Francesco Solimena Paintings & Artwork for Sale | Francesco Solimena Art Value Price Guide

Sep. 24, 2026
Francesco Solimena, l'Abate Ciccio (Canale di Serino - Barra 1747) attribuito
Est: €4,000 - €6,000
Francesco Solimena, l'Abate Ciccio (Canale di Serino - Barra 1747) attribuito Venere nella fucina di Vulcano Olio su tela 129 x 93 cm L'opera riprende la tela conservata al J. Paul Getty Museum di Los Angeles Si veda: https://catalogo.fondazionezeri.unibo.it/scheda/opera/66601/Solimena%20Francesco%2C%20Venere%20nella%20fucina%20di%20Vulcano Francesco Solimena si formò presso la bottega del padre Angelo, influenzato inizialmente da Francesco Guarini e successivamente, a Napoli, da Luca Giordano e Mattia Preti. Progressivamente lasciò l’ispirazione naturalista schiarendo la sua pittura verso uno stile rococò. Un ritorno ai lavori giovanili si andò evidenziando a partire dal 1735, come ad esempio nei dipinti realizzati nella Reggia di Caserta su committenza di Carlo di Borbone. Abilissimo imprenditore di sé stesso, riuscì a operare per le blasonate corti d’Europa ma senza dover lasciare Napoli, salvo per brevi periodi, quindi nella possibilità di gestire al meglio la sua bottega. Infatti, fu maestro di molti valenti pittori, alcuni dei quali poi divenuti loro stessi maestri di primordine, come Francesco De Mura, Corrado Giaquinto, Giuseppe Bonito, Gaspare Traversi, Sebastiano Conca, Ferdinando Sanfelice, Domenico Antonio Vaccaro, Mario Gioffredo, Leonardo Olivieri, Nicola Maria Rossi, Domenico Mondo, Jacopo Cestaro, Paolo De Majo, Orazio Solimena, Giuseppe Tomajoli. Francesco Solimena, called L’Abate Ciccio (Canale di Serino 1657 - Barra 1747) attributed Venus in the Forge of Vulcan Oil on canvas 129 x 93 cm The work is based on the painting preserved at the J. Paul Getty Museum, Los Angeles You should see: https://catalogo.fondazionezeri.unibo.it/scheda/opera/66601/Solimena%20Francesco%2C%20Venere%20nella%20fucina%20di%20Vulcano
Lucas Aste
Jul. 02, 2026
Francesco Solimena 1657 Serino-1747 Napoli Vergine che intercede per le anime del Purgatorio
Est: €8,000 - €12,000
olio su tela
Cambi Casa d'Aste
Jul. 02, 2026
Francesco Solimena 1657 Serino-1747 Napoli, attribuito a Il trionfo della Fede
Est: €500 - €600
matita nera, penna, inchiostro bruno e acquerello grigio su carta
Cambi Casa d'Aste
Jun. 25, 2026
Francesco Solimena (attribuito a) (Serino 1657 - Napoli 1747) Ritratto di nobildonna (Maria Cecilia von Tannhausen contessa di Harrach?)
Est: €4,000 - €6,000
Oil on canvas cm. 75x62. Framed The portrait may depict Maria Cecilia von Thannhausen (14 March 1674 – 15 February 1721), who acquired the title of Countess of Harrach by marrying Aloys Thomas Raimund von Harrach (Bratislava 1669 – Vienna 1742) in 1708. The latter, Viceroy of Naples from 1728 to 1733, was an important patron of Solimena, who also painted him in the magnificent portrait still preserved in the Harrach Collection at the family castle in Rohrau. Private collection, Campania.
Bertolami Fine Art s.r.l.
Jun. 17, 2026
FRANCESCO SOLIMENA UND WERKSTATT: RAHEL UND JAKOB AM BRUNNEN
Est: €10,000 - €20,000
Francesco Solimena and Workshop Rachel and Jacob at the Well oil on canvas; framed 195.5 x 151 cm private property, Austria cf. Nicola Spinosa. Francesco Solimena (1657 - 1747) e le Arti a Napoli, Ugo Bozzi Editore (ed.), 2018, p. 374, no. 151. private property, Austria cf. Nicola Spinosa. Francesco Solimena (1657 - 1747) e le Arti a Napoli, Ugo Bozzi Editore (ed.), 2018, p. 374, no. 151. differential taxation
Auction House im Kinsky
Jun. 14, 2026
FRANCESCO SOLIMENA (ITALIAN, 1657-1747)
Est: $5,000 - $10,000
Vision of St. Francis, or Saint Francis Refuses the Priesthood, a Bozzeto Oil on canvas, 25 x 20 in. - h. 31 x w. 25.75 in. (frame)
ACES Gallery
Jun. 10, 2026
Saint Barbara
Est: €8,000 - €12,000
Attributed to Francesco Solimena Canale 1657 - 1747 Naples Saint Barbara Oil on canvas 65,5 x 52,3 cm ; 25¾ by 20⅝ in.
Sotheby's
May. 13, 2026
Solimena, Francesco (Umkreis/Circle)
Est: €1,600 - €2,000
Solimena, Francesco (Umkreis/Circle) Canale di Serino 1657 - Barra (Neapel) 1747 98 x 75 cm, o.R. Moses and the Brazen Serpent. Oil/canvas, relined. Private collection, Stuttgart. Solimena, Francesco (Umkreis/Circle) Canale di Serino 1657 - Barra (Neapel) 1747 98 x 75 cm, o.R. Die eherne Schlange. Im Vordergrund ein sterbender Mann, dahinter deutet Moses auf die an einem Pfahl befestigte Schlange, die Rettung verheißt. Öl/Lwd., doubl. Stuttgarter Privatsammlung.
Nagel Auction
May. 07, 2026
FRANCESCO SOLIMENA (Attr.), Olio su tela
Est: €1,000 - €2,000
FRANCESCO SOLIMENA (Attr.) (Canale di Serino 1657 – Barra 1747) San Vincenzo Ferreri Olio su tela. cm 37 x 26.
