Ruinen von Karthago“ (Gemäldegalerie Inv.Nr. 471). A.R. Literatur: Vgl. Andrea Busiri Vici d'Arcevia, Giovanni Ghisolfi (1623-1683). Un Pittore Milanese di Rovine Romane, Rom 1992. (1370745) (2) (11)

      Hampel Fine Art Auctions
    • Giovanni Ghisolfi (Milano 1623 circa - 1683)
      Sep. 19, 2023

      Giovanni Ghisolfi (Milano 1623 circa - 1683)

      Est: €2,000 - €3,000

      Giovanni Ghisolfi (Milano 1623 circa - 1683) Rovine con personaggi Olio su tela 30 x 48 cm L’opera presenta elementi caratteristici dell'espressione artistica di Ghisolfi. Una forte tensione emotiva generata dalla plumbea atmosfera che copre la scena. In questa tela si nota l’influenza di Salvator Rosa, con cui ha collaborato. Tra le tante opere citabili, rimandiamo al confronto con le due tele Tributo della moneta e Resurrezione di Lazzaro conservate al Museo Nazionale di Praga, in deposito al castello di Duchow. Giovanni Ghisolfi (Milan 1623 ca. - 1683) Ruins with characters Oil on canvas 30 x 48 cm The artwork presents characteristic elements of Ghisolfi's artistic expression. A strong emotional tension generated by the leaden atmosphere that covers the scene. In this canvas we can see the influence of Salvator Rosa, with whom he collaborated. Among the many citable artworks, we refer to the comparison with the two canvases Tribute of the coin and Resurrection of Lazarus kept in the National Museum of Prague, in storage at the castle of Duchow.

      Lucas Aste
    • Giovanni Ghisolfi (Milano 1623 circa - 1683)
      Sep. 19, 2023

      Giovanni Ghisolfi (Milano 1623 circa - 1683)

      Est: €2,400 - €3,500

      Giovanni Ghisolfi (Milano 1623 circa - 1683) Rovine con personaggi Olio su tela 74 x 95 cm L’opera presenta elementi caratteristici dell'espressione artistica di Ghisolfi, la consueta struttura organizzativa dei volumi, della prospettiva e la plumbea atmosfera che permea la scena. Inoltre ricorre la presenza della sfinge a sinistra tra le rovine, dettaglio che riscontriamo identico nel Capriccio, n. 23 a pag. 130 del vol. II, "Il capriccio architettonico in Italia nel XVII e XVIII secolo", a cura di G. Sestieri. Giovanni Ghisolfi (Milan ca. 1623 - 1683) Ruins with characters Oil on canvas 74 x 95 cm The artwork presents characteristic elements of Ghisolfi's artistic expression, the usual organizational structure of the volumes, of the perspective and the leaden atmosphere that covers the scene. Furthermore, there is the presence of the sphinx on the left among the ruins, a detail that we find identical in the Capriccio, n. 23 on p.130 of vol. II, "Il capriccio architettonico in Italia nel XVII e XVIII secolo", edited by G. Sestieri.

      Lucas Aste
    • GIOVANNI GHISOLFI (cerchia di)
      Jun. 28, 2023

      GIOVANNI GHISOLFI (cerchia di)

      Est: €1,000 - €2,000

      (Milano, 1623 ; 1683) Coppia di capricci architettonici Olio su tela, cm 70,5X80 (2) Giovanni Ghisolfi nasce a Milano e si forma in ambito familiare, trasferitosi a Roma intorno al 1650 beneficiò della lezione cortonesca e della collaborazione con Salvator Rosa, dedicandosi a dipingere paesaggi e vedute architettoniche. Questa propensione paesaggistica ed archeologica rivelò presto un'intima vena classicista, contrassegnata da equilibri compositivi che costituirà un precedente essenziale per il Pannini. Bibliografia di riferimento: A. Busiri Vici, Giovanni Ghisolfi (1623-1683). Un pittore milanese di rovine romane, Roma 1992, ad vocem

      Wannenes Art Auctions
    • GIOVANNI GHISOLFI (Italy, 1623-1683). "San Pedro released from prison". Oil on canvas. Keep the original fabric. Presents restorations.
      May. 29, 2023

      GIOVANNI GHISOLFI (Italy, 1623-1683). "San Pedro released from prison". Oil on canvas. Keep the original fabric. Presents restorations.

      Est: €7,000 - €8,000

      GIOVANNI GHISOLFI (Italy, 1623-1683). "Saint Peter Released from Prison". Oil on canvas. The original canvas is preserved. It presents restorations. Measurements: 53 x 33 cm; 68 x 47 cm (frame). This oil on canvas has the same composition and subject matter as the work by the artist Giovanni Ghisolfi, in the church of Santa Maria della Vittoria in Milan. In this particular case, the technique and reduced dimensions compared to the work in Milan indicate that it is a preparatory work, designed to establish the composition and tonalities, as a preparatory exercise. As for the scene, which is vertical in form, the artist arranges the figures in such a way as to form a pyramidal figure with their bodies; in the upper area two little angels embrace each other, below them a large angel, followed by an archangel above the two figures that form the base of the scene, a sleeping soldier and Saint Peter, who can be recognised by his beard and by the keys, which are lying on the ground in the lower right-hand corner. The image depicts the story of St Peter's release from the prison of Agrippa I the Great. Giovanni Ghisolfi was a Baroque painter born in Milan, where he began his training with his uncle, the painter Antonio Volpino. At the age of 17 he moved to Rome with Antonio Busca, where he worked on "vedutta" and "capricci", i.e. mainly landscapes with ruins and architectural elements, usually with figures. He is also known for religious works. In 1661 he worked in Pavia and three years later he was called to Vicenza for landscapes in the Palazzo Trissino Baston and the Palazzo Guistiniani Baggio. He worked on other palaces and chapels in Caetano, Varese, etc. Today his work is preserved in some of the chapels for which he painted, in important private collections and in major institutions (National Gallery in Prague, Musée des Beaux-Arts in Narbonne, the NGV International in Melbourne, Australia, the Liechenstein Museum in Vienna, etc.), among others.

