Bartolomeo Cavarozzi Sold at Auction Prices

b. 1587 - d. 1625

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    • Atelier di Bartolomeo Cavarozzi (Viterbo 1587 – Roma 1625) - Holy Family
      May. 31, 2022

      Atelier di Bartolomeo Cavarozzi (Viterbo 1587 – Roma 1625) - Holy Family

      Est: €14,000 - €20,000

      oil on canvas

      Finarte
    • Ecole flamande du mi
      Jun. 20, 2021

      Ecole flamande du mi

      Est: €3,000 - €5,000

      Ecole flamande du milieu du XVIIe siècle La Sainte Famille Huile sur panneau, composée de six lattes Dimensions (approx.) : 100 x 70 cm. Notes : Cette composition dérive d’une Sainte Famille dont le prototype semble être de Bartolomeo Cavarozzi (Hermitage, Saint- Pétersbourg, inv. ГЭ-2124, datée de 1617- 1625), qui fut repris de nombreuses fois par des artistes flamands, et dont on connaît de nombreuses variantes : une version anonyme est conservée dans l’église Saint Nicolas d’Oost-Cappel (Nord), une par Peter van Mol (localisation actuelle inconnue), et une autre par Daniel Seghers, fut récemment présentée sur le marché de l’art (Hampel, Munich, 18/09/2009, lot 232).Provenance : Collection privée belge, Wallonie

      FW Auction
    • Atelier di Bartolomeo Cavarozzi (Viterbo 1587 – Roma 1625) - Holy Family
      May. 25, 2021

      Atelier di Bartolomeo Cavarozzi (Viterbo 1587 – Roma 1625) - Holy Family

      Est: €20,000 - €40,000

      oil on canvas

      Finarte
    • Bartolomeo Cavarozzi
      Feb. 13, 2018

      Bartolomeo Cavarozzi

      Est: €18,000 - €25,000

      Bartolomeo Cavarozzi (Viterbo 1587-Roma 1625) MADONNA CON BAMBINO olio su tela ovale, cm 105x80 Bibliografia I. Faldi, in "Il Tempo" 25 ottobre 1985; G. Papi, Bartolomeo Cavarozzi,, Soncino 2015, pp. 48, 203, 219; n. 35, fig. 11. Rivisitazione post-caravaggesca della Madonna della Seggiola di Raffaello, il bel dipinto di Bartolomeo Cavarozzi ripete parzialmente, a fini di devozione privata, l' imponente Sacra Famiglia a figure intere gia in raccolta privata a Torino, dalla collezione Zerbone (G. Papi 2015 cit., p. 139, tav. XLIII). La probabile provenienza originaria da palazzo Spinola a Genova suggerisce, per il prototipo della nostra composizione, una datazione al breve soggiorno genovese del Cavarozzi nel 1617, poco prima del viaggio in Spagna al seguito del marchese Crescenzi. Lo confermano in ogni caso gli esiti stilistici e compositivi di questa invenzione in ambito genovese, percepiti immediatamente nelle opere di Domenico Fiasella, di Giovanni Andrea de Ferrari e addirittura di Andrea Ansaldo, a riprova della fortuna di questa immagine, peraltro ampiamente replicata in area ligure. La sola figura del Bambino, sorretto dalla madre rivolta invece frontalmente ritorna poi nella celebre Sacra Famiglia della Galleria Spada a Roma, e ancora in una Madonna col Bambino di formato circolare, gia in collezione privata a Madrid (G. Papi, 2015, p. 215, fig. 7, n. 24).  probabile che queste repliche ridotte, variate anche nelle scelte cromatiche, siano state eseguite da Bartolomeo Cavarozzi dopo il ritorno a Roma, se non nei primi anni Venti, a riprova della prolungata fortuna di un' invenzione in grado di aggiornare l' ideale maternita serena di Raffaello alla luce del naturalismo seicentesco. Bartolomeo Cavarozzi (Viterbo 1587-Roma 1625) madonna and child oil on canvas oval, cm 105x80 Bibliografia I. Faldi, in "Il Tempo" 25 ottobre 1985; G. Papi, Bartolomeo Cavarozzi,, Soncino 2015, pp. 48, 203, 219; n. 35, fig. 11. Rivisitazione post-caravaggesca della Madonna della Seggiola di Raffaello, il bel dipinto di Bartolomeo Cavarozzi ripete parzialmente, a fini di devozione privata, l'imponente holy family a figure intere gia in raccolta privata a Torino, dalla collezione Zerbone (G. Papi 2015 cit., p. 139, tav. XLIII). La probabile provenienza originaria da palazzo Spinola a Genova suggerisce, per il prototipo della nostra composizione, una datazione al breve soggiorno genovese del Cavarozzi nel 1617, poco prima del viaggio in Spagna al seguito del marchese Crescenzi. Lo confermano in ogni caso gli esiti stilistici e compositivi di questa invenzione in ambito genovese, percepiti immediatamente nelle opere di Domenico Fiasella, di Giovanni Andrea de Ferrari e addirittura di Andrea Ansaldo, a riprova della fortuna di questa immagine, peraltro ampiamente replicata in area ligure. La sola figura del Bambino, sorretto dalla madre rivolta invece frontalmente ritorna poi nella celebre holy family della Galleria Spada a Roma, e ancora in una Madonna col Bambino di formato circolare, gia in collezione privata a Madrid (G. Papi, 2015, p. 215, fig. 7, n. 24).  probabile che queste repliche ridotte, variate anche nelle scelte cromatiche, siano state eseguite da Bartolomeo Cavarozzi dopo il ritorno a Roma, se non nei primi anni Venti, a riprova della prolungata fortuna di un'invenzione in grado di aggiornare l'ideale maternita serena di Raffaello alla luce del naturalismo seicentesco.

