Giulio Campagnola Paintings & Artwork for Sale | Giulio Campagnola Art Value Price Guide

Jul. 02, 2024
GIULIO CAMPAGNOLA (CIRCA 1482-1516) AND DOMENICO CAMPAGNOLA. Shepherds in a
Est: - £50,000
GIULIO CAMPAGNOLA (CIRCA 1482-1516) AND DOMENICO CAMPAGNOLA. Shepherds in a Landscape. Plate 136 x 258 mm. Sheet 149 x 275 mm..
Christie's
Jun. 07, 2023
Campagnola, Giulio: Johannes der Täufer
Est: €4,000 - €6,000
Johannes der Täufer. Kupferstich. 28,2 x 23,2 cm. B. 3, TIB (commentary) .005, Hind 12. Wz. Ochsenkopf im Kreis mit Schlange und Kreuz (vgl. Briquet 15396, ca. 1500-1510). -- -- Bartsch hält diesen Stich für einen der eindrucksvollsten Kupferstichen Campagnolas und zählt ihn zu seinen jüngsten Produktionen. Campagnola benutzt hier bereits den Punktierstich, zeichnet mit ihm Fläche sowie Licht und Schatten, nutzt aber auch die reine Linie, um Haare, Gesichtszügen, Körperkontur und Faltenwurf zu beschreiben. -- Wohl entwickelte Campagnola die Technik des Punktierstichs in direkter Zusammenarbeit mit Giorgione, um die eigene Erfindung des Malers, die Sfumato-Technik, und seinen lyrischen Malstil in das Medium des Stichs zu übertragen. Die Zusammenarbeit zwischen den beiden Künstlern ging sogar so weit, dass einige der verschollenen Kompositionen Giorgiones nur in einer Handvoll Drucke Campagnolas erhalten geblieben sind, obwohl das Œuvre der beiden Künstler sehr klein ist. -- Die Technik erwies sich jedoch als unpraktisch: Es konnten nur wenige gute Abzüge gemacht werden, bevor die Platten abgenutzt waren und nicht mehr nachbearbeitet werden konnten. Campagnolas Drucke sind daher äußerst selten. Es scheint, dass zu Campagnolas Lebzeiten - wenn überhaupt - nur sehr wenige Abzüge gemacht wurden. Campagnola muss einige Probedrucke angefertigt haben, aber keine scheinen überlebt zu haben: Alle bekannten Exemplare sind posthum entstanden, obwohl die Adresse von Nicolo Nelli oft abgeschnitten wurde, um die Drucke als frühe Abzüge auszugeben. Es sind nur etwa dreißig Exemplare bekannt, die meisten davon in öffentlichen Sammlungen, wie beispielsweise zwei Exemplare im British Museum.- Ganz ausgezeichneter, zeichnerisch wirkender Druck, links mit der vollen Darstellung, oben und unten knapp bis an die Figur des Johannes geschnitten, rechts ca. 5 mm innerhalb der Darstellung. Angeschmutzt bzw. fleckig, geglättete horizontale Faltspuren, diese teils ausgebessert, weitere hinterfaserte Risschen in den Rändern, die unteren Ecken ergänzt und die Darstellung mit der Feder retuschiert, links oben kleine ergänzte kreisrunde Stelle, weitere kleine Gerauchsspuren, sonst noch gut. -- -- - 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.
Bassenge Auctions
Jan. 24, 2023
GIULIO CAMPAGNOLA (CIRCA 1482-1516) AND DOMENICO CAMPAGNOLA (CIRCA Shepherds in a Landscape
Est: $20,000 - $30,000
GIULIO CAMPAGNOLA (CIRCA 1482-1516) AND DOMENICO CAMPAGNOLA (CIRCA Shepherds in a Landscape Sheet 140 x 260 mm.
Christie's
Oct. 23, 2022
After Giulio Campagnola (Italian 1482 - 1515) Lithograph, Ganymede Riding an Eagle, , 18 x 13
Est: R4,000 - R6,000
After Giulio Campagnola (Italian 1482 - 1515) Lithograph, Ganymede Riding an Eagle, , 18 x 13
5th Avenue Auctioneers
Jul. 24, 2022
After Giulio Campagnola (Italian 1482 - 1515) Lithograph, Ganymede Riding an Eagle, , 18 x 13
Est: R6,000 - R9,000
After Giulio Campagnola (Italian 1482 - 1515) Lithograph, Ganymede Riding an Eagle, , 18 x 13
5th Avenue Auctioneers
Apr. 28, 2022
GIULIO CAMPAGNOLA Saint John the Baptist.
