Marco Benefial Paintings & Artwork for Sale | Marco Benefial Art Value Price Guide

Jul. 16, 2024
BENEFIAL MARCO (1684 - 1764) - Circle of. Study for the figure of Hercules
Est: €1,500 - €2,500
BENEFIAL MARCO (1684 - 1764). Circle of. Study for the figure of Hercules. Provenance: Finarte Milan, 4 April 1989, lot 680 (as Marco Benefial); Private collection, Rome.. 26,50 x 41,50 cm.
Capitolium Art
May. 29, 2023
Marco BENEFIAL (1684-1764), Desenho a tinta sobre papel, Dim. aprox. mancha: 30 x 45,5 cm.
Est: €500 - €1,000
Marco BENEFIAL (1684-1764) "Visão de Santa Catarina de Génova" - Estudo Desenho a tinta sobre papel Assinado (?) ou identificado (1747) Dim. aprox. mancha: 30 x 45,5 cm.; Dim. aprox. max.: 55 x 70 cm. Papel amarelado e manchado, com vincos. Restauro. Com inscrição: "Quadro aprezentado ao Papa Benedetto XIIII (XIV) pella beatificação de S. Catherina de Genoa". Emoldurado (defeitos), com inscrições sobre o autor e a obra. A versão final da pintura é a óleo sobre tela, 1747 e pertence à colecção do Palazzo Barberini, Rome.
Palácio do Correio Velho
Nov. 29, 2022
MARCO BENEFIAL (attr. a)
Est: €200 - €500
(Roma, 1684 - 1764) Ritratto di gentildonna Olio su rame, cm 8,6X6,6 Marco Benefial è uno dei pittori più interessanti del panorama artistico romano del Settecento, suggestionato dal classicismo marattesco e dalle modulazioni neoclassiche di Pompeo Batoni, tuttavia incline a un linguaggio singolarissimo. Lo studio della pittura bolognese, la spontanea predisposizione al neosecentismo, il costante esercizio del disegno e dell'anatomia spiegano un'indole difficilmente inquadrabile in correnti e cliché. La matrice emiliana e guercinesca si vena così di un naturalismo immediato e colto che si esprime al meglio nel genere della ritrattistica, in cui gli effigiati sono descritti con sottile introspezione psicologica e sprezzatura, serbando un decoro estetico esente da ogni retorica celebrativa. Questi aspetti bene si colgono osservando il nostro ritratto, la cui visione ravvicinata rende ancora più marcata l'espressività e mette in risalto i valori tattili delle stoffe e degli ornamenti, in particolare del ventaglio, con la luce che attraversa le stecche evocando la profondità spaziale e al tempo stesso elargendo un elegante tocco di grazia rococò. Opera paragonabile con quella raffigurante La Famiglia Orsini del Museo di Roma e il ritratto della Famiglia del Missionario della Galleria Nazionale d'Arte Antica di Palazzo Barberini. Un altro utile parallelo è il Ritratto di Giacinta Ruspoli Marescotti Orsini conservato alla Fondazione Cini a Venezia, ma in modo particolare qui si ricorda il Ritratto di Angela Mignanelli della Galleria Spada (fig. 1), che databile al 1730 fornisce un utile riferimento cronologico. Anche in questo caso le pennellate pastose e calde conferiscono luminosità allo sguardo, anticipando soluzioni formali più disinvolte e internazionali che si svilupperanno durante la seconda metà del secolo. Bibliografia di riferimento: L. Barroero, Benefial , Milano 2005, tavv. 22 e 28 G. Sestieri, Repertorio della pittura romana della fine del Seicento e del Settecento , Torino 1994, II, fig. 90 M. L. Vicini, in Il Settecento a Roma, catalogo della mostra a cura di Anna Lo Bianco e Angela Negro, Milano 2005, pp. 190-191, n. 72
Wannenes Art Auctions
Jul. 19, 2022
After Marco Benefial,
Est: £500 - £700
After Marco Benefial, Italian 1684-1764- The flagellation of Christ; oil on canvas, 41.4 x 30.2 cm., (unframed). Provenance: Private Collection, UK. Note: The present work is a mid 18th-century copy after Benefial's composition in the Chiesa delle Santissime Stimmate di San Francesco in Rome. See https://protect-us.mimecast.com/s/j2dNCYEQnyCm7Njszm5cb?domain=catalogo.fondazionezeri.unibo.it. Please refer to department for condition report
Roseberys
May. 13, 2022
MARCO BENEFIAL (Rome, 1684 - 1764)
Est: €7,000 - €9,000
Portrait of Lady Oil on canvas, cm. 70x59. Framed The painting bears in the bottom right-hand corner signature and date: "M. BENEFIAL FECIT ROMA 1763". PROVENANCE: private collection, Rome
Bertolami Fine Art s.r.l.
