Aureliano Milani Paintings & Artwork for Sale | Aureliano Milani Art Value Price Guide

Jul. 15, 2026
AURELIANO MILANI (Bologna, 1675 - Rome, 1749) "St. Peter penitent". Oil on canvas. Relined in the nineteenth century. Presents faults. It has a frame of c, 1830.
Est: €10,000 - €11,000
AURELIANO MILANI (Bologna, 1675 - Rome, 1749) "St. Peter penitent". Oil on canvas. Relined in the nineteenth century. Presents faults. It has a frame of c, 1830. Measurements: 74.5 x 58.5 cm; 95 x 76 cm (frame). This canvas of penitent St. Peter is a particularly eloquent example of the artistic maturity of Aureliano Milani and his firm adherence to the classicist tradition of the Bolognese school. The figure of the apostle, represented in a moment of introspection and repentance after the denial of Christ, imposes himself on the viewer through a powerful physical and psychological presence, achieved through a masterful use of chiaroscuro and a dense, warm and modulated brushstroke with remarkable sensitivity. Milani demonstrates here an absolute technical mastery: the aged flesh of the saint, furrowed with wrinkles and tinged with subtle glazes, reveals a direct observation of reality, while the gray beard and the folds of the cloak are resolved with a sure, ample and expressive execution. The light, directed and concentrated, not only models the volume of the body, but also acts as a narrative element, underlining the inner drama of the character and elevating the scene to a contained spiritual dimension, far removed from the more theatrical baroque effect. The theme, deeply rooted in the Counter-Reformation iconography, finds in Milani a sober and serious interpretation, faithful to the Carraccian ideal of balance between natural truth and classical nobility. In contrast to the rococo and elegant classicism cultivated by some of his Bolognese contemporaries, the painter opts here for an image of intense humanity, where repentance is expressed more by the raised gaze and intertwined hands than by emphatic gestures. Milani trained with Giulio Cesare Milani, Lorenzo Pasinelli and Cesare Gennari, and decisively assimilated the influence of the Carracci, fully integrating himself into the Bolognese classicism of the 17th century. In contrast to the rococo turn of his contemporaries, he maintained a more severe classicism, exemplified in Eneas and Turno. From 1719 he worked in Rome, where he made numerous altarpieces. In his maturity he developed a marked realistic vein, visible both in genre scenes and religious works. His profane decorations also stand out, such as the gallery of Hercules in the Palazzo Doria Pamphili, and his little known but solid work as a draughtsman, heir to the Carraccesque tradition. Presents faults.
Setdart Auction House
May. 20, 2026
AURELIANO MILANI - The Repentance of Peter. (Bologna, 1675 - Rome, 1749) Italian 17th century
Est: €30,000 - €35,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently addressed by artists of the Carracci school in the first two decades of the century. Ex-Private collection.
Templum Fine Art Auctions
Apr. 23, 2026
AURELIANO MILANI (Bologna, 1675 - Rome, 1749) "St. Peter penitent". Oil on canvas. Relined in the nineteenth century. Presents faults. It has a frame of c, 1830.
Est: €10,000 - €12,000
AURELIANO MILANI (Bologna, 1675 - Rome, 1749) "St. Peter penitent". Oil on canvas. Relined in the nineteenth century. Presents faults. It has a frame of c, 1830. Measurements: 74.5 x 58.5 cm; 95 x 76 cm (frame). This canvas of penitent St. Peter is a particularly eloquent example of the artistic maturity of Aureliano Milani and his firm adherence to the classicist tradition of the Bolognese school. The figure of the apostle, represented in a moment of introspection and repentance after the denial of Christ, imposes himself on the viewer through a powerful physical and psychological presence, achieved through a masterful use of chiaroscuro and a dense, warm and modulated brushstroke with remarkable sensitivity. Milani demonstrates here an absolute technical mastery: the aged flesh of the saint, furrowed with wrinkles and tinged with subtle glazes, reveals a direct observation of reality, while the gray beard and the folds of the cloak are resolved with a sure, ample and expressive execution. The light, directed and concentrated, not only models the volume of the body, but also acts as a narrative element, underlining the inner drama of the character and elevating the scene to a contained spiritual dimension, far removed from the more theatrical baroque effect. The theme, deeply rooted in the Counter-Reformation iconography, finds in Milani a sober and serious interpretation, faithful to the Carraccian ideal of balance between natural truth and classical nobility. In contrast to the rococo and elegant classicism cultivated by some of his Bolognese contemporaries, the painter opts here for an image of intense humanity, where repentance is expressed more by the raised gaze and intertwined hands than by emphatic gestures. Milani trained with Giulio Cesare Milani, Lorenzo Pasinelli and Cesare Gennari, and decisively assimilated the influence of the Carracci, fully integrating himself into the Bolognese classicism of the 17th century. In contrast to the rococo turn of his contemporaries, he maintained a more severe classicism, exemplified in Eneas and Turno. From 1719 he worked in Rome, where he made numerous altarpieces. In his maturity he developed a marked realistic vein, visible both in genre scenes and religious works. His profane decorations also stand out, such as the gallery of Hercules in the Palazzo Doria Pamphili, and his little known but solid work as a draughtsman, heir to the Carraccesque tradition. Presents faults.
