Luigi Crespi Paintings & Artwork for Sale | Luigi Crespi Art Value Price Guide

Dec. 10, 2024
CRESPI LUIGI (1708 - 1779 circa) - The Education of the Virgin
Est: €8,000 - €12,000
CRESPI LUIGI (1708 - 1779 circa). The Education of the Virgin. Signed and dated lower left "Aloys. Crispi Sac. Bononi.s pinxit an. 1746". The work is accompanied by an expertise by Dr. Serena D'Italia, an extract of which is given below (the dimensions in the expertise refer to the painting with the frame). Provenance: Probably Fossati Bellani Collection, Monza; Finarte Venice, May 16, 2009, lot n° 614 (as Giuseppe Maria Crespi); Private collection, Turin. Literature: M.P. Merriman, "Giuseppe Maria Crespi 1665-1747", Bologna 1990, p. 192 (as L. Crespi); G. Perini Folesani, “Sacerdos Aloysius” pittore di quadri sacri, in "Luigi Crespi ritrattista nell'età di papa Lambertini", edited by M.G. D'Apuzzo, Cinisello Balsamo 2017, pp. 49-61, in part. pp. 55-56; G. Perini Folesani, "Luigi Crespi storiografo, mercante e artista attraverso l'epistolario", Florence 2019, pp. 393-394. The scene depicted refers to the story of some apocryphal gospels, such as the Gospel of Pseudo-Matthew or the Protoevangelium of James, which dedicate ample space to the first years of the Virgin's life, often narrating them through anecdotes: according to these texts, from early childhood Mary would have been able to walk and speak like an adult and would have devoted herself with great commitment to reading, prayer and embroidery. [...] The canvas presented here was made known in 1990 by Mira Pajes Merriman in her monograph on the Emilian painter Giuseppe Maria Crespi, Luigi's father. At the time, the painting was kept in the collections of the Pinacoteca di Bologna, but it was evidently a temporary deposit, since the work does not appear in any systematic catalogue of the museum. The presence in the photo library of the Kunsthistorisches Institut of Florence of a black and white image of the painting (inv. 77972) marked as “dono Fossati Bellani” suggests that this Education of the Virgin once belonged to the important collection of the family of industrialists from Monza, which included both ancient and twentieth-century paintings. The work then reappeared on the antiques market in 2009 with the signature covered by repainting: from a comparison of the photos there seems to be no doubt that it is still the same canvas (Finarte auction Venice, 16 May 2009, lot n° 614 as Giuseppe Maria Crespi). In the 1990 text Merriman noted how in the last phase of Giuseppe Maria Crespi's activity it was often difficult to distinguish his hand from that of his sons Luigi and Antonio, active in the family workshop from around 1730. In particular, the closeness of the manner of Luigi – the eldest of the two brothers – to that of his father is demonstrated by some of his youthful altarpieces, including The Dream of Saint Joseph in the Oratory of Baraccano in Bologna (perhaps the result of collaboration with Giuseppe Maria), The Virgin with Saints John of Nepomuk and Gaetano in Finale Emilia, The Virgin of the Rosary in Prato and The Virgin with Saints Anna, Joseph, Laborio and Pasquale in San Sigismondo in Bologna. From his father the artist borrowed above all “a specific physiognomic type, with large, moist eyes, a small chin, a soft mouth” inspired by the models of Guido Reni's ecstatic saints, and “his father's entire repertoire of conventional gestures indicating devotion” (Merriman 1990, pp. 187-188). The compositional structure of the scenes is also similar, generally consisting of frontal and isolated compositions, and the virtuoso chiaroscuro passages in the rendering of the fabrics and faces, all elements that can also be found in the work commented on here. [...] The theme of Saint Anne teaching the Virgin to read is part of the typical devotional repertoire of Luigi Crespi, who re-proposed it with some variations on several occasions: in addition to the versions painted for the Bolognese churches of San Giorgio in Poggiale and the Osservanza – documented but not yet traced – Giovanna Perini Folesani recalls one in Faenza and one in Piumazzo, which however present different levels of quality. These discrepancies still appear difficult to interpret today, since we have no information on the existence of any active helpers alongside Crespi. Chronologically, however, the canvas analyzed here is placed in a particularly important phase of Luigi's production, well attested by other signed and dated works of good quality, such as the Blessed Giovanni da Prato of the Osservanza convent in Bologna (1744), the Saint Joseph with Child and Saint John the Baptist of the convent of the Servants of Ronzano (1745) and the Supper at Emmaus of Lugagnano Val d'Arda, near Piacenza (1748). Perini Folesani has also recently drawn attention to the peculiarity of the signatures placed by the artist: in the case of religious works he Latinizes his name to “Aloysius” and always denotes his clerical status by adding the term “sacerdos”, or later “canonicalus”, “abbas canonicus” or simply “don” (Perini Folesani 2017, p. 56). The painting presented here is no exception, signed at the feet of little Mary “Aloys. Crispi Sac. Bononi.s pinxit an. 1746”. [...] His pictorial corpus – despite the important rationalization carried out by the 2019 monograph – has not yet reached a definitive arrangement, so the reappearance of a signed and dated work constitutes an important piece in the reconstruction of the artist's activity.. 74,50 x 151 cm.
