Cecco Bravo Sold at Auction Prices

Cecco Bravo: Recto: Scene of an Encounter between Two People

BRAVO, CECCO 1601 Florenz - 1661 Innsbruck Title: Recto: Scene of an Encounter between Two People. Verso: Fragmentary study of two male legs. Technique: Pen drawing on paper. Mounting: Mounted. Measurement: 10 x 13cm. Notation: Inscribed at the bottom: "Cecco Bravo". Frame: Framed. Literature: F. Baldassari, Cecco Bravo. 1. Dipinti. 2. Disegni, Todi (Perugia), Tau Editrice, to be published. Provenance: Collection Erich Schleier, Berlin. We are grateful to Simonetta Prosperi Valenti, Rome, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph and her help in cataloguing it. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Cecco Bravo Florentine School Baroque 17th C. Watercolour / Drawings Framed Country Life Drawing Group of Figures

Francesco MONTELATICCI CECCO BRAVO (1607-1661) Deposition of Christ from the Cross,

Original red chalk drawing on handmade paper, lined, Francesco Montelatici Cecco Bravo was an important painter of the Florentin Baroque School, born 1607 in Florence - 1661 Innsbruck, sheet height 42.5 cm x width 27.5 cm, frame 53 x 38 cm, flaws and stains

The Suicide of Cleopatra

Oil on canvas 102x80 cm. Framed Clearly Florentine in imprint, this refined depiction of Cleopatra is inscribed in the vast repertoire of single-figure compositions starring seductive and sensual heroines and female figures, of which Francesco Furini, Cesare Dandini, Felice Ficherelli and Cecco Bravo are the main interpreters from the fourth decade of the seventeenth century. If the composition of our painting shows a particular harmony with the modules favored by Cesare Dandini, from the point of view of subject matter, pictorial conduct and expressive climate the greatest affinities can be detected with Cecco Bravo: think of the Delilah in Samson and Delilah formerly Paris, Heim Gallery, Cimon in Roman Charity or the Allegory of Summer, both preserved in a private collection.

Attribuito a Francesco Montelatici detto Cecco Bravo (Firenze 1601 - Innsbruck 1661)

Attribuito a Francesco Montelatici detto Cecco Bravo (Firenze 1601 - Innsbruck 1661) Ratto di Anfitrite Olio su tela 46,5 x 76 cm Un buon raffronto attributivo possiamo trovarlo con il Paesaggio con figure del Philadelphia Museum of Art, oppure con il Riposo durante la fuga in Egitto della raccolta parigina del Marchese di Ségur, e con i due paesaggi con figure della Staatsgalerie di Stoccarda. Francesco Montelatici iniziò la sua formazione con Giovanni Bilivert e in un secondo tempo con Sigismondo Coccapani. Si affiancò poi a Matteo Rosselli, conoscendo la pittura della sua cerchia, in particolare di Domenico Pugliani e di Giovanni da San Giovanni. Pittore tanto bizzarro quanto raffinato, si indirizzò verso una produzione libera da schemi e caratterizzata da una pennellata convulsa, agitata, guidata dal suo estro. Viaggiò in Emilia e a Venezia, ove ebbe modo di conoscere i grandi artisti del rinascimento e del manierismo, Tintoretto e Tiziano soprattutto. Tornato a Firenze acquisì un’ottima posizione nell’ambito artistico, grazie alle sue opere anticonvenzionali, caratterizzate dalla maliziosa sensualità, derivata dal Furini, dei temi scelti. Pittoricamente egli restò risoluto alla sua tecnica fatta di veementi pennellate e colori che passavano da cupissimi bruni introspettivi a tinte smaltate e allucinate visioni illuminate da una tagliente luce metallica. Attributed to Francesco Montelatici known as Cecco Bravo (Florence 1601 - Innsbruck 1661) Rat of Amphitrite Oil on canvas 46,5 x 76 cm A good attributional comparison can be found with the Landscape with figures from the Philadelphia Museum of Art, or with the Rest on the Flight into Egypt from the Parisian collection of the Marquis of Ségur, and with the two landscapes with figures from the Staatsgalerie in Stuttgart.

BRAVO CECCO (1607 - 1661) Study of a male nude.

BRAVO CECCO (1607 - 1661). Study of a male nude.. Cm 23,50 x 38,00.

Attributed to CECCO BRAVO (Florence, 1601 - Innsbruck, 1661). Sleeping boy.