      Setdart Auction House
    • Giovanni Ghisolfi (Milano, 1623 – 7 giugno 1683), Tempio in rovina con Pitagora che appare dalla caverna
      May. 04, 2023

      Giovanni Ghisolfi (Milano, 1623 – 7 giugno 1683), Tempio in rovina con Pitagora che appare dalla caverna

      Est: €3,000 - €6,000

      Questo dipinto è stato già presentato in asta due volte, con la stessa attribuzione: nel 2015 da Hampel e nel 2021 da Wannenes (Asta 347-348, lotto 979)

      Telearte
    • Giovanni Ghisolfi, um 1623 Mailand – 1683, zugeschrieben
      Mar. 30, 2023

      Giovanni Ghisolfi, um 1623 Mailand – 1683, zugeschrieben

      Est: €12,000 - €15,000

      Den Ruf eines exzellenten Künstlers erwarb sich Giovanni Ghisolfi zunächst durch seine Fresken in der Basilika Varese. Bald wurde auch sein Talent in Gemälden mit antiken Architekturlandschaften erkannt.DIE SEGNUNG VOR DER SCHLACHT Öl auf Leinwand. Doubliert. 81 x 120 cm. In vergoldetem wie ornamental reliefiertem Rahmen. Weite Landschaft mit silbrig glänzendem Baumbestand nebst klassischer Ruinenarchitektur. Um teils geharnischte Personen herum im Zentrum ein Priester vielleicht den Heerführer segnend. Den Ruf eines exzellenten Künstlers erwarb sich Giovanni Ghisolfi zunächst durch seine Fresken in der Basilika Varese. Bald wurde auch sein Talent in Gemälden mit antiken Architekturlandschaften erkannt. Anmerkung: Ein Gemälde, das eine ähnlich komponierte Szene zeigt, wird im Kelvingrove Art Gallery and Museum, Glasgow unter der Inventarnummer 222 verwahrt. Literatur: Vgl. Andrea Busiri Vici, Giovanni Ghisolfi (1623-1683) un pittore milanese di rovine romane, Rom 1992. (13508623) (4) (13) Giovanni Ghisolfi, Ca. 1623 Milan – 1683, attributed THE BLESSING BEFORE THE BATTLE Oil on canvas. Relined. 81 x 120 cm. Notes: A painting showing a similar composition is held at the Kelvingrove Art Gallery and Museum, Glasgow under inv. no. 222.

      Hampel Fine Art Auctions
    • Giovanni Ghisolfi (Milano 1623-Milano 1683) - Architectural caprice, 17th century
      Feb. 24, 2023

      Giovanni Ghisolfi (Milano 1623-Milano 1683) - Architectural caprice, 17th century

      Est: -

      Oil painting on canvas "Giovanni Ghisolfi, son of the Piacenza architect Giuseppe, studied painting in Milan with the Lombard Girolamo Chignoli. In 1649, he was entrusted with the important task of collaborating in the creation of installations, triumphal arches, and pictorial decorations for the reception of Archduchess Marianna of Austria during her visit to the city. In 1650, his presence in Rome was documented, where he was engaged in studying ancient architecture and reproducing architectural fragments, possibly in the company of his painter friend Antonio Busca. According to the account of biographer and art historian Filippo Baldinucci, Ghisolfi stayed in Rome for a long time and learned to "paint figures" and create architectural perspectives, finding himself close with the more experienced Neapolitan Salvator Rosa. In 1659, he had certainly already returned to Milan. In fact, the fresco decoration of the third chapel to the right of the Certosa di Pavia, executed in 1661, is his first documented work in Lombardy after a fruitful stay in Rome, while in the following years, he was also active in the Veneto. In the last years of his life, Orlandi tells us that he suffered from physical decay and blindness. He died in Milan in 1683 and was buried in the church of S. Giovanni in Conca. The work in question reproduces a glimpse of classical ruins, attributable to his formative Roman experience, and expresses a solid architectural structure: the figures, with a few measured gestures, are dressed in drapes, caps, and shoes, details of clothing that also seem from the repertoire of Salvator Rosa, while the scene is presented with severe composure. In fact, the classicism that emerges from his paintings, rendered through linear compositions, light colors, diffused light, and solid architectural setting, makes Giovanni Ghisolfi a forerunner of 18th century landscape painting and a pacesetter of new expressive trends. Some of the landscapes, views, and perspectives created during this period will constitute a fundamental model of inspiration for the more celebrated Emilian Giovanni Paolo Pannini."

      ArtLaRosa
    • Attributed to Giovanni Ghisolfi Italian (1623-1683) Architectural Capriccio with Figures
      Feb. 21, 2023

      Attributed to Giovanni Ghisolfi Italian (1623-1683) Architectural Capriccio with Figures

      Est: $4,000 - $6,000

      Attributed to Giovanni Ghisolfi Italian (1623-1683) Architectural Capriccio with Figures oil on canvas 34 1/2 x 44 1/2 inches. This lot is located in Palm Beach. Provenance: Mrs. Menton Kraus Gifted to the Boca Raton Museum of Art, 1992

      Hindman
    • Follower of Giovanni Ghisolfi (Italian, 1623-1683) Pythagoras Emerging from the Cave
      Feb. 21, 2023

      Follower of Giovanni Ghisolfi (Italian, 1623-1683) Pythagoras Emerging from the Cave

      Est: $1,000 - $2,000

      Follower of Giovanni Ghisolfi (Italian, 1623-1683) Pythagoras Emerging from the Cave oil on canvas 27 3/4 x 48 3/4 inches. This lot is located in Palm Beach. Provenance: Helen B. O'Rourke Gifted to the Boca Raton Museum of Art, 1986

      Hindman
    • GIOVANNI GHISOLFI Milan, Italy (1623) / (1683) "The Liberation of Saint Peter"
      Dec. 14, 2022

      GIOVANNI GHISOLFI Milan, Italy (1623) / (1683) "The Liberation of Saint Peter"

      Est: €7,500 - €10,000

      Oil on canvas This work is a smaller, preparatory version of the author's work located in the church of Santa Maria della Vittoria in Milan Measurements : 53 x 33cm

      Ansorena
    • Ghisolfi Giovanni, Paesaggio con rovine e figure
      Dec. 14, 2022

