Pellegrino Tibaldi Sold at Auction Prices

Four Mythological Scenes

The Vision of Aso O. Tavitian, Sold Without Reserve Pellegrino Tibaldi Valsolda 1527 - 1596 Milan Triumph of Neptune; Ulysses Blinding Polyphemus; Polyphemus Killing Acis; Triumph of Galatea fresco laid down on canvas, a set of four tondi each canvas diameter: 24 ⅜ in.; 61.9 cm each framed diameter: 32 ⅝ in.; 82.9 cm

Four Mythological Scenes

Pellegrino Tibaldi Valsolda 1527 - 1596 Milan Triumph of Neptune; Ulysses Blinding Polyphemus; Polyphemus Killing Acis; Triumph of Galatea fresco laid down on canvas, a set of four tondi each canvas diameter: 24 ⅜ in.; 61.9 cm each framed diameter: 32 ⅝ in.; 82.9 cm

After Pellegrino Tibaldi, 17th century - Darius' family before Alexander the Great

original oil on canvas, en grisaille 247.5 x 143.5 cm Taken from the frescoes by Pellegrino Tibaldi in Rome, Castel Sant'Angelo.

TIBALDI PELLEGRINO (1527-1596), attribué Saint prêchant dans un paysage

TIBALDI PELLEGRINO (1527-1596), attribué Saint prêchant dans un paysage Saint prêchant dans un paysage Dessin à la plume rehaussé de craie blanche sur papier demi-lune, travail italien de la fin du 16ème siècle. Dimensions : 12,5 x 21 cm

FRANCESCO BARTOLOZZI (Italian / English, 1727 - 1815). My Son Attend unto My Wisdom and Low Thine Ear to My Understanding. Proverbs Ch.

FRANCESCO BARTOLOZZI (Italian / English, 1727 - 1815). My Son Attend unto My Wisdom and Low Thine Ear to My Understanding. Proverbs Ch. V., circa 1767, Engraving on paper based upon a design created by the artist Pellegrino Tibaldi (Italian, 1527-1596). Unframed. Note: The artwork is not glued down to a hard surface; it is mounted with hinges to a removable back board. - Plate / Sheet: 16 x 12.5 in

FRANCESCO BARTOLOZZI (Italian / English, 1727 - 1815). My Son Attend unto My Wisdom and Low Thine Ear to My Understanding. Proverbs Ch.

FRANCESCO BARTOLOZZI (Italian / English, 1727 - 1815). My Son Attend unto My Wisdom and Low Thine Ear to My Understanding. Proverbs Ch. V., circa 1767, Engraving on paper based upon a design created by the artist Pellegrino Tibaldi (Italian, 1527-1596). Unframed. Note: The artwork is not glued down to a hard surface; it is mounted with hinges to a removable back board. - Plate / Sheet: 16 x 12.5 in Viewing by appointment only.

Pellegrino Tibaldi detto il Pellegrino (Puria 1527 - Milano 1596) cerchia di

Pellegrino Tibaldi detto il Pellegrino (Puria 1527 - Milano 1596) cerchia di Gesù incontra sua Madre Olio su tavola 31 x 28 cm Pellegrino Tibaldi fu un pittore e anche un importante architetto: iniziò dipingendo opere in cui emerse il suo alunnato alla scuola del Bagnocavallo, arricchite da influssi dovuti a Michelangelo e Parmigianino. In seguito, entrò a Roma nella cerchia di Perin del Vaga, collaborando alla decorazione degli appartamenti di Paolo III in Castel S. Angelo. Tornò a Bologna nel 1555, quando ricevette una commissione del cardinale Poggi, per il quale realizzò la decorazione di vari ambienti nel suo palazzo. Dopo un periodo di attività ad Ancona, dove restaurò e decorò la Loggia dei Mercanti e il salone di Palazzo Ferretti, si dedicò alla sua attività nel campo dell'architettura. Visse e operò in Spagna nel decennio 1586-96 quando, chiamato da Filippo II, fu impegnato all'Escorial nella decorazione della cappella e del soffitto della biblioteca. Pellegrino Tibaldi called il Pellegrino (Puria 1527 - Milan 1596) circle of Jesus meets his Mother Oil on panel 31 x 28 cm

