Girolamo Brusaferro Paintings & Artwork for Sale | Girolamo Brusaferro Art Value Price Guide

Oct. 24, 2024
Alessandro e il medico Filippo
Est: €6,000 - €9,000
Girolamo Brusaferro (Venezia 1684-Venezia 1760) Alexander and the doctor Philip Oil on canvas cm. 134,5x107. Framed The present painting is accompanied by an expertise by Prof. Anna Pietropolli.
Bertolami Fine Art s.r.l.
Jun. 13, 2024
Girolamo Brusaferro 1677 Venezia-1745 Venezia Il sacrificio di Iefte
Est: €15,000 - €20,000
“Inserita nel catalogo di Gerolamo Brusaferro come Sacrificio di Polissena, la nostra tela, apparsa nel 1996 nel mercato londinese con un'attribuzione ad Antonio Bellucci, decisamente s'inserisce in quel filone narrativo pertinente ai "pittori d'istorie" attivi a Venezia tra la fine del diciassettesimo secolo e i primi anni del Settecento. Una ristretta schiera di artefici quali Sebastiano Ricci, Antonio Arrigoni, Gerolamo Brusaferro, Antonio Molinari e pochi altri, impegnati nell'esecuzione di soggetti desunti dai testi sacri e dai cronisti della storia antica con fini primariamente moraleggianti e didascalici. E' nel secondo decennio del diciottesimo secolo che il Brusaferro dimostra una piena aderenza ai modi di Sebastiano Ricci come, peraltro, rammenta nel 1771 Anton Maria Zanetti nel suo compendio dedicato alla pittura veneziana. Il dipinto è sapientemente modulato su diversi piani chiaroscurali, dalla scena, affollata da vari astanti, delimitata da un architettura ad arco che si apre sull'orizzonte, alla possente figura di lefte, intessuta di toni bruni e crepuscolari memori della tradizione tenebrosa, nell'atto di pugnalare la figlia, alle bianche e lucenti membra della ragazza sulle quali spiccano l'azzurro e il rosso offerto dalle sue vesti. Sulla sinistra un alto braciere reca scolpita una scena sacrificale. In basso una brocca pare attestare nella sua preziosità un gusto dell'antico che ben si attaglia all'episodio biblico. Tra il campionario tipologico di Gerolamo Brusaferro si evidenzia che l'elmo piumato di lefte è assai simile a quelli descritti nell'Assassinio di Alessandro Severo e della madre Mamea e nell'Alessandro ed Efestione. La testa della figlia di lefte è in concreto sovrapponibile alla donna che compare nell'Antioco visitato dai medici (Parma, Galleria Nazionale) già attribuito a Sebastiano Ricci e recentemente ricondotto al catalogo del Brusaferro.”
Cambi Casa d'Aste
Jun. 13, 2024
Girolamo Brusaferro 1677 Venezia-1745 Venezia Ratto delle Sabine
Est: €8,000 - €12,000
“Battuto il 29 giugno 1979 in un'asta londinese di Christie's con un'attribuzione a Nicolò Bambini, il dipinto è stato in seguito ricondotto al pennello di Gerolamo Brusaferro. Tale attribuzione è avvalorata dal confronto con il medesimo soggetto affrescato nella Villa Valier Loredan di Vascon di Carbonera del quale, la presente opera, ne rappresenta il bozzetto preparatorio. Gli affreschi di Vascon, effigianti alcuni Episodi di storia romana, sono stati dapprima assegnati ad Antonio Bellucci, in seguito riferiti a Nicolò Bambini e infine consegnati con motivate spiegazioni da Bernard Aikema al Brusaferro. In area veneta significative interpretazioni del tema sono state affrontate da Sebastiano Ricci (collezione Liechtenstein) e Nicolò Bambini in una probabile traduzione su Pietro da Cortona forse pensata nel periodo trascorso a Roma dal pittore veneziano. Il bozzetto in questione differisce ben poco dal citato affresco, anticipandone tutte le conosciute peculiarità del pittore, dalla scioltezza di pennello mutuata da Sebastiano Ricci all'adempimento delle regole grafiche proprie del Bambini. La composizione, distinta su più piani cromatici, si carica delle tipiche cifre barocche nell'affollarsi dei romani che afferrano le fanciulle che oppongono una vana resistenza. Nel fluttuare delle allungate figure, non pare nondimeno avventato intravedere i futuri assetti stilistici propri di quel barocchetto che diverrà linguaggio comune tra Venezia e il Danubio.”