Setdart Auction House
Feb. 12, 2026
Napoleon III Giltwood Mirror with Bronze Garlands and Medallion, French School, 19th Century
Est: €6,000 - €7,000
Carved and gilt wood, gilt bronze. Measurements 171 cm high x 116 cm wide. Monumental decorative mirror conceived for a prestigious interior, structured by a large rectilinear moulded frame of architectural clarity, surmounted by an elaborate cresting composed of gilt bronze floral and foliate garlands symmetrically draped from a central oval medallion featuring a classical profile in relief, a distinctive ornamental motif associated with refined French workshops of the period. The lower corners are enriched with finely cast bronze vegetal mounts that enhance the decorative rhythm while preserving the sobriety of the overall composition. The original water-gilded surface displays a warm, nuanced patina acquired over time, attesting to the authenticity and age of the piece. The high quality of the carving, the harmonious dialogue between the wooden structure and the bronze embellishments, and the balance between restraint and opulence are characteristic of the Napoleon III aesthetic, in which classical sources are reinterpreted through an eclectic and luxurious decorative language. Intended for grand salons or reception rooms, this mirror stands as a representative example of French luxury production of the Second Empire, firmly rooted in the artistic traditions of the 19th century and endowed with strong visual presence and decorative significance. 171 x 116 cm.
Templum Fine Art Auctions
Oct. 22, 2025
AURELIANO MILANI - The Repentance of Peter. (Bologna, 1675 - Rome, 1749) Italian 17th century
Est: €30,000 - €35,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently addressed by artists of the Carracci school in the first two decades of the century. Ex-Private collection.
Templum Fine Art Auctions
Jul. 17, 2025
AURELIANO MILANI - The Repentance of Peter. (Bologna, 1675 - Rome, 1749) Italian 17th century
Est: €30,000 - €35,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently addressed by artists of the Carracci school in the first two decades of the century. Ex-Private collection.
Templum Fine Art Auctions
Jul. 02, 2025
The Abduction of Helen
Est: £10,000 - £15,000
Aureliano Milani (Bologna 1675 - 1749) The Abduction of Helen Black chalk, with stumping and grey wash; signed in pen and brown ink, lower right: Io Aureliano Milani F.; bears John Barnard's inscription on the backing (see Provenance) 291 by 496 mm
Sotheby's
Jun. 26, 2025
Attributed to AURELIANO MILANI (Bologna, 1675 - Rome, 1749) - The Repentance of Saint Peter
Est: €30,000 - €60,000
Oil on canvas, 75x58.5 cm unframed 85cm x 68.5cm with frame Aureliano Milani (Bologna, 1675 - Rome, 1749), Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of Saint Peter, a theme that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands clasped in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more vivid. The light, coming from the left, illuminates the saint's face, which is also highlighted by the ochre tone of his cloak. The intensity of the saint's face and the powerful dosage of chiaroscuro reveal the work of a master painter, well acquainted with Guido Reni's essays on the subject. The theme of the Weeping St. Peter, in the first two decades of the century, was frequently addressed by artists of the Carracci school. The intimate and pathetic tone of the work brings it closer to the style of Aureliano Milani, a highly accomplished Bolognese artist who, in his choice of warm colors and the expressive power of the figures, renews the power of the Carracci painting, especially that of Ludovico. Stylistically, the figure does not seem very far removed from those of St. Luke and St. Pellegrino in the Basilica dei Servi in Bologna, painted before his departure for Rome in 1719.