DISEGNO

P.Tibaldi (Bo 1527-Mi 1596 attribuito) 'Putto' disegno a sanguigna cm. 19x29

PITTORE EMILIANO DEL XVII SECOLO

Deposizione Olio su tela, cm 124X93 Il dipinto recava un'attribuzione a Giovanni Francesco Bezzi conosciuto anche come Nosadella (Bologna, 1530 - 1571). L'artista si formò con Pellegrino Tibaldi e divenne uno dei suoi migliori interpreti, raffinandone tuttavia il michelangiolismo senza distaccarsi dall'intellettualismo della maniera. Bibliografia di riferimento: V. Fortunati Pietrantonio, Giovanni Francesco Bezzi detto il Nosadella, in Pittura bolognese del '500, II, Bologna 1986, pp 457-474 V. Romani, Problema di Michelangiolismo Padano: Tibaldi e Nosadella, Padova 1988, ad vocem

ATTRIBUTED TO PELLEGRINO TIBALDI (PURIA, 1527 -MILÁN, 1596) MARTYRDOM OF SAINT LAWRENCE.

Attributed to Pellegrino Tibaldi (Puria, 1527 -Milán, 1596) Martyrdom of Saint Lawrence. Oil on panel. 98 x 77 cm. Pellegrino Tibaldi also known as Pellegrino da Bologna or Pellegrinus de Pellegrinis, disciple of Bagnacavallo. He worked in the Escorial in 1587. Upon his arrival, he was commissioned to make some paintings for the altarpiece of the main altar. These works were commissioned from Federico Zuccaro, but the final result was not to the liking of Felipe II, so they are commissioned from Pellegrino Tibaldi. Previously the work of the Martyrdom of San Lorenzo was commissioned to Titian, but finally the work ended up placed in the Old Chapel of El Escorial, where it has remained until today. This painting did not become part of the main altar because the painting, within the framework of the last pictorial stage of the moment, did not represent well the Trentine and modest ideas that were required for a place that was going to be accessed by all kinds of public. For this reason, it was decided to commission Pellegrino Tibaldi a reinterpretation of some of those works, which were the ones that finally formed part of the great altarpiece. The work that we analyze represents the Martyrdom of Saint Lawrence, although with differences with respect to the painting that was finally placed on the main altarpiece. In this case, the reference to the Martyrdom performed by Titian is clear. It seems like a personal reinterpretation of this work by the artist, it could even serve as the first version that we currently enjoy at El Escorial.

BARTOLOMEO CRIVELLARI (VENEZIA, 1716-1777), DA DISEGNO DI DOMENICO MARIA FRATTA (1696-1763) DA PELLEGRINO TIBALDI (VALSOLDA, 1527 – MILANO, 1596) POLIFEMO

The engraving reproduces the fresco created by Pellegrino Tibaldi for the Stories of Ulysses series at Palazzo Poggi in Bologna. Ulysses and his companions flee from Polyphemus disguised with sheep skins. Etching, 415x205mm Copy with large margins in perfect condition.

PELLEGRINI, ALFRED HEINRICH: "Monte Pellegrino Palermo".

PELLEGRINI, ALFRED HEINRICH (1881 Basel 1958) : "Monte Pellegrino Palermo"; Bleistift; 26x36 cm (LM), gerahmt; mgr. u. dat. (19)25 u.r.

Pellegrino Pellegrini, auch "Tibaldi da Bologna", 1527 – 1596, zug.

DIE EITELKEIT Tuschezeichnung auf Papier. 25 x 14,5 cm. Zwischen Glas in dekorativem Rahmen. Stehende Dame nach rechts in antikem, langen Gewand, einen Handspiegel in ihrer Linken haltend und ihr Gesicht darin betrachtend. Leichte Knitterungen. (1240906) (3) (18)

TABLEAUX

Huile sur panneau parqueté "La Résurrection du Christ". Attribué à Tibaldi Pellegrino. Ecole italienne. Dim.:70x23,5cm.