Est: $8,000 - $12,000
GIULIO CAMPAGNOLA Saint John the Baptist. Engraving and stipple-engraving, circa 1505. 283x232 mm; 11 1/4x9 1/4 inches. Bull's head with a cross and the letters S M in a circle watermark (Briquet 15396, which dates from circa 1500-10 and is found on imprints from Treviso and Innsbruck at this time). Trimmed on or just inside the plate mark on three sides and inside the plate mark in the upper blank space, with the subject preserved. A good and early impression of this exceedingly scarce, Italian Renaissance engraving. We have found only one other impression at auction in the past 30 years, a later impression with a watermark from the second half of the 16th century (sold Christie's, London, March 31, 2010, lot 36). Campagnola's (1482-1515) importance as an early printmaker and Renaissance artist owes to his introduction of the stipple-engraving technique, which produced shading using dots made by the point of the graver on the metal plate. According to Landau and Parshall, "The innovation allowed a much greater range of tone from white to black, and at the same time a more controllable graduated transition between lighter and darker areas of the image. The disadvantages of the technique were that it was immensely more time-consuming than ordinary engraving, that the dots produced, unless of sufficient size, would wear down quite quickly, and, finally, that it was extremely difficult to freshen-up a tired-looking plate by re-engraving it--a common strategy in printmaking. Whereas pushing the burin along the existing, shallowed grooves was a well-tried and effective method of freshening worn plates, hitting again the myriad of of existing dots was an impossible task, and creating new dots would easily produce patches of ink where new and old dots joined together. This is precisely why there are no known instances of Giulio's plates being reworked in later states by retouching the dotted areas of the image," (Landau and Parshall, The Renaissance Print, New Haven/London, 1994, page 261). It has been widely accepted that Campagnola adapted the figure of Saint John the Baptist from a now lost drawing by Andrea Mantegna (1431-1506) while the landscape was supplied contemporaneously by Giorgione (circa 1477/78-1510) working closely with the Campagnola. There is an ink drawing now in the Louvre, Paris, with the landscape rendered in reverse of the print, by Giorgione, that is believed to be the source for Campagnola's landscape in Saint John the Baptist. It appears that Giorgione intentionally left the space for the figure blank in his landscape drawing, as Campagnola already had his figure from a design by Mantegna engraved on the plate, and that sometime thereafter none other than Titian (1488-1576) drew in his own representation of Saint John the Baptist on the Louvre, Paris sheet. Bartsch 3; Hind 12.
Swann Auction Galleries
Dec. 09, 2021
GIULIO CAMPAGNOLA (CIRCA 1482-1516) AND DOMENICO CAMPAGNOLA (CIRCA Shepherd
Est: £30,000 - £50,000
GIULIO CAMPAGNOLA (CIRCA 1482-1516) AND DOMENICO CAMPAGNOLA (CIRCA Shepherds in a Landscape Sheet 140 x 260 mm.
Christie's
Oct. 15, 2020
CAMPAGNOLA. VIRGIN WITH CHILD.
Est: €5,000 - €6,000
Giulio CAMPAGNOLA1482 – 1515 Virgin with child. Incisione mm. 175x119. Timbro di collezione privata al recto e note a matita al verso. Buon esemplare. La supposizione che le prime prove del Campagnola nel campo dell'incisione su rame risalgano all'incirca al periodo 1497-1500, si fonda sul fatto che i motivi paesistici delle incisioni di Dürer, eseguite tra il 1496 e il 1501, hanno ispirato alcuni fogli del Campagnola stesso. (Hind, 1948, nn. 1-5, 7), oltre che su quel disegno del Mantegna, datato dal Tietze (1955) attorno al 1490-1500, che gli è servito come modello per una incisione (Hind, n. 4).
Bado e Mart
Jun. 11, 2020
Agostino de Musi detto Veneziano (Venezia, 1490 ca. – Roma, 1540 ca.), Il giovane pastore
Est: €200 - €300
bulino monogrammato I stato/II, mm 135x80, La prova, impressa su carta databile ai primi decenni del Cinquecento, è tratta dall'omonimo bulino di Giulio Campagnola (1482-1517), ispirato a modelli pittorici giorgioneschi. Bibliografia: Bartsch, n. 458; Bartsch (Campagnola), n. 6/A; Bertelà, n. 68
Cambi Casa d'Aste
May. 02, 2019
GIULIO CAMPAGNOLA Saint John the Baptist.