Cambi Casa d'Aste
Oct. 17, 2023
BRUSAFERRO GIROLAMO (1677 - 1746) - Banquet of Antony and Cleopatra
Est: €7,000 - €10,000
BRUSAFERRO GIROLAMO (1677 - 1746). Banquet of Antony and Cleopatra. The lot is accompanied by the expertise by Enrico Lucchese, 14 May 2023. “Two were the greatest pearls of all time, both possessed by Cleopatra, the last queen of Egypt [...]. She, while Antonio stuffed herself with refined foods every day, with a superb and at the same time brazen disdain, like a harlot queen, denigrated every luxury and the apparatus of her banquets; and when he asked her what else could be added to that magnificence of hers, he replied that she would consume ten million sesterces in a single supper. Antonio wanted to learn how, but he didn't believe it was possible. So, having made the bet, the following day [...] he arranged for Antonio to prepare a dinner, however magnificent [...] but of ordinary administration. Antonio joked and asked for an expense account. But the woman, confirming that it was a corollary, that that supper would cost the fixed price and that she alone would eat ten million sestertii, ordered the second meal to be brought. According to her instructions, her servants placed in front of her only a vase of vinegar, the strong acidity of which causes her pearls to melt until dissolution. She wore those jewels more than ever extraordinary to her ears: a truly unique masterpiece in nature. So while Antonio was waiting to see what he would do, he took off one of the two pearls and dipped it in vinegar and, once it was liquefied, he swallowed it. He threw his hand on the other pearl Lucio Planco, judge of the bet, while the woman prepared to destroy it in the same way; and she sentenced that Antonio was defeated: an omen that he has come true ”. Pliny the Elder's story (Naturalis Historia, XI, 58) was an inspiration for many artists of the Baroque age (cf. A. Pigler, Barockthemen, II, Budapest 1974, pp. 396-398). In the eighteenth-century Venetian context, the one to which the work in question pertains, the fortune of the theme was carried forward by the illustrious examples of Antonio Pellegrini, in the fresco of Villa Giovanelli in Noventa Padovana (cf. F. Magani, in "Nuovi Studi", 8, 2003, pp. 167-180), and above all by Giambattista Tiepolo in the fresco cycle of Palazzo Labia in Venice and in the paintings on canvas now in the Melbourne and Arkangelskoje museums (see A. Mariuz, The stories of Antonio and Cleopatra , Venice 2004). In all these examples, even in the present, the homage to Paolo Veronese's Dinners is evident in the choice of light colors and above all in the layout of the composition. In the specific case, however, the reference to the sixteenth-century model appears to be influenced by the painting of Sebastiano Ricci in the full-body drafting, modulated on drawing tones which, in Venice, were connected to the mastery of painters of a more classicist taste. It therefore appears evident that this Banquet of Cleopatra is evidently the autograph of someone who as a young man attended "the school of Cav. Bambini, where he learned the good rules of drawing, which, although later he partially abandoned those ways, served him as good guides to the art, and to be considered a skilled painter. He also tried to follow the way of Sebastiano Rizzi; and finally he formulated a style which shared the characteristics of both of those masters; but at the same time it had something original” (A.M. Zanetti, Della pittura Veneziana, Venice 1771, p. 431). The attribution to the Venetian Girolamo Brusaferro can be demonstrated through a comparison with two works that I discussed in 2021: the Last Communion of Saint Jerome (fig. 1, in Il Secolo di Nicola Grassi, p. 84), and Berenice's Hair (fig. 2, in the Costantino and Mafalda Pisani Museum in Trieste. The Pinacoteca of the Eastern Greek Community, pp. 68-69 cat. 7). As can be seen, stylistic features, layout and color choices of the Banquet of Cleopatra are repeated in this pair of canvases: if the first seems, net of its conservation problems, comparable to the Death of Sant'Avertano (1736) of the Carmini church in Venice (fig. 3: see A. Pietropolli, Girolamo Brusaferro, Padua 2002, p. 81 cat. 112), the second, with his companion Antioco and Stratonice, denotes a rather congealed pictorial material and some compositional inconsistencies that lead to a chronology in the last phase of Brusaferro, by now a latecomer compared to the other main contemporary masters of the Serenissima, which can be confirmed with the 1741 altarpiece for Stabello (fig. 4), near Bergamo (cf. Pietropolli 2002, p. 83 cat. 117). In the second five-year period of the thirties, it then seems appropriate to place the painting in question, followed by the Carmini canvas, presumably not far from the altarpiece with the Madonna and Child and Saints Foca, Martino and Pietro for the Venetian church of Santo Stefano, dated 1737 (fig. 5: Pietropolli 2002, p. 83 cat. 113), placing itself, in the history of the fortune of the theme of the conquering queen of the Roman conqueror, after the Pellegrini's Banquet at the beginning of the century and shortly before the series of inventions prepared by the Tiepolo genius in the following decade. Unlike his colleagues who placed the judge of the bet at the table among the diners, Brusaferro chooses to place him in the background, to comply with principles of greater likelihood characteristic of his curriculum as a "dotto pittore".. 119,50 x 101,20 cm.