Alegoría de la Abundancia El autor de este interesantísimo lienz

Alegoría de la Abundancia El autor de este interesantísimo lienzo conoce o ha estudiado el arte de Pellegrino Tibaldi (Puria di Vasolda, 1527- Milán, 1596). Este arquitecto y pintor italiano inicia su actividad con su padre y con los seguidores boloñeses de Rafael. En 1547, se trasladó a Roma donde, junto con Perino del Vaga, colaboran en las decoraciones del Castello de Sant’Angelo ejecutadas por orden de Julio III. En esos años estudia y profundiza en el conocimiento de las grandes decoraciones murales emprendidas por sus antecesores, en especial, Miguel Ángel y Rafael, quienes le influyen decisivamente en la definición de su estilo artístico. En 1555, regresa a Bolonia para realizar nuevas decoraciones murales, técnica en la que se convirtió en un verdadero especialista. Diez años más tarde, se traslada a Milán y bajo la protección del Cardenal Carlo Borromeo realiza algunas series de frescos en la ciudad lombarda. Tras la muerte de su protector, en 1584, acepta la propuesta de Felipe II para trasladarse a España y, más concretamente, al Monasterio del Escorial, en ese momento en proceso de decoración y para sustituir a Federico Zuccaro. Aquí debió de ejercer una influencia considerable a través de sus frescos y lienzos, entre los que podemos destacar su Martirio de San Lorenzo para el retablo mayor de la basílica y sus ciclo de decoraciones murales del Claustro bajo. Asimismo, hizo la decoración de las bóvedas de la biblioteca del monasterio. El presente lienzo debió pintarse en los primeros años del siglo XVII, por algún pintor que conocía bien la pintura del Monasterio de San Lorenzo del Escorial. Un pintor que además estaba dotado para los bodegones como se puede comprobar en la naturaleza muerta que se encuentra a los pies del personaje femenino. En este sentido, deberíamos tener en cuenta a algún pintor como Juan Van Der Hamen (Madrid, 1596- Madrid, 1631), cuyas naturalezas muertas guardan mucha similitud con las piezas de fruta del suelo. Desde luego, el pintor parece español o al menos ha utilizado un lienzo y una imprimación en tierras rojas, propio de nuestra pintura. 225 x 160 cm ESCUELA ESPAÑOLA PRIMER TERCIO DEL S. XVIIPintura antigua y S. XIXÓleo sobre lienzo,. , SPANISH SCHOOL, FIRST THIRD OF THE 17TH CENTURY Alegoría de la Abundancia. Oil on canvas

Pellegrino Tibaldi (1527 - 1596), cerchia di, Resurrezione di Gesù

olio su tavola, cm 68x23, Expertise di Ferdiando Arisi

Attributed to TIBALDI, Pellegrino Female Saint]. 16th-c D

Attributed to TIBALDI, Pellegrino Female Saint . 16th-c Drawing, pen in black ink and white wash, 17,6 x 12,7 cm, brown paper, unsigned (trimmed at edges). Mounted under mod. wooden frame. The iconography of the figure is unclear. She is most likely a female saint or martyr at a burning stake looking up to the heavenly light coming from the upper left. The sketchy drawn figure recalls the style of Pellegrino Tibaldi (1527-1596); architect and painter working in Bologna, Milan and Pavia. The style of the drawing is datable during Tibaldi's commissions to decorate the chapel of cardinal Poggi in the S. Giacomo Maggiore church in Bologna around 1555. Prov. Pierre Olivier Dubaut (coll. stamp: Lugt 1956).

CIRCLE OF PELLEGRINO TIBALDI (VALSOLDA 1527-1596 MILAN) A seated nude youth

CIRCLE OF PELLEGRINO TIBALDI (VALSOLDA 1527-1596 MILAN) A seated nude youth pen and brown ink over stylus indications 8 x 4 1/2 in. (20.5 x 11.4 cm.)

Pellegrino Tibaldi (Puria di Valsolda 1527-Milano 1596) A FEMALE HEAD | TESTA FEMMINILE

Female head with tipical decorative hairstyle from the mid-sixteenth century, oil on wood, cm 38,5x36,5. Typical artwork of the Roman Mannerism third period, exemplified in the fresco painting by Paolo III in Castel Sant'Angelo. Bibliography: Cf. AA VV., The fresco painting of Paul III at Castel Sant'angelo, 1543-1548 - Prospectus and Execution, Rome 1981. | Testa femminile con acconciatura decorativa della metà del Cinquecento, olio su tavola, cm 38,5x36,5. Opera tipica della terza stagione del manierismo romano, che si concretizza nel ciclo di affreschi delle sale di Paolo III in Castel Sant'Angelo. Bibliografia: Cf. AA VV., Gli affreschi di Paolo III a Castel Sant'angelo, 1543-1548 - Prospetto ed Esecuzione, Roma 1981.