      Ghisolfi Giovanni, Paesaggio con rovine e figure

      Est: €6,000 - €8,000

      olio su tela, W. 110 - H. 134 Cm

      Cambi Casa d'Aste
    • GIOVANNI GHISOLFI
      Nov. 29, 2022

      GIOVANNI GHISOLFI

      Est: €8,000 - €12,000

      (Milano, 1623 - 1683) Capriccio architettonico con figure Siglato in basso a destra Olio su tela, cm 132X172 Si avverte la difficoltà da parte del grande pubblico di percepire Giovanni Ghisolfi come un importante antesignano di un genere pittorico che solo nel XVIII secolo ; e con Giovanni Paolo Pannini ; conseguirà una fortuna illustrativa straordinaria. Ghisolfi, ricordiamolo, è nato a Milano, si formò in ambito familiare e si trasferì a Roma intorno al 1650, beneficiando della lezione cortonesca ma soprattutto del periodo trascorso in collaborazione con salvator Rosa, dedicandosi a dipingere paesaggi e vedute architettoniche. Questa propensione paesistica e archeologica rivelò presto un'intima vena classicista, contrassegnata da eleganti equilibri compositivi, che, non lo si ripeterà mai abbastanza, costituiranno un precedente essenziale per il Panini. Tipico del suo stile è altresì la modalità con cui costruisce le sequenze prospettiche, trattando lo sfondo con una cromia chiara e leggera, mentre i brani d'architettura sono delineati con pennellate accurate e precise, forti contrasti e tocchi di nero nei dettagli plastici. È interessante anche notare come traspaiano nei brani di figura curiose reminiscenze venete. Si compie così una curiosa miscela di istanze nord italiane con lo stile rosiano, il medesimo che si esprime nella tela del Museo Nazionale di Praga (Busiri 1992, p. 79, n. 32) e in quelle di Collezione Almagià (Busiri 1992, pp. 80- 81, nn. 33; 34). Bibliografia di riferimento: A. Busiri Vici, Giovanni Ghisolfi (1623-1683). Un pittore milanese di rovine romane, Roma 1992 G. Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Roma 2015, vol. II, pp. 112-181

      Wannenes Art Auctions
    • GIOVANNI GHISOLFI (seguace di)
      Nov. 29, 2022

      GIOVANNI GHISOLFI (seguace di)

      Est: €3,000 - €5,000

      (Milano, 1623 - 1683) Scena storica Olio su tela, cm 135X195 Giovanni Ghisolfi è da considerare l'antesignano di un gusto illustrativo che solo nel XVIII secolo e con Giovanni Paolo Pannini conseguirà una fortuna collezionistica straordinaria, consacrando il Capriccio quale genere pittorico autonomo. L'artista nasce a Milano e si forma in ambito familiare, trasferitosi a Roma intorno al 1650, beneficiò della lezione cortonesca e della collaborazione con Salvator Rosa, dedicandosi a dipingere paesaggi e vedute architettoniche. Questa propensione paesistica ed archeologica rivelò presto un'intima vena classicista, contrassegnata da eleganti equilibri compositivi, che costituirà un precedente essenziale per i suoi seguaci. Tipico del suo stile è la modalità con cui costruisce le sequenze prospettiche e le costruzioni sceniche, anche se riscontriamo sovente nella sua produzione una qualità a volte scostante, dettata da l'intervento di collaboratori o da precise scelte di mercato. Tornando alla tela in esame, non si riscontrano tele simili nel preciso catalogo dell'artista compilato da Andrea Busiri Vici, suggerendo che si tratti o di una redazione da un originale disperso, o di una composizione autonoma di un seguace. Bibliografia di riferimento: A. Busiri Vici, Giovanni Ghisolfi (1623-1683). Un pittore milanese di rovine romane, Roma 1992 G. Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Roma 2015, vol. II, pp. 112-181

      Wannenes Art Auctions
    • GIOVANNI GHISOLFI (MILAN 1623-1683) Paysages imaginaires antiques animés de
      Nov. 28, 2022

      GIOVANNI GHISOLFI (MILAN 1623-1683) Paysages imaginaires antiques animés de

      Est: €60,000 - €100,000

      GIOVANNI GHISOLFI (MILAN 1623-1683) Paysages imaginaires antiques animés de personnages huile sur toile, une paire 104 x 134 cm. (40 1/2 x 52 in.) (chacun)

      Christie's
    • GIOVANNI GHISOLFI (Italy, 1623-1683). "San Pedro released from prison". Oil on canvas. Keep the original fabric. Presents restorations.
      Oct. 26, 2022

      GIOVANNI GHISOLFI (Italy, 1623-1683). "San Pedro released from prison". Oil on canvas. Keep the original fabric. Presents restorations.

      Est: €10,000 - €12,000

      GIOVANNI GHISOLFI (Italy, 1623-1683). "Saint Peter Released from Prison". Oil on canvas. The original canvas is preserved. It presents restorations. Measurements: 53 x 33 cm; 68 x 47 cm (frame). This oil on canvas has the same composition and subject matter as the work by the artist Giovanni Ghisolfi, in the church of Santa Maria della Vittoria in Milan. In this particular case, the technique and reduced dimensions compared to the work in Milan indicate that it is a preparatory work, designed to establish the composition and tonalities, as a preparatory exercise. As for the scene, which is vertical in form, the artist arranges the figures in such a way as to form a pyramidal figure with their bodies; in the upper area two little angels embrace each other, below them a large angel, followed by an archangel above the two figures that form the base of the scene, a sleeping soldier and Saint Peter, who can be recognised by his beard and by the keys, which are lying on the ground in the lower right-hand corner. The image depicts the story of St Peter's release from the prison of Agrippa I the Great. Giovanni Ghisolfi was a Baroque painter born in Milan, where he began his training with his uncle, the painter Antonio Volpino. At the age of 17 he moved to Rome with Antonio Busca, where he worked on "vedutta" and "capricci", i.e. mainly landscapes with ruins and architectural elements, usually with figures. He is also known for religious works. In 1661 he worked in Pavia and three years later he was called to Vicenza for landscapes in the Palazzo Trissino Baston and the Palazzo Guistiniani Baggio. He worked on other palaces and chapels in Caetano, Varese, etc. Today his work is preserved in some of the chapels for which he painted, in important private collections and in major institutions (National Gallery in Prague, Musée des Beaux-Arts in Narbonne, the NGV International in Melbourne, Australia, the Liechenstein Museum in Vienna, etc.), among others.

      Setdart Auction House
    • GHISOLFI GIOVANNI (1623 - 1683) Circle of. Lake landscape with soldiers and ruins
      Oct. 18, 2022

      GHISOLFI GIOVANNI (1623 - 1683) Circle of. Lake landscape with soldiers and ruins

      Est: €1,200 - €2,200

      GHISOLFI GIOVANNI (1623 - 1683). Circle of. Lake landscape with soldiers and ruins. Cm 63,50 x 49,00.