Templum Fine Art Auctions
May. 22, 2025
AURELIANO MILANI - The Repentance of Peter. (Bologna, 1675 - Rome, 1749) Italian 17th century
Est: €30,000 - €35,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently addressed by artists of the Carracci school in the first two decades of the century. Ex-Private collection.
Templum Fine Art Auctions
Apr. 30, 2025
Attributed to AURELIANO MILANI (Bologna, 1675 - Rome, 1749) - The Repentance of Saint Peter
Est: €30,000 - €60,000
Oil on canvas, 75x58.5 cm unframed 85cm x 68.5cm with frame Aureliano Milani (Bologna, 1675 - Rome, 1749), Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of Saint Peter, a theme that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands clasped in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more vivid. The light, coming from the left, illuminates the saint's face, which is also highlighted by the ochre tone of his cloak. The intensity of the saint's face and the powerful dosage of chiaroscuro reveal the work of a master painter, well acquainted with Guido Reni's essays on the subject. The theme of the Weeping St. Peter, in the first two decades of the century, was frequently addressed by artists of the Carracci school. The intimate and pathetic tone of the work brings it closer to the style of Aureliano Milani, a highly accomplished Bolognese artist who, in his choice of warm colors and the expressive power of the figures, renews the power of the Carracci painting, especially that of Ludovico. Stylistically, the figure does not seem very far removed from those of St. Luke and St. Pellegrino in the Basilica dei Servi in Bologna, painted before his departure for Rome in 1719.
Templum Fine Art Auctions
Mar. 20, 2025
AURELIANO MILANI - The Repentance of Peter. (Bologna, 1675 - Rome, 1749) Italian 17th century
Est: €30,000 - €35,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently addressed by artists of the Carracci school in the first two decades of the century. Ex-Private collection.
Templum Fine Art Auctions
Feb. 20, 2025
Attributed to AURELIANO MILANI (Bologna, 1675 - Rome, 1749) - The Repentance of Saint Peter
Est: €30,000 - €60,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently tackled by artists of the Carracci school in the first two decades of the century. The intimate and pathetic tone of the work brings it close to the style of Aureliano Milani, a high-level Bolognese artist who, in the choice of warm colours and in the expressive force of the figures, renews the strength of the Carracci painting, especially that of Ludovico. Stylistically, the figure does not seem very far from those of St Luke and St Pellegrino in the Basilica dei Servi in Bologna, painted before his departure for Rome in 1719.
Templum Fine Art Auctions
Dec. 12, 2024
Attributed to AURELIANO MILANI (Bologna, 1675 - Rome, 1749) - The Repentance of Saint Peter
Est: €30,000 - €60,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently tackled by artists of the Carracci school in the first two decades of the century. The intimate and pathetic tone of the work brings it close to the style of Aureliano Milani, a high-level Bolognese artist who, in the choice of warm colours and in the expressive force of the figures, renews the strength of the Carracci painting, especially that of Ludovico. Stylistically, the figure does not seem very far from those of St Luke and St Pellegrino in the Basilica dei Servi in Bologna, painted before his departure for Rome in 1719.
Templum Fine Art Auctions
Jan. 31, 2024
AURELIANO MILANI (BOLOGNA 1675-1749) The Combat of Aeneas and Turnus oil on
Est: $40,000 - $60,000
AURELIANO MILANI (BOLOGNA 1675-1749) The Combat of Aeneas and Turnus oil on canvas 67 ½ x 52 ½ in. (171.5 x 133.3 cm.)
Christie's
Sep. 26, 2023
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc
Est: €800 - €1,200
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc Annoté 'Vanni' en bas à gauche et 'Dentatus rejecting the Bribes of the Samnites / [...] Barker Am 1789 / March / 1841' au verso h: 24,50 w: 37,50 cm Provenance : Collection Benjamin West, Londres, son cachet (L. 419) en bas à droite ; Probablement sa vente, Londres, 1820, selon l'annotation au verso ; Collection William Esdaile, Londres, son paraphe (L. 2617) en bas à droite, avec l'attribution 'aureliano' dans le bas sur le montage et ses initiales avec date et inscription '1820 W E B West's sale P4N50' au verso ; Vente anonyme, Paris, Christie's, 21 octobre 2013, n° 329 Estimation 800 - 1 200 €
Artcurial
Jul. 04, 2023
AURELIANO MILANI (BOLOGNA 1675-1749) The Death of Saint Francis, after Anni
Est: £700 - £1,000
AURELIANO MILANI (BOLOGNA 1675-1749) The Death of Saint Francis, after Annibale Carracci black chalk, stumping, heightened with white, on light brown paper, black chalk framing lines 25.4 x 18.3 cm (10 x 7 1/4 in.)