Attributed to CECCO BRAVO (Florence, 1601 - Innsbruck, 1661). "Sleeping child". Oil on canvas. Relined painting. Roman frame from the 18th century. Measurements: 65 x 88 cm; 86 x 109 cm (frame). An artist who has experienced a revaluation over the last century to the point of being considered one of the most interesting and risky painters of 17th-century Florence, Cecco Bravo developed a tremendously personal style, especially in his small works of profane character. Heir to the guidelines established by Francesco Furini and the last Titian, his gentle, delicate technique with vaporous contours, is considered close to the Impressionist movement that will take place centuries later. His research is hesitant in his effusive style, with paintings built around contrasting transparencies and more consistent uses of texture, with flashes of light and backlight effects. As for the theme, Cecco Bravo gives us a tender image inspired by the sleeping cupids of Roman origin that he saw in Italy, creating a model in him from the sweetness and innocence of a sleeping child presents us with the fleetingness of time and life. The Baroque idea of the "Vanitas" becomes a genre of its own where artists can deploy their talent by creating works with a philosophical and even didactic sense. The appearance of a baby engrossed in his own rest clashes brutally when we see him sleeping hugging a skull. It clearly tells us that life and death go hand in hand and are inseparable. Nascendo morimur ("just as we are born, we die") this phrase is postulated as a way of life that invites us not to flee death but to assume it and to embrace it living the present. It is curious how Cecco Bravo himself, as well as other contemporary artists, knew how to apply his model and his idea of more concecisous forms according to the patron. Sometimes these sleeping children could be perfectly a cupid who lies on his bow and arrows alluding to his work as inducer of love and randomness, too, it could even be a religious issue. After his initial training in the workshops of Giovanni Biliverti and Sigismondo Coccapani, Cecco Bravo expanded his training looking for his own style based on the study of Flemish and Venetian masters. In the 1620s he participated in the major decorative projects led by Matteo Rosselli. In 1629 he opened his own workshop in which he developed works that demonstrated an attentive study of the Florentine tradition of Andrea del Sarto or Pontormo. Soon after he was called to complete the frescoes of the Sala degli Argenti of Palazzo Pitti, which Giovanni da San Giovanni had left unfinished upon his death.

Bravo, Cecco: Stehender Krieger mit Schwert

Stehender Krieger mit Schwert. Schwarze Kreide. 23,7 x 14,7 cm. Unten rechts mit einer alten Bezeichnung in brauner Feder "cecco bravo" und der Bleistiftnummerierung "131". Wz. Meerjungfrau im Kreis (vgl. Briquet 13880-13902). Sehr charakteristische Zeichnung von Cecco Bravo, die mit vielen seiner Figurenstudien insbesondere in den Uffizien verglichen werden kann (s. Anna Rosa Masetti: Cecco Bravo, pittore toscano del Seicento.Venedig 1962). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Attribué à Francesco MONTELATICCI, dit Cecco BRAVO Florence, 1601 - Innsbruck, 1661 Paysage avec un cavalier et des personnages au b...

Attribué à Francesco MONTELATICCI, dit Cecco BRAVO Florence, 1601 - Innsbruck, 1661 Paysage avec un cavalier et des personnages au bord de l'eau Huile sur toile h: 27,50 w: 39 cm Estimation 1 000 - 1 500 €

Bravo, Cecco: Stehender Krieger mit Schwert

Stehender Krieger mit Schwert. - Schwarze Kreide. 23,7 x 14,7 cm. Unten rechts mit einer alten Bezeichnung in brauner Feder "cecco bravo" und der Bleistiftnummerierung "131". Wz. Meerjungfrau im Kreis (vgl. Briquet 13880-13902). -- Sehr charakteristische Zeichnung von Cecco Bravo, die mit vielen seiner Figurenstudien insbesondere in den Uffizien verglichen werden kann (s. Anna Rosa Masetti: Cecco Bravo, pittore toscano del Seicento. Venedig 1962). -- Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Francesco Montelatici, Il Cecco Bravo (Florence 1600-1661 Innsbruck) Saint Agatha black and red chalk 9 ¾ x 7 ½ in. (24.7 x 19.2 cm)

Francesco Montelatici, Il Cecco Bravo (Florence 1600-1661 Innsbruck) Saint Agatha with inscription 'Montelatici Francesco, detto Cecco Bravo-/ fiorentino - m 1661/ ved: Orlandi 1.195.' (on the verso) black and red chalk 9 ¾ x 7 ½ in. (24.7 x 19.2 cm)

