Luca Giordano Paintings & Artwork for Sale | Luca Giordano Art Value Price Guide

Jul. 15, 2026
Apostle, Luca Giordano (1634 - 1705), Italian school, 17th century
Est: €12,000 - €15,000
Oil on canvas. Dimensions: 64 x 49 cm (85 x 70 cm with frame). Bust portrait of an elderly man with a white beard and an introspective gaze, modeled using strong chiaroscuro against a dark background. The directed lighting and anatomical realism denote the characteristic tenebrist influence. The impasto brushstrokes and chromatic density lend psychological intensity to the figure, typical of the 17th-century Hispano-Neapolitan naturalist tradition. The work is in good condition and is housed in a period gilt frame.
Templum Fine Art Auctions
Jul. 02, 2026
Luca Giordano 1634 Napoli -1705 Napoli Rinaldo e Armida
Est: €30,000 - €40,000
La tela raffigura uno degli episodi più celebri della Gerusalemme liberata di Torquato Tasso. La maga Armida, seduttrice dell'eroe crociato Rinaldo, è rappresentata nell'idillio amoroso che precede il ritorno del cavaliere ai propri doveri militari. La giovane, avvolta in morbidi panneggi chiari e con uno specchio nella mano sinistra, accoglie il guerriero che si abbandona languidamente sulle sue ginocchia. Sullo sfondo, parzialmente celato dagli alberi, compare una figura armata che osserva la scena, espediente narrativo che introduce il tema dell'imminente distacco. La composizione, costruita secondo una diagonale ascendente, evidenzia quella rapidità esecutiva, scioltezza di tocco e brillantezza luministica che costituiscono alcuni dei caratteri più riconoscibili della produzione di Luca Giordano. La morbida sensualità delle figure e la resa teatrale degli affetti riflettono la fortuna iconografica del tema tassiano nella pittura barocca, con particolare attenzione alla resa sentimentale dei protagonisti, come dimostra anche il fatto che lo stesso Giordano riprese e rielaborò più volte questo soggetto nel corso della sua carriera. olio su tela
Cambi Casa d'Aste
Jun. 30, 2026
LUCA GIORDANO (Naples, 1634-1705)
Est: €20,000 - €40,000
LUCA GIORDANO (Naples, 1634-1705) Saint Anthony of Padua Preaching to the Fish 1698-1700 Oil on canvas. Dimensions: 80 x 54 cm.
Fernando Duran
Jun. 25, 2026
Luca Giordano (Napoli 1634 - 1705) Giuseppe spiega i sogni in carcere
Est: €80,000 - €120,000
Oil on canvas cm. 194x131. Framed The painting is accompanied by a study by Prof. Stefano Causa. The subject of the painting is taken from Genesis (39–40): unjustly accused by Potiphar’s wife, Joseph is imprisoned. Shortly thereafter, the King of Egypt also has his chief cupbearer and chief baker imprisoned, and Joseph is assigned to serve them. One night, both the cupbearer and the baker have dreams of difficult interpretation, which they recount to Joseph the following morning: he then foretells the baker’s death by hanging after three days, and the cupbearer’s release from prison. As strongly stated by Stefano Causa in his study of the painting, this four-figure seventeenth-century interior is an unpublished masterpiece by the young Luca Giordano, to be dated to the 1650s. An authentic early work by the master, still deeply influenced by Ribera and his followers. According to Causa: “We are before one of the most sensational autographs by the master to have emerged in the last ten years […] Here the discourse on the youth of the greatest Neapolitan painter of the seventeenth century takes an unexpected leap forward and invites us to rethink from the ground up Giordano’s formation between 1650 and 1664.” The present painting thus testifies, at the highest qualitative level, to the germinal moment of the artist’s genius, “when all paths are still open. Giordano composes a kind of inventory of what had been produced over the previous fifty years, consciously selecting what he needed: if the detail of the prisoner peering through the bars had already appeared in an early work by Caracciolo […] the rest of the painting is a brilliant recapitulation of the production of Ribera’s workshop by his most talented and original followers, from the Master of the Annunciation to the Shepherds to Aniello Falcone.”
Bertolami Fine Art s.r.l.
Jun. 25, 2026
Luca Giordano (Napoli 1634 - 1705) L'incredulità di San Tommaso
Est: €20,000 - €30,000
The painting is accompanied by an expertise by Prof. Nicola Spinosa. This intense Incredulity of Saint Thomas, attributed by Prof. Spinosa to Luca Giordano, was probably executed between 1650 and 1653–54, in the artist’s early phase, still strongly marked by the influence of Caravaggio and, above all, by the models of Jusepe de Ribera. The painting is distinguished by its heightened naturalism, its strong handling of light, and the vigorous physiognomic and expressive characterization of the figures, elements that find precise parallels in other early works by the Neapolitan master, including the Death of Seneca in the Alte Pinakothek in Munich, the Saint Jerome in Prayer in the Pinacoteca Civica of Asolo, and the canvases Lot and His Daughters and The Expulsion of Hagar in the Gemäldegalerie, Dresden. The work also constitutes a rare instance of this subject in Giordano’s production, which he would return to only many years later in the version now in the Monastery of San Lorenzo at El Escorial, executed at the end of the 1680s. Private collection, Lazio.
Bertolami Fine Art s.r.l.
Jun. 25, 2026
Luca Giordano (Napoli 1634 - 1705) Testa di santo barbuto
Est: €9,000 - €15,000
Oil on canvas cm. 66,5x48,5 The painting is accompanied by an expertise by Prof. Nicola Spinosa. This unpublished and intensely expressive Head of a Bearded Saint is attributed by Prof. Spinosa to Luca Giordano and dated to around 1660, during the period of the Neapolitan master’s early maturity. The work still reveals echoes of Mattia Preti, particularly in its naturalistic approach and heightened expressive tension, while already displaying the precious handling and luminous richness of Neo-Venetian inspiration that characterize Giordano’s production after 1656. Especially noteworthy are the rendering of the flesh tones, the long white beard, and the penetrating expression of the gaze. Spinosa further notes close comparisons with the figure of Socrates in the Xanthippe Pouring Water over Socrates formerly in the Molinari Pradelli collection, and with the Isaac in the Departure of Jacob from the House of Isaac in the Harrach collection at Schloss Rohrau, Austria, both datable to the early 1660s.
Bertolami Fine Art s.r.l.