Capitolium Art
Jun. 21, 2023
BRUSAFERRO. BOZZETTO PREPARATORIO PER LA PALA D'ALTARE DI SANTA TERESA NEL DUOMO ABBAZIALE DI PIOVE.
Est: €12,000 - €14,000
BRUSAFERRO, Girolamo. Bozzetto preparatorio per la pala d’altare del Duomo di Piove. “Santa Teresa d’Avila trafitta dall’Angelo con i Santi Carlo Borromeo, Francesco e Andrea.”Prima metà del XVIII secolo Olio su tela con cornice; 36x43 cm. Bell’esemplare. Bozzetto preparatorio per il dipinto della pala d’altare del Duomo di Piove (Padova). L’opera venne commissionata all’artista veneziano Girolamo Brusaferro nel 1729 e ultimata l’anno successivo.La pala raffigura Santa Teresa d’Avila in estasi, genuflessa e con le braccia aperte, mentre un angelo le trafigge il cuore con una freccia. In piedi, dietro la santa, San Carlo Borromeo, raccolto in meditazione, e San Francesco mentre contempla il crocifisso, avvolto da una spirale di nubi. In alto, ammantato dalle nuvole e attorniato da putti, Sant’Andrea, appoggiato alla croce, simbolo del suo martirio.Colpisce la grande fedeltà del bozzetto iniziale con l’opera compiuta, in cui si può notare un piccolo ripensamento sulla posizione delle braccia di San Carlo Borromeo, posizionato poco sopra l’angelo. Nel bozzetto, infatti, il movimento è più pronunciate, con le mani tese in avanti. Nella stesura definitiva, l’artista preferisce conferire al santo un movimento di maggiore riserbo e umiltà.Tieto, P. La Pala di Santa Teresa nel Duomo Abbaziale di Piove. In “Padova e il suo Territorio” n. 86, Agosto 2000. Pp. 16-17.