Nov. 26, 2021
MARCO BENEFIAL (ROME, 1684 - 1764): PORTRAIT OF LADY
Est: €10,000 - €12,000
Oil on canvas, cm. 70x59. Framed The painting bears in the bottom right-hand corner signature and date: "M. BENEFIAL FECIT ROMA 1763". PROVENANCE: private collection, Rome
Bertolami Fine Art s.r.l.
May. 25, 2021
Attribuito a Marco Benefial (Roma 1684 – 1764) - Madonna and Child with Saints
Est: €300 - €500
red pencil on paper inscription lower right Parmegiano inscription on the back 1723 / Marco Benefial
Finarte
Dec. 21, 2020
MARCO BENEFIAL (attr. a)
Est: €2,000 - €3,000
(Roma, 1684-1764) La strage degli Innocenti Olio su tela, cm 47,5X30 Marco Benefial è uno dei pittori più interessanti del panorama artistico romano del Settecento, suggestionato dal classicismo marattesco e dalle modulazioni neoclassiche di Pompeo Batoni, ma tuttavia incline ad un linguaggio singolarissimo. Lo studio della pittura bolognese, la spontanea predisposizione al neoseicentismo, il costante esercizio del disegno e dell'anatomia, spiegano un'indole difficilmente inquadrabile in correnti e cliché. La matrice emiliana e guercinesca si vena così di un naturalismo immediato e colto, che si esprime al meglio specialmente nelle opere in piccolo. Bibliografia di riferimento: L. Barroero, Benefial , Milano 2005, ad vocem G. Sestieri, Repertorio della pittura romana della fine del Seicento e del Settecento, Torino 1994, ad vocem
Wannenes Art Auctions
Nov. 19, 2020
Benefial, Marco: Artist's Portrait in Red Robe and Black Hood
Est: €5,000 - €8,000
Benefial, Marco Rome 1684 - 1764 - Workshop Oil on canvas. Relined. 67 x 52,5cm. Framed. Provenance: Auction Jacob Hecht, Berlin, 28.05.1929, ill. T.20 (as A.R. Mengs) Private ownership, Germany. The present work was in the past considered a work by Anton Raphael Mengs (1728-1779) and as such it was auctioned in Berlin in 1929. Steffi Röttgen mentions the work in her 1999 cat. rais. on Mengs under the no. EX 251, but copies it from the artist. In an email from 08.07.2017 she confirms this judgement and considers it to be a work from before Mengs. After viewing it from a colour photograph suggests attributing it to an artist around the time of the student John Parker. We are grateful to Steffi Röttgen, Munich, for her kind support. Explanations to the Catalogue Marco Benefial Italian School 18th C. Old Masters Portrait Painting Estimated Shippingcost for this lot: Germany: 42,02 Euro plus 7,98 Euro VAT EU: 79,83 Euro plus 15,17 Euro VAT Worldwide: 134,45 Euro plus 25,55 Euro VAT additional shipping insurance
Van Ham Kunstauktionen
Nov. 25, 2019
Atelier di Marco Benefial (Roma 1684 – 1764) - The Flagellation of Christ
Est: €1,500 - €2,500
oil on canvas
Finarte
Nov. 23, 2019
Marco Benefial (attrib.), pencil drawing, 18th c.