Jun. 25, 2026
Luca Giordano, genannt „Fa Presto“, 1634 Neapel – 1705 ebenda, zugeschrieben
Est: €12,000 - €20,000
DER TRIUMPH DES BACCHUS Öl auf Leinwand. Doubliert. 81,5 x 110 cm. In dekorativem vergoldetem Rahmen. Der Triumph des Bacchus ist eine Bezeichnung für ein Motiv, das während der Antike entstand und einerseits die triumphale Rückkehr des Gottes Bacchus aus dem kultisch unterworfenen Asien, andererseits die feierliche Verbindung desselben Gottes mit der sterblichen Ariadne zum Thema hat. Auf dem vorliegenden Gemälde ist linksseitig der jugendliche Bacchus in einem Triumphwagen, der von einem Panther gezogen wird, zu erkennen. Im Vordergrund zudem zwei diskutierende Philosophen, in der Mitte des Bildes der Atlas, der die Welt trägt, zu sehen. Im Vordergrund rechts drei Bacchantinnen. Neben dem Triumphwagen ein Begleiter des Bacchus, der den Thyrsosstab als Attribut des Bacchus trägt. Über der Darstellung ein fast schwarzer Wolkenhimmel. Ein Bozzetto gleichnamigen Titels von Luca Giordano für die Fresken in dem Palazzo Riccardi befindet sich in den Fogg Art Museum (siehe angegebene Literatur). Das vorliegende qualitätvolle Werk mit starken Hell-Dunkel-Kontrasten ist typisch für den bekannten Künstler. Der vor allem für seine Fresken berühmte Maler war Sohn eines Kunsthändlers aus Apulien, der sich ebenfalls der Malerei widmete. So erhielt er seinen ersten Unterricht bei seinem Vater, während allgemein angenommen wird, dass er ein Schüler von Giuseppe José de Ribera (1588/91–1652) war. Etliche seiner Werke lassen auch dessen Einfluss erkennen, zugleich zeigt das enorm umfangreiche Werk Giordanos, dass er sämtliche Stilvarianten seiner Zeit beherrschte. Auch die Themenbreite in seines Schaffens – in sämtlichen Bereichen der Historienmalerei, bei religiösen Darstellungen, aber auch mythologische Szenen – zeigt zunächst Einflüsse der Caravaggisten, später jedoch auch der Maler Pietro da Cortona (1596–1669), Mattia Preti (1613–1699) oder Peter Paul Rubens (1577–1640). Im Bildaufbau mancher seiner Werke sind zudem die venezianischen Meister wie Paolo Veronese (1528–1588), Tiziano Vecellio (1485/89–1576) oder Domenico Robusti Tintoretto (1560–1635) spürbar. In Rom wirkte er unter Pietro da Cortona (1596–1669), und erhielt bald Aufträge für Fresken und Ölbilder in Palästen. In schneller Malweise geübt, war er in der Lage, weit mehr Werke zu schaffen als seine Kollegen, was ihm den Beinamen „Fa presto“ einbrachte. 1690 wurde er nach Spanien berufen und von Karl II zum Ritter geschlagen. In den folgenden 13 Jahren entstanden dort seine bedeutendsten Arbeiten, u. a. für die Kirche San Lorenzo im Escorial. Provenienz: Privatsammlung, USA. Fogg Art Museum, Cambridge, USA. Englische Privatsammlung. Literatur: William H. Wilsom, An unpublished Giordano Bozzeno, in: Fogg Art Museum. Acquisitions 1966–1967, Cambridge 1968, S. 4, 26–35. (1480333) (3) (18) Luca Giordano, also known as “Fa Presto”, 1634 Naples – 1705 ibid., attributed THE TRIUMPH OF BACCHUS Oil on canvas. Relined. 81.5 x 110 cm. A bozzetto of the same title by Luca Giordano for the frescoes in the Palazzo Riccardi, Florence, is held at the Fogg Art Museum (see cited literature). Provenance: Private collection, USA. Fogg Art Museum, Cambridge, USA. Private collection, England. Literature: William H. Wilsom, An unpublished Giordano Bozzeno, in: Fogg Art Museum. Acquisitions 1966 – 1967, Cambridge 1968, pp. 4. 26-35.
Hampel Fine Art Auctions
Jun. 25, 2026
Italienischer Maler des 17. Jh., wohl Kreis des Luca Giordano (1634 – 1705)
Est: €8,000 - €12,000
DER BETHLEHEMITISCHE KINDERMORD Öl auf Leinwand. Doubliert. 84 x 123 cm. In dekorativem geschnitztem Rahmen. Inmitten einer Landschaft mit einem alten, erhöht liegenden Gebäude bei abendlichem Licht die vielfigurige Szenerie gemäß der Bibellegende. Mit teils schlaglichtartiger Beleuchtung eine dicht gedrängte, bewegte Figurengruppe mit dem Thema des bethlehemitischen Kindermordes, welches besonders von der zentralen Figur der leicht niedergesunkenen Mutter in weißem Kleid mit blauem Umhang, die ihr Kind im rechten Arm hält und mit der anderen Hand versucht, den Angreifer abzuwehren, eindrücklich hervorgehoben wird. Um sie herum, dicht gedrängt, weitere Frauen, die ihre Kinder beschützen und von Soldaten und Männern in antiker Gewandung mit Dolchen attackiert werden. Am Boden bereits liegende ermordete Kinder. Am rechten Bildrand zwei Männer zu Pferde, beide mit Turban, von denen einer als König Herodes gedeutet werden könnte. Dramatisch bewegte Darstellung mit starker Hell-Dunkel-Akzentuierung. (1480624) (18)
Hampel Fine Art Auctions
Jun. 25, 2026
Luca Giordano, genannt „Fa Presto”, 1634 Neapel – 1705 ebenda, zugeschrieben
Est: €18,000 - €25,000
DIE HEILUNG DES LAHMEN Öl auf Leinwand. Doubliert. 105 x 140 cm. In breitem vergoldetem Rahmen. Gemäß der Bibelstelle (Joh 5,1-9) Darstellung des Gelähmten links des Zentrums und Jesus mit Lichtnimbus rechts am Rand an einem Teich, „Es lag auch ein Mann, der schon achtunddreißig Jahre krank war. Als Jesus ihn dort liegen sah und erkannte, dass er schon lange krank war, fragte er ihn: Willst du gesund werden? Der Kranke antwortete ihm: Herr, ich habe keinen Menschen, der mich, sobald das Wasser aufwallt, in den Teich trägt. Während ich mich hinschleppe, steigt schon ein anderer vor mir hinein. Da sagte Jesus zu ihm: Steh auf, nimm deine Liege und geh! Sofort wurde der Mann gesund, nahm seine Liege und ging. Dieser Tag war aber ein Sabbat.” Zahlreiche Figuren wohnen der Szene bei. Als Vergleichsbeispiel mag Giordanos „Auferstehung des Lazarus” (Scavizzi-Ferrari-Scavizzi A0107) gelten, das bei Christie's in London am 04. Juli 1997 unter Lot 96 Euro 411.201 erzielte. Der vor allem für seine Fresken berühmte Maler war Sohn eines Kunsthändlers aus Apulien, der sich ebenfalls der Malerei widmete. So erhielt er seinen ersten Unterricht bei seinem Vater, während allgemein angenommen wird, dass er ein Schüler von Giuseppe José de Ribera (1588/91–1652) war. Etliche seiner Werke lassen auch dessen Einfluss erkennen, zugleich zeigt das enorm umfangreiche Werk Giordanos, dass er sämtliche Stilvarianten seiner Zeit beherrschte. Auch die Themenbreite in seines Schaffens – in sämtlichen Bereichen der Historienmalerei, bei religiösen Darstellungen, aber auch mythologische Szenen – zeigt zunächst Einflüsse der Caravaggisten, später jedoch auch der Maler Pietro da Cortona (1596–1669), Mattia Preti (1613–1699) oder Peter Paul Rubens (1577–1640). Im Bildaufbau mancher seiner Werke sind zudem die venezianischen Meister wie Paolo Veronese (1528–1588), Tiziano Vecellio (1485/89–1576) oder Domenico Robusti Tintoretto (1560–1635) spürbar. In Rom wirkte er unter Pietro da Cortona (1596–1669), und erhielt bald Aufträge für Fresken und Ölbilder in Palästen. In schneller Malweise geübt, war er in der Lage, weit mehr Werke zu schaffen als seine Kollegen, was ihm den Beinamen „Fa presto” einbrachte. 1690 wurde er nach Spanien berufen und von Karl II zum Ritter geschlagen. In den folgenden 13 Jahren entstanden dort seine bedeutendsten Arbeiten, u. a. für die Kirche San Lorenzo im Escorial. (14504515) (13) Luca Giordano, also known as "Fa Presto", 1634 Naples – 1705 ibid., attributed THE HEALING OF THE LAME Oil on canvas. Relined. 105 x 140 cm. A comparative example is Giordano's The Resurrection of Lazarus (Scavizzi-Ferrari-Scavizzi A0107), which realised EUR 411,201 as lot 96 at Christie's sale in London on 4 July 1997. (†)
Hampel Fine Art Auctions
Jun. 18, 2026
LUCA GIORDANO (Naples, 1634 - 1705). "San Bruno". Oil on canvas. Relined. Attached expert opinion of the piece issued by Don Nicola Spinosa. Presents on the back label of the Board of Seizure and...