      Capitolium Art
    • Giovanni Ghisolfi, Um 1623 Mailand – 1683, zugeschrieben
      Sep. 22, 2022

      Giovanni Ghisolfi, Um 1623 Mailand – 1683, zugeschrieben

      Est: €7,000 - €12,000

      Den Ruf eines exzellenten Künstlers erwarb sich Giovanni Ghisolfi zunächst durch seine Fresken in der Basilika Varese. Bald wurde auch sein Talent in Gemälden mit antiken Architekturlandschaften erkannt.ABRAHAM VERABSCHIEDET ISMAEL UND HAGAR Öl auf Leinwand. Altdoubliert. 93 x 131,5 cm. In passendem jedoch jüngerem Rahmen. Das Bildthema war in der Vorbesitzertradition bislang als die Segnung Jakobs angesehen. Vielmehr handelt es sich jedoch um eine Szene aus dem Buch Genesis (16,10-11), wonach der Stammvater Abraham, auf Veranlassung seiner Hauptfrau Sara, die Nebenfrau Hagar und seinen Sohn Ismael in die Wildnis entlässt. Der Augenblick der Trennung ist hier anschaulich wiedergegeben: Im Zentrum vor versatzstückartiger Architektur sitzt Abraham, bärtig, in roten Mantel gehüllt, ein weißes Trauertuch an das Gesicht gelegt, während er seine rechte Hand auf die Schulter des Knaben Ismaels legt, der vor ihm kniet. Links sind zwei Frauengestalten zu sehen, eine davon wohl Hagar, die einen Reisesack schultert. Eine weitere Frau deutet in die Landschaft auf den Weg, den Ismael mit seiner Mutter zu gehen hat. Rechts vier männliche Diener am Hof Abrahams mit Wildbret, Trauben und einem Weinkrug. Das Gemälde zeigt sich in der Stilistik der lombardischen Malerei, wobei die architektonischen Elemente ganz wesentlich auf das Werk von Ghisolfi verweisen, in dem Ruinen-Capriccios eine Hauptrolle spielen. Einflüsse von Pier Francesco Mola (1612-1666) oder Salvator Rosa (1615-1673) sind ebenfalls auszumachen. Der landschaftliche Hintergrund erinnert an das Wirken der Malerfamilie der Bassano. Die Beleuchtung der Figuren und deren Körperauffassung entspricht auch den weiteren, figürlich angereicherten Werken Ghisolfis, wie etwa seinen Fresken im Palazzo Galli in Piacenza oder im Bildzyklus der Cappella di San Benedetto alla Certosa in Pavia. (†) Anmerkung: In Bezug auf die rückwärtige Architektur (Cestius-Pyramide) und die Blattwerkdarstellung der überfangenden Palme sei auf das Gemälde „Christus überreicht die Himmelsschlüssel an den Heiligen Petrus“, Kelvingrove Art Gallery and Museum, Glasgow (Humfrey P., Glasgow Museums. The Italian Paintings, 2012, S. 206-207. Literatur: Vgl. Andrea Busiri Vici, Giovanni Ghisolfi (1623 - 1683) - Un pittore milanese di rovine romanae, Rom, 1992, S. 115 - 117, Abb. 17-19. (12901229) (13)

      Hampel Fine Art Auctions
    • Scuola dell'Italia settentrionale, secolo XVIII - Architectural whim with wayfarers and watercourse
      Sep. 20, 2022

      Scuola dell'Italia settentrionale, secolo XVIII - Architectural whim with wayfarers and watercourse

      Est: €700 - €1,400

      oil on canvas 73.5 x 98 cm inscribed on the reverse on the frame: S. F An attribution to Giovanni Ghisolfi (Milan 1623 - 1683) has been put forward for the present painting.

      Finarte
    • GIOVANNI GHISOLFI
      Jun. 09, 2022

      GIOVANNI GHISOLFI

      Est: €2,000 - €3,000

      (Milano, 1623 - 1683) Resurrezione di Lazzaro Olio su tela, cm 78,5X104,5 Giovanni Ghisolfi è da considerare l'antesignano di un gusto illustrativo che solo nel XVIII secolo e con Giovanni Paolo Pannini conseguirà una fortuna collezionistica straordinaria, consacrando il Capriccio quale genere pittorico autonomo. L'artista nasce a Milano e si forma in ambito familiare e trasferitosi a Roma intorno al 1650, beneficiò della lezione cortonesca e della collaborazione con Salvator Rosa, dedicandosi a dipingere paesaggi e vedute architettoniche. Questa propensione paesistica ed archeologica rivelò presto un'intima vena classicista, contrassegnata da eleganti equilibri compositivi, che costituiranno un precedente essenziale per il Pannini. Bibliografia di riferimento: A. Busiri Vici, Giovanni Ghisolfi (1623-1683). Un pittore milanese di rovine romane, Roma 1992 G. Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Roma 2015, vol. II, pp. 112-181

      Wannenes Art Auctions
    • Bottega di Giovanni Ghisolfi (Milano 1623 circa - 1683)
      May. 24, 2022

      Bottega di Giovanni Ghisolfi (Milano 1623 circa - 1683)

      Est: €800 - €1,200

      Bottega di Giovanni Ghisolfi (Milano 1623 circa - 1683) Rovine con personaggi Olio su tela 25 x 34 cm L’opera presenta elementi caratteristici di Ghisolfi e della sua bottega. La plumbea atmosfera copre la scena, con elementi ricorrenti nelle scene con rovine del milanese, come la fontana a forma di felino nero accovacciato che spruzza acqua dalla bocca (si veda l’opera Capriccio romano con leone zampillante, n.80 a pag. 176 del vol.II, Il capriccio architettonico in Italia nel XVII e XVIII secolo, a cura di G. Sestieri); oppure, si noti il tipico cagnolino in basso a sinistra nella nostra tela (si veda l’opera Ercole e Onfale, n.59 a pag. 161 del vol.II, Il capriccio architettonico in Italia nel XVII e XVIII secolo, a cura di G. Sestieri). Giovanni Ghisolfi nacque a Milano, e fece apprendistato presso la bottega dello zio Antonio Volpino. Nel 1650 partì per Roma, accompagnato da Antonio Busca. Nella città eterna, affascinato dalle antiche rovine, si prestò alla produzione di molte opere con vedute di Roma con rovine di antichi templi d'epoca classica. Negli stessi anni collaborò con Salvator Rosa. Le sue opere, soprattutto i suoi personaggi “persi” tra le rovine e il modo di raffigurare i resti antichi, saranno elementi d’ispirazione per Panini. Ghisolfi tornò al nord Italia nel 1661, operando tra Lombardia e Veneto. Workshop of Giovanni Ghisolfi (Milan ca. 1623 - 1683) Ruins with characters Oil on canvas 25 x 34 cm The artwork has characteristic elements of Ghisolfi and his workshop. The leaden atmosphere covers the scene, with recurring elements in the scenes with Milanese ruins, such as the fountain in the shape of a crouching black cat that sprays water from its mouth (see the work Capriccio romano with a gushing lion, no.80 on page 176 of vol. II, The architectural capriccio in Italy in the 17th and 18th centuries, edited by G. Sestieri); or, note the typical little dog in the lower left corner of our canvas (see the work Ercole e Onfale, n.59 on page 161 of vol. II, The architectural capriccio in Italy in the 17th and 18th centuries, edited by G. Sestieri).