Bado e Mart
Jun. 13, 2023
BRUSAFERRO GIROLAMO (1677 - 1746) Banquet of Antony and Cleopatra
Est: €10,000 - €15,000
BRUSAFERRO GIROLAMO (1677 - 1746). Banquet of Antony and Cleopatra. The lot is accompanied by the expertise by Enrico Lucchese, 14 May 2023. “Two were the greatest pearls of all time, both possessed by Cleopatra, the last queen of Egypt [...]. She, while Antonio stuffed herself with refined foods every day, with a superb and at the same time brazen disdain, like a harlot queen, denigrated every luxury and the apparatus of her banquets; and when he asked her what else could be added to that magnificence of hers, he replied that she would consume ten million sesterces in a single supper. Antonio wanted to learn how, but he didn't believe it was possible. So, having made the bet, the following day [...] he arranged for Antonio to prepare a dinner, however magnificent [...] but of ordinary administration. Antonio joked and asked for an expense account. But the woman, confirming that it was a corollary, that that supper would cost the fixed price and that she alone would eat ten million sestertii, ordered the second meal to be brought. According to her instructions, her servants placed in front of her only a vase of vinegar, the strong acidity of which causes her pearls to melt until dissolution. She wore those jewels more than ever extraordinary to her ears: a truly unique masterpiece in nature. So while Antonio was waiting to see what he would do, he took off one of the two pearls and dipped it in vinegar and, once it was liquefied, he swallowed it. He threw his hand on the other pearl Lucio Planco, judge of the bet, while the woman prepared to destroy it in the same way; and she sentenced that Antonio was defeated: an omen that he has come true ”. Pliny the Elder's story (Naturalis Historia, XI, 58) was an inspiration for many artists of the Baroque age (cf. A. Pigler, Barockthemen, II, Budapest 1974, pp. 396-398). In the eighteenth-century Venetian context, the one to which the work in question pertains, the fortune of the theme was carried forward by the illustrious examples of Antonio Pellegrini, in the fresco of Villa Giovanelli in Noventa Padovana (cf. F. Magani, in ""Nuovi Studi"", 8, 2003, pp. 167-180), and above all by Giambattista Tiepolo in the fresco cycle of Palazzo Labia in Venice and in the paintings on canvas now in the Melbourne and Arkangelskoje museums (see A. Mariuz, The stories of Antonio and Cleopatra , Venice 2004). In all these examples, even in the present, the homage to Paolo Veronese's Dinners is evident in the choice of light colors and above all in the layout of the composition. In the specific case, however, the reference to the sixteenth-century model appears to be influenced by the painting of Sebastiano Ricci in the full-body drafting, modulated on drawing tones which, in Venice, were connected to the mastery of painters of a more classicist taste. It therefore appears evident that this Banquet of Cleopatra is evidently the autograph of someone who as a young man attended ""the school of Cav. Bambini, where he learned the good rules of drawing, which, although later he partially abandoned those ways, served him as good guides to the art, and to be considered a skilled painter. He also tried to follow the way of Sebastiano Rizzi; and finally he formulated a style which shared the characteristics of both of those masters; but at the same time it had something original” (A.M. Zanetti, Della pittura Veneziana, Venice 1771, p. 431). The attribution to the Venetian Girolamo Brusaferro can be demonstrated through a comparison with two works that I discussed in 2021: the Last Communion of Saint Jerome (fig. 1, in Il Secolo di Nicola Grassi, p. 84), and Berenice's Hair (fig. 2, in the Costantino and Mafalda Pisani Museum in Trieste. The Pinacoteca of the Eastern Greek Community, pp. 68-69 cat. 7). As can be seen, stylistic features, layout and color choices of the Banquet of Cleopatra are repeated in this pair of canvases: if the first seems, net of its conservation problems, comparable to the Death of Sant'Avertano (1736) of the Carmini church in Venice (fig. 3: see A. Pietropolli, Girolamo Brusaferro, Padua 2002, p. 81 cat. 112), the second, with his companion Antioco and Stratonice, denotes a rather congealed pictorial material and some compositional inconsistencies that lead to a chronology in the last phase of Brusaferro, by now a latecomer compared to the other main contemporary masters of the Serenissima, which can be confirmed with the 1741 altarpiece for Stabello (fig. 4), near Bergamo (cf. Pietropolli 2002, p. 83 cat. 117). In the second five-year period of the thirties, it then seems appropriate to place the painting in question, followed by the Carmini canvas, presumably not far from the altarpiece with the Madonna and Child and Saints Foca, Martino and Pietro for the Venetian church of Santo Stefano, dated 1737 (fig. 5: Pietropolli 2002, p. 83 cat. 113), placing itself, in the history of the fortune of the theme of the conquering queen of the Roman conqueror, after the Pellegrini's Banquet at the beginning of the century and shortly before the series of inventions prepared by the Tiepolo genius in the following decade. Unlike his colleagues who placed the judge of the bet at the table among the diners, Brusaferro chooses to place him in the background, to comply with principles of greater likelihood characteristic of his curriculum as a ""dotto pittore"".. Cm 119,50 x 101,20.
Capitolium Art
Mar. 31, 2022
Giuseppe Bartolomeo Chiari (attr.)
Est: €2,500 - €3,500
The muse Erato oil on canvas, 58by62cm.
Bolli & Romiti s.r.l
Dec. 14, 2021
BRUSAFERRO GIROLAMO (1700 - 1760) Allegory of Prudence.
