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Corrado Giaquinto Sold at Auction Prices

Painter, b. 1694 - d. 1765

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      • Corrado Giaquinto (attribuito a) (Molfetta, 1703 - Napoli, 1766) Apollo olio su tela cm 94x70; con cornice cm 116x91
        Dec. 20, 2023

        Corrado Giaquinto (attribuito a) (Molfetta, 1703 - Napoli, 1766) Apollo olio su tela cm 94x70; con cornice cm 116x91

        Est: €10,000 - €20,000

        Corrado Giaquinto (attribuito a) (Molfetta, 1703 - Napoli, 1766) Apollo olio su tela cm 94x70; con cornice cm 116x91Cornice Salvator Rosa dorata coeva 

        Gliubich Casa d'Aste
      • OIL PAINTING BY CORRADO GIAQUINTO, area of
        Dec. 05, 2023

        OIL PAINTING BY CORRADO GIAQUINTO, area of

        Est: €500 - €700

        CORRADO GIAQUINTO, ambito di (Molfetta 1703 - Napoli 1766) FIGURE DI PROFETI Olio su tela, cm. 32 x 42,7 PROVENIENZA Famiglia romana CONDITION REPORT Rintelo novecentesco. Punti di restauro sparsi CORNICE Cornice in legno dorato con bordi a nastro arrotolato e perlatura, del XIX secolo

        Casa d'Aste Babuino
      • CORRADO GIAQUINTO (Cerchia di), Olio su tela
        Nov. 25, 2023

        CORRADO GIAQUINTO (Cerchia di), Olio su tela

        Est: €1,200 - €1,800

        CORRADO GIAQUINTO (Cerchia di) (Molfetta 1703 - Napoli 1766) San Luigi Gonzaga Olio su tela Cornice in legno dorato Provenienza: Nobile famiglia catanese. cm 70 x 54.

        Benedetto Trionfante Casa d’Aste
      • The Arrest of Christ in the garden of Olives
        Nov. 23, 2023

        The Arrest of Christ in the garden of Olives

        Est: €2,000 - €4,000

        Oil on canvas 65x84 cm. Framed The painting is accompanied by an expertise byProf. Ferdinando Arisi. In his expertise, Arisi confidently assigned this beautiful canvas to Corrado Giaquinto with a date around 1750, close to the Visitation in the Pinacoteca Civica in Fano and the Nativity of the Virgin in the Chiesa del Suffragio in Cesena.

        Bertolami Fine Arts s.r.l.
      • Corrado GIAQUINTO Molfetta, 1703 -Naples, 1765 Dieu fleuve, peut-être le Tibre, dans un paysage Huile sur toile
        Nov. 22, 2023

        Corrado GIAQUINTO Molfetta, 1703 -Naples, 1765 Dieu fleuve, peut-être le Tibre, dans un paysage Huile sur toile

        Est: €15,000 - €20,000

        Corrado GIAQUINTO Molfetta, 1703 -Naples, 1765 Dieu fleuve, peut-être le Tibre, dans un paysage Huile sur toile River god in a landscape, oil on canvas, by C. Giaquinto h: 37,50 w: 57 cm Provenance : Collection particulière européenne Commentaire : L'exercice de l'académie masculine au sein d'un école de dessin ou un atelier permet l'étude du nu afin de se rapprocher de la perfection des formes humaines lors de la réalisation d'ambitieuses compositions. Notre dieu fleuve est un parfait exemple d'une académie agrémentée d'un léger et subtil artifice ; ici quelques joncs en couronne. Notre tableau est une œuvre de jeunesse d'un artiste qui deviendra un des plus grands pinceaux de son temps, notamment lors de son séjour à Madrid. Daté du début des années 1730, l'influence de son maître Francesco Solimena se perçoit, notamment par les forts contrastes lumineux dont ses peintures se débarrasseront au cours du temps pour laisser placer à des couleurs éclatantes. Une notice d'Alessandro Agresti en date du 8 mai 2023 sera remise à l'acquéreur. Estimation 15 000 - 20 000 €

        Artcurial
      • Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zugeschrieben
        Sep. 28, 2023

        Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zugeschrieben

        Est: €7,000 - €9,000

        ALLEGORISCHE FIGUR DER JUSTITIA Öl auf Leinwand. Doubliert. 114 x 81 cm. In vergoldetem Rahmen. Vor Landschaft mit Wolkenhintergrund die allegorische Figur der Justitia als nach links sitzende Frau in antikem weiß-grünem Gewand mit rotem Umhang und Sandalen. Als Attribute hält sie in ihrer rechten erhobenen ausgestreckten Hand ein Flammenschwert, in der linken Hand eine Waage. Ein kleiner, fast nackter Putto spielt mit einer der Waagschalen. Sie trägt zudem auf ihrem Haupt eine goldene Krone als Würde der Gerichtsbarkeit und darüber schwebend die Taube des Heiligen Geistes. Malerische Darstellung einer für die Zeit beliebten Allegorie. (1362384) (18) Corrado Giaquinto, 1703 Molfetta – 1765 Naples, attributed ALLEGORICAL FIGURE OF JUSTICE Oil on canvas. Relined. 114 x 81 cm.