      Lucas Aste
    • GIOVANNI GHISOLFI (Italy, 1623-1683). "San Pedro released from prison". Oil on canvas. Keep the original fabric. Presents restorations.
      Apr. 06, 2022

      GIOVANNI GHISOLFI (Italy, 1623-1683). "San Pedro released from prison". Oil on canvas. Keep the original fabric. Presents restorations.

      Est: €10,000 - €12,000

      GIOVANNI GHISOLFI (Italy, 1623-1683). "Saint Peter Released from Prison". Oil on canvas. The original canvas is preserved. It presents restorations. Measurements: 53 x 33 cm; 68 x 47 cm (frame). This oil on canvas has the same composition and subject matter as the work by the artist Giovanni Ghisolfi, in the church of Santa Maria della Vittoria in Milan. In this particular case, the technique and reduced dimensions compared to the work in Milan indicate that it is a preparatory work, designed to establish the composition and tonalities, as a preparatory exercise. As for the scene, which is vertical in form, the artist arranges the figures in such a way as to form a pyramidal figure with their bodies; in the upper area two little angels embrace each other, below them a large angel, followed by an archangel above the two figures that form the base of the scene, a sleeping soldier and Saint Peter, who can be recognised by his beard and by the keys, which are lying on the ground in the lower right-hand corner. The image depicts the story of St Peter's release from the prison of Agrippa I the Great. Giovanni Ghisolfi was a Baroque painter born in Milan, where he began his training with his uncle, the painter Antonio Volpino. At the age of 17 he moved to Rome with Antonio Busca, where he worked on "vedutta" and "capricci", i.e. mainly landscapes with ruins and architectural elements, usually with figures. He is also known for religious works. In 1661 he worked in Pavia and three years later he was called to Vicenza for landscapes in the Palazzo Trissino Baston and the Palazzo Guistiniani Baggio. He worked on other palaces and chapels in Caetano, Varese, etc. Today his work is preserved in some of the chapels for which he painted, in important private collections and in major institutions (National Gallery in Prague, Musée des Beaux-Arts in Narbonne, the NGV International in Melbourne, Australia, the Liechenstein Museum in Vienna, etc.), among others.

      Setdart Auction House
    • Giovanni Ghisolfi (1623-1683), (School of), Ruins.
      Mar. 10, 2022

      Giovanni Ghisolfi (1623-1683), (School of), Ruins.

      Est: €3,600 - €7,200

      Oil on canvas, cm 72x93. Framed.

      Ansuini 1860 Auctions
    • OIL PAINTING BY GIOVANNI GHISOLFI, scope of
      Feb. 15, 2022

      OIL PAINTING BY GIOVANNI GHISOLFI, scope of

      Est: €2,000 - €2,500

      GIOVANNI GHISOLFI, ambito di (Milano 1623 - 1683) PAESAGGIO CON ROVINE ANTICHE E FIGURE Olio su tela, cm. 133 x 82 CONDIZIONI DEL DIPINTO Vecchio rintelo, restauri sparsi sul cielo e in alcune zone dell'architettura

      Casa d'Aste Babuino
    • Ghisolfi, Giovanni (Milano 1623-Milano 1683) - Architectural capriccio, 17th century
      Dec. 11, 2021

      Ghisolfi, Giovanni (Milano 1623-Milano 1683) - Architectural capriccio, 17th century

      Est: €15,000 - €9,999,999

      Oil painting on canvas"Son of the Piacenza architect Giuseppe, he studied painting in Milan with the Lombard Girolamo Chignoli. In 1649 he was entrusted with the important task of collaborating in the realization of the fittings, of the triumphal arches and of the pictorial decorations, for the reception of the Archduchess Marianna of Austria, on the occasion of her visit to the city.In 1650 his presence in Rome is documented, engaged in the study of ancient architecture and in the graphic reproduction of architectural fragments , seems to be in the company of his painter friend Antonio Busca. According to the story of the biographer and art historian Filippo Baldinucci, Ghisolfi spent a long time in Rome, also learning to "paint the figures" and to realize the architectural perspectives, finding himself in close contact with the most expert Neapolitan Salvator Rosa. He had certainly already returned to Milan in 1659. In fact, the fresco decoration of the third chapel on the right of the Certosa d i Pavia, executed in 1661 is his first documented work in Lombardy, after his profitable stay in Rome, while in the following years he will also be active in the Veneto. In the last years of his life, Orlandi tells us about his physical decay and the blindness that hit him in the end. He died in Milan in 1683 and was buried in the church of S. Giovanni in Conca. The work in question reproduces a glimpse of classical ruins, attributable to his formative Roman experience, and expresses a solid architectural structure: the figures, with a few measured gestures, are dressed in draperies, caps and shoes, details of clothing that also seem from Salvator Rosa's repertoire, while the scene is of severe composure.In fact, the classicism that emerges from his paintings, rendered through linear compositions, light colors, diffused light and solid architectural setting, make Giovanni Ghisolfi a forerunner of eighteenth-century landscape painting and a pioneer of new expressive trends. Some of the landscapes, views and perspectives created in this period will constitute a fundamental model of inspiration for the most celebrated Emilian Giovanni Paolo Pannini. " STUDIO ASOR

      ArtLaRosa
    • Giovanni Ghisolfi, um 1623 Mailand – 1683, zugeschrieben
      Dec. 09, 2021