Christie's
Jun. 13, 2023
MILANI AURELIANO (1675 - 1749) Saint Francis Xavier converts the indigenous
Est: €5,000 - €8,000
MILANI AURELIANO (1675 - 1749). Saint Francis Xavier converts the indigenous. Cm 97,50 x 61,50.
Capitolium Art
May. 24, 2022
Aureliano Milani, Italian, 1675-1749: Two Hunters and Other Figures in a Landscape, a Town in the Middle Distance
Est: $1,500 - $3,000
Aureliano Milani Italian, 1675-1749 Two Hunters and Other Figures in a Landscape, a Town in the Middle Distance Inscribed Derback? (lr) and numbered 458 (ur) in graphite pencil; inscribed Orig. di Aureliano Milani: Roma 1730 in brown ink on the verso, along with an extensive modern inscription in graphite pencil Brown ink and wash on heavy paper 15 x 20 1/2 inches (38.1 x 52 cm) C Estate of Dr. Robert A. Silver
DOYLE Auctioneers & Appraisers
Mar. 15, 2022
AURELIANO MILANI (attr. a)
Est: €4,000 - €6,000
(Bologna, 1675 - Roma, 1749) Scena mitologica Ercole e l'Idra Matita su carta applicata su tela, cm 57X65 (2) Aureliano Milani apprese i primi insegnamenti con lo zio Giulio Cesare Milani, frequentò la bottega del Pasinelli e infine quella di Cesare Gennari ma furono certamente per lui importanti gli esempi dei Carracci. Il trasferimento a Roma nel 1719 segna una svolta importante per la carriera dell'artista, che culmina nel 1733 con la commissione per le decorazioni a fresco della Galleria degli Specchi di Palazzo Doria-Pamphilj. Il ciclo era chiaramente ispirato all'opera di Annibale Carracci, in particolare agli affreschi della Galleria Farnese. I dipinti di Milani presentano nudi muscolari di un genere che potrebbe essere interpretato come un marchio di fabbrica della sua produzione. Continuò a lavorare per tutto il 1740 fino alla sua morte su una serie di cicli di affreschi e pale d'altare in cui rielabora composizioni simili modellate su disegni e studi preparati in varie fasi della sua carriera. Anche nella nostra tela l'influenza carraccesca è particolarmente evidente, in cui prevale la forza disegnativa dei corpi, mostrando un artista sostanzialmente controcorrente rispetto al classicismo di Carlo Maratti.
Wannenes Art Auctions
Jan. 19, 2022
Attribuito à Aureliano MILANI (1675-1769)
Est: €600 - €800
Attribuito à Aureliano MILANI (1675-1769) La guérison de saint Pellegrino Laziosi (1265-1345) de l'ordre de Servites de Marie Black stone, lavi grey On the verso : traces of inscriptions in the upper right corner and N° 30 in the lower left corner La guérison de saint Pellegrino Laziosi (1265-1345) de l'ordre de Servites de Marie Pierre noire, lavis gris Au verso, traces d'inscriptions en haut à droite et N° 30 en bas à gauche H_40,1 cm L_22,1 cm Works related : - Rome, San Marcello al Corso - Bologna, Chiesa di Santa Maria dei Servi La guarigione di san Pellegrino Laziosi (1265-1345) dell'ordine dei Srviti di Maria Pietra nera, lavi grigio Al verso : tracce d'iscrizione in alto a destra e N° 30 in basso a sinistra La guérison de saint Pellegrino Laziosi (1265-1345) de l'ordre de Servites de Marie Pierre noire, lavis gris Au verso, traces d'inscriptions en haut à droite et N° 30 en bas à gauche H_40,1 cm L_22,1 cm Opere in rapporto : - Roma, San Marcello al Corso - Bologna, Chiesa di Santa Maria dei Servi
Pierre Bergé & Associés
Nov. 26, 2021
AURELIANO MILANI
Est: €3,000 - €5,000