        Hampel Fine Art Auctions
      • Corrado Giaquinto, 1703 Molfetta – 1765 Neapel
        Sep. 28, 2023

        Corrado Giaquinto, 1703 Molfetta – 1765 Neapel

        Est: €20,000 - €25,000

        MARIA MIT DEM KINDE ERSCHEINT DEM HEILIGEN STEPHANUS UND DREI WEITEREN HEILIGEN Öl auf Leinwand. Doubliert. 49,9 x 24,7 cm. In vergoldetem und ornamental verziertem Rahmen. Beigegeben ein Gutachten von Prof. Giancarlo Sestieri, Rom, 11. März 2008, in Kopie. Gestrecktes vertikales Hochformat mit zweigeteilter Darstellung. In der oberen Bildhälfte Maria mit dem Kinde von Engeln gesäumt auf einer Wolkenbank sitzend, die sich vor einer kreisrunden Sonnenscheibe abzeichnet. Darunter auf einer weiteren Wolkenbank befindliche Personen, die in Anbetung der Erstgenannten begriffen sind. Eine weitere Version des Bozettos mit annähernd gleichen Maßen (49,8 x 24 cm) befindet sich in Sir Denis Mahon‘s Charitable Trust. Literatur: Zum erwähnten Vergleichsbild siehe: Gabriele Finaldi, Alla scoperta del barocco italiano. La collezione Denis Mahon, Ausstellung Palazzo Ruspoli, Rom 1998, Nr. 27, S. 74. Giancarlo Sestieri, La Pittura del Settecento, Storia dell‘ Arte in Italia, Turin 1988, S. 49-50. (1360392) (13) Corrado Giaquinto, 1703 Molfetta – 1765 Naples THE VIRGIN AND CHILD APPEARING TO SAINT STEPHEN AND THREE OTHER SAINTS Oil on canvas. Relined. 49.9 x 24.7 cm. Accompanied by an expert’s report by Professor Giancarlo Sestieri, Rome, dated 11 March 2008, in copy. Another version of the bozzetto with almost the same dimensions (49.8 x 24 cm) is held at Sir Denis Mahon’s Charitable Trust.

        Hampel Fine Art Auctions
      • Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zugeschrieben
        Jun. 29, 2023

        Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zugeschrieben

        Est: €3,000 - €4,000

        DIE APOTHEOSE DES EROS Öl auf Malpappe. 37,6 x 28,4 cm. Im dekorativen gold bemalten Rahmen. Bozzetto, wohl für ein größeres Werk gedacht. Im Zentrum im Himmelsbereich der auf einer Wolkenbank schwebende Eros, der Gott der Liebe, als schöner Jüngling mit großen Flügeln und einer Fackel in seiner rechten Hand haltend. Umgeben ist er von zahlreichen geflügelten Putti auf und zwischen den Wolken, die teils Blüten und Blütenkränze tragen sowie einer mit Fackel und ein weiterer einen Liebespfeil in seiner Hand haltend. Im Vordergrund eine Landschaft mit wenigen Sträuchern. Malerei in meist raschem Pinselduktus. (1350372) (18)

        Hampel Fine Art Auctions
      • ATTR. A CORRADO GIAQUINTO - STUDIO DI NUDO INGINOCCHIATO
        Apr. 21, 2023

        ATTR. A CORRADO GIAQUINTO - STUDIO DI NUDO INGINOCCHIATO

        Est: €600 - €800

        Matita su carta, cm. 38,5x29,5.

        Pananti Casa D'Aste SRL
      • Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zugeschrieben
        Mar. 30, 2023

        Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zugeschrieben

        Est: €4,000 - €6,000

        DIE APOTHEOSE DES EROS Öl auf Malpappe. 37,6 x 28,4 cm. Im dekorativen gold bemalten Rahmen. Bozzetto, wohl für ein größeres Werk gedacht. Im Zentrum im Himmelsbereich der auf einer Wolkenbank schwebende Eros, der Gott der Liebe, als schöner Jüngling mit großen Flügeln und einer Fackel in seiner rechten Hand haltend. Umgeben ist er von zahlreichen geflügelten Putti auf und zwischen den Wolken, die teils Blüten und Blütenkränze tragen sowie einer mit Fackel und ein weiterer einen Liebespfeil in seiner Hand haltend. Im Vordergrund eine Landschaft mit wenigen Sträuchern. Malerei in meist raschem Pinselduktus. (1350372) (18)

        Hampel Fine Art Auctions
      • Corrado Giaquinto 1703-1786 Pastural Oil Painting
        Feb. 22, 2023

        Corrado Giaquinto 1703-1786 Pastural Oil Painting

        Est: $100 - $1,000

        An original antique oil painting on canvas, painted in the manner of Corrado Giaquinto (1703-1766). A figural landscape work painted in the style of the 18th Century Neapolitan School. A figural work depicting Baroque lovers amid a Neoclassical architectural landscape, with buildings, trees, lambs, a distant bridge, and other forms. Bears signature to lower right C. GIAQUINTO. Presented with a fabric border in an ornate carved wood frame. Work Size: 18 x 32 in. Dimensions: 28 X 43 X 3 in. Condition: Good overall condition having normal to moderate surface wear and evidence of craquelure throughout. Frame having normal to moderate storage wear to edges and corners. Estate fresh to the market. Shipping: Hill Auction Gallery does not offer in-house shipping for this item. Gallery will refer third party shippers for all domestic and international buyers. Purchaser pick up available upon request. Got something to sell? Contact us at HillAuctionGallery.com

        Hill Auction Gallery
      • CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES) The Holy Trinity with an archangel freeing enslaved people, a bozzetto CORRADO GIAQUINTO (MOLFETTA 1703-
        Jan. 27, 2023

        CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES) The Holy Trinity with an archangel freeing enslaved people, a bozzetto CORRADO GIAQUINTO (MOLFETTA 1703-

        Est: $100,000 - $150,000

        CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES) The Holy Trinity with an archangel freeing enslaved people, a bozzetto CORRADO GIAQUINTO (MOLFETTA 1703-1766 NAPLES) The Holy Trinity with an archangel freeing enslaved people, a /bozzetto/ oil on copper, shaped top 19 x 9 3/4 in. (48.4 x 24.8 cm.)

        Christie's
      • CORRADO GIACQUINTO (Attr.le), Olio su tela
        Dec. 17, 2022

        CORRADO GIACQUINTO (Attr.le), Olio su tela

        Est: €2,000 - €3,000

        CORRADO GIACQUINTO (Attr.le) (Molfetta 1703-Napoli 1766) Predica di San Tommaso D'Aquino Olio su tela Cornice a canna ciaccata in legno intagliato e dorato ad argento e mistura. Provenienza: nobile famiglia siciliana. cm 36 x 48.

