Bartolomeo Altomonte Paintings & Artwork for Sale | Bartolomeo Altomonte Art Value Price Guide

Nov. 13, 2024
Bartolomeo Altomonte (attributed to) Warsaw 1694-Sankt Florian 1783 Coronation of the Virgin
Est: €4,000 - €6,000
Bartolomeo Altomonte (attributed to) Warsaw 1694-Sankt Florian 1783 Coronation of the Virgin oil on oval panel 75x60 cm - with frame 100x85 cm
Casa d'aste ARCADIA
Jul. 06, 2024
B. ALTOMONTE (*1694) after CORTONA (*1597), Daniel in the lion's den, Pen drawing
Est: €900 - €1,200
Bartolomeo Altomonte (1694 - 1783 ibid.) after Pietro da Cortona (before 1597 Cortona - 1669 Rom): Daniel in the lions' den with the appearance of God the Father with angels, 18th century, Pen drawing Technique: Washed Pen drawing on Paper, relined on Paper Inscription: Verso inscribed on the support: "Solimena". lower left numbered: "617". Date: 18th century Source: Bibel (Altes Testament) | Book, Religion Keywords: Darius; King; Dream interpreter; Daniel; Lions; Punishment; Law; Commandments; Martyrs; Altarpiece S; Daniele in Venice; Accademia, 18th century, Classicism, Biblical, Austria, Size: Paper: 44,2 cm x 26,7 cm (17,4 x 10,5 in)
Fichter Kunsthandel
Jun. 26, 2024
Altomonte, Bartolomeo (attr.)
Est: €1,200 - €1,500
Altomonte, Bartolomeo (attr.) Warschau 1694 - St. Florian Markt 1783 73 x 56 cm St. John of Nepomuk in prayer in front of the crucifix. Oil/canvas. Collection Edmund Löwe, Munich Altomonte, Bartolomeo (attr.) Warschau 1694 - St. Florian Markt 1783 73 x 56 cm Der heilige Johannes von Nepomuk betet vor dem Kruzifix. Öl/Lwd. Sammlung Edmund Löwe, München
Nagel Auction
Mar. 21, 2024
Bartolomeo Altomonte
Est: €12,000 - €18,000
Warsaw 1694 - Sankt Florian 1783, 179x118 cm., "San Carlo Borromeo", oil on canvas, framed Reference sheet by Carlo Falciani, Tra Sacro e Profano, 2021, pag. 539-541
Colasanti Casa d'Aste
Dec. 07, 2023
Österreich (Bartolomeo Altomonte, 1694 Warschau - 1783 St. Florian, ?) 18th century Saint Christopher
Est: €6,000 - €8,000
Österreich (Bartolomeo Altomonte, 1694 Warschau - 1783 St. Florian, ?) 18th century Saint Christopher Oil auf canvas. 91.5 x 72.5 cm. Relined. Restored. Framed (110 x 88.5 cm). Der Hl. Christophorus ist einer der bekanntesten volkstümlichsten Heiligen. Um das Leben des "Riesen Offerus" (aus der "Legenda aurea" des Jacobus a Voragine) ranken sich verschiedene Legenden. Am geläufigsten ist jene: Von einem Eremiten wurde der etwas ungeschlachte Riese aufgefordert, Pilger über einen reißenden Fluss zu tragen. Auch das Jesuskind war unter diesen. Es wurde auf seinen Schultern immer schwerer, bis der Träger schließlich ins Wasser tauchte. Nun taufte ihn das Kind und gab ihm den Namen "Christophorus" (= Christusträger). Die Szene, wie Christophorus das Jesuskind trägt, wurde in der Kunst immer wieder dargestellt. Doch was ist aus dem wankenden bärtigen Ungetüm auf Albrecht Dürers Holzschnitt aus dem Jahre 1511, der einen ganzen Baumstamm als Hilfsmittel benützt und in dessen krausem Haar die Hand des Kindes festen Halt sucht, geworden? Auf dem vorliegenden Gemälde sehen wir einen sanftmütigen, fast väterlich wirkenden bärtigen Mann, einen unscheinbaren Ast als Stab nutzend. Auf seiner rechten Schulter das Kind nahezu schwebend, ähnlich den unzähligen Putten, die barocke Altäre auf deren Gesimsen bevölkern. Vor allem der freundlich-feiste Gesichtsausdruck des Kindes verweist auf die Entstehung des Gemäldes im österreichischen Kunstkreis. provenance: Private owner, Switzerland. - Acquired at a Basel auction in 2007. - Since then private owner, South Germany.