Capitolium Art
May. 14, 2024
Luigi Crespi (Bologna 1708 - 1779)
Est: €10,000 - €15,000
Luigi Crespi (Bologna 1708 - 1779) Putti che giocano con corone di fiori in un paesaggio bucolico Olio su tela 74 x 174 cm Si ringrazia il professore Michele Danieli per aver confermato l'attribuzione a Luigi Crespi. L'opera è corredata da uno studio del professore Roberto Longhi, disponibile su richiesta via email, che attribuisce l'opera a Giuseppe Maria Crespi. L’opera in esame è da ritenersi un capolavoro di Luigi Crespi: per il medesimo motivo è da escludere l’intervento parziale del padre, Giuseppe Maria Crespi, giustificando così l'esistenza di due correnti attributive. Infatti, nella bottega crespiana, finché il padre ha potuto operare, le composizioni di Antonio e Luigi partivano da idee di Giuseppe Maria, che ne delineava i contorni e ne rivedeva la stesura pittorica. Luigi, nel fare pittorico della sua prima fase, è prossimo allo stile paterno, tant’è che molte opere sono difficilmente distinguibili dai critici; dato significativo che segna l’importanza di Luigi in seno alla bottega paterna e nel contesto bolognese del tempo. Sembra infatti che anche l'Angelo annunciante, donato da Giuseppe Maria all'oratorio di S. Maria della Maddalena, di Bologna, nel 1741, sia opera di Luigi, mentre del padre è sicuramente il pendant raffigurante l'Annunciata. Una situazione che si ripresenta nel Ritratto di architetto della Pinacoteca Nazionale di Bologna, dalla sottile caratterizzazione psicologica, firmato da Luigi ma che alcune fonti dichiarano opera di collaborazione con il padre. Luigi Crespi è ricordato come superbo ritrattista, soprattutto per la capacità di rendere la frivola società del suo tempo; la sua ritrattistica, sebbene sia più elegante e meno caustica, per certi versi può essere paragonata a quella di Pietro Longhi. Ha viaggiato e dipinto anche a Venezia, Trieste, Vienna e Dresda. Luigi Crespi (Bologna 1708 - 1779) Putti Playing With Flower Crowns in a Bucolic Landscape Oil on canvas 74 x 174 cm We thank Professor Michele Danieli for confirming the attribution to Luigi Crespi. The artwork is accompanied by a study by Professor Roberto Longhi, available upon request via email, which attributes the artwork to Giuseppe Maria Crespi.
Lucas Aste
Oct. 20, 2023
Luigi Crespi (attr.) "Portrait of Fra Marcello Antonio Bernardo with heraldic coat of arms" oil on oval canvas (97x64 cm.) inscribed 'FRA MARCELLUS ANTONIUS BERNARDUS AN. 55" framed (defects)...