Est: $500 - $700
Attributed to Marco Benefial (Italian, 1684-1764), Archangel Michael Fighting Over the Body of Moses, graphite, ink and white pastel on paper, unsigned, numbered '18' upper right, inscribed "Benefial" verso, matted and unframed, 11"h x 8"w (sheet), 16"h x 20"w (mat)
Millea Bros Ltd
Mar. 06, 2019
Marco Benefial (Italian, 1684-1764) Portrait of Edward Curtis of Mardyke House, Hotwells, Bristol, seated, three-quarter length in a...
Est: £6,000 - £8,000
Marco Benefial (Italian, 1684-1764) Portrait of Edward Curtis of Mardyke House, Hotwells, Bristol, seated, three-quarter length in a grey coat with silver thread and scarlet pink embroidered cuffs, pointing to a globe signed lower right on the longitudinal orbit "Eqis Marcus Benefial Pinxt. Roma Anno Sal. 1750" oil on canvas, 95 x 70 cm (37.5 x 27.5in); Together with the waistcoat as worn by Edward Curtis in this portrait by Benefial; probably French, mid 18th Century, comprising brocaded weave, silk uncut with supplementary weft patterning of rococco metal threads, smooth metal purl threads and plate ribbon metal threads, lining: cream brushed linen/cotton, wooden buttons covered with rococco, purl, plate ribbon metal threads and metal spangles, centre front length: 81cm (32in), chest: 97cm (38in), waist: 86 cm (34in), hip: 102 cm (40in), buttons: 2cm (.75in) x 2cm (.75in) Provenance: By descent from the sitter to his elder daughter Hannah Fownes (died 1814) who married in 1805 John Yarde Fownes (1779-1839); Their elder son (according to a label on the reverse) Edward Curtis Fownes, born 1806, who married in 1848; Mary Margaret Haythorne ( died 1900); Thence to Mrs R A Parsons (nee W S Haythorne) who died 1977; to her son the late Sir Richard Parsons (1928-2016) Other Notes: This remarkable waistcoat, as worn by the sitter in this portrait, demonstrates the richness of mid-18th century men's dress which were often as lavish as that of women. The decorative woven pattern incorporates large feathered foliage with small four-leafed flowers of woven metal threads surrounding a single multi-coloured silk rose at the centres. At this period, Safavid textiles from Persia feature similar rose motifs as the ones woven in this waistcoat. Interestingly, the sitter, Edward Curtis, who was a well-known merchant from Bristol, is pointing in his portrait towards the Middle East (to apparently what is today known as Saudi Arabia). This may indicate a place of importance to him as a gentleman in trade, and indeed, possibly why his waistcoat though made in Europe reflects a Middle Eastern style of patterning. This waistcoat when first made would have had a remarkable sparkle and shine to it and made clear that its owner was someone of considerable standing and wealth. Curtis, who was evidently on the Grand Tour when he sat for this portrait by Benefial, would have been fully aware of the allusions and the impact he wished to convey by his wearing such a splendid waistcoat, that presumably he had acquired 'en route' for Italy. We are grateful to Tatiana Verdon for her assistance with the catalogue entry.