        Benedetto Trionfante Casa d’Aste
      • GIAQUINTO CORRADO (1703 - 1765) From. Transit of Saint Joseph
        Dec. 14, 2022

        GIAQUINTO CORRADO (1703 - 1765) From. Transit of Saint Joseph

        Est: €2,000 - €4,000

        GIAQUINTO CORRADO (1703 - 1765). From. Transit of Saint Joseph. Cm 59,00 x 52,00.

        Capitolium Art
      • An Allegory of Asia
        Dec. 08, 2022

        An Allegory of Asia

        Est: £80,000 - £120,000

        The Property of a Gentleman Corrado Giaquinto Molfetta 1703 - 1766 Naples An Allegory of Asia oil on canvas unframed: 49.7 x 65.6 cm.; 19½ x 25⅞ in. framed: 61.7 x 77 cm.; 24¼ x 30¼ in. Bid on Sotheby's

        Sotheby's
      • CORRADO GIAQUINTO (bottega di)
        Nov. 29, 2022

        CORRADO GIAQUINTO (bottega di)

        Est: €2,000 - €3,000

        (Molfetta, 1703 - Napoli, 1766) Putti Olio su tela, cm 66X54 (2) Vedi scheda al lotto precedente.

        Wannenes Art Auctions
      • CORRADO GIAQUINTO (bottega di)
        Nov. 29, 2022

        CORRADO GIAQUINTO (bottega di)

        Est: €2,000 - €3,000

        (Molfetta, 1703 - Napoli, 1766) Putti Olio su tela, cm 66X54 (2) I dipinti esibiscono stilemi tipicamente giaquinteschi e la loro genesi si spiega interpretandoli quali bozzetti destinati all'ornamento di una portantina. Trovano allora motivazione le curiose decorazioni a guisa di intagli lignei dorati e altresì l'inusuale impaginazione delle immagini, che corrispondono per quanto riguarda in modo particolare la coppia di putti con la corona di alloro a uno dei pannelli della Silla de Manos, custodita nel Palazzo Reale di Madrid. Diviene difficile esprimere con certezza l'attribuzione al celebre pittore, immaginando di trovarci al cospetto di opere la cui invenzione è certamente autografa e i modelletti possono essere stati realizzati da uno dei suoi molti collaboratori. Bibliografia di riferimento: A. E. Pérez Sánchez, Corrado Giaquinto y España, catalogo della mostra, Madrid 2006. p. 281, n. R. 47

        Wannenes Art Auctions
      • Corrado Giaquinto (Molfetta 1703 - Napoli 1765) e bottega San Nicola di Mira e di Bari
        Nov. 23, 2022

        Corrado Giaquinto (Molfetta 1703 - Napoli 1765) e bottega San Nicola di Mira e di Bari

        Est: €1,500 - €2,000

        olio su tela, W. 47 - H. 63 Cm

        Cambi Casa d'Aste
      • Corrado Giaquinto
        Nov. 09, 2022

        Corrado Giaquinto

        Est: €40,000 - €60,000

        (Molfetta 1703–1765 Naples) The Punishment of Tityus, oil on canvas, 131 x 92.7 cm, framed Provenance: Private European collection We are grateful to Riccardo Lattuada for suggesting the attribution of the present painting on the basis of a photograph. The present painting is a recent addition to the oeuvre of the Neapolitan painter Corrado Giaquinto. The vertical image is almost filled by the monumental depiction of the male figure in chains, with the upper right corner giving a view of a nocturnal landscape. The composition of the punished is inspired by the figure of Laocoön – the celebrated Hellenistic sculpture discovered on the Colle Oppio, Rome in 1506 and exhibited to the public soon after in the Vatican Cortile di Belvedere. In the painting, the lower part of the body is a direct study from the back of the legs of Laocoön, while the torso and arms are taken from the same model but from the opposite direction, thereby the painting appears to have combined two studies taken from different positions to create a new composition. The artist added the chains and serpent, attributes that are difficult to interpret iconographically but that may relate to a rare version of the myth of Tityus, in which punishment is inflicted upon the protagonist by a serpent rather than a vulture (this version is reported in the Fabulae of Hyginus). The painting is executed deploying fluid free strokes of the brush against an ochre ground, without the use of a preparatory drawing. Layering of various shades of green and ochre build the flesh tones of the figure, with vertical hatching and rapid but precise brushstrokes creating texture and depth. The knees, elbows, lower spine, left thigh and toes are modelled by using red and brown tones which are repeated in the surrounding rock, creating a harmonious whole. The figure’s placement on a boulder overgrown with moss, serves as a complementary colour contrast to the background. The present painting relates to a series of male nude studies painted by Giaquinto for Cardinal Villafalletto around 1750 (see M. D’Orsi, Corrado Giaquinto, Rome 1958, p. 143, nos. 86–88; and R. Lattuada, Corrado Giaquinto e/o Geremia Romani della Parrocchiale di Nettuno e altre opere di Giaquinto inedite a poco note a Poggiardo, Washington e altrove, in: Studi sul Settecento Romano, forthcoming). Especially, the study of a seated nude is comparable to the present painting. Not only the posture with the supported right arm and the bent left leg, but also the surface treatment of the from are similar. The hatchings on the body are also found in this nude study. The same applies to the colouring with the use of ochre, green and brown tones. Even in this academic exercise from life, Giaquinto, as a trained Baroque painter, while striving for the exact linear determination of forms, ended up carrying out a study of light effects. Corrado Giaquinto was an apprentice alongside Francesco de Mura and Giuseppe Bonito in the studio of the Neapolitan artist Nicola Maria Rossi. In 1723 in Rome Giaquinto started modifying the robust Neapolitan style to reflect the classicising Roccoco taste. He was admitted to the Accademia di San Luca in Rome in 1740. With the commission of frescoes for the church of San Nicola dei Lorenesi in 1731, Giaquinto received further prestigious commissions that earned him a leading reputation and led to stays in Turin and Spain. Called to the court of Madrid in 1753 by Ferdinand VI, the painter was to spend nearly a decade there. His position as the preeminent artistic figure in the country was confirmed by appointment as Primer Pintor del Rey as well as director of the Academia di San Fernando, newly formed by the art-loving Spanish King. Corrado Giaquinto later returned to Naples.