Est: €5,000 - €6,000
LUCA GIORDANO (Naples, 1634 - 1705). "San Bruno". Oil on canvas. Relined. Attached expert opinion of the piece issued by Don Nicola Spinosa. Presents on the back label of the Board of Seizure and Protection of Artistic Heritage. Measurements: 21.5 x 50 cm; 33 x 61 cm (frame). In this work, Luca Giordano builds a scene of intense spirituality and drama around the figure of Saint Bruno, founder of the Carthusian Order. The painting stands out not only for its visionary atmosphere and the expressive strength of its characters, but also for a detail pointed out by Nicola Spinosa: one of the monks represented could be a self-portrait of Giordano himself. It would be the third character to the right of the saint, shown half-length and with his gaze directed towards the protagonist, a resource that would discreetly introduce the presence of the artist within the mystical episode represented. The artist represents the founder of the Carthusian Order immersed in a visionary and mystical experience, surrounded by monastic figures whose gestures intensify the climate of religious fervor. The scene, dominated by a dark and turbulent atmosphere, seems to develop between earthly reality and the irruption of the supernatural, one of the great themes of 17th century Counter-Reformation art. The composition immediately reveals Giordano's belonging to the Neapolitan school, characterized by the expressive use of chiaroscuro, the theatricality of emotions and the compositional dynamism inherited from the Baroque tradition initiated by Caravaggio. However, in Giordano the Caravaggian dramatism becomes more fluid and vibrant. Earthy, reddish and ochre tones predominate, crossed by flashes of light that fall on the white habits of the Carthusian monks, the theme fully responds to the context of the Catholic Counter-Reformation, a time when the Church promoted images capable of moving the viewer and strengthening religious devotion. St. Bruno, a figure associated with asceticism and contemplation, appears here not as a serene portrait, but as an active protagonist. The emotional intensity of the gestures and the agitation of the secondary figures turn the scene into an almost theatrical experience, intended to affectively involve the faithful. Within Luca Giordano's career, this work synthesizes several of the qualities that made the painter famous. Known for his extraordinary speed of execution, which earned him the nickname "Luca fa presto", Giordano developed a vast production in which he fused Venetian, Roman and Neapolitan influences. From the Venetian tradition he took the chromatic richness and luminosity; from the Roman Baroque, the compositional monumentality; and from the Neapolitan school, the dramatic intensity. All this can be seen in this painting, where the pictorial matter seems to vibrate between darkness and light. It has a label of the Board of Seizure and Protection of Artistic Heritage on the back.
Setdart Auction House
Jun. 10, 2026
ATRIBUIDO A LUCA GIORDANO (Nápoles, 1634-Nápoles, 1705) . Ú
Est: €3,500 -
ATRIBUIDO A LUCA GIORDANO (Nápoles, 1634-Nápoles, 1705) . Último tercio del siglo XVII "Retrato de noble ". Óleo sobre lienzo Medidas:75 x 63,5 cm.
Magna Art Auctions
Jun. 09, 2026
GIORDANO LUCA (1634 - 1705) - Battle
Est: €30,000 - €50,000
GIORDANO LUCA (1634 - 1705). Battle. The artwork is accompanied by a text by Prof. Nicola Spinosa, 26 May 2025. Reference literature: O. Ferrari, G. Scavizzi, Luca Giordano. L'opera completa, Napoli 2000; a cura di AA.VV., Luca Giordano 1634-1705, catalogo della mostra, Napoli 2001; a cura di A.E. Perez Sanchez, Luca Giordano y Espana, catalogo della mostra, Madrid, 2002.. 102,80 x 68,50 cm.
Capitolium Art
Jun. 09, 2026
GIORDANO LUCA (1634 - 1705) - Philosopher
Est: €10,000 - €15,000
GIORDANO LUCA (1634 - 1705). Philosopher. The artwork is accompanied by a text by Stefano Causa e Nicola Spinosa ( 28 February 2025). Comparative literature: O. Ferrari – G. Scavizzi, Luca Giordano. L'opera completa, Napoli 1992. The canvas depicts a three-quarter-length figure of an ancient philosopher, shown in a meditative pose holding a book. The difficulty — if not the impossibility — of precisely identifying the individual, due to the evident absence of attributes or distinguishing signs, does not undermine the certainty of the attribution: as noted by Nicola Spinosa, this is a secure work by the young Luca Giordano, belonging to his substantial and stylistically coherent production of apparent “true portraits” of ancient scientists, geographers, and philosophers, characterized by varying ethical and behavioral inclinations, predominantly in a neo-Stoic direction. Oreste Ferrari has carefully reconstructed the origin and development of this typology in Giordano’s oeuvre, identifying its roots in the engravings of Albrecht Dürer and Lucas van Leyden, as well as in Ribera-inspired prototypes — particularly the series commissioned by Prince Karl Eusebius von Liechtenstein in 1636 and by the Duke of Alcalá, Fernando Enríquez y Afán de Ribera, as early as 1630 — from which Giordano drew inspiration for individual figures, reinterpreting them in an increasingly personal direction. Among the closest comparisons for the present canvas, Ferrari includes Heraclitus and Democritus in the Pinacoteca Tosio Martinengo in Brescia, Euclid and Archimedes in the Staatliche Museen in Berlin, Chilon in the Musée des Beaux-Arts in Besançon, and the Philosopher no. 2419 in the Kunsthistorisches Museum in Vienna — the latter corresponding to the Sense of Taste explicitly cited by Spinosa as a reference point for the present work. Ferrari observes that these representations show a gradual, slow but perceptible departure from Ribera’s naturalism toward a more modern pictorial language, and he places them among the earliest evidence of this stylistic evolution. It is also significant, as Ferrari notes, that Giordano repeatedly depicted himself as a philosopher, underscoring the intensity of his engagement with this subject type. Due to the delicate chromatic treatment of Neo-Venetian inspiration, as well as the rendering of drapery, anatomical details, and physiognomic features — while still preserving the naturalistic concreteness typical of Giordano’s philosopher figures from the early 1650s — the painting is, according to Spinosa, datable shortly after 1660, in close stylistic and chronological proximity to the Sense of Taste in Vienna and to Sappho Pouring Water on Socrates’ Neck in the Molinari Pradelli Collection in Marano di Castenaso near Bologna. This dating fits within the phase described by Ferrari as a gradual reconciliation between the early Ribera-inspired naturalism and a Venetian manner derived from Veronese and Titian, in which the painter dissolves pictorial matter into fluid filaments of warm light without abandoning the sharp physiognomic characterization that remained the hallmark of his early formation.. 60,50 x 75,50 cm.