Cheffins
Oct. 13, 2018
18th Century Oil Painting - Saint Peter -Marco Benefial
Est: $5,000 - $8,000
18th Century Oil Painting by the old master Italian artist Marco Benefial (1684-1764) | Oil on Canvas | Portrait is Entitled “Saint Peter” | Custom Gilt Frame | Painting has been relined, craquelure present a small chip of painting is missing in the upper left corner | Dimensions: 17.25″ x 16″ and 18 x 19.25 with frame | Marco Benefial (25 April 1684 – 9 April 1764) was an Italian, proto-Neoclassical painter, mainly active in Rome. Benefial is best known for his repudiation of 18th century decorative Rococo styles pre-eminent in the Rome dominated by Carlo Maratta pupils. His paintings portrayed tangible human figures, with complex treatment of space, and luminous, warm colors. Along with the altarpieces and frescoes, he also painted many portraits. Because he partnered with some inferior artists who subsequently received credit, some of his paintings have been frequently misidentified. Marco Benefial was born in Rome in 1684, and died there in 1764. When at the age of 19 years, one of his paintings, an altarpiece with Apotheosis of San Filippo Neri, was rejected for exhibition at the yearly Pantheon show in 1703, Benefial became incensed and displayed it in a pharmacist’s window, to much commotion. In 1720, he protested the Accademia di San Luca’s decree that only members or those meeting the approval of the painter’s guild could teach drawing. The decree also required students to provide the academy with a fee equal to a pound of wax. His appeal to the councils of Pope Clement XI succeeded in having the ruling revoked. After Benefial was finally elected into the Accademia di San Luca at the age of 57, he soon denounced its members’ mediocrity and ignorance; and was expelled years later in 1755. In 1716, he had painted a San Saturnino for the church of Santi Giovanni e Paolo (Rome). His 1718 papal commission for a Jonah, painted for Basilica of St. John Lateran, was rewarded also by the papacy with the title of Cavaliere. During 1720-27, he completed painting on the Story of san Lorenzo for the Duomo of Viterbo. In 1721, he completed a Pieta with angels & symbols of the passion for the church in the monastery of Santa Maria dei Sette Dolori. He painted for the church of Santa Maria alle Fornaci, two lunettes on the story of John the Baptist. From 1722-1727, he completed four canvases for the Collegiata del Crocifix in Monreale. In 1729-1732, he painted two canvases of Santa Margherita da Cortona for the church of Santa Maria in Aracoeli, as commissioned by cardinal Pietro Marcello Corradini. He often collaborated in paintings with Filippo Evangelista. His initial training in Rome was under Bonaventura Lambert, a pupil of Carlo Cignani, and he helped in the painting of the Chapel of the Sacrament in Saint Peter’s Basilica and in the Carmelite Convent of San Alberto. He is remembered for urging a return to the classical foundations of Italian painting, as exemplified by Raphael, del Sarto, and Carracci. Among his pupils were Anton Raphael Mengs, Antonio Liozzi, Giovanni Battista Ponfredi, Gioacchino Martorana, and Mariano Rossi. Dimensions: 18 x 19.25 Artist or Maker: Marco Benefial Medium: Oil on Canvas Date: 18th Century
Worthington Galleries
Jul. 21, 2018
18th Century Oil Painting - Saint Peter -Marco Benefial
Est: $5,000 - $6,250
18th Century Oil Painting attributed to the famous Italian painter Marco Benefial (1684-1764) | Oil on Canvas | Portrait is Entitled "Saint Peter" | Custom Gilt Frame | Painting has been relined, craquelure present a small chip of painting is missing in the upper left corner | Dimensions: 17.25" x 16" and 18 x 19.25 with frame Marco Benefial (25 April 1684 â 9 April 1764) was an Italian, proto-Neoclassical painter, mainly active in Rome. Benefial is best known for his repudiation of 18th century decorative Rococo styles pre-eminent in the Rome dominated by Carlo Maratta pupils. His paintings portrayed tangible human figures, with complex treatment of space, and luminous, warm colors. Along with the altarpieces and frescoes, he also painted many portraits. Because he partnered with some inferior artists who subsequently received credit, some of his paintings have been frequently misidentified. Marco Benefial was born in Rome in 