Benedetto Trionfante Auction House s.r.l
Apr. 29, 2026
FRANCESCO SOLIMENA (Canale di Serino, 1657 - Barra, 1747) - Allegory of Justice triumphing over War and Wealth
Est: €30,000 - €40,000
Oil on canvas. Dimensions: 79 x 62.5 cm. This allegorical composition, datable to around 1697-1698, depicts Justice triumphant, occupying the center of the scene and rising above the defeated figure of War, while to her left a female figure offers jewels and symbols of wealth. Above, a nude figure holds a radiant disc that intensifies the moral and luminous sense of the composition, within a setting of classical architecture and clouds that reinforces the Baroque monumentality of the whole. The work fully reflects Francesco Solimena's mature style, with elegant drawing, a studied compositional theatricality, and a refined treatment of drapery, combined with warm lighting that underscores the noble and exemplary character of the scene. This allegorical painting is particularly representative of Neapolitan culture at the end of the 17th century, where the artist combines scenographic grandeur, narrative clarity, and intense chromatic quality. Bibliography: Nicola Spinosa, Francesco Solimena (1657-1747) e le Arti a Napoli, Rome, Ugo Bozzi Editore, 2011, pp. 236-237, no. 196. 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
Mar. 05, 2026
Francesco Solimena (attribuito a) (Serino 1657 - Napoli 1747)
Est: €7,000 - €12,000
Portrait of Maria Cecilia von Tannhausen, Countess of Harrach (?) Oil on canvas cm. 75x62. Framed The portrait may depict Maria Cecilia von Thannhausen (14 March 1674 – 15 February 1721), who acquired the title of Countess of Harrach by marrying Aloys Thomas Raimund von Harrach (Bratislava 1669 – Vienna 1742) in 1708. The latter, Viceroy of Naples from 1728 to 1733, was an important patron of Solimena, who also painted him in the magnificent portrait still preserved in the Harrach Collection at the family castle in Rohrau. Private collection, Campania.
Bertolami Fine Art s.r.l.
Feb. 25, 2026
Neapolitan master, possibly FRANCESCO SOLIMENA (Italy, 1657 - 1747); c. 1700. "The Resurrection of Christ." Oil on canvas. Relined. Presents faults. It has a frame of the eighteenth century with faults.
Est: €8,000 - €9,000
Neapolitan master, possibly FRANCESCO SOLIMENA (Italy, 1657 - 1747); c. 1700. "The Resurrection of Christ." Oil on canvas. Relined. Presents faults. It has a frame of the eighteenth century with faults. Measurements: 129 x 78 cm; 141 x 89 cm (frame). This work is clearly part of the great Neapolitan painting of the late seventeenth century and early eighteenth century, and can be related to the circle of Francesco Solimena, a leading figure of the late Italian Baroque. The canvas represents the triumphal moment of the Resurrection of Christ, one of the most solemn themes of the Christian repertoire, approached here with a masterful combination of theatricality, dynamism and compositional clarity. The composition responds directly to the famous model of the Resurrection of Christ preserved in the Belvedere Gallery in Vienna (inv. 6159), a documented work by Solimena made for Prince Eugene of Savoy through the Neapolitan viceroy Wirich Philipp, Count of Daun. The pyramidal structure of the figure of Christ, elevated above the scene and enveloped in an almost supernatural light, as well as the treatment of the dejected soldiers in the foreground, refer to a fully Solimenesque language: vigorous bodies, emphatic gestures and a dramatic use of chiaroscuro at the service of the theological message. From the technical point of view, the canvas shows a sure and expressive execution. The brushwork, although in some areas softened by relined and visible losses, retains the characteristic energy of the Neapolitan school, with intense light hallmarks and a warm palette dominated by ochers, deep reds and vibrant whites. The anatomical treatment of Christ, idealized but firm, reveals a solid knowledge of drawing and a clear monumental vocation, even within a relatively contained format. The relationship of this painting to the Viennese altarpiece model reinforces its art-historical interest. Despite its smaller size with respect to the final work, the composition maintains a remarkable narrative clarity and a high level of detail, qualities typical of advanced sketches and early versions intended for presentation or private devotion. The tradition according to which the model would have belonged to the Count of Daun or would have been received as a gift from Prince Eugene underlines the circulation of this type of work in aristocratic contexts of high cultural level. Presents faults.
Setdart Auction House
Feb. 17, 2026
SOLIMENA FRANCESCO (1657 - 1747) - Atelier of.. Saint Luke
Est: €5,000 - €8,000
SOLIMENA FRANCESCO (1657 - 1747). Atelier of.. Saint Luke. 69 x 98,50 cm.
Capitolium Art
Feb. 17, 2026
Francesco Solimena, l'Abate Ciccio (Canale di Serino - Barra 1747) bottega di
Est: €2,400 - €3,500
Francesco Solimena, l'Abate Ciccio (Canale di Serino - Barra 1747) bottega di Madonna del Latte Olio su tela 88 x 73 cm L'opera, di assoluta qualità, viene attribuita in via cautelativa alla bottega di Solimena, ovvero realizzata sotto la sua diretta supervisione e probabilmente con il suo parziale intervento diretto. Il consenso rivolto dai contemporanei all'opera di Francesco Solimena fu ampio, come lo fu il seguito di artisti che operarono nella sua bottega o che agirono nell'ambito della sua cerchia. Nell'insieme di artisti convenzionalmente inseriti nel "solimenismo" ricordiamo l'architetto, scenografo e pittore Ferdinando Santifelice, Andrea d'Aste attivo con merito nelle chiese di Sant'Agostino degli Scalzi e Giovanni Battista delle Monache a Napoli, Salvatore Pace stretto collaboratore del maestro, Onofrio Avellino, che dopo un trascorso presso Luca Giordano approdò nella bottega del Solimena e realizzò prima di dirigersi a Roma delle opere per la chiesa di Rosariello delle Pigne. Ricordiamo inoltre Paolo de Falco che seppe dare un'interpretazione personale e di qualità della lezione del maestro, soprattutto nella resa cromatica; Paolo di Majo che ebbe notevole riscontro e fu tra i diffusori nel territorio campano del verbo del Solimena. Importante personalità artistica fu Nicola Maria Rossi, uno dei migliori allievi del maestro, tanto da aver commissioni fuori i confini campani e nazionali, come testimoniano le tele della residenza degli Harrach presso Vienna, ora perdute; Giuseppe Tommajoli, ingiustamente dimenticato, attivo in Campania e Calabria; Alfonso di Spigna, operoso nella sua Ischia; Domenico Mondo, che frequentò la bottega negli ultimi anni di vita del Solimena. Di altra caratura e rilevanza furono i tre più importanti allievi del maestro partenopeo, i quali svilupparono una sensibilità artistica tale da permetter loro di compiere un percorso caratterizzato da un'espressione peculiare: parliamo di Sebastiano Conca, Francesco De Mura e Giuseppe Bonito. Francesco Solimena also called Abate Ciccio (Canale di Serino - Barra 1747) workshop of Madonna del Latte Oil on canvas 88 x 73 cm This work, of exceptional quality, is cautiously attributed to Solimena's workshop, meaning that it was produced under his direct supervision and probably with his partial direct involvement.