      Giovanni Ghisolfi, um 1623 Mailand – 1683, zugeschrieben

      Est: €7,000 - €9,000

      ABRAHAM VERABSCHIEDET ISMAEL UND HAGAR Öl auf Leinwand. Altdoubliert. 93 x 131,5 cm. In passendem jedoch jüngerem Rahmen. Das Bildthema war in der Vorbesitzertradition bislang als die Segnung Jakobs angesehen. Vielmehr handelt es sich jedoch um eine Szene aus dem Buch Genesis (16,10-11), wonach der Stammvater Abraham, auf Veranlassung seiner Hauptfrau Sara, die Nebenfrau Hagar und seinen Sohn Ismael in die Wildnis entlässt. Der Augenblick der Trennung ist hier anschaulich wiedergegeben: Im Zentrum vor versatzstückartiger Architektur sitzt Abraham, bärtig, in roten Mantel gehüllt, ein weißes Trauertuch an das Gesicht gelegt, während er seine rechte Hand auf die Schulter des Knaben Ismaels legt, der vor ihm kniet. Links sind zwei Frauengestalten zu sehen, eine davon wohl Hagar, die einen Reisesack schultert. Eine weitere Frau deutet in die Landschaft auf den Weg, den Ismael mit seiner Mutter zu gehen hat. Rechts vier männliche Diener am Hof Abrahams mit Wildbret, Trauben und einem Weinkrug. Das Gemälde zeigt sich in der Stilistik der lombardischen Malerei, wobei die architektonischen Elemente ganz wesentlich auf das Werk von Ghisolfi verweisen, in dem Ruinen-Capriccios eine Hauptrolle spielen. Einflüsse von Pier Francesco Mola (1612-1666) oder Salvator Rosa (1615-1673) sind ebenfalls auszumachen. Der landschaftliche Hintergrund erinnert an das Wirken der Malerfamilie der Bassano. Die Beleuchtung der Figuren und deren Körperauffassung entspricht auch den weiteren, figürlich angereicherten Werken Ghisolfis, wie etwa seinen Fresken im Palazzo Galli in Piacenza oder im Bildzyklus der Cappella di San Benedetto alla Certosa in Pavia. Den Ruf eines exzellenten Künstlers erwarb sich Giovanni Ghisolfi zunächst durch seine Fresken in der Basilika Varese. Bald wurde auch sein Talent in Gemälden mit antiken Architekturlandschaften erkannt. (†) Anmerkung: In Bezug auf die rückwärtige Architektur (Cestius-Pyramide) und die Blattwerkdarstellung der überfangenden Palme sei auf das Gemälde „Christus überreicht die Himmelsschlüssel an den Heiligen Petrus“, Kelvingrove Art Gallery and Museum, Glasgow (Humfrey P., Glasgow Museums. The Italian Paintings, 2012, S. 206-207. Literatur: Vgl. Andrea Busiri Vici, Giovanni Ghisolfi (1623 - 1683) - Un pittore milanese di rovine romanae, Rom, 1992, S. 115 - 117, Abb. 17-19. (12901229) (13)

      Hampel Fine Art Auctions
    • Attribué à Giovanni GHISOLFI Milan, 1623 - 1683 Ruines antiques animées de personnages Huile sur toile
      Sep. 22, 2021

      Attribué à Giovanni GHISOLFI Milan, 1623 - 1683 Ruines antiques animées de personnages Huile sur toile

      Est: €2,500 - €3,000

      Attribué à Giovanni GHISOLFI Milan, 1623 - 1683 Ruines antiques animées de personnages Huile sur toile h: 56 w: 82 cm Estimation 2 500 - 3 000 €

      Artcurial
    • GIOVANNI GHISOLFI (1623 / 1683) "The Liberation of St. Peter"
      Apr. 08, 2021

      GIOVANNI GHISOLFI (1623 / 1683) "The Liberation of St. Peter"

      Est: €10,500 - €14,000

      This work is a smaller, preparatorand version for the author's work located in the church of Santa Maria della Vittoria in Milan.

      Ansorena
    • Follower of Giovanni Ghisolfi (Italian, 1623-1683) Architectural caprice 48.5 x 35.5in.
      Mar. 30, 2021

      Follower of Giovanni Ghisolfi (Italian, 1623-1683) Architectural caprice 48.5 x 35.5in.

      Est: £800 - £1,200

      Follower of Giovanni Ghisolfi (Italian, 1623-1683) oil on canvas Architectural caprice 48.5 x 35.5in.

      Gorringes
    • GIOVANNI GHISOLFI (bottega di)
      Mar. 18, 2021

      GIOVANNI GHISOLFI (bottega di)

      Est: €1,500 - €2,500

      (Milano, 1623 - 1683) Tempio in rovina con Pitagora che appare dalla caverna Olio su tela, cm 70X84 Provenienza: Monaco, Hampel, 24 settembre 2015, lotto 508 (come attribuito o di bottega) Giovanni Ghisolfi è da considerare l'antesignano di un gusto illustrativo che solo nel XVIII secolo e con Giovanni Paolo Pannini conseguirà una fortuna collezionistica straordinaria, consacrando il Capriccio quale genere pittorico autonomo. L'artista nasce a Milano e si forma in ambito familiare e trasferitosi a Roma intorno al 1650, beneficiì della lezione cortonesca e della collaborazione con Salvator Rosa, dedicandosi a dipingere paesaggi e vedute architettoniche. Questa propensione paesistica ed archeologica rivelì presto un'intima vena classicista, contrassegnata da eleganti equilibri compositivi, che costituiranno un precedente essenziale per il Pannini. Tipico del suo stile è la modalità con cui costruisce le sequenze prospettiche, e le costruzioni sceniche, anche se riscontriamo sovente nella sua produzione una qualità a volte scostante, dettata da l'intervento di collaboratori o da precise scelte di mercato. La tela in esame trova confronto con quella riconosciuta di provenienza Ottoboni da Marshall (cfr. D. Marshall, Early Panini Reconsidered: The Esztergom Preaching of an Apostle and the Relationship between Panini and Ghisolfi, in Artibus et Historiae, 36, 1997, pp. 141 - 145; Sestieri, 2015, vol. II, p. 150, no. 46a), poi confluita in collezione Almagià. Bibliografia di riferimento: A. Busiri Vici, Giovanni Ghisolfi (1623-1683). Un pittore milanese di rovine romane, Roma 1992, ad vocem G. Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Roma 2015, vol. II, pp. 112 - 181

      Wannenes Art Auctions
    • GIOVANNI GHISOLFI (attr. a)
      Dec. 21, 2020

      GIOVANNI GHISOLFI (attr. a)

      Est: €2,000 - €3,000

      (Milano 1623 - 1683) Capriccio architettonico con figure Olio su tela, cm 72X86.5 Giovanni Ghisolfi è da considerare l'antesignano di un gusto illustrativo che solo nel XVIII secolo e con Giovanni Paolo Pannini conseguirà una fortuna collezionistica straordinaria, consacrando il Capriccio quale genere pittorico autonomo. L'artista nasce a Milano e si forma in ambito familiare e trasferitosi a Roma intorno al 1650, beneficiì della lezione cortonesca e della collaborazione con Salvator Rosa, dedicandosi a dipingere paesaggi e vedute architettoniche. Questa propensione paesistica ed archeologica rivelì presto un'intima vena classicista, contrassegnata da eleganti equilibri compositivi, che costituiranno un precedente essenziale per il Pannini. Tipico del suo stile è la modalità con cui costruisce le sequenze prospettiche, e le costruzioni sceniche, anche se riscontriamo sovente nella sua produzione una qualità a volte scostante, dettata da l'intervento di collaboratori o da precise scelte di mercato. Bibliografia di riferimento: A. Busiri Vici, Giovanni Ghisolfi (1623-1683). Un pittore milanese di rovine romane, Roma 1992, ad vocem , G. Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Roma 2015, vol. II, pp. 112 ; 181