Capitolium Art
Jun. 09, 2026
GIORDANO LUCA (1634 - 1705) - Alexander the Great and Diogenes
Est: €50,000 - €80,000
GIORDANO LUCA (1634 - 1705). Alexander the Great and Diogenes. Signed lower right. We are grateful to Nicola Spinosa for confirming the attribution of the work on the basis of a photograph. Provenance: Anon. Sale, Christie’s, 26 March 1971, lot 96; Important Old Master Pictures, Christie’s, 10 July 1981, lot 15. Comparative literature: O. Ferrari – G. Scavizzi, Luca Giordano. L'opera completa, Napoli 1992. Reference: Fototeca Zeri, inv. 110879, envelope 522, card 54898. The painting depicts the encounter between Alexander the Great and the Cynic philosopher Diogenes, an episode handed down by ancient sources — including Plutarch in his Life of Alexander — in which the Macedonian commander visits the philosopher, who lives in a barrel, and asks him what he desires. Diogenes replies that he only wishes Alexander to step out of his sunlight. Diogenes is represented in his characteristic poverty: he sits leaning against the barrel, which structurally defines the background of the composition, his emaciated body and contemplative face turned toward his interlocutor. The young Alexander, draped in a pink mantle and accompanied by members of his retinue, approaches with a conversational gesture. In the foreground, a curly-haired boy observes the scene from below, while at the philosopher’s feet are arranged the traditional attributes of the Cynic: a broken bowl, a scroll, and a lantern. A dog lies curled in the shadow to the left of the composition. The painting bears an autograph signature at lower right, on the rock beneath the figure of the philosopher: Jordanus F. The painting passed through Christie’s in 1971 as a work by Luca Giordano. The proposed dating to the sixth–seventh decade of the seventeenth century places the work within that phase of Giordano’s career described by Oreste Ferrari as a period of gradual reconciliation between the early Ribera-derived naturalism — dominant roughly until 1650 — and the Venetian-influenced neo-Venetian manner inspired by Veronese and Titian, which becomes increasingly evident from the mid-1650s onward. In this phase, the painter dissolves pictorial matter into fluid filaments suffused with warm luminosity, abandoning the dense impasto of Ribera-like naturalism in favour of a more acute expressive intensity in the faces and a broader painterly vitality. Paradigmatic works of this moment include the Death of Seneca in the Munich Pinakothek, the Apollo and Marsyas in the Museo di San Martino in Naples, and the Christ among the Doctors in the Galleria Nazionale in Rome, with which the present painting shares both compositional structure and emotional tone. Ferrari also notes, among works executed for private collectors in the 1670s, a Diogenes Searching for Man in the Balbi collections in Genoa, transmitted through the dealer Simon Giogali: evidence that this iconographic theme was well established within Giordano’s repertoire and enjoyed particular favour among private patrons of the period. The signature Jordanus F. — in the Latinized form used by the painter in this phase, comparable to other examples recorded on works datable between the 1650s and 1660s — further supports and strengthens both the attribution and the chronology.. 207 x 152 cm.
Capitolium Art
Jun. 03, 2026
Giordano, Luca: Das Opfer des Elias
Est: €1,200 - €1,800
Das Opfer des Elias. Radierung. 36,2 x 50,4 cm. Um 1653. B. XXI, S. 174, 1, TIB (Commentary) .001 S2. Wz. Osterlamm im Kreis. Paolo Bellini verzeichnet im Kommentarband des Illustrated Bartsch nur wenige Exemplare. Ausgezeichneter, leicht auslassender und dabei toniger Druck, mit der Adresse von Francesco Palmiero, an die teils sichtbare Plattenkante geschnitten, partiell mit winzigem Rändchen. Vereinzelt etwas fleckig, vertikale Mittelfalte verso, oben einzelne kurze Knickspuren im Rand, beriebene Stellen, weitere Knitter- und Gebrauchsspuren, verso Spuren von Rötel und einer Bleistiftzeichnung, sonst in guter Erhaltung. Aus der Sammlung des Grafen Franz Jozef von Enzenberg (Lugt 845, doppelt in blau und schwarz). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Jun. 02, 2026
LUCA GIORDANO (NAPLES 1634-1705). An astronomer holding a telescope and a m
Est: $100,000 - $150,000
LUCA GIORDANO (NAPLES 1634-1705). An astronomer holding a telescope and a mirror, reflecting a portrait of the.... oil on canvas49 ½ x 37 ¾ in. (125.7 x 95.9 cm.).
Christie's
May. 28, 2026
Attribuito a Luca Giordano (Napoli 1634 – 1705) - Birth of the Virgin
Est: €10,000 - €15,000
oil on canvas 106 x 109 cm within an Emilian frame of the early 17th century partially legible inscription on the back: Per accompagnare la nascita di nostra signora in famiglia […] di San Paolo. PROVENANCE Finarte, Milan, February 25, 1986, lot 42 (as Luca Giordano) Private collection La composizione è stata ripresa con varianti in due dipinti, raffiguranti lo stesso tema, conservati a Gragnano e a Quindici, attribuiti entrambi a Giacinto Diano, come riportato nel Catalogo Generale dei Beni Culturali.
Finarte
May. 28, 2026
Luca Giordano (1632-1705)-attributed
Est: €300 - €600
Luca Giordano (1632-1705)-attributed, sacrifice. Bozzetto. Oil on canvas. On the reverse old description. 33 x 36 cm.
Deutsch Auktionen
May. 27, 2026
Luca Giordano (Naples, 1634 – 1705) Attributed - Taste and Smell
Est: €25,000 - €30,000
Oil on canvas. Dimensions: 97 x 130 cm. An important Baroque composition attributed to Luca Giordano, executed within the Neapolitan naturalist tradition inspired by José de Ribera's celebrated series of The Five Senses. The scene depicts two half-length figures of commoners situated behind a table laden with food and everyday objects. The adult figure on the right holds a wine glass and directly alludes to Ribera's model of Taste, housed in the Wadsworth Atheneum Museum of Art, where Ribera represents the sense of taste through a male figure of common character, with a commanding physical presence and strong naturalistic expressiveness. Opposite him, the young man on the left introduces a more singular and novel interpretation, appearing to smell a watermelon, a gesture that allows him to be identified with the sense of smell within a less conventional and particularly original interpretation of the theme. This work demonstrates Luca Giordano's profound knowledge of Ribera's painting, of which he was one of the great heirs in the Neapolitan school of the Seicento. The treatment of faces, the intensity of the chiaroscuro, the direct presence of the common people as models, and the arrangement of objects on the table all connect with Ribera's naturalism, although Giordano reinterprets it with greater pictorial fluidity and narrative sensitivity. This work is of great interest within Neapolitan Baroque painting due to its connection with the iconography of the Five Senses and the unique combination of allegories of taste and smell within a single composition. Lot in international warehouse (within the EU). Intra-EU shipping: no import duties apply within the EU. An export permit from the country of origin may be required.