        Dorotheum
      • Attributed to CORRADO GIAQUINTO (Italy, 1703 – 1765/66). "Apollo rewarding the arts (Allegory of the monarchy as patron of the arts)". Oil on canvas. 19th century cladding. Presents restorations.
        Oct. 26, 2022

        Attributed to CORRADO GIAQUINTO (Italy, 1703 – 1765/66). "Apollo rewarding the arts (Allegory of the monarchy as patron of the arts)". Oil on canvas. 19th century cladding. Presents restorations.

        Est: €18,000 - €20,000

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apollo rewarding the arts (Allegory of the monarchy as patrons of the arts)". Oil on canvas. Re-drawn in the 19th century. It presents restorations. Measurements: 50 x 60,5 cm. The preparatory oil sketch shown here was intended for a decoration that no longer exists in the Royal Palace. The work shows Apollo, a figure representing the Spanish monarchy, rewarding with treasures the figures representing painting, architecture and sculpture. On the lower right the figure of History, winged but with her foot firmly on the ground, records the scene for posterity. The role of the king as the architect of peace and prosperity within his kingdom was emphasised throughout the complex iconographic programme of decoration, written for the New Royal Palace in 1748 by Father Martin Sarmiento. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century who is considered to be the greatest representative of Rococo painting in Rome at the time. Owing to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. We can see how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. A leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures. However, this work is also related to Giaquinto because of its subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and now in the Museo del Prado. In this work by the master, the format changes to landscape in order to include a larger number of figures: the saints John, the Fathers of the Church and several other saints. Furthermore, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here shows a knowledge of Giaquinto's work, with the same closed arched structure in the upper part, the gradation of light, the golden light in the upper part, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.

        Setdart Auction House
      • Attribué à Corrado GIAQUINTO Molfetta, 1703 - Naples, 1765 Sainte Agnès Huile sur toile
        Sep. 27, 2022

        Attribué à Corrado GIAQUINTO Molfetta, 1703 - Naples, 1765 Sainte Agnès Huile sur toile

        Est: €2,000 - €3,000

        Attribué à Corrado GIAQUINTO Molfetta, 1703 - Naples, 1765 Sainte Agnès Huile sur toile Sans cadre h: 49 w: 40 cm Estimation 2 000 - 3 000 €

        Artcurial
      • Male nude, seated attributed to Corrado Giaquinto (1690-1765)
        Jul. 05, 2022

        Male nude, seated attributed to Corrado Giaquinto (1690-1765)

        Est: £500 - £800

        Male nude, seated Attributed to Corrado Giaquinto (1690-1765) Red chalk 40.5cm x 27cm

        The Pedestal
      • José en la cárcel
        Jun. 22, 2022

        José en la cárcel

        Est: -

        .

        Isbilya Subastas
      • Attributed to CORRADO GIAQUINTO (Italy, 1703 – 1765/66). "San isidro labrador". Oil on canvas. Relined. It has faults and overpainting. Accurate cleaning.
        Jun. 22, 2022

        Attributed to CORRADO GIAQUINTO (Italy, 1703 – 1765/66). "San isidro labrador". Oil on canvas. Relined. It has faults and overpainting. Accurate cleaning.

        Est: €10,000 - €11,000

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Saint Isidore the farmer. Oil on canvas. Re-coloured. It presents faults and repainting. Needs cleaning. Measurements: 55 x 34 cm. The present work represents the apotheosis of San Isidro, this one follows faithfully the models established by Corrado Giaquinto, in the fresco carried out for the chapel of the Royal Palace of Madrid, painted by the Italian artist between 1759 and 1760. The work also bears a close resemblance to a work on the same theme in the collection of the Museo de San Isidro in Madrid, and to the sketch of the aforementioned fresco in the Casita del Príncipe at El Escorial. The work follows the same precepts as one of the four frescoes on the pendentives of the dome of the Royal Chapel of the Royal Palace in Madrid, paired with that of his wife Santa María de la Cabeza. It is therefore likely that this work belongs to the preparatory work, being earlier than the aforementioned sketches in the Casita del Príncipe. It is interesting to mention the representation of the Apotheosis of the Saint, as this iconographic pattern had only previously been used to decorate the ephemeral architecture of the saint's festivities in 1620. But it was not repeated until the 18th century, when Van Loo chose the theme to decorate the Church of San Isidro in Rome. In Spain, however, it was Corrado Giaquinto who introduced this representation of the saint, making it a success. San Isidro Labrad (Madrid, 1080-1172) was beatified by Paul V in 1619 and canonised in 1622 by Gregory XV. He was declared patron saint of Spanish farmers by John XXIII in 1960. Several miracles are attributed to this saint, among the most famous being that of the well in which, thanks to his prayer, the waters rose so that his son, who had fallen in, could be rescued. Another is the one in which the angels help the saint to plough a field, thus allowing him to stop and pray in all the parishes he passed through on his way to work. His iconographic representation is directly related to his work as a farmer, his most frequent symbols being the tools of the field, such as the hoe or the spade. He is also often depicted with a rosary, grilles or ears of corn. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century who is considered to be the leading representative of Rococo painting in Rome at the time. Due to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. The leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures.

        Setdart Auction House
      • Attributed to CORRADO GIAQUINTO (Italy, 1703 – 1765/66). "Saint Mary of the head". Oil on canvas. Relined. It has faults and overpainting. Accurate cleaning.
        Jun. 22, 2022

        Attributed to CORRADO GIAQUINTO (Italy, 1703 – 1765/66). "Saint Mary of the head". Oil on canvas. Relined. It has faults and overpainting. Accurate cleaning.