(Bologna, 1675 - Roma, 1749) Cattura di Sansone Olio su tela, cm 101X77 Provenienza: New York, Christie's, 7 giugno 2002, lotto 42 (come cerchia di Paolo Pagani) Il pittore apprese i primi insegnamenti con lo zio Giulio Cesare Milani, frequentò la bottega del Pasinelli e infine quella di Cesare Gennari ma furono certamente per lui importanti gli esempi dei Carracci. Il trasferimento a Roma nel 1719 segna una svolta importante per la carriera dell'artista, che culmina nel 1733 con la commissione per le decorazioni a fresco della Galleria degli Specchi di Palazzo Doria-Pamphilj. Il ciclo era chiaramente ispirato all'opera di Annibale Carracci, in particolare agli affreschi della Galleria Farnese. I dipinti di Milani presentano nudi muscolari di un genere che potrebbe essere interpretato come un marchio di fabbrica della sua produzione. Continuò a lavorare per tutto il 1740 fino alla sua morte su una serie di cicli di affreschi e pale d'altare in cui rielabora composizioni simili modellate su disegni e studi preparati in varie fasi della sua carriera. Anche nella nostra tela l'influenza carraccesca è particolarmente evidente, in cui prevale la forza disegnativa dei corpi, mostrando un artista sostanzialmente controcorrente rispetto al classicismo di Carlo Maratti. L'opera è corredata da una scheda critica di Alberto Cottino.
Wannenes Art Auctions
Jun. 17, 2021
MILANI AURELIANO (1675 - 1749) Hercules and Onfale.
Est: €500 - €800
MILANI AURELIANO (1675 - 1749). Hercules and Onfale.. Cm 29,50 x 21,00.
Capitolium Art
Apr. 29, 2021
ERCOLE LELLI (BOLOGNA, 1702-1766) DA AURELIANO MILANI (BOLOGNA, 1675 – ROMA, 1749) SAN GAETANO
Est: -
San Gaetano supported by two angels in front of the Madonna and Child seated on a cloud, among other angels and little angels. The inscription "Sanctus Caietanus clericorum regularium fundator" is engraved at the bottom, with the names of the authors on the sides. Etching, 510x351mm Nice impression, glued on cardboard.
Bertolami Fine Art s.r.l.
Feb. 11, 2021
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc,
Est: €1,000 - €1,500
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc, annoté 'Vanni' en bas à gauche et 'Dentatus rejecting the Bribes of the Samnites / [...] Barker Am 1789 / March / 1841' au verso h: 24,50 w: 37,50 cm Provenance : Collection Benjamin West, Londres, son cachet (L. 419) en bas à droite ; Probablement sa vente, Londres, 1820, selon l'annotation au verso ; Collection William Esdaile, Londres, son paraphe (L. 2617) en bas à droite, avec l'attribution 'aureliano' dans le bas sur le montage et ses initiales avec date et inscription '1820 W E B West's sale P4N50' au verso ; Vente anonyme, Paris, Christie's, 21 octobre 2013, n° 329 Estimation 1 000 - 1 500 €
Artcurial
Oct. 20, 2020
AURELIANO MILANI (BOLOGNA 1675-1749),
Est: $70,000 - $90,000
AURELIANO MILANI (BOLOGNA 1675-1749) The Combat of Aeneas and Turnus signed and dated 'AURELIANO MILANI. MDCCVIII' (center right, on the pediment of the temple) oil on canvas 67 1/2 x 52 1/2 in. (171.5 x 133.3 cm.) ,
Christie's
Jun. 09, 2020
Aureliano Milani
Est: €20,000 - €30,000
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Bologna 1675–1749 Rome) The Drunkenness of Noah, oil on canvas, 49.5 x 66 cm, framed Provenance: Collection of Prince René of Bourbon-Parme (1894–1962), Denmark (according to a label on the reverse); sale, Sotheby’s, New York, 26 January 2012, lot 150 (as Bolognese School, 17th Century); sale, Tajan, Paris, 22 March 2018, lot 33 (as Aureliano Milani); where acquired by the present owner We are grateful to Francesco Petrucci for confirming the attribution of the present painting on the basis of a digital photograph. The present painting is the pendant of lot 405, sold at Dorotheum, Vienna, 30 April 2019. Noah is portrayed stretched out and asleep, lying with abandon in an alcoholic stupor. At his shoulder Cham points him mockingly, while his two brothers Shem and Japheth hurry to cover the elderly Noah with a mantle. While Noah’s body is rendered with impressive naturalism, by the smooth modelling of his torso which is bathed in light falling from the left, his sons, steeped in shadow, are by comparison merely sketched in with fast and informal brush strokes. The light distributed across Noah’s body contributes to the rendering of