Templum Fine Art Auctions
May. 26, 2026
DIPINTO S. FRANCESCO DI LUCA GIORDANO
Est: €10,000 - €12,000
LUCA GIORDANO (Napoli 1634 - 1705) SAN FRANCESCO DI PAOLA Olio su tela, cm. 74,5 x 62,5 In cornice PROVENIENZA Famiglia meridionale Questa iconografia di san Francesco di Paola è conosciuta attraverso una versione realizzata dal maestro intorno al sesto decennio del XVII secolo e collocata nell’abbazia di Montevergine. Ulteriore versione firmata 'Giordano' aveva una provenienza dei conti Egloffstein in Franconia, successivamente transitata ad un asta a Berlino con l'assegnazione a Ribera (Ferrari-Scavizzi 2000, p. 268, n. A120, fig. 196). L'opera qui in esame, ricondotta alla mano di Luca Giordano dal prof. Nicola Spinosa, è caratterizzata da un forte naturalismo di estrazione caravaggesca filtrata dal realismo riberesco come si evidenzia dalle dita del santo consumate dal tempo e dalla vibrante luce sugli incarnati il cui sfumato colorito suggeriscono un retaggio veneto. Lo studioso data il San Francesco di Paola intorno al 1660, periodo in cui le note riberesce ancora suonavano nelle sue opere assieme agli echi di quella cultura romana e veneta appresa anni prima attraverso i suoi viaggi CONDITION REPORT Rintelo, punti di restauro sparsi sul saio, qualche ulteriore punto di restauro sul volto e sulle mani Il dipinto è accompagnato da perizia del prof. Nicola Spinosa in data 20 luglio 2021
Babuino Fine Art srl
May. 24, 2026
LUCA GIORDANO, 1634 - 1705, ATTRIBUTED
Est: -
Luca Giordano 1634 - 1705, attributed Saint Lawrence Painting on glass 34 x 28 cm, with frame 44 x 39 cm Note with attribution on the reverse side on an old parchment Luca Giordano 1634 - 1705, zugeschrieben Der Heilige Laurentius Hinterglasmalerei 34 x 28, mit Rahmen 44 x 39 cm Rückseitig auf einem alten Pergament der Hinweis mit der Zuschreibung
Tiberius Auctions
May. 21, 2026
Luca Giordano, A Philosopher
Est: €50,000 - €80,000
Imaginary portraits of ancient philosophers were very popular in seventeenth-century Italy, and the trend can be connected to Neostoicism, a philosophical current rather popular in Naples around the middle of the 17th century. The present painting can be connected to the series of philosophers that Giordano painted on Ribera's models (from the 1630s). Giordano's and Ribera's philosophers share the strong naturalistic and anti-ideal tendencies that were prized in Neapolitan neo-stoic intellectual circles, which Giordano himself was part of. Like in the present painting, the philosophers are depicted emerging from a dark background, with humble appearances, in poor clothing and with specific, unidealised characterisations that derive directly from live models. Although the sitter, who appears in more than one version, has been identified with different Greek philosophers, the sketch on the sheet allows us to tentatively identify him with the pre-Socratic Thales of Miletus (c. 624–546 BC), a mathematician and astronomer recognised as the first Western philosopher. We are grateful to Professor Riccardo Lattuada for endorsing the attribution on the basis of photographic reproduction.
Lempertz
May. 13, 2026
Luca Giordano (attributed to) (Naples 1634 - Naples 1705) Mary Magdalene
Est: €3,000 - €5,000
Luca Giordano (attributed to) (Naples 1634 - Naples 1705) Mary Magdalene, oil on canvas, 37.5 x 30 cm - framed, 60.5 x 51.5 cm. Oval painting with a gilded oval frame. The painting is accompanied by an expert opinion by Professor Edoardo Clerici Sella (archive no. 674), which attributes it to Luca Giordano as an early work. A young Mary Magdalene is depicted with an ointment jar containing spikenard oil, used to anoint Jesus' feet.
Casa d'aste ARCADIA
May. 13, 2026
Giordano, Luca (attr.)
Est: €4,000 - €6,000
Giordano, Luca (attr.) Neapel 1632 - 1705 74 x 58 cm,o.R. Apostle Paul as half figure. Oil/canvas, relined, in the top left traces of monogram (?). Southern German private collection. For the monogram, see Giordano’s Saint Sebastian at the Museo Nazionale di Palazzo Mansi, Lucca. Luca Giordano, who went by the nickname ‘Fa Presto’ - meaning ‘the quick painter’ - and was known at the very least for his high output, was also regarded as an artist capable of adapting to any style. If one compares his works from his time in Naples, Rome and Venice, one might suspect the presence of different artistic personalities or ‘hands’. In any case, however, his stylistic affinity with Ribera is striking… it is assumed that Luca Giordano was his pupil. The canvas presented here, depicting the Apostle Paul as a half-figure, was probably part of a series of apostle figures, much like Van Dyck’s (Peter, Paul, Bartholomew and Simon) in the Gemäldegalerie Alte Meister in Dresden. In terms of format, composition (the figures’ posture and torsion) and even colouring, our Paul fits in almost seamlessly with this group. Giordano, Luca (attr.) Neapel 1632 - 1705 74 x 58 cm,o.R. Apostel Paulus als Halbfigur. Öl/Lwd., doubl., oben links Restmonogramm (?). Süddeutsche Privatsammlung. Zum Monogramm vgl. Giordanos Heiligen Sebastian im Museo Nazionale di Palazzo Mansi, Lucca. Luca Giordano, der den Spitznamen Fa Presto trug, also als „Schnellmaler", zumindest aber für seine hohe Produktivität bekannt war, galt auch als ein Künstler, der sich jedem Stil anpassen konnte. Vergleicht man seine Werke während der Aufenthalte in Neapel, Rom und Venedig, so könnte man verschiedene Malerpersönlichkeiten bzw. „Hände“ vermuten. In jedem Fall aber ist seine stilistische Nähe zu Ribera auffallend…man nimmt an, daß Luca Giordano sein Schüler war. Wahrscheinlich ist die hier vorgestellte Leinwand mit dem Apostel Paulus als Halbfigur, Teil einer Reihe oder Serie von Apostelfiguren gewesen, ganz ähnlich den Van Dyck‘schen (Petrus, Paulus, Bartholomäus und Simon) in der Gemäldegalerie Alte Meister in Dresden. In Format, Kompositionsweise (Haltung bzw. Torsion der Figuren) und sogar im Kolorit kann man unseren Paulus nahezu nahtlos anschließen.
Nagel Auction
Apr. 30, 2026
MADONNA CON BAMBINO
Est: €2,500 - €5,000
Per l'opera di propone una datazione negli inoltrati anni Settanta del XVII secolo e con una collocazione nell'ambito della produzione del maestro napoletano tra le sue sempre rare composizioni di prevalente carattere devoto, per lo più con destinazione privata, domestica e familiare.Entro cornice del XVIII secolo.L'opera è accompagnata da expertise del Prof. Nicola Spinosa datata 30 marzo 2026.
DAMS Casa d'Aste
Apr. 29, 2026
Luca Giordano Christ, the Virgin and Saint Anne
Est: €400 - €600
Etching, 310 × 250 mm. State impossible to determine. Bartsch XXI.177.6.Very fine, fresh impression on laid paper with watermark. Sheet trimmed in octagonal form, lacking the corners and part of the lower margin (ca. 2 cm), including the title and the names of the publisher and the artist. Trace of a central horizontal fold. On the verso, red chalk sketches.
Bertolami Fine Art s.r.l.
Apr. 29, 2026
LUCA GIORDANO (Naples, 1634 - Naples, 1705) - Saint Francis of Assisi
Est: €30,000 - €40,000
Oil on canvas. Dimensions: 74 x 62 cm. Half-length portrait of Saint Francis of Assisi, depicted with a halo, Franciscan habit, and a cross in his hand, in an attitude of intense mystical contemplation. The saint raises his gaze upwards while placing a hand on his chest, a device that accentuates the spiritual fervor and inner emotion of the scene. The composition, of great sobriety and devotional efficacy, is set against a neutral background and concentrated lighting that softly models the face and hands, underscoring the ecstatic expression of the figure. The work is fully inscribed within the language of 17th-century Neapolitan Baroque painting and displays characteristics consistent with Luca Giordano's sensibility in his images of saints, where expressive immediacy, painterly fluidity, and luminous intensity play an essential role. Lot in international warehouse (within the EU). Intra-EU shipping: no import duties apply within the EU. An export permit from the country of origin may be required.