SPANISH SCHOOL «Alegoría de la Abundancia». Oil on canvas

ESCUELA ESPAÑOLA PRIMER TERCIO DEL S. XVII El autor de este interesantísimo lienzo conoce o ha estudiado el arte de Pellegrino Tibaldi (Puria di Vasolda, 1527- Milán, 1596). Este arquitecto y pintor italiano inicia su actividad con su padre y con los seguidores boloñeses de Rafael. En 1547, se trasladó a Roma donde, junto con Perino del Vaga, colaboran en las decoraciones del Castello de Sant’Angelo ejecutadas por orden de Julio III. En esos años estudia y profundiza en el conocimiento de las grandes decoraciones murales emprendidas por sus antecesores, en especial, Miguel Ángel y Rafael, quienes le influyen decisivamente en la definición de su estilo artístico. En 1555, regresa a Bolonia para realizar nuevas decoraciones murales, técnica en la que se convirtió en un verdadero especialista. Diez años más tarde, se traslada a Milán y bajo la protección del Cardenal Carlo Borromeo realiza algunas series de frescos en la ciudad lombarda. Tras la muerte de su protector, en 1584, acepta la propuesta de Felipe II para trasladarse a España y, más concretamente, al Monasterio del Escorial, en ese momento en proceso de decoración y para sustituir a Federico Zuccaro. Aquí debió de ejercer una influencia considerable a través de sus frescos y lienzos, entre los que podemos destacar su Martirio de San Lorenzo para el retablo mayor de la basílica y sus ciclo de decoraciones murales del Claustro bajo. Asimismo, hizo la decoración de las bóvedas de la biblioteca del monasterio. El presente lienzo debió pintarse en los primeros años del siglo XVII, por algún pintor que conocía bien la pintura del Monasterio de San Lorenzo del Escorial. Un pintor que además estaba dotado para los bodegones como se puede comprobar en la naturaleza muerta que se encuentra a los pies del personaje femenino. En este sentido, deberíamos tener en cuenta a algún pintor como Juan Van Der Hamen (Madrid, 1596- Madrid, 1631), cuyas naturalezas muertas guardan mucha similitud con las piezas de fruta del suelo. Desde luego, el pintor parece español o al menos ha utilizado un lienzo y una imprimación en tierras rojas, propio de nuestra pintura. Alegoría de la Abundancia Óleo sobre lienzo 225 x 160 cm

Pellegrino TIBALDI (Puria di Valsolda 1527-1596 Milan)

Pellegrino TIBALDI (Puria di Valsolda 1527-1596 Milan) >Allégorie de la Prudence: femme assise, tournée vers la gauche, tenant un miroir dans sa main droite, un serpent autour de son bras gauche<br>avec inscriptions 'del pisano' et 'y-B13.4' (verso) >pierre noire, estompe, mis au carreau à la pierre noire <br>240 x 189 mm.

ATTRIBUTED TO PELLEGRINO TIBALDI

BOLOGNA 1527 - 1596 MADONNA AND CHILD WITH ST. JOHN oil on panel 37 1/4 by 30 in.; 94.6 by 76.2 cm.

Attribué à Pellegrino Tibaldi , Bologne 1527 - 1596 Deux études de nus masculins de part et d'autre d'un cartouche Plume et encre brune, lavis brun, rehauts de gouache blanche, craie noire, sur papier bleu

Plume et encre brune, lavis brun, rehauts de gouache blanche, craie noire, sur papier bleu

PELLEGRINO TIBALDI (Italian, 1527-1596) Seated Male Nude.

PELLEGRINO TIBALDI (Italian, 1527-1596) Seated Male Nude. Pen and brown ink and wash over pencil on cream laid paper. 217x320 mm; 8 5/8x12 5/8 inches. Inscribed "Tibaldi" in ink, center right recto. Shield watermark. A preparatory study for a fresco in the Saletta di Ulisse, Palazzo Poggi, Bologna, circa 1569-1570.

