Sigismondo Caula Sold at Auction Prices

Painter, Freskant, Sculptor, Platerer

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    • SIGISMONDO CAULA (MODENA 1637-1724) An allegory of Africa brush and brown w
      Feb. 01, 2024

      SIGISMONDO CAULA (MODENA 1637-1724) An allegory of Africa brush and brown w

      Est: $4,000 - $6,000

      SIGISMONDO CAULA (MODENA 1637-1724) An allegory of Africa brush and brown wash, heightened with white, on brown paper 11 x 16 ½ in. (28 x 42 cm)

      Christie's
    • SIGISMONDO CAULA (MODÈNE 1637-1724) Saint Jean-Baptiste dans le désert pier
      Mar. 22, 2023

      SIGISMONDO CAULA (MODÈNE 1637-1724) Saint Jean-Baptiste dans le désert pier

      Est: €2,000 - €3,000

      SIGISMONDO CAULA (MODÈNE 1637-1724) Saint Jean-Baptiste dans le désert pierre noire, sanguine, lavis de sanguine rehaussé de blanc sur papier brun, filigrane figure dans un cartouche 28,5 x 19,5 cm (11 1/4 x 7 5/8 in.)

      Christie's
    • Caula, Umkreis Sigismondo: Geharnischte Soldaten
      Jul. 10, 2021

      Caula, Umkreis Sigismondo: Geharnischte Soldaten

      Est: €120 - €150

      Circle of Sigismondo Caula Armored soldiers Watercolor on paper; H 168 mm, W 114 mm; verso another motif: ''Seated''

      Peter Karbstein - Kunst und Auktionshaus
    • CAULA SIGISMONDO (1637 - 1724) Saint John.
      Jun. 17, 2021

      CAULA SIGISMONDO (1637 - 1724) Saint John.

      Est: €500 - €800

      CAULA SIGISMONDO (1637 - 1724). Saint John.. Cm 22,60 x 19,50.

      Capitolium Art
    • Attribué à Sigismondo CAULA (Modène 1634 - Modène 1724)
      May. 29, 2020

      Attribué à Sigismondo CAULA (Modène 1634 - Modène 1724)

      Est: €3,000 - €4,000

      Attribué à Sigismondo CAULA (Modène 1634 - Modène 1724) Hercule portant le globe Plume et encre brune, lavis brun et rehauts de gouache blanche sur papier chamois. (Gouache partiellement oxydée, pliures et petites taches). 34 x 22,5 cm On peut rapprocher notre dessin d'une autre étude de Caula, avec Hercule étouffant Antée (voir : " Le dessin à Bologne ", Carnets d'étude, n° 48, Beaux Arts de Paris, 2020, p. 102, n° 24, reproduit).

      Ader
    • SIGISMONDO CAULA | Study of a kneeling man, possibly an Apostle, his arms outstretched 
      Jan. 30, 2019

      SIGISMONDO CAULA | Study of a kneeling man, possibly an Apostle, his arms outstretched 

      Est: $4,000 - $6,000

      Point of the brush and reddish brown wash, heightened with white; bears old attribution in pen and black ink, lower right: P. Farinato and also bears the same attribution on the mount, lower left:  P. Farinato. del.

      Sotheby's
    • Sigismondo Caula: A kneeling saint. Unsigned. Red chalk and white highlights on paper. Sheet size 270 x 207 mm.
      May. 30, 2018

      Sigismondo Caula: A kneeling saint. Unsigned. Red chalk and white highlights on paper. Sheet size 270 x 207 mm.

      Est: kr15,000 - kr20,000

      A kneeling saint. Unsigned. Red chalk and white highlights on paper. Sheet size 270 x 207 mm.

      Bruun Rasmussen Auctioneers
    • Sigismondo Caula (Modena 1637 – 1724)
      Nov. 29, 2016

      Sigismondo Caula (Modena 1637 – 1724)

      Est: €2,000 - €3,000

      Studio per lunetta raffigurante la parabola del fico sterile matita nera, penna ed inchiostro bruno, lumeggiature di biacca, carta applicata su tela, mm 292 x 445Iscrizione in alto a destra sul verso: castigo Il raro soggetto è una raffigurazione della poco nota parabola evangelica del fico sterile (Luca 13, 6-9). Un uomo aveva piantato un albero di fichi nella sua vigna e venne a cercarvi frutti, ma non ne trovò. Allora disse al vignaiolo: “Ecco, sono tre anni che vengo a cercare frutti su quest'albero, ma non ne trovo. Taglialo dunque! Perché sfruttare il terreno?”. Ma quello gli rispose: “Padrone, lascialo ancora quest'anno, finché gli avrò zappato attorno e avrò messo il concime. Vedremo se porterà frutti per l'avvenire; se no, lo taglierai” ». La Parabola usa l'immagine dell'albero del fico per annunciare al tempo stesso l'esigenza da parte del Padre di vedere negli uomini frutti buoni, e la misericordia del Padre verso l'umanità attraverso il Cristo.