Templum Fine Art Auctions
Apr. 29, 2026
LUCA GIORDANO (Naples, 1634 - Naples, 1705) - Portrait of Aristotle
Est: €70,000 - €80,000
Oil on canvas. Dimensions: 116 x 84 cm. This intriguing depiction of Aristotle belongs to the series of ideal portraits of philosophers developed by Luca Giordano, one of the great masters of the Neapolitan Baroque. In this series, the artist frequently drew upon models from the common people of Spanish Naples to imbue the figures of ancient thought with physical truth and moral depth. The philosopher is portrayed half-length, immersed in an atmosphere strongly influenced by Ribera's style, with a vigorous chiaroscuro composition in which highlights and shadows interact, modeling volume with warm and substantial tones. The iconography is related to other known versions of the same subject by Giordano, one of which was exhibited on the market in 2011 alongside a Democritus, and is identified with Aristotle both by the inscription in the upper right and by the allusion to knowledge as a refuge in adversity and an ornament in prosperity, taken from the Nicomachean Ethics. These elements reinforce the interpretation of the figure as the philosopher of Stagira. The work also appears to be identifiable with the copy collected in the photographic archive of Federico Zeri (scheda 52792, busta 0521), which was then considered to be of unknown whereabouts, as well as related to another reproduction of the same subject held in that archive. Bibliography: Pittura barocca veneta in una collezione privata, a cura di S. Aloisi, Treviso, 2012, pp. 66-67. Lot in international warehouse (within the EU). Intra-community shipment: no import duties apply within the EU. An export permit from the country of origin may be required.
Templum Fine Art Auctions
Apr. 28, 2026
LUCA GIORDANO, 1634 - 1705, ATTRIBUTED
Est: €1,500 - €3,000
Luca Giordano 1634 - 1705, attributed Saint Lawrence Painting on glass 34 x 28 cm, with frame 44 x 39 cm Note with attribution on the reverse side on an old parchment Luca Giordano 1634 - 1705, zugeschrieben Der Heilige Laurentius Hinterglasmalerei 34 x 28, mit Rahmen 44 x 39 cm Rückseitig auf einem alten Pergament der Hinweis mit der Zuschreibung
Tiberius Auctions
Apr. 20, 2026
Attributed to Luca Giordano Naples (1634 -1705). The Basket Weaver and his Children
Est: €6,000 - €8,000
This intimate and masterfully executed genre scene represents a significant departure from grand historical narratives focusing instead on the humble life of a basket weaver and his children attributed to the Neapolitan master Luca Giordano the work showcases his versatility in capturing everyday human subjects with the same dramatic intensity as his sacred commissions The composition features an elderly artisan seated in a shadowed interior his weathered hands carefully working on a wicker basket while his young children rest beside him in a moment of quiet domesticity The artist employs a profound chiaroscuro where the warm light focuses on the textures of the woven straw the rough fabric of the garments and the soft features of the youngest child creating a sense of tactile realism that is a hallmark of the Neapolitan school during the late 17th century The broad and energetic brushwork particularly in the highlights of the basketry and the facial expressions reflects Giordanos celebrated speed and his late stylistic evolution toward a more empathetic and naturalistic portrayal of common life This canvas is a rare and compelling example of high baroque genre painting where the dignity of labor is elevated through virtuosic light effects and a rich somber palette. Oil on canvas , 70.6 x 50 cm
Fine Antiques Prague s.r.o.
Mar. 14, 2026
Luca GIORDANO (1634-1705),
Est: €10,000 - €15,000
Luca GIORDANO (1634-1705), Le jugement de Salomon, c.1670 Huile sur toile H_38 cm L_48 cm Cachet de collection au verso d’une intaille romaine, ce cachet se retrouve également au dos de la Vue du guichet du Louvre vers le collège des Quatres-Nations conservé au musée du Louvre (Inv. RF 1950 34) Luca Giordano compte parmi les plus grands représentants du baroque napolitain. D’une précocité remarquable, il est surnommé « Luca fa presto » par son père, en référence à sa rapidité d’exécution. Très jeune, après avoir mis en peinture un dessin de son père, il est remarqué par le vice-roi de Naples qui le fait entrer en apprentissage auprès de José de Ribera. Ribera est alors une figure majeure du caravagisme napolitain, il exerce une influence déterminante sur les premières œuvres de Giordano qui sont marquées par les clair-obscur puissants et les tonalités sombres. Après des séjours à Rome et à Venise, l’artiste enrichit progressivement sa palette de couleurs qui devient plus lumineuse et se détache du ténébrisme de Ribera, développant un style plus libre et plus éclatant. Peintre de génie, il ne cessera de faire évoluer son style tout au long de sa carrière. Notre tableau, exécuté dans la pleine maturité de l’artiste, reprend un sujet présent à plusieurs reprises dans son corpus : le Jugement de Salomon. De même que dans le grand tableau du musée de Lausanne, l’influence de Véronese et particulièrement présente dans notre œuvre et confirme une datation après le séjour à Venise du peintre. Ce thème biblique, riche en tension dramatique et en pathos, offrait un terrain particulièrement fertile aux artistes. Il avait d’ailleurs été magistralement interprété par Rubens quelques décennies auparavant. C’est le moment paroxystique qui est représenté : cet instant suspendu où la vraie mère renonce à l’enfant pour le sauver. Comme l’a suggéré Nicola Spinosa, notre œuvre pourrait constituer une étude préparatoire très aboutie en vue d’un projet de grand format. Il existe par ailleurs une copie en sens inverse de notre composition, conservée dans les archives photographiques de la Fondation Zeri. Nous remercions Nicola Spinosa spécialiste de l’artiste de nous avoir confirmé la pleine attribution. Œuvres en rapport : - Luca Giordano, le jugement de Salomon c.1690, Huile sur toile 62,5 x 75 cm, Musée Compton Verney, inv.0380.1.S - Luca Giordano, le jugement de Salomon c.1670/1680, Huile sur toile 185 x 240 cm, Musée cantonal des Beaux-Arts de Lausanne, inv.1223 - Luca Giordano, le jugement de Salomon c.1665, Huile sur toile 250.8 x 308 cm, Musée Thyssen-Bornemisza, inv. CTB.1991.8
Osenat
Mar. 05, 2026
Luca Giordano (Napoli 1634 - 1705)
Est: €10,000 - €15,000
Holy Family with Saint John Oil on canvas cm. 100x75. Framed The painting is accompanied by an expertise by Prof. Nicola Spinosa. Previously unpublished, this painting has been attributed to Luca Giordano by Professor Nicola Spinosa, who dates it to the late 1660s or early 1670s. The Holy Family is depicted as an intimate domestic scene, animated by tender exchanges among the figures and enriched by refined still-life details. The luminous palette, balanced composition and softened emotional tone relate closely to Giordano’s mature production of the period. Stylistic comparisons may be drawn with works such as the Christ Deposed in Venice and the signed Madonna of the Rosary (1672) in Crispano. The painting exemplifies Giordano’s synthesis of naturalism and neo-Venetian classicism.
Bertolami Fine Art s.r.l.
Mar. 05, 2026
Luca Giordano (Napoli 1634 - 1705)
Est: €12,000 - €20,000
The banquet of Herod with Salome and the Head of Saint John Oil on canvas cm. 80x103. Framed The painting is accompanied by an expertise by Prof. Nicola Spinosa. This previously unpublished painting depicts a biblical subject traditionally interpreted as an allegory of lust and the corruption of power. As observed by Nicola Spinosa, the composition reflects the influence of Peter Paul Rubens’s celebrated version formerly in the Neapolitan collection of Gaspar Roomer, known in Naples from the 1640s and crucial to Luca Giordano’s shift toward a Neo-Venetian idiom around 1660. The canvas belongs to the group of works datable between the late 1650s and early 1660s documenting this phase, while adopting iconographic solutions independent of the Rubens model. It is recognized as an autograph replica of the version in the Museo di Capodimonte, Naples, painted as a pendant to the Wedding at Cana. Both versions may be dated between 1659 and 1663–64.
Bertolami Fine Art s.r.l.