Est: $10,000 - $15,000
GIULIO CAMPAGNOLA Saint John the Baptist. Engraving and stipple-engraving, circa 1505. 283x232 mm; 11 1/4x9 1/4 inches. Bull's head with a cross and the letters S M in a circle watermark (Briquet 15396, which dates from circa 1500-10 and is found on imprints from Innsbruck and Treviso at this time). Trimmed on or just inside the upper and lower plate mark on the sides and inside the plate mark in the spaces, with the subject preserved. A very good and early impression of this exceedingly scarce, Italian Renaissance engraving. We have found only one other impression at auction in the past 30 years, a later impression with a watermark from the second half of the 16th century (sold Chistie's, London, March 31, 2010, lot 36). Campagnola's importance as an early printmaker and Renaissance artist corresponds to his use of stipple-engraving technique, which produced shading obtained by dots made by the point of the graver on the metal plate. According to Landau and Parshall, "The innovation allowed a much greater range of tone from white to black, and at the same time a more controllable graduated transition between lighter and darker areas of the image. The disadvantages of the technique were that it was immensely more time-consuming than ordinary engraving, that the dots produced, unless of sufficient size, would wear down quite quickly, and, finally, that it was extremely difficult to freshen-up a tired-looking plate by re-engraving it--a common strategy in printmaking. Whereas pushing the burin along the existing, shallowed grooves was a well-tried and effective method of freshening worn plates, hitting again the myriad of of existing dots was an impossible task, and creating new dots would easily produce patches of ink where new and old dots joined together. This is precisely why there are no known instances of Giulio's plates being reworked in later states by retouching the dotted areas of the image," (Landau and Parshall, The Renaissance Print, New Haven/London, 1994, page 261). It has been widely accepted that Campagnola adapted the figure of Saint John the Baptist from a now lost drawing by Andrea Mantegna (1431-1506, see lots 2-4) while the landscape was supplied contemporaneously by Giorgione (circa 1477/78-1510), who worked in partnership with Campagnola. There is a masterful ink drawing now in the Louvre, Paris, with the landscape rendered in reverse of the print, by Giorgione, that is believed to be the source for Campagnola's landscape in Saint John the Baptist. It appears that Giorgione intentionally left the space for the figure blank in his landscape drawing, as Campagnola already had his figure from a design by Mantegna engraved on the plate, and that sometime thereafter none other than Titian (1488-1576) altered Giogione's drawing, in his own representation of Saint John the Baptist on the sheet. Bartsch 3; Hind 12.
Swann Auction Galleries
May. 08, 2018
GIULIO CAMPAGNOLA Saint John the Baptist.
Est: $30,000 - $50,000
GIULIO CAMPAGNOLA Saint John the Baptist. Engraving and stipple-engraving, circa 1505. 283x232 mm; 11 1/4x9 1/4 inches. Bull's head with a cross and the letters S M in a circle watermark (Briquet 15396, which dates from circa 1500-10 and is found on imprints from Innsbruck and Treviso at this time). Trimmed on or just inside the upper and lower plate mark on the sides and inside the plate mark in the spaces, with the subject preserved. A very good and early impression of this exceedingly scarce, Italian Renaissance engraving. We have found only one other impression at auction in the past 30 years, a later impression with a watermark from the second half of the 16th century (sold Chistie's, London, March 31, 2010, lot 36). Campagnola's importance as an early printmaker and Renaissance artist corresponds to his introduction of the stipple-engraving technique, which produced shading obtained by dots made by the point of the graver on the metal plate. According to Landau and Parshall, "The innovation allowed a much greater range of tone from white to black, and at the same time a more controllable graduated transition between lighter and darker areas of the image. The disadvantages of the technique were that it was immensely more time-consuming than ordinary engraving, that the dots produced, unless of sufficient size, would wear down quite quickly, and, finally, that it was extremely difficult to freshen-up a tired-looking plate by re-engraving it--a common strategy in printmaking. Whereas pushing the burin along the existing, shallowed grooves was a well-tried and effective method of freshening worn plates, hitting again the myriad of of existing dots was an impossible task, and creating new dots would easily produce patches of ink where new and old dots joined together. This is precisely why there are no known instances of Giulio's plates being reworked in later states by retouching the dotted areas of the image," (Landau and Parshall, The Renaissance Print, New Haven/London, 1994, page 261). It has been widely accepted that Campagnola adapted the figure of Saint John the Baptist from a now lost drawing by Andrea Mantegna (1431-1506) while the landscape was supplied contemporaneously by Giorgione (circa 1477/78-1510) working closely with the engraver. There is a masterful ink drawing now in the Louvre, Paris, with the landscape rendered in reverse of the print, by Giorgione, that is believed to be the source for Campagnola's landscape in Saint John the Baptist. It appears that Giorgione intentionally left the space for the figure blank in his landscape drawing, as Campagnola already had his figure from a design by Mantegna engraved on the plate, and that sometime thereafter none other than Titian (1488-1576) drew in his own representation of Saint John the Baptist on the sheet. Bartsch 3; Hind 12.
Swann Auction Galleries
Oct. 24, 2017
Giulio Campagnola (1482-1515) Saint John the Baptist
Est: $3,000 - $5,000
Giulio Campagnola (1482-1515) Saint John the Baptist
Bonhams
Jul. 09, 2011
After Giulio Campagnola, Italian 1481-1516- "Saint
Est: £300 - £500
After Giulio Campagnola, Italian 1481-1516- "Saint John the Baptist"; engraving on laid, 27x20cm., (unframed)
Roseberys
Mar. 31, 2010
Giulio Campagnola (1482-1515)
Est: £30,000 - £50,000
Giulio Campagnola (1482-1515) Saint John the Baptist (B. 3) engraving, circa 1505, watermark Man with Staff in a Circle (Northern Italy, second half 16th century), a fine, early impression of this very rare and important print, trimmed on the platemark, with thread margins in places, a horizontal flattened fold across the upper part of the subject, with a very small, skilfully restored and made-up area at the saint's right cheek and hair, some other small restored areas in the blank area at upper left, some other flattened creases, occasional light foxing and minor stains, generally in good condition P., S. 346 x 239 mm.
Christie's