        Est: €10,000 - €11,000

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Saint Mary of the Head. Oil on canvas. Re-coloured. It presents faults and repainting. Needs cleaning. Measurements: 55 x 34 cm. In this religious scene, a saint is placed in the centre of a break of glory, starred by numerous angels, who accompany and support the saint. From her clothing and the attribute she holds in her hand, it is possible that this is a representation of Maria Toribia, a Spanish peasant girl, canonised by the Roman Catholic Church and known as Santa Maria de la Cabeza (Saint Mary of the Head). The work follows the same precepts as one of the four frescoes on the pendentives of the dome of the Royal Chapel of the Royal Palace in Madrid, paired with that of her husband Saint Isidore. It is therefore probable that this work belongs to the preparatory work, being earlier than other sketches kept in the Casita del Príncipe. The date of birth of Santa María de la Cabeza is unknown, but it was sometime around the end of the 11th century or the beginning of the 12th century. The saint lived in Madrid, where she met and married Isidro, a simple peasant from Madrid (who, according to some sources, had fled there as a result of the Almoravid invasion). According to legend, one day their son fell into a deep well, leaving the parents with no recourse but prayer. Miraculously, the water level suddenly rose to ground level, and the baby was easily rescued unharmed. As a result, she and her husband committed themselves to sexual abstinence as a form of devotion. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the mid-18th century who is considered to be the leading representative of Rococo painting in Rome at the time. Due to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. The leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's was a classically influenced rococo, and his works would increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures.

        Setdart Auction House
      • IMPORTANT IMMACULATE VIRGIN, 18TH CENTURY ITALIAN SCHOOL, CORRADO GIAQUINTO SCHOOL (BARI, FEBRUARY 18, 1703 - NAPLES, 1765 OR 1766)
        Jun. 09, 2022

        IMPORTANT IMMACULATE VIRGIN, 18TH CENTURY ITALIAN SCHOOL, CORRADO GIAQUINTO SCHOOL (BARI, FEBRUARY 18, 1703 - NAPLES, 1765 OR 1766)

        Est: €12,000 - €18,000

        Oil on canvas, framed measurements: 96 x 85 copper measurements: 74 x 63 cm

        Templum Fine Art Auctions
      • OIL PAINTING BY CORRADO GIAQUINTO 18TH CENTURY
        May. 25, 2022

        OIL PAINTING BY CORRADO GIAQUINTO 18TH CENTURY

        Est: €1,500 - €2,200

        CORRADO GIAQUINTO (Molfetta 1703 - Napoli 1766) RITRATTO DI IGNUDO Olio su tela, cm. 65 x 48 PROVENIENZA Famiglia napoletana CONDIZIONI DEL DIPINTO Rintelo tardo ottocentesco. Alcuni piccoli punti di restauro a destra ed in basso. Il dipinto è in buono stato di conservazione CORNICE Cornice in legno di faggio con intarsi in bosso agli angoli, del XIX secolo

        Casa d'Aste Babuino
      • Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Relined. 19th century frame.
        May. 25, 2022

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Relined. 19th century frame.

        Est: €3,000 - €3,500

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Saint Catherine of Siena". Oil on canvas. Relined. Frame of the 19th century. Measurements: 29 x 21 cm; 44 x 35 cm (frame). Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century, considered as the maximum representative of the Rococo painting in Rome at that time. Owing to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. We can see how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. A leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures. However, this work is also related to Giaquinto because of its subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and now in the Museo del Prado. In this work by the master, the format changes to landscape in order to include a larger number of figures: the saints John, the Fathers of the Church and several other saints. Furthermore, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here shows a knowledge of Giaquinto's work, with the same closed arched structure in the upper part, the gradation of light, the golden light in the upper part, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.

        Setdart Auction House
      • Corrado Giaquinto, Rest on the Flight to Egypt
        May. 21, 2022

        Corrado Giaquinto, Rest on the Flight to Egypt

        Est: €40,000 - €50,000

        Certificate Nicola Spinosa, 21st May 2021 (as a copy) The full attribution to Corrado Giaquinto has been confirmed by Professor Spinosa, who ascribes the work to the artist´s mature output. The fusion between the classical composition and bright colouring leads professor Spinosa to date the execution to around 1750 - 1753, before the artist left for Spain, whereas the scholar doesn’t exclude a later date, for some similarities with the canvases for which the artist was commissioned by Vanvitelli for the Church of San Luigi di Palazzo, particularly with the Rest on the Flight into Egypt now housed in the Detroit Institute of Arts. The figures of the Madonna and Child, and their intimate embrace, can be compared to another Virgin and Child by Giaquinto (Lempertz, 5.6.2021, lot 2079): the derivation testifies to the success of the composition.

        Kunsthaus Lempertz KG
      • Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Reengineered. 19th century frame.
        Jan. 26, 2022

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Reengineered. 19th century frame.

        Est: €3,000 - €3,500

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Saint Catherine of Siena". Oil on canvas. Relined. Frame of the 19th century. Measurements: 29 x 21 cm; 44 x 35 cm (frame). Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century, considered as the maximum representative of the Rococo painting in Rome at that time. Owing to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. We can see how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. A leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures. However, this work is also related to Giaquinto because of its subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and now in the Museo del Prado. In this work by the master, the format changes to landscape in order to include a larger number of figures: the saints John, the Fathers of the Church and several other saints. Furthermore, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here shows a knowledge of Giaquinto's work, with the same closed arched structure in the upper part, the gradation of light, the golden light in the upper part, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.

        Setdart Auction House
      • Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Saint Catherine of Siena". Oil on canvas. Relined. Frame of the 19th century. Measurements: 29 x 21 cm; 44 x 35 cm (frame).
        Oct. 20, 2021

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Saint Catherine of Siena". Oil on canvas. Relined. Frame of the 19th century. Measurements: 29 x 21 cm; 44 x 35 cm (frame).