Lucas Aste
Feb. 10, 2026
FRANCESCO SOLIMENA (copia del XVIII secolo)
Est: €500 - €800
(Serino, 1657 - Napoli, 1747) Deposizione dalla croce Olio su tela, cm 122X76,5 Il dipinto è desunto dalla grande tela oggi custodita al Kunsthistorisches Museum di Vienna e realizzata da Francesco Solimena intorno agli anni 1728-1729, destinata all'altare della cappella di Schloss Hof dove è registrata in un inventario del 1736. Dell'opera sono note molte redazioni e copie con misure indicativamente simili che si possono considerare quale modello preparatorio. Solitamente sono opere di atelier e riprendono verosimilmente a modello la redazione che era al Museo Filangieri di Napoli, andata distrutta nel 1943 (Spinosa, p. 589, n. B15). Bibliografia di riferimento: F. Bologna, Francesco Solimena, Napoli 1958, p. 286 N. Spinosa, Francesco Solimena e le Arti a Napoli, Roma 2018, I, pp. 468-469, n. 209
Wannenes Art Auctions
Feb. 04, 2026
Francesco Solimena (circle)
Est: €1,000 - €1,500
Saint Januarius oil on canvas, cm. 32.5x24
Bolli & Romiti
Jan. 28, 2026
Francesco Solimena (Canale di Serino, 1657 – Naples, 1747) - Field Marshal Matthias von der Schulenburg (ca.1725)
Est: €40,000 - €50,000
Oil on canvas. Dimensions: 109 x 91 cm. A report by Professor Stefano Causa is attached. This portrait, of great compositional elegance and technical refinement, depicts a knight of the Order of Malta dressed in armor and wearing the order's distinctive cross on his chest. The work has been attributed by Professor Stefano Causa to Francesco Solimena, a key figure in Neapolitan Baroque painting, active between the 17th and 18th centuries and a direct heir to the style of Luca Giordano. Professor Causa's study places the work around 1725, during the artist's period of full maturity, highlighting the pictorial quality, the monumentality of the portrait, and Solimena's characteristic light treatment. The composition is structured through a careful articulation of volumes, fluid and pasty brushwork, and a masterful command of chiaroscuro that gives the figure a powerful stage presence. The attribution is based on various formal and technical elements: the construction of the face using warm glazes, the precise modeling of the hands and the texture of the armor, along with the use of enveloping amber light that highlights the dignity of the subject. These resources correspond to those employed by Solimena in his most renowned portraits, such as the Portrait of Philip V of Spain (1702, Royal Palace of Caserta) or the Portrait of Prince Pisani (Pisani collection, Naples). Likewise, the three-quarter pose, the restrained gesture, and the neutral background with slight tonal modulations respond to the canon of Neapolitan stage portraiture, in dialogue with the French court tradition represented by Hyacinthe Rigaud, an influence that Solimena reinterpreted with a fully Italian sensibility. The attribution report indicates that the portrait presents all the features of Solimena's autograph painting, although it is possible that, as in other examples of his later production, he had partial collaboration with his workshop in the peripheral areas of the canvas. A work of exceptional quality and excellent state of preservation, this portrait is a significant testament to the refinement, expressive power, and monumental elegance that defined 18th-century Neapolitan court portraiture. 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
Jan. 28, 2026
CIRCLE OF FRANCESCO SOLIMENA (ITALIAN 1657-1747), THE EUROPEAN SIBYL
Est: £2,000 - £3,000
CIRCLE OF FRANCESCO SOLIMENA (ITALIAN 1657-1747)THE EUROPEAN SIBYLOil on canvas, unframed61.6 x 47.6cm (24¼ x 18½ in.)Provenance:Sale Christie's, South Kensington, 31 October 2000, lot 57
Dreweatts 1759 Fine Sales
Dec. 04, 2025
Francesco Solimena, 1657 Canale di Serino – 1747 Barra di Napoli
Est: €18,000 - €25,000
HEILIGER BRUNO, UM 1725 Öl auf Leinwand. 135 x 97 cm. In breitem, vegetabil reliefiertem Rahmen. Beigegeben ein Gutachten von Prof. Stefano Causa, in Kopie. Der Heilige Bruno in seiner weißen Ordenstracht nach rechts über ein offenes Buch im Beten begriffen, von links ein Engel mit Blumen heranschwebend. Neben Luca Giordano (1632/34 – 1705), von dem er sich stark beeinflussen ließ, gilt Francesco Solimena als einer der führenden Vertreter der neapolitanischen Malerei seiner Zeit. Da Neapel etliche Jahre aufgrund des Spanischen Erbfolgekriegs an das österreichische Habsburg fiel, erhielt Solimena auch zahlreiche Aufträge aus Wien (z.B. das Hochaltarbild der Kapelle im Schloss Belvedere) und beeinflusste so auch die österreichischen Barockmaler wie Daniel Gran (um 1694 –1757) oder Paul Troger (1698 – 1762). Literatur: Vgl. Nicola Spinosa (Hrsg.), Francesco Solimena (1657 –1747) e le Arti a Napoli, Rom 2018. Vgl. Ferdinando Bologna, Francesco Solimena, Neapel 1958. Anmerkung: Bruno von Köln (um 1027/1030 bis 1101) war Begründer des Kartäuserordens und wird als Heiliger verehrt. 1056 wurde er Leiter der Domschule von Reims. 1084 errichtete er eine Einsiedelei. 1091 gründete er eine weitere Kartause in La Torre in Kalabrien, wo er bis zu seinem Tod blieb. (1450793) (3) (13) Francesco Solimena, 1657 Canale di Serino – 1747 Barra di Napoli SAINT BRUNO, ca. 1725 Oil on canvas. 135 x 97 cm. Accompanied by an expert’s report by Professor Stefano Causa, in copy. Literature: cf. Nicola Spinosa (ed.), Francesco Solimena (1657 – 1747) e le Arti a Napoli, Rome 2018. cf. Ferdinando Bologna, Francesco Solimena, Naples 1958.