Est: €330 - €350
(Bologna 1708 - 1779) (attr.) "Portrait of Fra Marcello Antonio Bernardo with heraldic coat of arms" oil on oval canvas (97x64 cm.) inscribed 'FRA MARCELLUS ANTONIUS BERNARDUS AN. 55" framed (defects) IT (attr.) "Ritratto di Fra Marcello Antonio Bernardo con stemma araldico" olio su tela ovale (cm 97x64) iscritto "FRA MARCELLUS ANTONIUS BERNARDUS AN. 55" in cornice (difetti)
Il Ponte Auction House
Jul. 07, 2023
LUIGI CRESPI (BOLOGNA 1708-1779) Portrait of a boy with a dog oil on canvas
Est: £10,000 - £15,000
LUIGI CRESPI (BOLOGNA 1708-1779) Portrait of a boy with a dog oil on canvas 38 1/4 x 28 7/8 in. (97 x 73.4 cm.)
Christie's
May. 03, 2023
Luigi Crespi
Est: €15,000 - €20,000
(Bologna circa 1710–1779) Portrait of Count János Bernard István Pálffy de Erdod (1664–1751), half-length, in armour with a red sash and wearing the Order of Saint Stephen, inscribed on the reverse: Mons. Belmonte / MS 1945, oil on canvas, oval, 81.5 x 62 cm, framed Provenance: Private European collection We are grateful to Marco Riccòmini for confirming the attribution and for his help in cataloguing the present lot. Also known by the German name Johann Bernhard Stephan Pálffy ab Erdöd, the sitter was an Austrian General of Hungarian descent, who spent his whole life in the military services of the Habsburgs. He attained the rank of Field Marshal of the imperial army and Palatine of Hungary. He became Knight of the Order of the Golden Fleece and also of the religious and military Order of Saint Stephen. This last decoration is worn by the General in the present painting: it is the red cross with eight points, symbol of the religious and chivalrous order founded in 1561, which was exclusively given by the Grand Dukes of Tuscany. The present painting constitutes an important addition to the oeuvre of Luigi Crespi, pertaining to his earlier career. The picture is executed in a manner very similar to his father Giuseppe Maria Crespi’s (Bologna 1665–1747) style of painting and is also typical of the subjects he portrayed. The young Crespi, author of the present work, was clearly inspired by his father full-length portrait of the same sitter (Gemäldegalerie Dresden, inv. no. 403) in the execution of his own, to which he added the Order of Saint Stephen on the sitter’s chest. The elder Crespi was active at the court of the Grand Duchy of Tuscany between 1706 and 1709 under the Gran Principe Ferdinando Maria de’ Medici (Florence 1663–1713).
Dorotheum
Mar. 28, 2023
OIL PAINTING BY LUIGI CRESPI 18TH CENTURY
Est: €1,500 - €2,000
LUIGI CRESPI (Bologna 1708 - 1779) ECCE HOMO Olio su tela, cm. 46 x 38 Cornice dorata PROVENIENZA Collezione privata romana CONDIZIONI DEL DIPINTO Rintelo ottocentesco. Un punto di restauro in basso a destra. Accumuli di grasso. Il dipinto è in buono stato di conservazione
Casa d'Aste Babuino
Jul. 08, 2022
LUIGI CRESPI (BOLOGNA 1708-1779) Portrait of a boy with a dog oil on canvas
Est: £15,000 - £20,000
LUIGI CRESPI (BOLOGNA 1708-1779) Portrait of a boy with a dog oil on canvas 38 1/4 x 28 3/4 in. (97 x 73 cm.)
Christie's
Jul. 08, 2022
LUIGI CRESPI (BOLOGNA 1708-1779) Portrait of a boy with a dog oil on canvas
Est: £15,000 - £20,000
LUIGI CRESPI (BOLOGNA 1708-1779) Portrait of a boy with a dog oil on canvas 38 1/4 x 28 3/4 in. (97 x 73 cm.)