1684, and died there in 1764. Â When at the age of 19 years, one of his paintings, an altarpiece with Apotheosis of San Filippo Neri, was rejected for exhibition at the yearly Pantheon show in 1703, Benefial became incensed and displayed it in a pharmacist's window, to much commotion. In 1720, he protested the Accademia di San Luca's decree that only members or those meeting the approval of the painter's guild could teach drawing. The decree also required students to provide the academy with a fee equal to a pound of wax. His appeal to the councils of Pope Clement XI succeeded in having the ruling revoked. After Benefial was finally elected into the Accademia di San Luca at the age of 57, he soon denounced its members' mediocrity and ignorance; and was expelled years later in 1755. In 1716, he had painted a San Saturnino for the church of Santi Giovanni e Paolo (Rome). His 1718 papal commission for a Jonah, painted for Basilica of St. John Lateran, was rewarded also by the papacy with the title of Cavaliere. During 1720-27, he completed painting on the Story of san Lorenzo for the Duomo of Viterbo. In 1721, he completed a Pieta with angels & symbols of the passion for the church in the monastery of Santa Maria dei Sette Dolori. He painted for the church of Santa Maria alle Fornaci, two lunettes on the story of John the Baptist. From 1722-1727, he completed four canvases for the Collegiata del Crocifix in Monreale. In 1729-1732, he painted two canvases of Santa Margherita da Cortona for the church of Santa Maria in Aracoeli, as commissioned by cardinal Pietro Marcello Corradini. He often collaborated in paintings with Filippo Evangelista. His initial training in Rome was under Bonaventura Lambert, a pupil of Carlo Cignani, and he helped in the painting of the Chapel of the Sacrament in Saint Peter's Basilica and in the Carmelite Convent of San Alberto. He is remembered for urging a return to the classical foundations of Italian painting, as exemplified by Raphael, del Sarto, and Carracci. Among his pupils were Anton Raphael Mengs, Antonio Liozzi, Giovanni Battista Ponfredi, Gioacchino Martorana, and Mariano Rossi.
Worthington Galleries
May. 19, 2018
Marco Benefial 18th Century Oil Painting Entitled "Saint Peter"
Est: $5,000 - $8,000
18th Century Oil Painting by the old master Italian artist Marco Benefial (1684-1764) | Oil on Canvas | Portrait is Entitled “Saint Peter” | Custom Gilt Frame | Painting has been relined, craquelure present a small chip of painting is missing in the upper left corner | Dimensions: 17.25″ x 16″ and 18 x 19.25 with frame | Marco Benefial (25 April 1684 – 9 April 1764) was an Italian, proto-Neoclassical painter, mainly active in Rome. Benefial is best known for his repudiation of 18th century decorative Rococo styles pre-eminent in the Rome dominated by Carlo Maratta pupils. His paintings portrayed tangible human figures, with complex treatment of space, and luminous, warm colors. Along with the altarpieces and frescoes, he also painted many portraits. Because he partnered with some inferior artists who subsequently received credit, some of his paintings have been frequently misidentified. Marco Benefial was born in Rome in 1684, and died there in 1764. When at the age of 19 years, one of his paintings, an altarpiece with Apotheosis of San Filippo Neri, was rejected for exhibition at the yearly Pantheon show in 1703, Benefial became incensed and displayed it in a pharmacist’s window, to much commotion. In 1720, he protested the Accademia di San Luca’s decree that only members or those meeting the approval of the painter’s guild could teach drawing. The decree also required students to provide the academy with a fee equal to a pound of wax. His appeal to the councils of Pope Clement XI succeeded in having the ruling revoked. After Benefial was finally elected into the Accademia di San Luca at the age of 57, he soon denounced its members’ mediocrity and ignorance; and was expelled years later in 1755. In 1716, he had painted a San Saturnino for the church of Santi Giovanni e Paolo (Rome). His 1718 papal commission for a Jonah, painted for Basilica of St. John Lateran, was rewarded also by the papacy with the title of Cavaliere. During 1720-27, he completed painting on the Story of san Lorenzo for the Duomo of Viterbo. In 1721, he