Hampel Fine Art Auctions
Nov. 26, 2025
Francesco Solimena (Canale di Serino 1657 - Barra 1747) - Three-quarter length portrait of a gentleman, holding a letter in his hand,
Est: €5,000 - €8,000
oil on oval canvas, unframed 128 x 99.5 cm PROVENANCE EXHIBITIONS LITERATURE
Finarte
Nov. 25, 2025
Francesco SOLIMENA
Est: €15,000 - €20,000
Francesco SOLIMENA (Serino, 1657 - Barra, 1747) Le Christ à la colonne Huile sur toile (Toile d'origine) Annotée 'original del / Sn Abado : Franco / Solimena= / Ano 1696 / D. A. G. J.' sur la toile au verso (Restaurations) Christ at the column, oil on canvas, dated, by F. Solimena 41.53 x 30.90 in. 105.5 x 78.5 cm Provenance : Vente anonyme ; Vienne, Im Kinsky, 20 juin 2023, n° 2034 ; Acquis lors de cette vente par l’actuel propriétaire ; Collection particulière, Ile-de-France Nous remercions Nicola Spinosa de nous avoir aimablement confirmé l'authenticité de cette œuvre d'après photographies dans un courriel en date du 8 octobre 2025. Selon lui, le tableau a été réalisé après 1690 et avant 1700. Francesco SOLIMENA (Serino, 1657 - Barra, 1747) 105.5 x 78.5 cm
Artcurial
Nov. 25, 2025
FRANCESCO SOLIMENA
Est: €20,000 - €30,000
(Canale di Serino, 1657 - Barra, 1747) Ritratto del Duca Annibale Marchese Olio su tela, cm 64,5X48,5 Provenienza: Napoli, collezione privata Esposizioni: Ritorno al Barocco. Da Caravaggio a Vanvitelli, Napoli, Museo di Capodimonte, 12 dicembre 2009 ; 11 aprile 2010 Bibliografia: F. Petrelli, in Ritorno al Barocco: da Caravaggio a Vanvitelli, catalogo della mostra a cura di N. Spinosa, Napoli 2009, I, p. 282, n. 1.152 (come Francesco Solimena) N. Spinosa, Francesco Solimena (1657-1747) e le Arti a Napoli, Roma 2018, p. 555, n. 282 (come Francesco Solimena) Di alta qualità e bella conservazione, il dipinto raffigura il duca Annibale Marchese (1686-17532); poeta, letterato e intellettuale napoletano che, amico di Giovan Battista Vico, fu altresì Maresciallo di Campo Generale, nomina qui connotata dall'armatura e il bastone di comando, congiuntamente alla scena bellica visibile sullo sfondo e allo stemma nobiliare posto in basso a destra. Per i caratteri di stile l'opera si colloca agli anni Trenta del Settecento, in analogia con il ritratto del viceré di Napoli conte Aloys Thomas Raimund von Harrach, (Cfr. Capolavori in festa. Effimero barocco a Largo di Palazzo (1683-1759), catalogo della mostra, Napoli 1997, pp. 207-209, n. 2.4), acclarandosi tra le sue migliori prove ritrattistiche. A questo proposito non si deve tralasciare il peculiare rapporto tra l'artista e il duca, le cui imprese letterarie furono illustrate da incisioni ideate dal Solimena. Ricordiamo ad esempio il volume del 1729 dedicato alla 'Tragedie cristiane' e 'Il Viticondo' (1738), scritto in occasione del matrimonio tra Carlo di Borbone e la principessa Maria Amalia di Sassonia (v. Lotoro, Pittore degnissimo, & eruditissimo letterato. La grafica di Francesco Solimena nel momento arcadico, in Il capitale culturale, XIII (2016), pp. 117-152). Pertanto, il ritratto coincide con il momento di maggiore notorietà dell'autore che, tramite gli Asburgo, conseguì una fama europea e in cui esibisce la propria cifra stilistica neobarocca oramai distante dagli echi giordaneschi e gli effetti drammatici di Mattia Preti, esprimendo una elegante concretezza e un indubbio equilibrio compositivo dettato da una forza espressiva ineccepibile. Bibliografia di riferimento: F. Bologna, Francesco Solimena, Napoli 1958, ad vocem F. Bologna, La dimensione europea della cultura artistica napoletana nel XVIII secolo, in Arti e Civiltà del Settecento a Napoli, a cura di C. De Seta, Roma-Bari 1982 N. Spinosa, in Pittura napoletana del Settecento, dal Barocco al Rococò, Napoli 1986, ad vocem Settecento napoletano. Sulle ali dell'aquila imperiale 1707-1734, catalogo mostra a cura di N. Spinosa e W. Prohaska, Napoli 1994, ad vocem
Wannenes Art Auctions
Nov. 25, 2025
FRANCESCO SOLIMENA
Est: €3,000 - €5,000
(Nocera de' Pagani, 1657 - Barra, 1747) Crocifissione, 1730-1735 Olio su tela, cm 75,5X63 Provenienza: Roma, collezione privata Il dipinto è stato attribuito a Francesco Solimena da Ferdinando Bologna nel 1967, datando l'opera agli anni 1730-1735, in prossimità delle Storie di San Martino alla Certosa di Napoli e l'Annunciazione della Chiesa di San Rocco a Venezia. Lo studioso ricorda inoltre che il maestro serinese dipinse più volte la Crocifissione, a partire da quella firmata e datata 1697 che si conserva nella chiesa di Santa Teresa a Solofra. L'opera è corredata da scheda critica di Ferdinando Bologna. Bibliografia di riferimento: F. Bologna, Francesco Solimena, Napoli 1958, ad vocem F. Bologna, in Settecento napoletano. Sulle ali dell'aquila imperiale 1707-1734, catalogo della mostra a cura di W. Prohaska e N. Spinosa, Napoli 1994, pp. 194-197, 202-205 N. Spinosa, Francesco Solimena e le Arti a Napoli, Roma 2018, ad vocem
Wannenes Art Auctions
Nov. 22, 2025
Francesco Solimena and workshop, Dido, the Queen of Carthage, receiving Aeneas and Cupid disguised as Ascanius
Est: €50,000 - €60,000
Certificate Ferdinando Bologna, 2006. Solimena’s monumental picture shows Aeneas greeting the Queen whilst the disguised Cupid approaches her, attracting her total attention; contemporaries would have understood that both Dido and Aeneas believed him to be Ascanius, despite his attributes, displayed for the understanding of the onlookers. The present canvas closely relates to Francesco Solimena's painting in the London National Gallery. As Solimena wrote in a letter form 1711, he was commissioned to paint Dido receiving Aeneas and Cupid by Cardinal Vincenzo Grimani, probably for his palace in Napoli, where Grimani served as Viceroy from 1708. The stage-like composition was indeed probably inspired by contemporary theatrical performances and may have been particularly pleasing for Grimani, an opera enthusiast. However, the Cardinal died before making the final payment for his commission, that was finally sold to Count Pellegrino Ferri in Padua. The present painting shows some clear differences with the “Grimani/Ferri” painting, now in London: foremost, two Solomonic columns replace here the straight Doric ones of the National Gallery; also the figures between Dido and Aeneas are different. , especially to the right of Dido's head (an area which in the National Gallery version is full of pentimenti). Interesting to note how the present work is closer to a drawing now in the Venetian Gallerie dell´Accademia, formerly attributed to by Giambattista Pittoni and later considered Neapolitan, after Solimena, by both Professor Bologna and Professor Spinosa. The differences between the two works and their different relations to the Accademia drawing may suggest an autography, even partial, for the present painting, which Professor Ferdinando Bologna fully ascribed to Solimena, dating it to the same years as the National Gallery work, just prior to 1710.