Lombard School late 16th Century , two studies of a bearded old man, seated, holding an object in his right hand Black chalk, squared for transfer in black chalk; bears numbering in black chalk, lower right: 20 ; bears attribution in pencil, verso :

Black chalk, squared for transfer in black chalk; bears numbering in black chalk, lower right: 20 ; bears attribution in pencil, verso : Pellegrini Pellegrino / detto Tibaldi 1527-1596 / ... Roma...Michelangelo / 1465-1564

f - PELLEGRINO TIBALDI BOLOGNA 1527 - 1596

STUDY FOR THE FIGURE OF AEOLUS measurements note 294 by 182mm bears old numbering in pen and ink: 4 red chalk PROVENANCE John Barrymore; his daughter, Diana Barrymore; anonymous sale, New York, Sotheby's, 14 January 1992, lot 86 EXHIBITED New York, Trinity Fine Art, Old Master Drawings and European Works of Art, 1994, no. 10, reproduced LITERATURE Marzia Faietti and Dominique Cordellier, Un siècle de dessin à Bologne, exhibition catalogue, Paris, Louvre, 2001, p. 137, under cat. no. 40 NOTE This is a study for the central figure of Aeolus on the ceiling of the Sala di Ulisse in the Palazzo Poggi, Bologna, painted circa 1550-1551 (fig. 1). It was Aeolus who, in order to help Ulysses on his journey, gave him and his men all the adverse winds tied up in a leather bag. The figure of Aeolus reveals Tibaldi's extraordinary ingegno, combining a Michelangelesque aggressiveness and a love of the fantastic with an elegant decorative sensibility to create one of the most original and distinctive fresco cycles of mid-sixteenth century Italian art. Although no drawing for the entire composition seems to have survived, another red chalk study by Tibaldi for this important figure is in the Louvre (inv. no. 10847), evidence of the effort and care he must have taken to create such a successful image. As Dominique Cordellier has pointed out (loc. cit.), the Louvre drawing is a more finished, less freely executed study than the present one, and very close to the final fresco. The reference in the Louvre exhibition catalogue to a further study for the figure of Aeolus seems to be a confusion with a red chalk study in the Uffizi of Polyphemus (inv.no.6376F), also related to the decoration of the Sala di Ulisse in Palazzo Poggi. The dating of the Palazzo Poggi frescoes has engaged innumerable art historians (see Jürgen Winkelmann, 'Pellegrino Tibaldi', in Pittura bolognese del '500, ed. by V.F. Pietrantonio, Bologna 1986, vol. II, pp. 480-483), but only Vittoria Romani has noticed that none of the four depictions of the Poggi coat-of-arms (an eagle on six hills) is surmounted by a cardinal's hat. Giovanni Poggi was elevated to this position by Pope Julius III on 20 November 1551 (see The Age of Correggio and the Carracci, exhibition catalogue, Washington, National Gallery of Art, 1986, p. 206). For this reason alone the frescoes must date from before 1551. Tibaldi worked for Giovanni Poggi both in Rome, at his palazzina on the Pincio (a loggia and the façade, now destroyed), and later, upon his return to Bologna, on his Palazzo (now part of the Università di Bologna), and on his family chapel in San Giacomo Maggiore. His work for the Cardinal ended in 1558 when Tibaldi was called away to decorate the Palazzo Ferretti in Ancona, after which he worked in Milan, Ferrara, and at the court of Philip II in Spain. However, it was certainly his work in the two rooms on the piano nobile of the Palazzo Poggi which prompted Vasari's comment that he was a 'pittore di somma aspettazione, e di bellissimo ingegno'. This study for the Sala di Ulisse is of great importance, as so few drawings have survived relating to what was arguably Tibaldi's most important and successful commission.

Attribué à Pellegrino Tibaldi (1527-1596)

Allégorie de l'Été: Un paysage avec un homme portant une gerbe de blé, une femme assise, la main sur un vase et un homme se désaltérant avec inscription 'P. Tibaldi' (recto) et 'Primatice' (verso) sur le montage craie noire, estompe, mis au carreau à la craie noire 280 x 279 mm.