ATTRIBUÉ À CECCO BRAVO (Francesco Montellatici dit, Florence 1607 - Innsbruck 1661)

ATTRIBUÉ À CECCO BRAVO (Francesco Montellatici dit, Florence 1607 - Innsbruck 1661) La tentation Toile Restaurations anciennes Sans cadre Attr. to F. Montellatici called Cecco Bravo, The temptation, canvas, without frame. 107 x 163 CM • 42 1/8 X 64 1/8 IN. €8,000-12,000 Ayant débuté comme brillant décorateur à fresques (Florence, Santissima Annunziata, Casa Buonarroti en 1636, Palais Pitti en 1637), le caractère anti-académique de la peinture de Cecco Bravo l'empêche de continuer dans cette voie et il se consacre à des tableaux où les sujets sont traités de manière étrange et fantastique. Avec Sebastiano Mazzoni, il représente le courant vénitien à la touche brillante et aux éclats de lumière scintillants de la peinture florentine du Seicento. Une autre version de cette composition est conservée dans une collection particulière florentine (donnée à Cecco Bravo, repr. dans Mina Gregori, "A Cross-Section of Florentine Seicento painting. The Piero Bigongiari Collection", Apollo, juillet1974, n°149, p.224, ill.16).

Francesco Montelatici detto Cecco Bravo (Firenze 1607 - Innsbruck 1661), ambito di, Figure

olio su tela, cm 120x93

Francesco Montelatici detto Cecco Bravo (Firenze 1607 - Innsbruck 1661), ambito di, Figure

olio su tela, cm 120x93

Francesco Montelatici detto Cecco Bravo (Firenze 1607 - Innsbruck 1661) "Fetonte guida il carro del sole"

Francesco Montelatici detto Cecco Bravo (Firenze 1607 - Innsbruck 1661) "Fetonte guida il carro del sole" sanguigna su carta, mm 170x330

Cecco BRAVO (florence 1600 - Innsbruck 1661) Étude présumée pour un Narcisse Sanguine et rehauts de gouache blanche 26 x 38,5 cm Ann...

Cecco BRAVO (florence 1600 - Innsbruck 1661) Étude présumée pour un Narcisse Sanguine et rehauts de gouache blanche 26 x 38,5 cm Annoté dans le bas « Giorgione Barbaretti pittore Veneziano » et « 501 » Cachet du pseudo Crozat en haut à droite (L.474) Rousseurs et taches, collé aux coins On peut rapprocher notre dessin de deux feuilles de technique similaire aujourd'hui conservées aux Offices (inv.10618F et 10636F) (voir A. Masetti « Cecco Bravo?» : pittore toscano del Seicento », Venise, 1962, n°173, fig.94 ; et A. Barsanti et R. Contini « Cecco Bravo : pittore senza regola », Milan, 1999, n°30)

FRANCESCO MONTELATICI, CALLED CECCO BRAVO

FLORENCE 1607 - 1661 INNSBRUCK STUDY OF AN ANGEL HOLDING A STAFF Red chalk, lower right corner made up; bears number in brown ink, upper left: 34 262 by 190 mm; 10 1/4 by 7 1/2 in

FRANCESCO MONTELATICI, CALLED CECCO BRAVO

FRANCESCO MONTELATICI, CALLED CECCO BRAVO FLORENCE 1607 - 1661 INNSBRUCK AN ANGEL KNEELING IN ADORATION, WITH A SUBSIDIARY STUDY OF THE ANGEL'S ARMS Red chalk; bears old attribution in brown ink, lower right: Cecco bravo 197 by 131 mm; 7 7/8 by 5 1/8 in

Francesco Montelatici, called Cecco Bravo (Florence 1600-1661 Innsbruck)

Francesco Montelatici, called Cecco Bravo (Florence 1600-1661 Innsbruck) A reclining male nude with inscriptions 'giorgione barbarelli pittore Veneziano.' (lower left corner) and '501' (centre of the left margin) red and white chalk on brown paper 10¼ x 15 1/8 in. (26 x 38.4 cm.)

Circle of Francesco Montelaticci, called Cecco Bravo (Florence 1600-1661 Innsbruck) The bust of a female, a fragment oil on canvas, laid down on panel 19 x 12 1/4 cm. (7 1/2 x 5 in.) in an 18th century carved and giltwood frame