        Est: €4,500 - €5,000

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Saint Catherine of Siena". Oil on canvas. Relined. Frame of the 19th century. Measurements: 29 x 21 cm; 44 x 35 cm (frame). Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century, considered as the maximum representative of the Rococo painting in Rome at that time. Owing to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. We can see how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. A leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures. However, this work is also related to Giaquinto because of its subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and now in the Museo del Prado. In this work by the master, the format changes to landscape in order to include a larger number of figures: the saints John, the Fathers of the Church and several other saints. Furthermore, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here shows a knowledge of Giaquinto's work, with the same closed arched structure in the upper part, the gradation of light, the golden light in the upper part, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.

        Setdart Auction House
      • Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "San Isidro the farmer." Oil on canvas. Relined.
        Sep. 22, 2021

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "San Isidro the farmer." Oil on canvas. Relined.

        Est: €11,000 - €12,000

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "San Isidro the farmer." Oil on canvas. Relined. It presents faults and repainting. It needs to be cleaned. Measurements: 52,5 x 34 cm. The present work represents the apotheosis of San Isidro, this one follows faithfully the models established by Corrado Giaquinto, in the fresco carried out for the chapel of the Royal Palace of Madrid, painted by the Italian artist between 1759 and 1760. The work also bears a close resemblance to a work on the same theme in the collection of the Museo de San Isidro in Madrid, and to the sketch of the fresco mentioned above, which is in the Casita del Príncipe in El Escorial. It is interesting to mention the representation of the Apotheosis of the Saint, as this iconographic pattern had only previously been used to decorate the ephemeral architecture of the saint's festivities in 1620. But it was not repeated until the 18th century, when Van Loo chose the theme to decorate the Church of San Isidro in Rome. In Spain, however, it was Corrado Giaquinto who introduced this representation of the saint, making it a success. San Isidro Labrad (Madrid, 1080-1172) was beatified by Paul V in 1619 and canonised in 1622 by Gregory XV. He was declared patron saint of Spanish farmers by John XXIII in 1960. Several miracles are attributed to this saint, among the most famous being that of the well in which, thanks to his prayer, the waters rose so that his son, who had fallen in, could be rescued. Another is the one in which the angels help the saint to plough a field, thus allowing him to stop and pray in all the parishes he passed through on his way to work. His iconographic representation is directly related to his work as a farmer, his most frequent symbols being the tools of the field, such as the hoe or the spade. He is also often depicted with a rosary, grilles or ears of corn. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century who is considered to be the leading representative of Rococo painting in Rome at the time. Due to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. The leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures.

        Setdart Auction House
      • Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Santa Maria of the Head." Oil on canvas. Relined.
        Sep. 22, 2021

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Santa Maria of the Head." Oil on canvas. Relined.

        Est: €11,000 - €12,000

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Santa Maria of the Head." Oil on canvas. Relined. It presents faults and repainting. Needs cleaning. Measurements: 52,5 x 34 cm. In this religious scene, a saint is placed in the centre of a break of glory, starred by numerous angels, who accompany and support the Saint. From her clothing and the attribute she holds in her hand, it is possible that this is a representation of Maria Toribia, a Spanish peasant girl, canonised by the Roman Catholic Church and known as Santa Maria de la Cabeza (Saint Mary of the Head). The date of birth of Saint María de la Cabeza is unknown, but it was sometime around the late 11th or early 12th century. The saint lived in Madrid, where she met and married Isidro, a simple peasant from Madrid (who, according to some sources, had fled there as a result of the Almoravid invasion). According to legend, one day their son fell into a deep well, leaving the parents with no recourse but prayer. Miraculously, the water level suddenly rose to ground level, and the baby was easily rescued unharmed. As a result, she and her husband committed themselves to sexual abstinence as a form of devotion. Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the mid-18th century who is considered to be the leading representative of Rococo painting in Rome at the time. Due to his compositional mastery and masterful use of colour, the Italian artist became a point of reference for several generations of Spanish painters. The leading representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed painter to Ferdinand VI in 1753 and until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and director general of the San Fernando Royal Academy of Fine Arts. His language, which began with rococo and evolved in an increasingly classical direction, is characterised by a great sense of scenography and chromatic subtleties of extraordinary beauty. These two features are clearly evident here; the composition is totally theatrical, with the clarity of classicism combined with the elegant and graceful dynamism of rococo. The stage is organised in depth, playing with the position of the cumulus clouds and seeking a naturalistic representation of the space, with a sense of scenography inherited from the Baroque period. Giaquinto's is a classically influenced rococo, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures with lively gestures.

        Setdart Auction House
      • STUDY FOR THE "MADONNA DELL'ASSUNTA"
        Sep. 16, 2021

        STUDY FOR THE "MADONNA DELL'ASSUNTA"

        Est: €400 - €500

        CORRADO GIAQUINTO (ATTR.) (Molfetta, 1703 - Naples, 1765) Study for the "Madonna dell'Assunta" Pencil and ink on handmade paper, 27.5 x 18.5 cm Inscribed lower left: "di Giaquinto, Madonna dell'Ass." Good conditions. Frame, glass. The work has been attributed to the master Giaquinto for the inscription at the bottom; however, the inscription is modern and the signature does not correspond to that of the artist.

        Bertolami Fine Arts s.r.l.
      • Corrado Giaquinto, The Virgin and Child
        Jun. 05, 2021

        Corrado Giaquinto, The Virgin and Child

        Est: €80,000 - €90,000

        The tenderness of the embrace between mother and child is the main motif of this painting. The relatively small format and the intimate atmosphere identify it as a work intended for private devotion. The composition captivates with its close-up viewpoint, the even and finely modelled profile of the Virgin and the remarkable abundance of artfully draped fabrics in different colours. The painting has been attributed to the Neapolitan artist Corrado Giaquinto by Dr Edgar Peters Bowron when it first appeared on the international art market in 2008, where it almost tripled its estimated price. After his training in Naples, Corrado Giaquinto moved to Rome as early as 1727, where he was accepted as a member of the "Accademia di San Luca" in 1740. Despite great success and important patrons from ecclesiastical and noble circles in Rome, the painter followed a call to the court of the Spanish King Ferdinand VI in 1753, who shortly afterwards appointed him director of the Royal Academy of San Fernando in Madrid. Giaquinto's Neapolitan style, inspired by Luca Giordano and Francesco Solimena, took on a classicist-aristocratic turn in Rome under the influence of Carlo Maratta in particular, a quality which also characterises this painting and lends it its particular grace.