Lempertz
Nov. 22, 2025
FRANCESCO SOLIMENA (Attr.le), Olio su tela
Est: €1,000 - €2,000
FRANCESCO SOLIMENA (Attr.le) (Canale di Serino 1657 – Barra 1747) San Vincenzo Ferreri Olio su tela Provenienza: Nobile famiglia siciliana. cm 37 x 26.
Benedetto Trionfante Auction House s.r.l
Nov. 21, 2025
Francesco Solimena: Saint Mary Magdalene
Est: €7,000 - €12,000
SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra Title: Saint Mary Magdalene. Technique: Oil on canvas. Mounting: Relined. Measurement: 62 x 49.5cm. Frame: Framed. Provenance: Private collection, Italy. Certificate: Stefano Causa, Naples, no date. Estimated shipping costs for this lot: Germany: 77,31 Euro plus 14,69 Euro VAT EU: 100,84 Euro plus 19,16 Euro VAT Worldwide: 159,66 Euro plus 30,34 Euro VAT additional shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. Explanations to the Catalogue Francesco Solimena Baroque 17th/18th C. Old Masters Framed Saints Painting Religious Art
Van Ham Kunstauktionen
Nov. 13, 2025
Francesco Solimena (bottega di) (Serino 1657 - Napoli 1747)
Est: €5,000 - €8,000
The meeting of Aeneas and Dido Oil on canvas cm. 75x101. Framed Private collection, Campania. The present work is a fine coeval replica of the painting of the same subject by Francesco Solimena today preserved at the National Gallery in London, which Nicola Spinosa dates to 1708-1710. In his recent monograph on the painter, the scholar notes that "della tela della National Gallery di Londra sono note almeno tre copie d'atelier di ridotte dimensioni e con alcune varianti [la prima delle quali] identificata nel 2000 in una privata raccolta italiana (cm. 75x101) (...)" (Spinosa 2018, p. 393). Although not reproduced, it can be assumed that this studio copy is to be identified with the present example, given the absolute equivalence of the measurements, the presence of some small differences compared to the superb London autograph and the faithful adherence to the master's style. COMPARATIVE LITERATURE: N. Spinosa, Francesco Solimena e le arti a Napoli, Roma 2018, n. 161, pp. 392-393.
Bertolami Fine Art s.r.l.
Nov. 13, 2025
Francesco Solimena (attribuito a) (Serino 1657 - Napoli 1747)
Est: €7,500 - €10,000
Apelles paints Campaspe in the presence of Alexander the Great Oil on copper cm. 39x52. Framed The painting is a high-quality version of Francesco Solimena's successful composition, known to exist in at least three other versions. Two of these are painted on copper, like the present example, and are now housed at Chatsworth House in Devonshire and in the Valerio collection in Geneva, respectively, while a large version on canvas is preserved at Palazzo Madama in Rome. COMPARATIVE LITERATURE: N. Spinosa, Francesco Solimena (1657-1747) e le arti a Napoli, Roma 2018, n. 69a-f, pp. 234-236.
Bertolami Fine Art s.r.l.
Oct. 23, 2025
Francesco Solimena (attribuito a) - Angelo Solimena (attribuito a) San Pietro e San Paolo in gloria con le anime del Purgatorio
Est: €8,000 - €10,000
La pala, divisa in due tele, è strutturata su due registri:Superiore: San Pietro, con le chiavi, e San Paolo, con la spada, seduti su nubi in atteggiamento solenne.Inferiore: anime purganti nude e avvolte dalle fiamme, che alzano lo sguardo implorando la grazia divina e l’intercessione dei santi.Il contrasto fra l’aura dorata e luminosa del cielo e le tinte cupe del registro inferiore sottolinea la distanza fra la dimensione terrena e quella celeste, ma anche il legame salvifico stabilito dai santi intercessori.La pala si pone in diretto rapporto con l’opera raffigurante la Madonna col Bambino e santi intercessori per le anime del Purgatorio, conservata nella Cattedrale di Nocera Inferiore e realizzata da Angelo Solimena con l'aiuto del figlio Francesco.Si ringrazia il professor Riccardo Lattuada per aver confermato l'attribuzione su base fotografica.
DAMS Casa d'Aste
Oct. 22, 2025
Virgin and Child, attributed to Francesco Solimena (Canale di Serino, 1657 – Naples, 1747), Neapolitan School, 17th Century
Est: €8,000 - €10,000
Oil on canvas. The composition depicts the Virgin holding the sleeping Child, enveloped in an atmosphere of contemplation and tenderness. The Marian figure is depicted with her face inclined toward her son, conveying serenity and maternal tenderness, while the Child appears reclining in her arms, deeply asleep, with a gesture of peaceful abandonment. The work stands out for the plasticity of the volumes, the softness of the flesh tones, and the harmonious gradation of light that envelops the figures, creating an intimate effect. The color scheme combines the warm tones of the skin with the blues and whites of the attire, reinforcing the contrast between the divine and the human. This work is linked to the Neapolitan tradition of the late Baroque, particularly to the work of Francesco Solimena, one of the great masters of sacred painting, whose influence determined the artistic development of southern Italy in the transition to the 18th century. Dimensions: 49 x 63 cm.