completed a Pieta with angels & symbols of the passion for the church in the monastery of Santa Maria dei Sette Dolori. He painted for the church of Santa Maria alle Fornaci, two lunettes on the story of John the Baptist. From 1722-1727, he completed four canvases for the Collegiata del Crocifix in Monreale. In 1729-1732, he painted two canvases of Santa Margherita da Cortona for the church of Santa Maria in Aracoeli, as commissioned by cardinal Pietro Marcello Corradini. He often collaborated in paintings with Filippo Evangelista. His initial training in Rome was under Bonaventura Lambert, a pupil of Carlo Cignani, and he helped in the painting of the Chapel of the Sacrament in Saint Peter’s Basilica and in the Carmelite Convent of San Alberto. He is remembered for urging a return to the classical foundations of Italian painting, as exemplified by Raphael, del Sarto, and Carracci. Among his pupils were Anton Raphael Mengs, Antonio Liozzi, Giovanni Battista Ponfredi, Gioacchino Martorana, and Mariano Rossi. Dimensions: 18 x 19.25 Artist or Maker: Marco Benefial Medium: Oil on Canvas Date: 18th Century
Worthington Galleries
Mar. 03, 2018
Marco Benefial 18th Century Oil Painting Entitled "Saint Peter"
Est: $5,000 - $10,000
18th Century Oil Painting attributed to the famous Italian painter Marco Benefial (1684-1764) | Oil on Canvas | Portrait is Entitled “Saint Peter” | Custom Gilt Frame | Painting has been relined, craquelure present a small chip of painting is missing in the upper left corner | Dimensions: 17.25″ x 16″ and 18 x 19.25 with frame Marco Benefial (25 April 1684 – 9 April 1764) was an Italian, proto-Neoclassical painter, mainly active in Rome. Benefial is best known for his repudiation of 18th century decorative Rococo styles pre-eminent in the Rome dominated by Carlo Maratta pupils. His paintings portrayed tangible human figures, with complex treatment of space, and luminous, warm colors. Along with the altarpieces and frescoes, he also painted many portraits. Because he partnered with some inferior artists who subsequently received credit, some of his paintings have been frequently misidentified. Marco Benefial was born in Rome in 1684, and died there in 1764. When at the age of 19 years, one of his paintings, an altarpiece with Apotheosis of San Filippo Neri, was rejected for exhibition at the yearly Pantheon show in 1703, Benefial became incensed and displayed it in a pharmacist’s window, to much commotion. In 1720, he protested the Accademia di San Luca’s decree that only members or those meeting the approval of the painter’s guild could teach drawing. The decree also required students to provide the academy with a fee equal to a pound of wax. His appeal to the councils of Pope Clement XI succeeded in having the ruling revoked. After Benefial was finally elected into the Accademia di San Luca at the age of 57, he soon denounced its members’ mediocrity and ignorance; and was expelled years later in 1755. In 1716, he had painted a San Saturnino for the church of Santi Giovanni e Paolo (Rome). His 1718 papal commission for a Jonah, painted for Basilica of St. John Lateran, was rewarded also by the papacy with the title of Cavaliere. During 1720-27, he completed painting on the Story of san Lorenzo for the Duomo of Viterbo. In 1721, he completed a Pieta with angels & symbols of the passion for the church in the monastery of Santa Maria dei Sette Dolori. He painted for the church of Santa Maria alle Fornaci, two lunettes on the story of John the Baptist. From 1722-1727, he completed four canvases for the Collegiata del Crocifix in Monreale. In 1729-1732, he painted two canvases of Santa Margherita da Cortona for the church of Santa Maria in Aracoeli, as commissioned by cardinal Pietro Marcello Corradini. He often collaborated in paintings with Filippo Evangelista. His initial training in Rome was under Bonaventura Lambert, a pupil of Carlo Cignani, and he helped in the painting of the Chapel of the Sacrament in Saint Peter’s Basilica and in the Carmelite Convent of San Alberto. He is remembered for urging a return to the classical foundations of Italian painting, as exemplified by Raphael, del Sarto, and Carracci. Among his pupils were Anton Raphael Mengs, Antonio Liozzi, Giovanni Battista Ponfredi, Gioacchino Martorana, and Mariano Rossi.