        Kunsthaus Lempertz KG
      • Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Reengineered. 19th century frame.
        Jun. 01, 2021

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Reengineered. 19th century frame.

        Est: €8,000 - €10,000

        Attributed to CORRADO GIAQUINTO (Italy, 1703 - 1765/66). "Apparition of Christ to Santa Catalina de Siena". Oil on canvas. Reengineered. 19th century frame. Measurements: 29 x 21 cm; 44 x 35 cm (frame). Due to its formal characteristics, the present work is attributed to Corrado Giaquinto, an Italian painter of the 18th century, considered to be the maximum representative of Rococo painting in Rome at the time. Due to his compositional mastery and his masterful use of color, the Italian artist became a point of reference for several generations of Spanish painters. We can appreciate how the saint, dressed in her characteristic Dominican habit, kneels before the vision of the risen Christ. The maximum representative of Rococo painting in Rome in the first half of the 18th century, Giaquinto's work was a point of reference for several generations of Spanish painters. Appointed chamber painter to Ferdinand VI in 1753, until 1762, he was also artistic director of the Royal Tapestry Factory of Santa Barbara and general director of the Royal Academy of Fine Arts of San Fernando. His language, which starts from rococo to evolve in an increasingly classical sense, is characterized by its great scenographic sense and its chromatic subtleties of extraordinary beauty. Here these two features are clearly evident; the composition is totally theatrical, with the clarity that defends classicism combined with the elegant and graceful dynamism of rococo. The stage is organized in depth, playing with the position of the cumulus clouds and looking for the naturalistic representation of the space, with a scenographic sense inherited from the baroque. Giaquinto's is a rococo of classical influence, and his works will increasingly denote a more solid classicism: compositions of greater spatial clarity, as we see here, populated by solemn figures of lively gestures. However, this work is related to Giaquinto also because of the subject, which can be directly related to the work by his hand entitled "The Holy Trinity, the Virgin and Saints", painted between 1755 and 1756 and currently preserved in the Prado Museum. In this work of the master changes the format, landscape, to house a larger number of figures: Saints John, the Fathers of the Church and several other saints. In addition, in Giaquinto's work Jesus and God the Father appear crowning the Virgin, a detail that is omitted here. However, even the composition of the oil painting presented here denotes knowledge of Giaquinto's work, with the same closed arched structure at the top, the gradation of light, the golden light at the top, etc. Giaquinto's "The Holy Trinity, the Virgin and Saints" is a sketch for the dome of the Royal Chapel in the New Palace in Madrid.

        Setdart Auction House
      • Attribuito a Corrado Giaquinto (Molfetta 1703 - Napoli 1766) - Head of a Virgin or Saint (recto); e Group of figures below and Gloria above (verso)
        May. 25, 2021

        Attribuito a Corrado Giaquinto (Molfetta 1703 - Napoli 1766) - Head of a Virgin or Saint (recto); e Group of figures below and Gloria above (verso)

        Est: €200 - €300

        black pencil on greenish paper damage and losses

        Finarte
      • CORRADO GIAQUINTO (1700 / 1765) "Saint Teresa of Avila".
        May. 12, 2021

        CORRADO GIAQUINTO (1700 / 1765) "Saint Teresa of Avila".

        Est: €27,000 - €36,000

        . Oil on canvas

        Ansorena
      • CORRADO GIAQUINTO (1700 / 1765) "Little Angel with musical instrument, 1756."
        Apr. 08, 2021

        CORRADO GIAQUINTO (1700 / 1765) "Little Angel with musical instrument, 1756."

        Est: €120,000 - €160,000

        Provenance: Sanchez Lopez, A., "La pintura de bodegones and floreros en España en el siglo XVIII", Madrid, Fundación Arte Hispánico, 2008, pp. 242-244 (reproduced). A leading representative of Rococo painting, his training began with Saverio Porta in his native Molfetta. He subsequentland travelled to Naples where he worked with Nicola Maria Rossi, a follower of Francesco Solimena. In 1727 he moved to Rome and was influenced bythe standle of Sebastiano withca. He also worked in Turin in the 1830s, probabland on the recommendation of the architect Filippo Juvarra. On his return to Rome around 1740, he began a period of great activitand and his standle became more classicist, close to Carlo Maratta. In 1753 he was summoned to Spain byFerdinand VI, replacing the deceased Amiwithi and was appointed painter to his chamber. One of his responsibilities was the artistic direction of the Santa Barbara Tapestry factorand. In 1756 Ferdinand VI commissioned him to produce the series of the lives of Solomon, Joseph and David. The series included copies of works byLucas Giordano and some originals byGiaquinto, who was assisted byJosé del Castillo. Of particular note in this series are the shutters, and three cartoons executed byGiaquinto himself are currentland preserved, as is reflected in the factorand's 1780 inventorand. Two of them, "Sirena and amorcillo with guirnalda de flores" and "Putti with guirnalda de flores" were acquired byPatrimonio Nacional in 2015, and the third is this "Amorcillo with instrumento de música", also from the Stuyck Collection, which would correspond to the border of panel number 12 of the storand of Joseph, David and Solomon. In the Giaquinto he demonstrates his masterand of Rococo decorative painting, with a verand delicate treatment in which the painter shows all his Neapolitan heritage, both in the depiction of the flowers and objects, and in the figure, influenced byLucas Jordan. In need of restoration

        Ansorena
      • ALBERTO GIANQUINTO (VENEZIA 1929-2003) SENZA TITOLO
        Feb. 06, 2021

        ALBERTO GIANQUINTO (VENEZIA 1929-2003) SENZA TITOLO

        Est: €500 - €700

        Olio su tela, cm. 19x32 Sul verso: dedica con firma.