the nude figure in a sculptural manner. Noah is represented as a strong muscular man, giving Milani the opportunity for exercising his skills in human anatomy. Indeed, Aureliano Milani’s production is typically characterised by the male nude and somewhat taught, muscular, anatomies, pervaded by a mannerist undercurrent, which is also typical of the Bolognese tradition. The pose taken up by Noah is reminiscent for example of Michelangelo, and particularly his sculpted figure of Night for the tomb of Giuliano de’ Medici in the New Sacristy of San Lorenzo, Florence. The torsion in the bust of Noah also distantly revisits classical prototypes such as the Torso del Belvedere in the Vatican Museum. Aureliano Milani worked between Rome and his native city of Bologna. After an initial apprenticeship with his uncle he studied with Lorenzo Pasinelli before entering the studio of Cesare Gennari. When he was in Rome in the 1720s he espoused a return to the art of the Carracci and became recognised as among the foremost painters of the Bolognese school. He received important commissions among which the most prestigious was the frescoed vault decoration of the Galleria degli Specchi of Palazzo Doria Pamphilij in 1733.
Dorotheum
May. 26, 2020
AURELIANO MILANI att. to
Est: €1,200 - €1,800
AURELIANO MILANI, att. to (Bologna 1675 - Rome 1749) LANDSCAPE WITH RESTING SANSONE Oil on canvas, cm. 45 x 37 Golden frame CONDITION OF THE PAINTING Late nineteenth century re-lining. Points and lines of restoration scattered in the sky, points of restoration on the skin tones AURELIANO MILANI, att. a (Bologna 1675 - Roma 1749) PAESAGGIO CON SANSONE AL RIPOSO Olio su tela, cm. 45 x 37 Cornice dorata CONDIZIONI DEL DIPINTO Rintelo tardo ottocentesco. Punti e linee di restauro sparse nel cielo, punti di restauro sugli incarnati
Casa d'Aste Babuino
Feb. 04, 2020
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc,
Est: €1,500 - €2,000
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc, annoté 'Vanni' en bas à gauche et 'Dentatus rejecting the Bribes of the Samnites / [...] Barker Am 1789 / March / 1841' au verso h: 24,50 w: 37,50 cm Provenance : Collection Benjamin West, Londres, son cachet (L. 419) en bas à droite ; Probablement sa vente, Londres, 1820, selon l'annotation au verso ; Collection William Esdaile, Londres, son paraphe (L. 2617) en bas à droite, avec l'attribution 'aureliano' dans le bas sur le montage et ses initiales avec date et inscription '1820 W E B West's sale P4N50' au verso ; Vente anonyme, Paris, Christie's, 21 octobre 2013, n° 329 Estimation 1 500 - 2 000 €
Artcurial
Nov. 21, 2019
AURELIANO MILANI (Bologna, 1675 - Rome, 1749), ATTRIBUTED TO - The baptism of Christ
Est: €2,400 - €3,000
AURELIANO MILANI (Bologna, 1675 - Rome, 1749), ATTRIBUTED TO The baptism of Christ Oil on canvas, cm. 70x57,5
Bertolami Fine Art s.r.l.
Oct. 19, 2019
Attributed to MILANI, Aureliano The Incredulity of Saint Thomas. C. 1700-17
Est: €350 - €600
Attributed to MILANI, Aureliano The Incredulity of Saint Thomas. C. 1700-1749 Drawing, pen and brown ink with wash, heightened with white, 44 x 32 cm, on verso in cont. hand "A. Milani" (min. foxing, sm. blue stains in lower right, rep. tear in lower part, sm. defects in lower left margin). Stuck by upper corners under passe-partout. Classical representation of Jesus, here in an architectural setting and surrounded by numerous disciples, guiding Thomas' fingers into the wound. The ms. note refers to the Italian painter of the late Baroque period A. Milani (1675-1749), who was active in Bologna and Rome.
Arenberg Auctions
Jul. 04, 2018
AURELIANO MILANI | An angel playing a trumpet
Est: £10,000 - £15,000
Black and red chalk heightened with white chalk on pinkish-brown prepared paper; bears numbering in pen and brown ink, verso: ? 69?