Worthington Galleries
Apr. 29, 2015
ATTRIBUTED TO MARCO BENEFIAL (Rome 1684-1764) The Flagellation
Est: £2,000 - £3,000
ATTRIBUTED TO MARCO BENEFIAL (Rome 1684-1764) The Flagellation
Bonhams
Jan. 29, 2015
ATTRIBUTED TO MARCO BENEFIAL, (ITALIAN 1684-1764), THE ARCHANGEL MICHAEL FIGHTING OVER THE BODY OF MOSES
Est: $1,000 - $1,500
ATTRIBUTED TO MARCO BENEFIAL (italian 1684-1764)/span THE ARCHANGEL MICHAEL FIGHTING OVER THE BODY OF MOSES Inscribed '18' upper right corner, black chalk with white chalk highlights on pale blue-gray paper 11 1/8 x 7 3/4 in. (28.3 x 19.7cm) provenance: /spanPrivate Collection, New Jersey.
Freeman's | Hindman
Dec. 17, 2014
Marco Benefial (attr.) 1684-1764
Est: €5,000 - €7,000
Marco Benefial (attr.) 1684-1764 Ovale con busto maschile olio su tela 56,5x75cm
Bertolami Fine Art s.r.l.
May. 27, 2014
Marco Benefial (Roma 1684 - 1764) Susanna e i vecchioni
Est: €90,000 - €120,000
olio su tela, cm 230 x 297 reca sigla sul basamento di pietra in basso: CG MARCO BENEFIAL (ROME 1684 - 1764) SUSANNA AND THE ELDERS, OIL IN CANVAS, 230 X 297 CM
Finarte Roma
Jan. 29, 2014
Marco Benefial
Est: $7,000 - $9,000
Black and red chalk with traces of white heighteneing on paper washed blue,267 by 398 mm; 10 1/2 by 15 5/8 in
Sotheby's
Sep. 20, 2013
BENEFIAL, MARCO (1684 Rom 1764). Der Heilige
Est: CHF300 - CHF400
BENEFIAL, MARCO (1684 Rom 1764). Der Heilige Franziskus mit Engel und Totenkopf. Schwarze Kreide, weiss gehöht. Auf grünlichem Bütten. 38 x 24,5 cm. Gerahmt.
Koller Auctions
Apr. 24, 2013
Marco Benefial (Rome 1684-1764) The death of Saint
Est: €1,200 - €1,600
Marco Benefial (Rome 1684-1764) The death of Saint Joseph, brush, blue ink, traces of pen and black ink, on laid paper; portrait studies of a man in red chalk on the reverse, 26 x 21 cm, mounted, framed, (Sch) Specialist: Mag. Astrid-Christina Schierz
Dorotheum
Nov. 12, 2012
Attribué à Marco BENEFIAL (Rome 1684-1764) Hercule
Est: €3,000 - €4,000
Attribué à Marco BENEFIAL (Rome 1684-1764) Hercule Crayon noir et rehauts de craie blanche sur papier bleu 37 x 28 cm Mis aux carreaux (Rousseurs) Notre dessin pourrait être préparatoire pour un plafond du Palais d'Espagne
Piasa
May. 20, 2008
Andrea Locatelli (Roma 1695-1751) e Marco Benefial (Roma 1684-1764) , Paesaggio romano con Margherita da Cortona che ritrova il corpo dell'amante, l'Arco di Tito e il Colosseo sul fondo olio su tela
Est: €18,000 - €25,000
olio su tela
Sotheby's
Dec. 14, 2004
Attribuito a Marco Benefial (Roma 1684-1764)
Est: €15,000 - €20,000
Giovane in abiti classici con garofani e ghirlande di fiori (Allegoria dell'Olfatto?) sulla tela da rifodero antica etichetta di collezione: 'Bacco da Marco Benefial Pitt. Romano Fioriva 1763' olio su tela 64.5 x 60.5 cm.
Christie's