Christie's
Nov. 30, 2021
Luigi Crespi (Bologna 1708 - 1779)
Est: €10,000 - €15,000
Luigi Crespi (Bologna 1708 - 1779) Sacra Famiglia con San Giovanni Battista e Santa Elisabetta Olio su tela 138 x 90 cm L’opera in esame è da ritenersi un capolavoro di Luigi Crespi: per il medesimo motivo può essere avvallato l’intervento del padre, Giuseppe Maria Crespi. Infatti, nella bottega crespiana, finché il padre ha potuto operare, le composizioni di Antonio e Luigi partivano da idee di Giuseppe Maria, che ne delineava i contorni e ne rivedeva la stesura pittorica. Luigi, nel fare pittorico della sua prima attività di pittore, è prossimo allo stile paterno, tant’è che molte opere sono difficilmente distinguibili dai critici; dato significativo che segna l’importanza di Luigi in seno alla bottega paterna e nel contesto bolognese del tempo. Sembra infatti che anche l'Angelo annunciante, donato da Giuseppe Maria all'oratorio di S. Maria della Maddalena, di Bologna, nel 1741, sia opera di Luigi, mentre del padre è sicuramente il pendant raffigurante l'Annunciata. Medesima confusione potrebbe esserci osservando il “Ritratto di architetto” della Pinacoteca Nazionale di Bologna, che ci indurrebbe ad attribuirlo alla mano del padre, se non fosse firmato da Luigi, per il sottile profilo psicologico e l'alta qualità realizzativa. Luigi Crespi è ricordato come superbo ritrattista, soprattutto per la capacità di rendere la frivola società del suo tempo; la sua ritrattistica, sebbene sia più elegante e meno caustica, per certi versi può essere paragonata a quella di Pietro Longhi. Ha viaggiato e dipinto anche a Venezia, Trieste, Vienna e Dresda. Luigi Crespi (Bologna 1708 - 1779) Holy Family with Saint John the Baptist and Saint Elizabeth Oil on canvas 138 x 90 cm
Lucas Aste
Jun. 19, 2021
Crespi, Luigi (1708 - 1779), wohl,
Est: -
Crespi, Luigi (1708 - 1779), wohl, "Der Unterricht", Öl auf Leinwand, doubliert, 25.5 x 34 cm, verso schwer leserlich bezeichnet Miss Duraett Coaas (?) 13. Crespi und undeutlich nummeriert GT04DK (?), alt restauriert. Provenienz: Rheinischer Privatbesitz Die kleinformatige Genredarstellung zeigt eine Unterrichtsstunde mit Mädchen bei der Handarbeit und Knaben sowie jungen Damen, die von einer älteren Frau im Lesen unterwiesen werden.
Auktionshaus Plückbaum
Jun. 15, 2021
LUIGI CRESPI
Est: €2,000 - €3,000
(Bologna, 1708 - 1779) Cristo coronato di spine Olio su tela, cm 46X37 Formatosi nella bottega familiare, l'artista già nella guida Pitture di Bologna del Malvasia (1732), fu giudicato quale 'spiritoso giovanetto degno figliolo di Giuseppe, e del quale molto si puì sperare' (p. 214). La sua carriera, pur dispiegata in un'operosità spesso all'ombra delle commissioni paterne, si distinse per la ritrattistica e le opere a carattere devozionale di contenute dimensioni e il giudizio critico settecentesco lo si percepisce osservando l'opera in esame, che esibisce un'ammirevole qualità di stesura. Lo stile, pur memore alla maniera di Giuseppe Maria e basti pensare all'Ecce Homo già di collezione Algranti (Merriman, p. 251), esprime nel volto una tipologia e un'espressione tipica, come i rapidi tocchi a biacca, funzionali per dare forma ai volumi e render vivida la superficie. Il risultato è una elegante e sofisticata raffigurazione, all'altezza dei migliori esempi del genere, che valsero al Crespi i riconoscimenti ottenuti da parte dell'Accademia di Firenze di cui fu nominato nel 1770 'consocio professore' e di quella di Parma, di cui diventì accademico onorario nel 1774. L'opera è corredata da una scheda critica di Emilio Negro. Bibliografia di riferimento: M. Pajes Merriman, Giuseppe Maria Crespi, Milano 1980, ad vocem A. Cera, La Pittura bolognese del '700, Milano 1994 ad vocem
Wannenes Art Auctions
Mar. 24, 2021
Luigi Crespi (1708–1779) - attributed to, Artist with a Lute and a Palette
Est: €2,500 -
Luigi Crespi is the son of the famous Giuseppe Maria Crespi (1656-1747) and received training from his father. He worked in Venice, Trieste, Vienna and Dresden. A man pulls a new string on his lute, on his knee are a palette with brushes in his grip and a painting stick. The lutenist seems to be a painter by profession, who relaxes with the lute playing in work breaks. There is a cheerful expression on his face. The connection between painting and music is old. A painting from around 1600 attributed to Paul Bril shows a painter playing with the lute in front of the easel on which a landscape painting is standing (Providence, Rhode Island School of Design, Museum).