Templum Fine Art Auctions
Oct. 22, 2025
Francesco Solimena (Canale di Serino, 1657 – Naples, 1747) - Portrait of a Knight of the Order of Malta (ca.1725)
Est: €40,000 - €50,000
Oil on canvas. Dimensions: 109 x 91 cm. A report by Professor Stefano Causa is attached. This portrait, of great compositional elegance and technical refinement, depicts a knight of the Order of Malta dressed in armor and wearing the order's distinctive cross on his chest. The work has been attributed by Professor Stefano Causa to Francesco Solimena, a key figure in Neapolitan Baroque painting, active between the 17th and 18th centuries and a direct heir to the style of Luca Giordano. Professor Causa's study places the work around 1725, during the artist's period of full maturity, highlighting the pictorial quality, the monumentality of the portrait, and Solimena's characteristic light treatment. The composition is structured through a careful articulation of volumes, fluid and pasty brushwork, and a masterful command of chiaroscuro that gives the figure a powerful stage presence. The attribution is based on various formal and technical elements: the construction of the face using warm glazes, the precise modeling of the hands and the texture of the armor, along with the use of enveloping amber light that highlights the dignity of the subject. These resources correspond to those employed by Solimena in his most renowned portraits, such as the Portrait of Philip V of Spain (1702, Royal Palace of Caserta) or the Portrait of Prince Pisani (Pisani collection, Naples). Likewise, the three-quarter pose, the restrained gesture, and the neutral background with slight tonal modulations respond to the canon of Neapolitan stage portraiture, in dialogue with the French court tradition represented by Hyacinthe Rigaud, an influence that Solimena reinterpreted with a fully Italian sensibility. The attribution report indicates that the portrait presents all the features of Solimena's autograph painting, although it is possible that, as in other examples of his later production, he had partial collaboration with his workshop in the peripheral areas of the canvas. A work of exceptional quality and excellent state of preservation, this portrait is a significant testament to the refinement, expressive power, and monumental elegance that defined 18th-century Neapolitan court portraiture. 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
Sep. 25, 2025
Francesco Solimena, 1657 Canale di Serino – 1747 Barra di Napoli
Est: €25,000 - €30,000
HEILIGER BRUNO, UM 1725 Öl auf Leinwand. 135 x 97 cm. In breitem, vegetabil reliefiertem Rahmen. Beigegeben ein Gutachten von Prof. Stefano Causa, in Kopie. Der Heilige Bruno in seiner weißen Ordenstracht nach rechts über ein offenes Buch im Beten begriffen, von links ein Engel mit Blumen heranschwebend. Francesco Solimena gilt neben Luca Giordano (1632/34 – 1705), von dem er sich stark beeinflussen ließ, als einer der führenden Vertreter der neapolitanischen Malerei seiner Zeit. Da Neapel etliche Jahre aufgrund des Spanischen Erbfolgekriegs an das österreichische Habsburg fiel, erhielt Solimena auch zahlreiche Aufträge aus Wien (z.B. das Hochaltarbild der Kapelle im Schloss Belvedere) und beeinflusste so auch die österreichischen Barockmaler wie Daniel Gran (um 1694 – 1757) oder Paul Troger (1698 – 1762). Anmerkung: Bruno von Köln (um 1027/1030 bis 1101) war Begründer des Kartäuserordens und wird als Heiliger verehrt. 1056 wurde er Leiter der Domschule von Reims. 1084 errichtete er eine Einsiedelei. 1091 gründete er eine weitere Kartause in La Torre in Kalabrien, wo er bis zu seinem Tod blieb. (1450793) (3) (13) Literatur: Vgl. Nicola Spinosa (Hrsg.), Francesco Solimena (1657 – 1747) e le Arti a Napoli, Rom 2018. Vgl. Ferdinando Bologna, Francesco Solimena, Neapel 1958. Francesco Solimena, 1657 Canale di Serino – 1747 Barra di Napoli SAINT BRUNO, ca. 1725 Oil on canvas. 135 x 97 cm. Accompanied by an expert’s report by Professor Stefano Causa, in copy. Literature: cf. Nicola Spinosa (ed.), Francesco Solimena (1657 – 1747) e le Arti a Napoli, Rome 2018. cf. Ferdinando Bologna, Francesco Solimena, Naples 1958.
Hampel Fine Art Auctions
Jul. 31, 2025
Solimena (Francesco), Follower of. Allegorical figure group, with colonnade in the distance, [18th century]; and 3 other drawings, 18th and 19th century (4)
Est: £300 - £500
Solimena (Francesco), Follower of. Allegorical figure group, with colonnade in the distance, pen and brown ink, later attribution 'H. Fragonard' in the lower left, on laid paper without watermark, laid onto paper support, with [?] 18th century blue-paper mount, numbered '493' in the lower right corner, sheet 150 x 125 mm (5 7/8 x 4 7/8 in), some spotting and browning, unframed, [probably 18th century]; together with a signed pen and ink study of a standing woman by John Vanderbank the Younger (1694–1739), dated '1730', another fluid pen and ink study of a family group, possibly by an 18th century French hand with indistinct attribution to ' Louis [?] Boul[...]', and another wash and chalk bust study of a woman bearing signature and date 'John Martin/ 1851', possibly by John Martin (1789-1854), various sizes between 230 x 255 mm (9 x 10 in), all unframed, 18th and 19th century (4)
Forum Auctions - UK
Jul. 21, 2025
FRANCESCO SOLIMENA (Italy, 1657 - 1747). "The Virgin and Child with Juanito". Oil on canvas. Relined. Modern stretcher frame. Frame of the XIX century.
Est: €10,000 - €12,000
FRANCESCO SOLIMENA (Italy, 1657 - 1747). "Madonna and Child with Juanito". Oil on canvas. Relined. Modern stretcher frame. Frame of the XIX century. Measurements: 77 x 63 cm; 93 x 78,5 cm (frame). Oil attributed to Francesco Solimena, one of the great exponents of the Neapolitan Baroque, this scene of Maternity with San Juanito and the Agnus Dei is fully inscribed in the visual language characteristic of the master: theatrical composition, rich in gestures and contained emotion, sculptural treatment of the figures and a warm and sumptuous chromatism. The Virgin, with a serene and youthful countenance, welcomes the Child Jesus in her lap, caressing his little feet with her long fingers. She reminds us of Solimena's feminine typologies: oval, idealized faces, alabaster skin modeled by a nuanced light, soft but absorbed gazes. The Child, with full flesh and confident attitude, establishes a visual dialogue with the mother, while, in the background, the figure of the little St. John the Baptist (with the Agnus Dei in his arms) balances the composition and adds a prefigured theological subtext. The use of light is typical of the author: a slanted and enveloping illumination, which softly bathes the faces and bodies, contrasting with the more somber backgrounds, conferring depth and drama to the scene. The folds of the garments, particularly those of the Virgin, reveal the Solimenesque taste for restrained movement and textile richness, while the pyramidal arrangement of the figures suggests a classical influence filtered by late Baroque. As a whole, the work shows a spirituality tempered by a theatricalized sensibility, unmistakable traits of Solimena, who knew how to articulate the legacy of Luca Giordano with a denser, more reflective and academic aesthetic. Francesco Solimena was an Italian painter of the late Baroque, the main representative of the Neapolitan school of the first half of the 18th century. Francesco Solimena trained with his father, also a painter, and developed his career in Naples, where he settled in 1674. There he furthered his training with De Maria, in whose workshop he approached the most advanced baroque of Cortona, Lanfranco, Preti and Giordano. Already in his early works we can appreciate a clear affiliation to the Roman Baroque, as well as to the most recent Neapolitan pictorial tradition. Later, seeking to develop an alternative to Giordano's fanciful language, Solimena approached the more tenebrous art of Mattia Preti, insisting on greater plasticity. In this way, the shading that characterizes his figures will begin to appear in his work. Soon he will become the visible head of the Neapolitan school and, later, he will be influenced by the classicism of Maratta, which will lead him to seek a greater intensity in the drawing, with academic accents. Works by Solimena are currently held in the Prado Museum, the Hermitage in St. Petersburg, the J. Paul Getty in Los Angeles, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York, the National Gallery in London and the Rijksmuseum in Amsterdam, among other public and private collections around the world.