      Pandolfini Casa d'Aste
    • Artwork by - Bartolomeo Cavarozzi
      Apr. 17, 2013

      Artwork by - Bartolomeo Cavarozzi

      Est: €100,000 - €150,000

      Artwork by - Bartolomeo Cavarozzi

      Dorotheum
    • The Master of the Acquavella Still Life (active Rome c. 1610-1620)
      Jul. 11, 2001

      The Master of the Acquavella Still Life (active Rome c. 1610-1620)

      Est: $70,500 - $98,700

      Grapes on the vine, pomegranates, grapes and rosehips in a basket, with figs, apples, pears and chestnuts by a putto oil on canvas 371/4 x 49 in. (94.5 x 124.3 cm.) NOTES This painting belongs to the group of still life paintings by the, as yet, unidentified Master named after the Still life with a vase of flowers and a basket of fruit exhibited by the art dealer Acquavella in Naples in 1964 as by an 'anonymous Caravaggist painter'. Since the hand was recognised, a succession of names have been suggested for the artist's identity; names put forward, as yet inconclusively, have included Angelo Caroselli, Giovanni Battista Crescenzi, Artemisia Gentileschi, Luca Forte and Pietro Paolini (see L. Laureati in the catalogue of the exhibition, The Genius of Rome, London, Royal Academy, January-April 2001; Rome, Palazzo Venezia, May-August 2001, pp. 84-5, nos. 25-6, and pp. 72, 76 and 79). His work is characteristic of Italian still life painting at the end of the sixteenth and beginning of the seventeenth centuries, headed by Caravaggio, and including other contemporaries such as the Master of the Hartford Still Life and the Pensionante del Saraceni. The Acquavella Master was, however, one of the more innovative of his generation, taking the still life format away from the standard table arrangement of his peers, and developing a fuller compositional arrangement that was greatly to influence the next generation of still life painters, such as Ruoppolo, Michelangelo di Campidoglio and Cerquozzi. It has been suggested that the developers of Italian still life were influenced by descriptions of classical still lifes, and the present work bears noticeable similarities with many elements of a painting described by Philostratus in his Imagines (Book I, 31): 'Purple figs dripping with juice...are depicted with breaks in their skin, some just cracking open....some split apart, they are so ripe....some still green and "untimely"....All the ground is strewn with chestnuts, some of which are rubbed free of the burr, others lie quite shut up, and others show the burr breaking... See, too, the pears on pears, apples on apples...all fragrant and golden....Here is fruit in clusters heaped in a basket, and the basket is woven, not from alien twigs, but from the branches of the plant itself. And if you look at the vine-sprays woven together and at the clusters hanging from them and how the grapes stand out one by one, you will certainly hymn Dionysus and speak of the vine as "Queenly giver of grapes."' The present picture shows clear stylistic similarities with other works by the Master, perhaps most strikingly with the left side of the famous Still life with a Violinist (Private collection; ibid., p. 85, no. 85). Also closely comparable is the Still life with a basket of fruit and two children sold, Sotheby's, New York, 28 January 2000, lot 132 ($882,500). In that work, as also in the Aminta's Lament ( ibid., p. 84, no. 25), the figures are by Bartolomeo Cavarozzi (c. 1590-1625), to whom also may be tentatively attributed that of the boy in the present painting.

      Christie's
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