      Wannenes Art Auctions
    • GIULIO CARPIONI (VENICE 1613-1678) AND GIOVANNI GHISOLFI (MILAN 1632-1683) - The Muses Clio and Urania fleeing the Palace of Pyreneus, King of Thrace
      Dec. 17, 2020

      GIULIO CARPIONI (VENICE 1613-1678) AND GIOVANNI GHISOLFI (MILAN 1632-1683) - The Muses Clio and Urania fleeing the Palace of Pyreneus, King of Thrace

      Est: £40,000 - £60,000

      GIULIO CARPIONI (VENICE 1613-1678) AND GIOVANNI GHISOLFI (MILAN 1632-1683) The Muses Clio and Urania fleeing the Palace of Pyreneus, King of Thrace oil on canvas 47 1/8 x 84 5/8 in. (119.8 x 215 cm.)

      Christie's
    • Giovanni Ghisolfi (Milano 1623-1683), ambito di, Notturno con figure e architetture
      Dec. 10, 2020

      Giovanni Ghisolfi (Milano 1623-1683), ambito di, Notturno con figure e architetture

      Est: €2,000 - €3,000

      olio su tela, cm 99x126

      Cambi Casa d'Aste
    • Follower of Giovanni Ghisolfi (Italian, 1623-1683) Architectural caprice 48.5 x 35.5in.
      Dec. 08, 2020

      Follower of Giovanni Ghisolfi (Italian, 1623-1683) Architectural caprice 48.5 x 35.5in.

      Est: £1,500 - £2,000

      Follower of Giovanni Ghisolfi (Italian, 1623-1683) oil on canvas Architectural caprice 48.5 x 35.5in.

      Gorringes
    • ATRIBUÍVEL A GIOVANNI GHISOLFI (1623-1683), RUÍNAS COM FIGURAS
      Oct. 22, 2020

      ATRIBUÍVEL A GIOVANNI GHISOLFI (1623-1683), RUÍNAS COM FIGURAS

      Est: €3,000 - €5,000

      ATRIBUÍVEL A GIOVANNI GHISOLFI (1623-1683), RUÍNAS COM FIGURAS óleo sobre tela. Com sumptuosa moldura em madeira entalhada com ornatos dourados. Dim. 152x129,5 cm.

      Renascimento
    • Oil paint on canvas, Giovanni Ghisolfi (Milan 1623-1683 Milan). Architectural caprice. Cm 130x94 "Giovanni Ghisolfi (Mi
      Oct. 10, 2020

      Oil paint on canvas, Giovanni Ghisolfi (Milan 1623-1683 Milan). Architectural caprice. Cm 130x94 "Giovanni Ghisolfi (Mi

      Est: €18,000 - €9,999,999

      Oil paint on canvas, Giovanni Ghisolfi (Milan 1623-1683 Milan). Architectural caprice. Cm 130x94 "Giovanni Ghisolfi (Milan 1623-1683), architect Giuseppe Piacenza’s son, studied painting in Milan with the lombard Girolamo Chignoli. In 1649 he was entrusted with the important task to collaborate for the realization of the triumphal arches and the pictorial decorations, for the arrival of the Archduchess Marianna of Austria in the city. In 1650 he is in Rome for the study of ancient architecture and graphic reproduction of architectural fragments, maybe with his friend painter Antonio Busca. According to the story of biographer and art historian Filippo Baldinucci, Ghisolfi stayed in Rome for a long time, also learning to "paint the figures" and to realize the architectural perspectives, being in close contact with the most experienced Neapolitan Salvatore Rosa. In 1659 he had returned to Milan. In fact, the fresco decoration of the third chapel on the right of the Certosa of Pavia, executed in 1661, is his first work documented in Lombardy, after his fruitful stay in Rome, while in the following years he will also be active in Veneto. About the last years of his life, Orlandi tells us about his physical decay and the blindness that struck him at the end. He died in Milan in 1683 and was buried in the church of S. Giovanni in Conca. This painting depicts a glimpse of classical ruins, traceable to his formative Roman experience, and expresses a firm architectural structure: the figures, with a few measured gestures, are dressed in drapery, hats and shoes, details of clothing that seem also taken from the inventory of Salvator Rosa. The classicism that emerges from his paintings, rendered through linear compositions, light colors, diffused light and the solid architectural setting, make Giovanni Ghisolfi a forerunner of eighteenth-century vedutism and a tread of new expressive trends. Some of the landscapes, views and perspectives created in this period will be a fundamental model of inspiration for the most celebrated emilian Giovanni Paolo Pannini." ASOR Studio

      ArtLaRosa
    • GIOVANNI GHISOLFI
      Sep. 24, 2020

      GIOVANNI GHISOLFI

      Est: €3,000 - €5,000

      (Milano 1623 - 1683) L'esodo da Gerusalemme Olio su tela, cm 96X134 Provenienza: Milano, Finarte, 17 maggio 1979, lotto 52 Bibliografia: A. Busiri Vici, Giovanni Ghisolfi (1623-1683). Un pittore milanese di rovine romane, Roma 1992, p. 57, n. 9 Si avverte la difficoltà da parte del grande pubblico di percepire Giovanni Ghisolfi un importantissimo antesignano di un genere pittorico che solo nel XVIII secolo e con Giovanni Paolo Pannini conseguirà una fortuna illustrativa straordinaria. Si evidenzia la distanza qualitativa tra il dipinto in esame e le innumerevoli tele che attraversano il mercato antiquario, che sono in gran parte da ricondurre senza appello all'ambito delle copie. Il distinguo appare evidente osservando la bellezza della stesura, del tessuto pittorico, con le sue profondità e accensioni di lume, di tono e con la sua precisione disegnativa. Ghisolfi, ricordiamolo, è nato a Milano, si formì in ambito familiare e si trasferì a Roma per sua fortuna intorno al 1650, beneficiando della lezione cortonesca ma soprattutto del periodo trascorso in collaborazione con salvator Rosa, dedicandosi a dipingere paesaggi e vedute architettoniche. Questa propensione paesistica e archeologica rivelì presto un'intima vena classicista, contrassegnata da eleganti equilibri compositivi, che, non lo si ripeterà mai abbastanza, costituiranno un precedente essenziale per il Panini. Tipico del suo stile è altresì la modalità con cui costruisce le sequenze prospettiche, trattando lo sfondo con una cromia chiara e leggera, quasi argentea, mentre i brani d'architettura sono delineati con pennellate accurate e precise, forti contrasti e tocchi di nero nei dettagli plastici. È interessante anche notare come traspaiano nei brani di figura curiose reminescenze venete, che rammentano nel loro sviluppo quelle di Giulio Carpioni, specialmente se osserviamo le figure femminili. Si compie così una curiosa miscela di istanze norditaliane con lo stile rosiano, il medesimo che si esprime nella tela del Museo Nazionale di Praga (Busiri 1992, p. 79, n. 32) e in quelle di Collezione Almagià (Busiri 1992, pp. 80 ; 81, nn. 33 ; 34), tele le cui figure sono dal Busiri attribuite a Salvator Rosa.