        Pananti Casa D'Aste SRL
      • Corrado Giaquinto (Molfetta 1703 - Neapel 1765), circle of. Mercury, Argus und Io.
        Nov. 28, 2020

        Corrado Giaquinto (Molfetta 1703 - Neapel 1765), circle of. Mercury, Argus und Io.

        Est: -

        Oil/canvas, 77 x 64,5 cm, some rest., relined. - Italian history painter. After being taught painting in his home town Bari G. formed his style mainly on the exampel of Luca Giordano. Since 1727 he lived in Rome where he became member of the Accademia di San Luca. In 1753 he became painter to the court in Madrid. Mus.: Florence (Uffizi), London (Nat. Gall.), New York (Metrop. Mus.), Madrid a. others. Lit.: AKL, Thieme-Becker.

        Auktionshaus Stahl
      • Corrado Giaquinto (1703 - 1765), attribuito a, Riposo dalla fuga in Egitto
        Oct. 15, 2020

        Corrado Giaquinto (1703 - 1765), attribuito a, Riposo dalla fuga in Egitto

        Est: €10,000 - €15,000

        olio su tela, cm 110x88, cornice antica

        Cambi Casa d'Aste
      • GIAQUINTO CORRADO
        Sep. 28, 2020

        GIAQUINTO CORRADO

        Est: €5,000 - €5,600

        CORRADO GIAQUINTO (1690-1765) 'La Madonna della Pietà' olio cm. 65x70

        Aste Boetto SRL
      • CORRADO GIAQUINTO (cerchia di)
        Sep. 24, 2020

        CORRADO GIAQUINTO (cerchia di)

        Est: €300 - €500

        (Molfetta, 1703 - Napoli, 1766) Bozzetto con il Ratto di Europa Olio su tela, cm 29X74

        Wannenes Art Auctions
      • CORRADO GIAQUINTO (cerchia di)
        Sep. 24, 2020

        CORRADO GIAQUINTO (cerchia di)

        Est: €300 - €500

        (Molfetta, 1703 - Napoli, 1766) Bozzetto con il Giudizio di Paride Olio su tela, cm 29X75

        Wannenes Art Auctions
      • Corrado Giaquinto (Molfetta 1703 - Napoli 1765), ambito di, “Storie di miracoli”.
        Sep. 14, 2020

        Corrado Giaquinto (Molfetta 1703 - Napoli 1765), ambito di, “Storie di miracoli”.

        Est: €5,000 - €10,000

        Ancient paintings - Sette dipinti olio su tela, H cm 71x51

        Gregory's Casa d'Aste
      • MOSES STRIKES THE ROCK
        Jul. 02, 2020

        MOSES STRIKES THE ROCK

        Est: €6,000 - €8,000

        CORRADO GIAQUINTO (Molfetta, 1703 - Naples, 1765), ATTRIBUTED TO Moses strikes the rock Oil on canvas, cm. 63,5x47,5

        Bertolami Fine Arts s.r.l.
      • Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zug.
        Jul. 02, 2020

        Corrado Giaquinto, 1703 Molfetta – 1765 Neapel, zug.

        Est: €6,000 - €8,000

        WEIBLICHE ALLEGORIE IN GESTALT DER ATHENE MIT ATTRIBUTEN DES CHRISTENTUMS Öl auf Leinwand. 52 x 40 cm. Verso auf der Leinwand Aufschrift in Schwarz sowie Nummerierung „80“. Auf dem Rahmen älteres Schild mit irrtümlicher Zuweisung „Luca Giordano“. In dekorativem Rahmen. Bislang in der Literatur nicht hinreichend gedeutetes und ikonografisch seltenes Bildthema. Athene oder Minerva, die antike Göttin der Wissenschaften, hier auf einer Wolke thronend wiedergegeben, mit Helm und Schild, ihr Blick nach oben auf die Lichtstrahlen gerichtet, während ihre linke Hand auf ein Lamm im Strahlenkranz weist, das auf einem Buch liegt, daneben zwei Putten. Links im Hintergrund weitere geflügelte Engelsköpfe in den Wolken. Bei der Darstellung handelt es sich um die seit der Renaissance aufgekommene Problematik, die Antike mit dem Christentum zu vereinigen. Hier wird die Göttin der Wissenschaften dargestellt, wie sie die himmlische Botschaft erhält, die sie in den Dienst der christlichen Theologie und Wissenschaft stellt. So ist sie gleichsam als Allegorie der Vermittlung zwischen Antike und Christentum zu sehen. Dem Gedanken entsprechend enthält ihr Schild nicht das Medusenhaupt der Antike, sondern die Taube des Heiligen Geistes. Gleichzeitig sollen die christlichen Schriften, hier rechts im Bild, gleichgesetzt werden mit den profanen Wissenschaften. Die Malweise zeigt einen lockeren Pinselstrich, dennoch einen fest gefügten Aufbau, unter bewusster Verwendung kühler, ins Grau-Blau und Gold-Gelb ziehender Farben. Die Darstellung oval abgerundet, eingegrenzt durch eine ockergelbe feine Einrahmung, die Ecken in Braun, auf rechteckiger Leinwand. (1222165) (18) Corrado Giaquinto, 1703 Molfetta – 1765 Naples, attributed FEMALE ALLEGORY AS ATHENA WITH ATTRIBUTES OF CHRISTENDOM Oil on canvas. 52 x 40 cm. Inscribed in black on the back of the canvas and no. “80”. Frame with older plaque and incorrect artist name “Luca Giordano”. In decorative frame.

        Hampel Fine Art Auctions
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