Sotheby's
Mar. 22, 2018
Auréliano MILANI (Bologne 1675-1749) L’ivresse de Noé Noa drunkness, canvas, on the stretcher’s back, a collection label: Collection de
Est: €10,000 - €15,000
Auréliano MILANI (Bologne 1675-1749) L’ivresse de Noé Noa drunkness, canvas, on the stretcher’s back, a collection label: Collection de Son Altesse Royale / Monseigneur le Prince/ RENE DE BOURBON PARME, in a 17th century French carved giltwood frame 19 1/2 X 25 5/8 IN. € 10,000-15,000 Le pendant de ce tableau est conservé dans une collection particulière (Abel Mort ?). Auréliano MILANI (Bologne 1675-1749) L’ivresse de Noé Toile Restaurations anciennes Au revers du châssis, une étiquette de collection : Collection de Son Altesse Royale / Monseigneur le Prince/ RENE DE BOURBON PARME Dans un cadre en bois doré français du XVIIe siècle 49,5 X 65 CM.
Tajan
Jan. 30, 2018
"Santísima Trinida"
Est: -
GIOVANNI BATTISTA SINTES, sculpit (Italy, c.1680 - c.1760), AURELIANO MILANI, invent et delineabit (Bologna, 1675 - Rome, 1749). "Santísima Trinidad". Engraving by etching. 32 x 21.5 cm "Santísima Trinida" GIOVANNI BATTISTA SINTES, sculpit (Italia, c. 1680 - c. 1760) AURELIANO MILANI, invent et delineabit (Bolonia, 1675 - Roma, 1749) Grabado al aguafuerte 32 x 21,5 cm
Isbilya Subastas
Jan. 30, 2018
Aureliano Milani (Bologna 1675-1749 Rome) Study of a partially draped male nude, three-quarter length
Est: $3,000 - $4,000
Aureliano Milani (Bologna 1675-1749 Rome) Study of a partially draped male nude, three-quarter length black chalk, watermark PA in a heart 10 1/8 x 7 ¼ in. (25.7 x 18.4 cm)
Christie's
Jun. 25, 2016
Attribué à Auréliano MILANI (1675 - 1749)
Est: €10,000 - €11,000
Attribué à Auréliano MILANI (1675 - 1749) Sanson et les philistins Toile 77 x 116 cm Porte une inscription à l'encre au dos de la toile: N.37 Petits manques Cabinet Turquin Expert en tableaux anciens et du XIXème 69 rue Sainte Anne 75002 Paris Tél : +33 (0)1 47 03 48 78 Fax : +33 (0)1 42 60 59 32
Pays de Fayence Enchères
Aug. 13, 2015
Attribué à Auréliano MILANI (1675 - 1749) Sanson tuant les philistins. Toile. 77 x 116 cm.Porte une inscription à l'encre au dos de la toile: N.37. Petits manques Cabinet Turquin. Expert en tableaux anciens et du XIXème. 69 rue Sainte Anne.
Est: €10,000 - €11,000
Attribué à Auréliano MILANI (1675 - 1749) Sanson tuant les philistins. Toile. 77 x 116 cm.Porte une inscription à l'encre au dos de la toile: N.37. Petits manques Cabinet Turquin. Expert en tableaux anciens et du XIXème. 69 rue Sainte Anne. 75002 Paris Tél : +33 (0)1 47 03 48 78 Fax : +33 (0)1 42 60 59 32
Pays de Fayence Enchères
Jul. 08, 2015
AURELIANO MILANI | An elaborate frieze showing the triumph of a Roman general
Est: £7,000 - £9,000
Pen and brown ink heightening with white on buff paper, the bottom margin of the sheet washed light pinkish beige; bears old attribution in brown ink lower left: Tiepolo
Sotheby's
Jun. 30, 2015
AURELIANO MILANI(attr.) Zenobia and Alexander
Est: £1,100 - £1,500
AURELIANO MILANI(attr.) Zenobia and Alexander Black pen on paper It can be dated between the first and second decade of the 18th century. The drawing reveals the artist's thin and elegant line during the period when he was working in the Gal- lery of Mirrors at Doria Pamphili Palace in Rome with the Stories of Hercules and the Allegories of the Liberal Arts. It's a preparatory study for an unknown alterpiece elaborated with the criterion of the refusal of pagan idols' cult and consequent martyrdom frequently found in the Roman art of the first quarter of the 18th century. 312 x 210 mm
Bertolami Fine Art s.r.l.