      Finarte Roma
    • SIGISMONDA CAULA | Recto: An Apostle sleeping by a rock verso: Studies of feet
      Jul. 08, 2015

      SIGISMONDA CAULA | Recto: An Apostle sleeping by a rock verso: Studies of feet

      Est: £3,000 - £5,000

      Point of the brush and red-brown wash heightened with white (recto); black chalk (verso); bears numbering, verso: 1764

      Sotheby's
    • La Vierge aux sept douleurs entourée de saint Dominique de Guzman, saint Roch et deux autres saints
      Oct. 06, 2014

      La Vierge aux sept douleurs entourée de saint Dominique de Guzman, saint Roch et deux autres saints

      Est: €700 - €1,000

      ATTRIBUE A SIGISMONDO CAULA (1637-1724) La Vierge aux sept douleurs entourée de saint Dominique de Guzman, saint Roch et deux autres saints avec inscription partiellement coupée 'ondo Caula' pierre noire, lavis brun, rehauts de blanc, une bande de papier jointe le long du bord droit 421 x 282 mm. (16 5/8 x 11 1/8 in.)

      Christie's
    • Sigismondo Caula (Italian, 1637-1724) - The Supper at Emmaus - brush and brown grey wash
      Jun. 20, 2013

      Sigismondo Caula (Italian, 1637-1724) - The Supper at Emmaus - brush and brown grey wash

      Est: £2,000 - £3,000

      Sigismondo Caula (Italian, 1637-1724) The Supper at Emmaus brush and brown grey wash, heightened with white, on paper washed reddish brown h:14 w:18 cm The Caula of the Supper at Emmaus is an admirable drawing. It is an unusually crisp, early drawing by Caula from the mid-1670s - it is fresher and livelier than his later drawings. The drawing is traditionally and correctly attributed to the Modenese painter and draughtsman Sigismondo Caula. He was the leading decorative painter in Modena in the last quarter of the seventeenth century and the first quarter of the eighteenth, and was employed extensively by secular and ecclesiastical patrons in the city, especially by the ruling d'Este family-principally Francesco II d'Este. Caula's work as both a painter and draughtsman has become better known thanks to the pioneering research of Adalgisa Lugli ("Erudizione e pittura alla corte estense: il caso di Sigismondo Caula (1637-1724)," Prospettiva, 2, April, 1980, pp. 57-74). His early training was in the studio of Jean Boulanger, under whom he worked on the decorations of the Palazzo Ducale at Sassuolo. Critical to his development, however, was the period he spent in Venice at some point between the years 1667 and 1670. Thereafter, the influence of the Venetians-not only those of the sixteenth-century, such as Tintoretto and Veronese, but also painters of Caula's own day, such as Francesco Ruschi and Antonio Zanchi-was strongly reflected in his own output, especially in drawings. Indeed, it is the Baroque figure types and dramatic mise en scenes of the later Venetian Baroque painters that are so strongly reflected in the composition here. The drawing was probably made in the first half of the 1670s. Although it has not been possible to connect it with any of the artist's extant paintings, the heads of the two Apostles on the left of the composition compare well with those of Joseph and the high priest in Caula's altarpiece of the Marriage of the Virgin, in the Collegiata of SS. Filippo e Giacomo, Finale Emilia, painted in the same period (Lugli, 1980, pp. 66-67 and fig. 22). Especially close are the wispy curls of hair on the head of the balding Apostle, second from the left in the drawing, and the similar bushy beard, moustaches and marooned locks on the pate of St Joseph in the painting. The altarpiece also displays similarly dramatic contrasts of light and dark, especially in the draperies, the folds of which have a similar tendency to zigzag crisply across the figural forms, their sharp edges catching the light. Caula's style as a draughtsman is attractively pictorial, with much if not all of the execution done with the point of the brush. Following the practice of Bolognese draughtsman, such as Ludovico Carracci, Giacomo Cavedone, and others, he was fond of applying generous amounts of white heightening to give vigour to his designs, choosing tinted paper and sometimes, as here, a ground brushed with thin paint, which increases the richness of texture. In the passages of highlight, his attractive and confident brushwork is readily apparent.

      Cheffins
    • SIGISMONDO CAULA, [MODENA 1637-1724], PEN AND
      Jun. 12, 2011

      SIGISMONDO CAULA, [MODENA 1637-1724], PEN AND

      Est: $2,000 - $2,800

      SIGISMONDO CAULA, [MODENA 1637-1724], PEN AND BLACK INK, 10" X 9 1/2", HERCULES IN ARCHWAY: A statue of Hercules in rusticated archway, with the inscription 'La figura del Sle. Sigismondo Caula Pittore femmoso Modonese', recto, and 'L:O:T' verso. Black chalk, pen and brown ink, brown wash, watermark Medici arms in crowned cartouche, framed. Purchased at Christie's, London, July 2005.

      DuMouchelles
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