Est: €8,000 - €10,000
BRUSAFERRO GIROLAMO (1700 - 1760). Allegory of Prudence.. The artwork is accompanied by a text by Giorgio Fossaluzza, Venice, 10 January 2019.. Cm 83,00 x 104,00.
Capitolium Art
Nov. 26, 2021
GIROLAMO BRUSAFERRO (VENICE, 1684 - 1760): SAN SEBASTIANO HEALED BY ANGELS
Est: €10,000 - €12,000
Oil on canvas, cm. 106x131. Framed The present work is accompanied by the expertise of Prof. Emilio Negro
Bertolami Fine Art s.r.l.
Apr. 15, 2021
Girolamo Brusaferro (Venice 1679-1745) The Banishment of Hagar
Est: £10,000 - £15,000
Girolamo Brusaferro (Venice 1679-1745) The Banishment of Hagar oil on canvas 131.1 x 97.2cm (51 5/8 x 38 1/4in). For further information on this lot please visit the Bonhams website
Bonhams
Mar. 03, 2021
BRUSAFERRO GIROLAMO
Est: €8,000 - €8,900
BRUSAFERRO GIROLAMO (-1760) 'Vanitas' olio cm. 82x102
Aste Boetto SRL
Jul. 08, 2020
Girolamo Brusaferro (Venice 1679-1745) The Banishment of Hagar
Est: £15,000 - £20,000
Girolamo Brusaferro (Venice 1679-1745) The Banishment of Hagar oil on canvas 131.1 x 97.2cm (51 5/8 x 38 1/4in). For further information on this lot please visit the Bonhams website
Bonhams
Apr. 19, 2018
GIROLAMO BRUSAFERRO (VENICE 1679-1745) The Expulsion of Adam and Eve oil on canvas 46
Est: $30,000 - $50,000
GIROLAMO BRUSAFERRO (VENICE 1679-1745) The Expulsion of Adam and Eve oil on canvas 46 1/2 x 61 3/4 in. (118 x 156.7 cm.)
Christie's
Jul. 09, 2014
Brusaferro, Diana ascending to Mount Olympus
Est: €1,500 - €1,800
GIROLAMO BRUSAFERRO (attributed) (1684-1760) Diana ascending to Mount Olympus surrounded by putti and nymphs Drawing, pen and brown ink, sanguine, 6,5x10,4 inches (165x265 mm) Girolamo Brusaferro (1684-c.a. 1760) was an Italian painter active in his native Venice. He was a pupil of Niccolo Bambini and Sebastiano Ricci. One of his first works, painted around 1700, is the S. Giovanni in estasi cui appare Gesù, now in the curch of S. Teresa in Mantua but his paintings are present in various churches in Venice including the Carmini. He collaborated by painting figures in the landscapes and backgrounds of Antonio Marini's works. One of this paintings is now in the Chiesa delle Grazie of Padua. In Brusaferro's work is quite common to find the coexistence of typical elements of the XVIII century paintings with some other more late baroque, probably inspired by Bambini.
Bibliopathos
Jan. 31, 2013
Girolamo Brusaferro (Venice 1677-1745)
Est: $2,000 - $3,000
Girolamo Brusaferro (Venice 1677-1745) Venus at the Forge of Vulcan (recto and verso) pencil, pen and brown ink, brown wash, corrected with white, partly incised (recto), black chalk, pen and brown ink, brown wash, partially blackened for transfer (verso), watermark encircled device 12 x 17½ in. (30.3 x 44.5 cm.)
Christie's
Jul. 08, 2010
GIROLAMO BRUSAFERRO
Est: £40,000 - £60,000
GIROLAMO BRUSAFERRO VENICE 1700 - 1760 SAMSON FREEING HIMSELF oil on canvas 92.5 by 78.8 cm.; 36 1/2 by 31 in.
Sotheby's
Dec. 13, 2005
Girolamo Brusaferro (Venezia 1677-1745) e Gregorio Lazzarini (Venezia 1655-1730 Villabona)
Est: €15,000 - €20,000
Sansone e Dalila; e Labano, Giacobbe e Rachele olio su tela 96.5 x 80 cm. (2)
Christie's