Jan. 29, 2015
Aureliano Milani (Bologna 1675-1749) The abduction of Helen black chalk wit
Est: $12,000 - $18,000
Aureliano Milani (Bologna 1675-1749) The abduction of Helen black chalk with stumping, pen and black ink, grey wash 11 3/8 x 19 3/8 in. (28.8 x 49.4 cm.)
Christie's
Nov. 28, 2014
Milani, A. (1675-1749). (Christ carrying the cross to Calvary). Large engraving (printed) on 3 attached sheets, 62x123,5 cm., 2-line engr. Latin caption below image, framed. - Three vertical and one horizontal former folds; large closed horizontal
Est: €300 - €500
Milani, A. (1675-1749). (Christ carrying the cross to Calvary). Large engraving (printed) on 3 attached sheets, 62x123,5 cm., 2-line engr. Latin caption below image, framed. - Three vertical and one horizontal former folds; large closed horizontal tear at left; a few closed splits at vertical folds; trifle foxed; vague waterstain in left blank margin, sl. and vaguely affecting portion of image. = Impressive scene with numerous people before a Jerusalem city gate, Golgotha in the distance.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Jun. 26, 2014
Milani, Aureliano
Est: €1,000 - €1,200
Milani, Aureliano Gesù condotto al Calvario Acquaforte, Roma, s.e., 725, mm. 610 x 1250 all'impronta della lastra e 1490 x 780 il foglio, strappo al margine bianco laterale, rinforzi.
Finarte Roma
Oct. 29, 2013
Aureliano Milani (Bologna 1675 - 1749), nei modi di, Recto: â€aeGuerrieroâ€? Verso: â€aeStudi di mani"
Est: €800 - €1,000
Aureliano Milani (Bologna 1675 - 1749), nei modi di, Recto: â€aeGuerrieroâ€ Verso: â€aeStudi di mani" matita e sanguigna su carta, mm 450x290
Cambi Casa d'Aste
May. 22, 2013
Milani, Aureliano (Bologna 1675 - Roma 1749)
Est: €1,000 - €1,800
Milani, Aureliano (Bologna 1675 - Roma 1749) L'EBREZZA DI NOE' Penna e inchiostro bruno con rialzi a tempera ...
Pandolfini Casa d'Aste
Jan. 31, 2013
Aureliano Milani (Bologna 1675-1749)
Est: $5,000 - $8,000
Aureliano Milani (Bologna 1675-1749) The Incorruptibility of Gaius Fabricius with inscription 'Vanni' (lower left) and with inscription 'Dentatus rejecting the Bribes of the Samnites [...] Barker Am 1789 March 1841' (on the verso) pen and brown ink, brown wash, heightened with white (partly oxidized) 9 7/8 x 14¾ in. (25 x 37.4 cm.)
Christie's
Jun. 26, 2011
Attribué à Auréliano MILANI - Sanson tuant les philistins
Est: €8,000 - €10,000
Attribué à Auréliano MILANI (1675 - 1749) Sanson tuant les philistins Toile 77 x 116 cm Porte une inscription à l'encre au dos de la toile: N.37 Petits manques
Pays de Fayence Enchères
Jun. 08, 2010
AURELIANO MILANI
Est: €12,000 - €16,000
AURELIANO MILANI BOLOGNA 1675 - 1749 SAN FRANCESCO SAVERIO CONVERTE GLI INDIGENI olio su tela, sagomato, grisaille 61.5 x 96.5 cm
Sotheby's
Oct. 27, 2009
[ Master Drawings, Prints before 1900,
Est: €6,000 - €8,000
[ Master Drawings, Prints before 1900, Watercolours, Miniatures ] Aureliano Milani (1675-1749) attributed to
Dorotheum
Jul. 09, 2009
Aureliano Milani (Bologna 1675-1749 Rome)
Est: £3,000 - £4,000
Aureliano Milani (Bologna 1675-1749 Rome) Five studies of a horse's head (recto); A standing soldier (verso) with inscription 'Aurelian Milani f Cinqo alta 1691. AL.[?]' (verso) red chalk, brown wash (recto); black chalk, pen and brown ink (verso) 7¼ x 11 3/8 in. (18.3 x 28.8 cm.), unframed
Christie's