Setdart Auction House
Jul. 02, 2025
Francesco Solimena (Canale di Serino 1657-1747 Barra di Napoli) Phaethon asking to drive the chariot of Apollo
Est: £10,000 - £15,000
Francesco Solimena (Canale di Serino 1657-1747 Barra di Napoli) Phaethon asking to drive the chariot of Apollo oil on canvas, shaped 87 x 143.6cm (34 1/4 x 56 9/16in).
Bonhams
Jul. 02, 2025
FRANCESCO SOLIMENA (CANALE DI SERINO 1657-1747 BARRA). Allegory of Spring.
Est: £40,000 - £60,000
FRANCESCO SOLIMENA (CANALE DI SERINO 1657-1747 BARRA). Allegory of Spring. oil on panel24 x 42 ¾ in. (61 x 108.6 cm.).
Christie's
Jun. 29, 2025
Solimena, Francesco (1657-1747; Zuschreibung)
Est: €300 - €450
Die Gefangenschaft Johannes des Täufers. Feder in Bister, laviert, auf feinem Bütten. Verso mit dem Künstlernamen bezeichnet, nicht dat. (um 1720). 31,5 x 39,2 cm. - Unter Passepartout. - Unsere große Zeichnung zeigt den Moment, in dem Johannes der Täufer vor Herodes Antipas geführt wird. Er wird links von zwei Soldaten vor den Herrscher gebracht. Seine aufrechte Körperhaltung zeigt an, dass er in seiner Überzeugung weiterhin ungebrochen ist. Herodes, der rechts erhöht thront, weist anklagend in Johannes' Richtung.
Zisska & Lacher
Jun. 26, 2025
Attributed to Francesco Solimena (Canale, 1657 - Barra, 1747) - Resurrection of Christ
Est: €18,000 - €22,000
Oil on canvas. Dimensions: 129 x 77 cm (framed). Good condition for its age.
Templum Fine Art Auctions
Jun. 26, 2025
Francesco Solimena, 1657 Canale di Serino – 1747 Barra di Napoli
Est: €12,000 - €15,000
MARIA MAGDALENA Öl auf Leinwand. Doubliert. 62 x 50 cm. In breitem vergoldetem und rankenreliefiertem Rahmen. Beigegeben ein Gutachten von Prof. Stefano Causa, in Kopie. Vor einem Felsvorsprung einer Höhle, die Maria Magdalena als Behausung in der Einöde dienen wird, sitzt eben diese mit ihrem Ellbogen auf ein Buch gestützt, während sie in ihrer rechten Hand einen Schädel balanciert und den Zeigefinger ihrer linken Hand an die Schläfe geführt hat. Links neben ihr ein einfaches schattiertes Holzkreuz. Die Lichtquelle links oben fällt somit erst sinnfällig auf das Kreuz und trifft sodann die bildnerische Protagonistin des vorliegenden Werkes. Causa kommt in seinem Gutachten zu dem Schluss, dass das hier angebotene bisher nicht publizierte Werk um 1690 entstanden sein muss. Anmerkung: Neben Luca Giordano (1632/34-1705), von dem er sich stark beeinflussen ließ, gilt er als einer der führenden Vertreter der neapolitanischen Malerei seiner Zeit. Da Neapel etliche Jahre aufgrund des Spanischen Erbfolgekriegs an das österreichische Habsburg ging, erhielt Solimena auch zahlreiche Aufträge aus Wien (z. B. das Hochaltarbild der Kapelle im Schloss Belvedere) und beeinflusste so auch die österreichischen Barock-Maler wie Daniel Gran (um 1694-1757) oder Paul Troger (1698-1762). Literatur: Vgl. Ferdinando Bologna, Francesco Solimena, Neapel 1958. Vgl. Stefano Causa, Aggiunte all'ultimo tempo di Traversi, in: Confronto, 2003. Vgl. Fiorella Sricchia Santoro, Francesco Solimena, in: Dizionario Biografico degli Italiani, Bd. 93, Rom 2018. Vgl. Nicola Spinosa (Hrsg.), Francesco Solimena (1657-1747) e le Arti a Napoli, Bd. 2, Rom 2018. Vgl. Stefano Causa (Hrsg.), Luca Giordano, Le triomphe de la peinture napolitaine, Ausstellungskatalog, Paris 2019. (1440381) (13) Francesco Solimena, 1657 Canale di Serino – 1747 Barra di Napoli MARY MAGDALENE Oil on canvas. Relined. 62 x 50 cm. Accompanied by an expert's report by Professor Stefano Causa, in copy. In his report, Causa concludes that the previously unpublished work on offer for sale in this lot must have been created ca. 1690. Literature: cf. Ferdinando Bologna, Francesco Solimena, Naples 1958. cf. Stefano Causa, Aggiunte all'ultimo tempo di Traversi, in: Confronto, 2003. cf. Fiorella Sricchia Santoro, Francesco Solimena, in: Dizionario Biografico degli Italiani, vol. 93, 2018. cf. Nicola Spinosa (ed.), Francesco Solimena (1657 – 1747) e le Arti a Napoli, vol. 2, Rome 2018. cf. Stefano Causa (ed.), Luca Giordano, Le triomphe de la peinture napolitaine, exhibition catalogue, Paris 2019.