PELLEGRINO TIBALDI (CIRCLE OF)

(Bologna 1527-1596 Milan) Sheet with Studies of Grotesques Including Scenes of the Rape of Europa and Nessus and Deianira. Pen and brown ink and wash on cream laid paper. 343x109 mm; 13 1/2x4 1/4 inches.

PELLEGRINO TIBALDI (CIRCLE OF) (Bologna 1527-1596 Milan) Sheet with Studies of Grotesques Including Scenes of the Rape of Europa and Nessus and Deianira. Pen and brown ink and wash on cream laid paper. 343x109 mm; 131/2x4 inches.

PELLEGRINO TIBALDI (CIRCLE OF)

(Bolgona 1527-1596 Milan) The Prophet Joel. Pen and brown ink and wash, heightened with white bodycolor on blue laid paper. 290x221 mm; 111/2x8 inches. With a study of a male torso in ink, verso. Head (?) watermark. Paul Joannides considers this an indirect copy after Michelangelo's fresco in the Sistine Chapel. A number of sets of drawn copies after engravings of the Sistine seem to have been produced in Rome in the second half of the 1500s. Though Joannides records 4 series that are copied from the engravings by Adamo Scultori, in pen, wash and white heightening on beige or off-white paper--2 in the Louvre, one at Windsor and another, on a smaller scale, in Haarlem--no companion piece to the current sheet on blue paper is known. He further notes that this drawing was made after the corresponding engraving by Giorgio Ghisi from around 1549 and not after the one by Adamo Scultori. The current drawing is significantly more vigorous than the copies based on Adamo Scultori's engravings. Its technique and handling strongly recall Tibaldi's draftsmanship; it likely comes from his circle and was exectued in the 1550s. Regarding the study on the verso of the current work, Joannides does not exclude the possibility that it was copied after a lost drawing by Michelangelo. He compares it with an outline sketch of a torso seen from the rear on a sheet of studies for the Battle of Cascina in Oxford (Parker 295).

Pellegrino Tibaldi (1527-1596)

The Presentation in the Temple with inscription 'Perino del Vaga' black chalk, pen and brown ink, brown wash, the tips of the lower left and upper right corners made up 199 x 155 mm. PROVENANCE N. Lanier (L. 2885). P.-J. Mariette (L. 1852); Paris, 15 November 1775 - 30 January 1776, lot 741 (24 livres, as Tibaldi, Une Pr‚sentation au Temple, petit Sujet en hauteur, d'une riche composition, fait … la plume & au bistre). Marquis de Lagoy (L. 1710). T. Dimsdale (L. 2426). Sir Thomas Lawrence (L. 2445); Christie's, 8 June 1860, lot 984 (9 gns. to Clement, as Perino del Vaga). A. Sambon. EXHIBITION Paris, Galerie Aubry, Dessins fran‡ais et italiens du XV e et du XVII e siŠcle, 1971, no. 109. NOTES The position of the figure on the left in contraposto is very close to that of the man on the left of The Visitation in the Rijksmuseum, Amsterdam and to that of Christ in The Baptism of Christ in the Church of S. Francesco alle Scale, Ancona, J. Winckelman in Pittura bolognese del'500, Bologna, 1986, pp. 540 and 533.

PELLEGRINO TIBALDI (1527/28-1596) DESIGN FOR A WALL DECORATION.

Bears old attribution: del Rosso Fiorentino. Pen and brown ink and wash. 313 by 236 mm. Provenance: From the so-called Borghese album (bears inscription on the backing: SFno:66). This drawing must date from Tibaldi's Roman period, for which Vasari gives the dates 1547-50. It is a clear example of the close stylistic parallels that existed at this time between Tibaldi's work and that of Perino del Vaga: the architectural structure is very similar to Perino's design, now in the Victoria and Albert Museum, for a wall decoration executed for the Massimi family, possibly for their chapel in S. Trinita dei Monti, which Perino decorated in about 1538/39 (see P. Ward-Jackson, Italian Drawings, vol. i, no.362, illus.). For more information on the influence of Perino on Tibaldi, see V. Romani, Tibaldi 'd'intorno' a Perino, Padova 1990.