Mar. 05, 2026
Luca Giordano (Napoli 1634 - 1705)
Est: €15,000 - €25,000
Saint Jerome Penitent Oil on canvas cm. 94,5x75,5. Framed The painting is accompanied by an expertise by Prof. Nicola Spinosa. This Saint Jerome Penitent depicts the saint in meditation before the Crucifix, striking his chest with a stone and holding a skull, in accordance with established devotional iconography. The painting has been attributed to Luca Giordano by Professor Nicola Spinosa, who recognizes its secure autograph status on the basis of its formal coherence and intense naturalistic expression. The work belongs to the early phase of the Neapolitan master’s career, datable to circa 1650–55, when his language still reflects Ribera’s influence, reinterpreted with growing independence. As noted by Spinosa, the composition shows close stylistic and typological affinities with Giordano’s early works, including the Saint Onuphrius in Naples, the Saint Jerome in Prayer in Asolo, and the Death of Seneca in Munich. The pronounced riberesque lighting and sculptural force of the figure are tempered by a refined handling of expression, anatomy and drapery, attesting to Giordano’s precocious pictorial maturity. Private collection.
Bertolami Fine Art s.r.l.
Feb. 26, 2026
LUCA GIORDANO (NAPLES, 1634 - 1705)
Est: €15,000 - €20,000
Luca Giordano (Naples, 1634 - 1705) 'Saint Peter penitent and in prayer' Oil on canvas. 74 x 59 cm. We present a previously unpublished work, recently identified and added to the corpus of Luca Giordano by Professor Nicola Spinosa, whose certificate dated 30 October 2025 is enclosed, and to whom we express our gratitude for the cataloguing and identification of the painting. The professor identifies the work as a “qualitatively significant example of Luca Giordano’s maturity, after the middle of the 1660s and at the beginning of the following decade”. This piece, “in excellent condition”, was therefore executed at a time when the artist “had brought his works to results of increasing pictorial beauty and intense visual power”. The Penitent Saint Peter, “while still preserving the concreteness and truthfulness of the drapery, the physiognomic features and the expressive reactions, displays new qualities of visual representation, more refined and more immersive, returning to us, without diminishing its devotional character, an image of Saint Peter that is profoundly human and conveys a truth that is both physical and psychological”. From the same years in which he painted the saint presented here date several oil paintings highlighted by Spinosa in order to contextualise the work: “the two series of canvases of 1667–1672 and of 1675, Rose of Lima and Mary Magdalene, and those in the Girolamini, Chapel of Saint Agnes, with Saint Nicholas of Bari saving three children from the tub, Saint Januarius in the furnace, and the pair of Angels with the symbols of the two saints”.
La Suite Subastas
Feb. 24, 2026
Matrimonio mistico di Santa Caterina
Est: -
Dipinto olio su tela raffigurante il "Matrimonio mistico di Santa Caterina" attribuito a Luca Giordano.Cornice intagliata e dorata a palmette e racemi della prima metà del XIX secolo.Misure: cm: 98,0 x 117,0 (cornice 119,0 x 138,0)
Gliubich Casa d'Aste
Feb. 17, 2026
GIORDANO LUCA (1634 - 1705) - Atelier of. Allegory of America
Est: €5,000 - €8,000
GIORDANO LUCA (1634 - 1705). Atelier of. Allegory of America. For comparison see Fototeca Zeri inv. 110681 envelope 521 card 52759. Provenance: Paleologo Mastrogiovanni of Byzantium Collection. Comparative literature: O. Ferrari, G. Scavizzi, Luca Giordano, Edizioni Scientifiche Italiane, 1966, Vol. II, p. 158; O. Ferrari, G. Scavizzi, Luca Giordano, Electa Napoli, 1992, Vol. I, p. 323. 188 x 134,50 cm.
Capitolium Art
Feb. 04, 2026
LUCA GIORDANO (NAPLES 1634-1705). Rebecca at the well. oil on canvas46 5/8
Est: $20,000 - $30,000
LUCA GIORDANO (NAPLES 1634-1705). Rebecca at the well. oil on canvas46 5/8 x 46 5/8 in. (118.4 x 118.4 cm.).
Christie's
Feb. 04, 2026
LUCA GIORDANO (NAPLES 1634-1705). Pittacus. oil on canvas44 ½ x 36 ½ in. (1
Est: $100,000 - $150,000
LUCA GIORDANO (NAPLES 1634-1705). Pittacus. oil on canvas44 ½ x 36 ½ in. (113.1 x 92.7 cm.).
Christie's
Jan. 28, 2026
CIRCLE OF LUCA GIORDANO (ITALIAN 1634-1705), THE CLOSING OF THE RED SEA
Est: £6,000 - £10,000
CIRCLE OF LUCA GIORDANO (ITALIAN 1634-1705)THE CLOSING OF THE RED SEAOil on canvas144 x 193.5cm (56½ x 76 in.)
Dreweatts 1759 Fine Sales
Jan. 14, 2026
Apostle, Luca Giordano (1634 - 1705), Italian school, 17th century
Est: €12,000 - €15,000
Oil on canvas. Dimensions: 64 x 49 cm (85 x 70 cm with frame). Bust portrait of an elderly man with a white beard and an introspective gaze, modeled using strong chiaroscuro against a dark background. The directed lighting and anatomical realism denote the characteristic tenebrist influence. The impasto brushstrokes and chromatic density lend psychological intensity to the figure, typical of the 17th-century Hispano-Neapolitan naturalist tradition. The work is in good condition and is housed in a period gilt frame.
Templum Fine Art Auctions
Jan. 01, 2026
Luca Giordano (Italian 1634-1705) "Madonna and Child with Angels" depicting the Virgin Mary tenderly embracing the Christ Child, surrounded by adoring cherubs; characteristic of Giordano’s confident draftsmanship and ...
Est: $2,000 - $4,000
Luca Giordano (Italian 1634-1705) "Madonna and Child with Angels" depicting the Virgin Mary tenderly embracing the Christ Child, surrounded by adoring cherubs; characteristic of Giordano's confident draftsmanship and fluid line, the composition combines graceful motion and devotional intimacy, demonstrating his masterful handling of red chalk in preparatory studies Red chalk on laid paper, presented in a carved and giltwood frame with black-painted panels and rosette ornamentation 10 3/4" x 16 1/4" Provenance: Property from a Prominent New York City Collector Piero Corsini Gallery, 126 East 63rd Street, New York
Nadeau's Auction Gallery
Dec. 29, 2025
TALLER DE LUCA GIORDANO (Nápoles, 1634-1705). Finales del s
Est: €25,000 -
TALLER DE LUCA GIORDANO (Nápoles, 1634-1705). Finales del siglo XVII "La Virgen intercediendo por las almas del Purgatorio". Óleo sobre lienzo La obra original de Luca Giordano se creé que fue pintada para el desaparecido convento de Santo Tomas de Madrid, de ahí que la pintura fuera cortada y los dos únicos trozos que se conocen son el conservado en el Museo de Arte Fundación L.A. Ferre, en Ponce, un Cristo resucitado y La Virgen incidente, este último en paradero desconocido, antes en un museo de Estados Unidos. El tercer trozo representa la parte baja, es decir, las ánimas del purgatorio y tambien está desaparecido. Existe una copia del siglo XVII que se conserva en el Museo de la Abadía de Santa María de Montserrat, que representa la composición original pero no a escala, sino de 100 x 72 cm. es como una especie de boceto. En su día Mayer la consideró de mano de Giordano; Massimo Pulini la cree copia del siglo XVIII; Finaldi pondera la cualidad de la obra y P. Crisòleg habla de un boceto o copia antigua del original giordanesco. Sin embargo, la pintura que aquí presentamos, tiene la escala de las figuras originales de Giordano, y es de una calidad superior a la de Montserrat. Inédita hasta la fecha, es lo único que queda completo de una obra en parte desaparecida de mano del pintor napolitano. Por la factura de su pincelada y la escala de la obra, tuvo que ser ejecutada en el taller del maestro, pero de una manera de veloz, un poco en la línea de las obras del Giordano que era conocido por su rapidez en el manejo del pincel. Sin embargo, a pesar de la importancia histórica de la pieza, ya que es una fuente histórico artística en sí misma, por la manera de pintar las figuras vemos más la mano de un discípulo muy directo o del mismo taller. De hecho, hay una diferencia de composición muy clara con la obra de Montserrat, y es que la obra presentada creemos que está cortada en la parte inferior pues no muestra las ánimas del Purgatorio y lo poco que se insinúa son unas pequeñas cabezas que parecen de mano de un segundo pintor o añadidas después, ya que a pesar de estar cortado tendría que por lo menos insinuarse parte de los brazos de una de las almas de debajo de la Virgen, tal y como se muestra en la pintura de Montserrat. En tal caso, y sea como fuere, la obra se presenta sin lienzo de forración, y como hemos dicho antes, es hasta la fecha la única versión a escala que queda o conocida del lienzo perdido de Luca Giordano, La Virgen María intercede por las ánimas del Purgatorio. Bibliografía: Barroero, Liliana, Dipinti italiani del Museo di Montserrat, 1992, núm.24 p.77-81 Medidas:253 x 239 cm.