Hampel Fine Art Auctions
Jun. 18, 2025
Follower of Francesco Solimena (1657-1747)
Est: £2,000 - £3,000
Follower of Francesco Solimena (1657-1747) Follower of Francesco Solimena (1657-1747) The Ascension of a male saint oil on canvas 97 x 68 cm. 38 x 26 3/4 in. Provenance:Christie's New York, Old Masters and 19th Century Art, 9th June 2010 lot 296Private Collection Provenance Sale, Christie's New York, Old Masters and 19th Century Art, 9th June 2010 lot 296 Private Collection
Chiswick Auctions
Jun. 11, 2025
FRANCESCO SOLIMENA (Canale di Serino, 1657-Naples, 1747)
Est: €40,000 - €60,000
FRANCESCO SOLIMENA (Canale di Serino, 1657-Naples, 1747) NOLI ME TANGERE Toile Cadre ancien Restaurations anciennes Canvas, with restorations 71 x 50 CM - 28 x 19,7 IN.
Tajan
Jun. 10, 2025
SOLIMENA FRANCESCO (1657 - 1747) - Study of two figures of prophets/evangelists and a male nude for the frescoes of the vault of San Nicola della Carità in Naples
Est: €3,000 - €5,000
SOLIMENA FRANCESCO (1657 - 1747). Study of two figures of prophets/evangelists and a male nude for the frescoes of the vault of San Nicola della Carità in Naples. We thank Prof. Nicola Spinosa for confirming the attribution of the work on a photographic base. Provenance: Giovanni Macchia Collection, Rome; Private collection, Rome. Comparative literature: N. Spinosa (ed.), "Francesco Solimena (1657-1747) e le Arti a Napoli", Rome 2018, pp. 287-290. This painting is a study on canvas of two prophets or evangelists for the frescoes of the vault of San Nicola della Carità in Naples made by Francesco Solimena, with the addition of a male nude in the lower part. The comparison with the final work allows us to consider the painting executed at a rather advanced stage of the work, with the "empty" spaces between the figures that reproduce with great precision the frames of the vault of the church.. 65 x 78 cm.
Capitolium Art
Jun. 06, 2025
Solimena, Francesco (1657-1747; Zuschreibung)
Est: €300 - €450
Die Gefangenschaft Johannes des Täufers. Feder in Bister, laviert, auf feinem Bütten. Verso mit dem Künstlernamen bezeichnet, nicht dat. (um 1720). 31,5 x 39,2 cm. - Unter Passepartout. - Unsere große Zeichnung zeigt den Moment, in dem Johannes der Täufer vor Herodes Antipas geführt wird. Er wird links von zwei Soldaten vor den Herrscher gebracht. Seine aufrechte Körperhaltung zeigt an, dass er in seiner Überzeugung weiterhin ungebrochen ist. Herodes, der rechts erhöht thront, weist anklagend in Johannes' Richtung.
Zisska & Lacher
May. 21, 2025
Francesco Solimena detto l'Abate Ciccio (Canale di Serino - Barra 1747) cerchia di
Est: €1,800 - €2,500
Francesco Solimena detto l'Abate Ciccio (Canale di Serino - Barra 1747) cerchia di Rinaldo e Armida Olio su tela 40 x 31 cm Il consenso rivolto dai contemporanei all'opera di Francesco Solimena fu ampio, come lo fu il seguito di artisti che operarono nella sua bottega o che agirono nell'ambito della sua cerchia. Nell'insieme di artisti convenzionalmente inseriti nel "solimenismo" ricordiamo l'architetto, scenografo e pittore Ferdinando Santifelice; Andrea d'Aste; Salvatore Pace stretto collaboratore del maestro; Onofrio Avellino, che dopo un trascorso presso Luca Giordano approdò nella bottega del Solimena; Paolo de Falco; Paolo di Majo che fu tra i maggiori diffusori nel territorio campano del verbo del Solimena; Nicola Maria Rossi, uno dei migliori allievi del maestro; attivo in Campania e Calabria fu Giuseppe Tomajoli; Alfonso di Spigna; Domenico Mondo, che frequentò la bottega negli ultimi anni di vita del Solimena. Di altra caratura e rilevanza furono i tre più importanti allievi del maestro partenopeo, i quali svilupparono una sensibilità artistica tale da permetter loro di compiere un percorso caratterizzato da un'espressione peculiare: parliamo di Sebastiano Conca, Francesco De Mura e Giuseppe Bonito. Francesco Solimena, also called Abate Ciccio (Canale di Serino - Barra 1747) circle of Rinaldo and Armida Oil on canvas 40 x 31 cm
Lucas Aste
May. 16, 2025
Francesco Solimena (Nachfolge) (1657 Canale di Serino - Barra bei Neapel 1747) – Die Darstellung im Tempel (The presentation in the temple)
Est: €1,600 - €1,800
Pen and brown ink, black washed (pen and ink and wash on paper), with brown wash and heightened with white gouache, on laid paper with watermark "Anker im Kreis" (?). 24.9 x 33.1 cm. Inscribed in the upper left margin: "... di ordine Ionico a le colonne un poco piu piccoli".
Karl & Faber
May. 07, 2025
ITALIAN SCHOOL, ATTRIBUTED TO FRANCESCO SOLIMENA (1657-1747): THE LAMENTATION OF CHRIST, OIL ON CANVAS, 18TH C.
Est: €600 - €1,200
Italian school, attributed to Francesco Solimena (1657-1747): The lamentation of Christ, oil on canvas, 18th C. Work: 98,5 x 73,5 cm Frame: 110 x 86 cm Attribution by Prof. Gabriele Arezzo di Trifiletti, dated April 17, 2021, although the painting seems more French in nature to us.
Coronari Auctions
Apr. 30, 2025
Holy Family - Francesco Solimena ATTR. (Canale di Serino, 1657; Naples, 1747), 18th century Italian Neapolitan School
Est: €12,000 - €15,000
Oil on canvas, measurements: 97 x 96 cm, no frame attached. Origin: Sevillian farmhouse, Osuna. Bibliography: Bologna, Ferdinando, Francesco Solimena, Naples, L'Arte Tipografica, 1958. Pacelli, Vincenzo, «Inediti del Solimena e del Giordano al Monte dei Poveri», Scriti di storia dell'arte in onore di Raffaello Causa, Naples, 1988, pp. 273-280; Urrea Fernández, Jesús, Italian painting of the 18th century in Spain, Valladolid, Publications of the Department of Art History of the University, 1977, pp. 358 et seq.
Templum Fine Art Auctions
Apr. 30, 2025
Attributed to Francesco Solimena (Canale, 1657 - Barra, 1747) - Resurrection of Christ
Est: €18,000 - €22,000
Oil on canvas. Dimensions: 129 x 77 cm (framed). Good condition for its age.
Templum Fine Art Auctions