Neumeister
Nov. 11, 2023
B. ALTOMONTE (*1694) after CORTONA (*1597), Daniel in the lion's den, Pen drawing
Est: €900 - €1,200
Bartolomeo Altomonte (1694 - 1783 ibid.) after Pietro da Cortona (before 1597 Cortona - 1669 Rom): Daniel in the lion's den with appearance of God the Father with angels, 18th century, Pen drawing Technique: Washed Pen drawing on Paper, relined on Paper Inscription: Verso inscribed on the support: "Solimena". lower left numbered: "617". Date: 18th century Source: Bibel (Altes Testament) | Book, Religion Keywords: Darius; king; dream interpreter; Daniel; lions; punishment; law; commandments; martyr; altarpiece S; Daniele in Venice; Accademia, 18th century, Classicism, Biblical, Austria,
Fichter Kunsthandel
May. 03, 2023
Bartolomeo Altomonte
Est: €20,000 - €30,000
(Warsaw 1694–1783 Sankt Florian) Virtue and Science triumphant over Vice, oil on canvas, 59.5 x 97 cm, framed Provenance: Karl (1913–1979) and Gertrude (1921–2009) Pfatschbacher, Linz Exhibited: Sankt Florian, Augustiner Chorherrenstift, Welt des Barock, 25 April – 26 October 1986; Salzburg, Salzburg Barockmuseum, Martino und Bartolomeo Altomonte, 9 April – 13 September 2002 Literature: B. Heinzl, Bartolomeo Altomonte, Vienna 1964, p. 39, no. 37; H. Etzlstorfer, Martino und Bartolomeo Altomonte: Ölskizzen und kleine Gemälde aus österreichischen Sammlungen, exhibition catalogue, Salzburg 2002, p. 159, no. 55 We are grateful to Johann Kronbichler for confirming the attribution of the present painting to Bartolomeo Altomonte on the basis of a photograph. He suggests a date of execution to around 1760. The present painting is a bozzetto or oil sketch for the ceiling fresco in the library of the former Cistercian monastery Engelszell, Upper Austria. Kronbichler endorses the oil sketch as being a masterful work that can be counted, along with the fresco, as among the best examples of late Baroque painting in Upper Austria (private communication, November 2022). The ceiling fresco in Engelszell, for which the present painting appears to be the preparatory sketch, is considered one of the painter’s most endearing works. The present composition relates to another ceiling fresco in the library at the Sankt Florian Abbey painted around thirteen years prior, deviating from it slightly by excluding the matrimonial alliance at the centre between the virtues and sciences, and by omitting the Holy Spirit entirely. Nonetheless, the iconographical message remains the same: the divine wisdom of the Church, with the help of the virtues and sciences, overthrows the vices – knowledge overthrows ignorance. At the centre of the composition, illuminated by the dazzling sun that has risen behind, is the sapientia divina, the divine wisdom. To her left and right sides are the allegorical figures representing the virtues and sciences, each holding their various attributes: strength, justice, historiography, doctrine, knowledge, rhetoric, prudence, piety, astronomy, geometry, numismatics, heraldry, poetry and music. Intermingled in the scene are several putti that hold aloft the key Christian iconographical objects, namely: the Holy Bible, the Ten Commandments, and the Holy Chalice among others. Despite its busy composition, the figures float loosely and are harmoniously distributed in a perfectly regular structure. Altomonte has presented them as being light, delicate and gracefully informal. Atmosphere and the elements of colour are of crucial importance, whilst narrative has been abjured. One of the last great painters of Baroque frescoes, Bartolomeo Altomonte was born in the suburb of Warsaw where his father Martino Altomonte (1657–1745) had been appointed as court painter to Jan III Sobieski, King of Poland. It was whilst assisting his father that Bartolomeo soon became adept with a brush, and from 1717 he continued his painterly education in Italy, where he studied in Bologna, Rome, and finally in Naples with Francesco Solimena (1657–1747). By 1722, however, Bartolomeo was back in Austria working alongside his father at Sankt Florian Abbey in Upper Austria. By now a fully accomplished artist in his own right, it was at Sankt Florian where Bartolomeo painted the ceiling frescoes in various key rooms in the monastery, including the Marmorsaal (1722–24), the Kunstkammer (1727), and the Sommerrefektorium (1727). Having married and moved to Vienna in 1730, where he too was appointed a court painter, Altomonte received two important commissions: creating the ceiling paintings for the lower sacristy at the Stephansdom (1732) and an altar painting, Saint John of Nepomuk in Glory, for the Schwarzspanierkirche (now Minoritenkirche), Vienna. In 1737 Bartolomeo returned to Upper Austria and further significant commissions soon followed, notably the ceiling frescos at the abbey church in Spital am Pyhrn (1737–39), the sacristy at Sankt Florian Abbey (1739), and the ceiling frescoes at the abbey church at Herzogenburg (1753–55). His last commission was for frescoes in the Admont Abbey Library (1774–76).
Dorotheum
Nov. 15, 2022
Bartolomeo Altomonte, Warsaw 1694 - 1783 St. Florian, Circle of, Scene from the Old Testament
Est: €1,000 - €2,000
Bartolomeo Altomonte Warsaw 1694 - 1783 St. Florian, Circle of Scene from the Old Testament Oil on canvas 40 x 37 cm, with frame 51 x 47 cm
Tiberius Auctions
Mar. 19, 2016
BARTOLOMEO ALTOMONTE 1694 Warschau - 1783 Sankt Florian (attr.) Die Entschl
Est: -
BARTOLOMEO ALTOMONTE 1694 Warschau - 1783 Sankt Florian (attr.) Die Entschlafung des Heiligen Franziskus Öl auf Leinwand (doubl.). 49,5 cm x 64,5 cm. Part. min. rest. Rahmen. Provenienz: Privatsammlung Thüringen.
Hargesheimer Kunstauktionen Düsseldorf
Jul. 09, 2010
Bartolomeo Altomonte (Varsaw 1702 - 1779 Linz)
Est: £6,000 - £8,000
Bartolomeo Altomonte (Varsaw 1702 - 1779 Linz) The Visitation signed and dated 'Bartho: Altomonte f. 1730.' (lower center, on the step) oil on canvas, shaped 64 x 60¼ in. (162.5 x 153 cm.)
Christie's