      Wannenes Art Auctions
    • Ghisolfi, Giovanni - Umkreis des: Landschaft mit Figuren und Ruinen
      Jul. 24, 2020

      Ghisolfi, Giovanni - Umkreis des: Landschaft mit Figuren und Ruinen

      Est: -

      Ghisolfi, Giovanni - Perimeter of the — Landscape with Figures and Ruins (Milan 1623-1683 ibid.) Italy, 17th century. Oil on canvas, relined. On the verso on the canvas old inscription ''Ecole de Panino / XVII''. 69,5 x 83,5 cm. - Longer scratch mark - Lit. Thieme/Becker 13. / Ghisolfi, Giovanni - Umkreis des Landschaft mit Figuren und Ruinen (Mailand 1623-1683 ebd.) Italien 17. Jh. Öl/Lwd., doubl. Verso auf der Leinwand alt bez. ''Ecole de Panino / XVII''. 69,5 x 83,5 cm. - Längere Kratzspur.- Lit. Thieme/Becker 13.

      Kunstauktionshaus Schlosser
    • Giovanni Ghisolfi, um 1623 Mailand – 1683, zug.
      Jul. 02, 2020

      Giovanni Ghisolfi, um 1623 Mailand – 1683, zug.

      Est: €5,000 - €6,000

      RÖMISCHE RUINEN MIT FIGURENSTAFFAGE UND DER PREDIGT JESU Öl auf Leinwand. 52 x 65 cm. In vergoldetem Rahmen. Den Ruf eines exzellenten Künstlers erwarb sich Giovanni Ghisolfi zunächst durch seine Fresken in der Basilika Varese. Bald wurde auch sein Talent in Gemälden mit antiken Architekturlandschaften erkannt.     Im Zentrum des Bildes drei kannelierte Säulen eines Tempels, mit Architrav verbunden, auf einem großen skulpierten Steinblock. Davor steht Jesus, hinterfangen vom Intervall der Säulen, neben ihm seine Jünger, links einige Hirten. Vor Ausblick in weitere Ruinenlandschaft. Literatur: Andrea Busiri Vici, Giovanni Ghisolfi (1623-1683) un pittore milanese di rovine romane, Rom 1992, S. 239. (1220875) (3) (11) Giovanni Ghisolfi, ca. 1623 Milan – 1683, attributed THE SERMON OF CHRIST WITH ROMAN RUINS AND FIGURAL STAFFAGE Oil on canvas. 52 x 65 cm. In gilt frame. Literature: Andrea Busiri Vici, Giovanni Ghisolfi (1623-1683) un pittore milanese di rovine romane, Rome 1992, p. 239.

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    • Giovanni Ghisolfi (Italian, 1613-1683) A ruined classical temple of the Tuscan o
      May. 29, 2020

      Giovanni Ghisolfi (Italian, 1613-1683) A ruined classical temple of the Tuscan o

      Est: $20,000 - $30,000

      Giovanni Ghisolfi (Italian, 1613-1683) A ruined classical temple of the Tuscan order with figures; Two classical temples in ruins with statue, bas-relief and figures (a pair), circa 1650-60 Oil on canvas 28-3/4 x 38-5/8 inches (73.0 x 98.1 cm) PROVENANCE: David Corley Interior Design, Dallas, as of 1999 (sold as 'Attributed to Viviano Codazzi'); Private collection, Dallas, purchased from the above, October 1999. These pendant pictures are a new addition to the oeuvre of Giovanni Ghisolfi, which is best known for architectural capricci that unite mostly fanciful ruins with antique statues, bas-reliefs, as well as genre figures in the tradition of Salvator Rosa and the Rome-based school of Flemish and Dutch painters known as the Bamboccianti. Years later, this type of subject matter gained wider prominence at the hands of the eighteenth-century artist, Giovanni Paolo Panini, who derived a certain inspiration from the painter. Giovanni Ghisolfi was born in Milan, the son of Giuseppe Ghisolfi, an architect from Piacenza. He studied with Girolamo Ghignolo and learned architectural painting from his uncle, Paolo Antonio Volpini. In 1650 he traveled to Rome, where he befriended Salvator Rosa, but was called away to Lombardy nine years later. He then produced fresco cycles at the Certosa di Pavia (1661) and Vicenza (1664), Milan and finally Varese (1660s, 1680). In 1664, he is again recorded in Rome. On Ghisolfi, see the following monograph, which includes a catalogue of roughly 100 paintings: A. Busiri Vici, Giovanni Ghisolfi (1623-1683), un pittore milanese di rovine romane (ed. by F. Cosmelli), Rome, 1992. The present pair is notable for its massive Roman temple architecture, which, in their tonalities and scale, recalls the ruin paintings of Viviano Codazzi (c. 1603-1672). As was typical of Ghisolfi's compositions, each work comprises a distant, panoramic view, almost no middle plane, and an artfully arranged foreground consisting of geometric forms (reliefs, cornices, plinths), inhabited by variously-posed, gesticulating rustic figures. The columned renderings set in complementary perspective in each work are typical of Ghisolfi's pendant pictures. A comparable pair, of the same size and approximate date, belong to the Statens Museum for Kunst, Copenhagen. These were acquired in Rome in 1669 (that is, during Ghisolfi's lifetime) for Frederiksborg Castle (now the Nationalhistoriske Museum) in Copenhagen (Busiri Vici nos. 56-57), where they remain on deposit. The staffage of the present pictures (as well as of the Copenhagen pair) recalls those in works by the artist's friend and colleague, Salvatore Rosa, especially the latter's set of 62 engravings, known as the Figurine, which was published in 1656. HID01801242017

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