Magna Art Auctions
Dec. 29, 2025
LUCA GIORDANO (Nápoles, 1634- Nápoles, 1705). Último tercio
Est: €12,000 -
LUCA GIORDANO (Nápoles, 1634- Nápoles, 1705). Último tercio del siglo XVII "Alegoría del Consulado de Bilbao". Óleo sobre lienzo Obra desconocida hasta el momento, el pequeño cuadro, seguramente fragmento de un cuadro mayor, se podría relacionar con la mano de Luca Giordano. La tela sugiere que sea más un boceto que una pintura final. Se desconoce dato alguno de la obra, cómo sería el resultado final de la obra, como la comisión que ordenó dicha obra, etc. La manera de ejecución se asemeja mucho a los bocetos de Giordano como La Visión de San Ildefonso de Toledo conservada en el Salzburger Barockmuseum. La pintura representa una alegoría del Consulado de Bilbao decorado con cuatro escudos en sus esquinas: el de Bilbao, el de Bizkaia, la bandera de la Cruz de Borgoña y por último el escudo del Consulado de Bilbao. En 1511, mediante Provisión Real de la reina Juana I, se creó el Consulado, Casa de Contratación, Juzgado y Universidad de Bilbao. Esta institución estaba encargada de regular el comercio en el puerto y ría de Bilbao. Durante los tres siglos siguientes jugó un papel esencial en el desarrollo de Bilbao y su ría. Bilbao percibió la importancia de poseer una embarcación que fuese símbolo de este poder. La falúa del Consulado de Bilbao era una embarcación tradicional y ceremonial, estaba engalanada como un rico salón de palacio veneciano, y se usaba para reivindicar la jurisdicción del Consulado sobre la ría del Ibaizabal una vez al año, navegando hasta la baliza de Portugalete. En 1680 dicha falúa se perdió en una crecida de la ría, repartiendo el Consulado sus elementos decorativos por la villa. De la destrucción se salvaron la mesa donde se sentaban los pasajeros, los palos dorados y la estructura de la carroza, con sus florones, el damasco carmesí de faldones y cortinas y el escudo. En 1999 la Fundación Museo Marítimo Ría de Bilbao inició la construcción de la réplica. Finalmente, el Consulado desaparece por Real Orden del 30 de mayo de 1829. Procedencia: Antigua colección de Don Ramón Aras Jauregui; Colección particular, Madrid Medidas:31 x 46 cm.
Magna Art Auctions
Dec. 29, 2025
DISCÍPULO DE LUCA GIORDANO (Nápoles, 1634- 1705). Último cu
Est: €6,000 -
DISCÍPULO DE LUCA GIORDANO (Nápoles, 1634- 1705). Último cuarto del siglo XVII "David mostrando a Salomón los planos del templo de Jerusalén ". Óleo sobre lienzo Boceto del original de Luca Giordano expuesto en Colnaghi & Co. Ltd., Londres. Otra versión del artista se conserva en colección particular y una tercera pintada por Aniello Rossi, 1699-1700, que versiona la obra de Giordano, se conservada en al Galleria degli Uffizi. Medidas:82 x 57 cm.
Magna Art Auctions
Dec. 29, 2025
SEGUIDOR DE LUCA GIORDANO (Nápoles, 1634 - 1705). Segunda
Est: €3,000 -
SEGUIDOR DE LUCA GIORDANO (Nápoles, 1634 - 1705). Segunda mitad del siglo XVII "Venus y Cupido". Óleo sobre lienzo La pintura representa una parte del cuadro original de Giordano conservado en una colección privada y que es "Venus en la fragua de Vulcano" Medidas:98 x 110 cm.
Magna Art Auctions
Dec. 18, 2025
Luca Giordano (Naples, 1634 - 1705) "The Birth of the Virgin"
Est: €25,000 - €35,000
Luca Giordano (Naples, 1634 - 1705) "The Birth of the Virgin" Oil on canvas 38 x 82 cm 25.000 - 35.000 € Preparatory study for the larger analogue painting in the Norton Simon Museum in Pasadena, California, of which there is also a sketch on paper located in the British Museum of London Certified by Mr. Oreste Ferrari
Greco Subastas
Dec. 11, 2025
Luca Giordano 1634 Napoli -1705 Napoli , attribuito a Perseo combatte contro Fineo e i suoi compagni
Est: €30,000 - €40,000
probabile frammento L’opera, giunta in stato di frammento, è da riferire al pittore Luca Giordano, il quale diverse volte si cimentò nella rappresentazione di Perseo, in particolare di Perseo che combatte contro Fineo e i suoi compagni: come nella tela conservata alla Galleria di Palazzo Reale a Genova, quella della collezione Medinaceli ad Antigua e della National Gallery a Londra. È da osservare che, a differenza dell’opera qui esaminata, il pittore scelse per queste tele di rappresentare scene più articolate, dove a prevalere sono le architetture rispetto alle figure, le quali sono così più numerose e meno monumentali. Ci sono stringenti affinità, sia compositive che pittoriche, tra l’opera qui in esame e la tela conservata al Museo di Belle Arti di Saragozza rappresentante Cefalo e Procri dinanzi a Diana, che Giordano eseguì nel 1695 durante il suo soggiorno in Spagna (1692-1702). È interessante sapere che nel XVIII secolo, proprio in due collezioni a Madrid, sono ricordate due versioni di un “Perseo con la Testa di Medusa”. Se quella ricordata nell’inventario dei dipinti del Conte di Santisteban non può essere identificata con la nostra, poiché non corrispondono le misure menzionate “p.i. 5 1/2 largh x 3 1⁄2”, la versione registrata nel 1703 tra i beni di Sebastian de Cotes y la Càrcel viceversa potrebbe esserlo. Pertanto, il dipinto in esame, anche per le affinità con quello di Saragozza, potrebbe essere stato eseguito dal pittore durante il suo soggiorno spagnolo, collocandosi così nella sua produzione matura. Tracciare in breve la complessa attività di Luca Giordano è assai difficile. Il pittore è stato attivo principalmente a Napoli, dove ebbe la sua prima formazione, Firenze, Venezia, Madrid e Roma. Fu influenzato in particolare da Jusepe de Ribera, Pietro da Cortona, Tiziano e Paolo Veronese. olio su tela
Cambi Casa d'Aste