Fine Antiques Prague s.r.o.
Dec. 04, 2020
Luigi Crespi, um 1710 – 1779, zugeschrieben/ Kreis des
Est: €2,000 - €3,000
JUNGER MANN BEIM REPARIEREN SEINER LAUTE Öl auf Leinwand. Doubliert. 45 x 36 cm. In vergoldetem Rahmen. In einem bräunlichen Innenraum das Halbportrait eines jungen Mannes mit schulterlangen Haaren, der in seinen Händen eine große Laute hält. Mit seinen schmalen Fingern ist er gerade dabei, eine Saite zu ersetzen. Seine dunklen Augen blicken dabei voller Konzentration auf diese Arbeit. Auf seinem Schoß, rechts unten, sieht man zudem eine Malerpalette und einige Pinsel liegen, was den Dargestellten zudem als Maler auszeichnet. Malerei in harmonischer weicher Farbgebung. (12512911) (18)
Hampel Fine Art Auctions
Nov. 27, 2020
Crespi, Luigi: Studienblatt mit zwei Portraits
Est: €600 - €800
Studienblatt mit dem Bildnis einer Edeldame mit Pelzkragen und einem Mann mit Kappe. Schwarzer und weißer Stift auf grau grundiertem Papier. 20,3 x 26,3 cm. Auf der Rückseite in schwarzer Feder von fremder Hand bez. "Anonimi". - 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
Aug. 17, 2020
Luigi Crespi (1708–1779) - attributed to, Artist with a Lute and a Palette
Est: €5,000 - €7,000
Luigi Crespi is the son of the famous Giuseppe Maria Crespi (1656-1747) and received training from his father. He worked in Venice, Trieste, Vienna and Dresden. A man pulls a new string on his lute, on his knee are a palette with brushes in his grip and a painting stick. The lutenist seems to be a painter by profession, who relaxes with the lute playing in work breaks. There is a cheerful expression on his face. The connection between painting and music is old. A painting from around 1600 attributed to Paul Bril shows a painter playing with the lute in front of the easel on which a landscape painting is standing (Providence, Rhode Island School of Design, Museum).
Fine Antiques Prague s.r.o.
Aug. 01, 2020
Luigi Crespi (1708–1779) - attributed to, Artist with a Lute and a Palette
Est: €5,000 - €7,000
Luigi Crespi is the son of the famous Giuseppe Maria Crespi (1656-1747) and received training from his father. He worked in Venice, Trieste, Vienna and Dresden. A man pulls a new string on his lute, on his knee are a palette with brushes in his grip and a painting stick. The lutenist seems to be a painter by profession, who relaxes with the lute playing in work breaks. There is a cheerful expression on his face. The connection between painting and music is old. A painting from around 1600 attributed to Paul Bril shows a painter playing with the lute in front of the easel on which a landscape painting is standing (Providence, Rhode Island School of Design, Museum).
Fine Antiques Prague s.r.o.
Nov. 29, 2019
Crespi, Luigi: Studienblatt mit zwei Portraits
Est: €700 - €900
Studienblatt mit dem Bildnis einer Edeldame mit Pelzkragen und einem Mann mit Kappe. - Schwarzer und weißer Stift auf grau grundiertem Papier. 20,3 x 26,3 cm. Auf der Rückseite in schwarzer Feder von fremder Hand bez. "Anonimi". -- -- 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
Feb. 24, 2018
Luigi Crespi (1710-1779), attribué à
Est: €4,000 - €6,000
Luigi Crespi (1710-1779), attribué à Portrait d'homme en habit bleu Toile, vers 1770 105 x 109 cm Cadre ovale en bois doré (rentoilée) Luigi Crespi réalisa surtout des portraits et fut habile dans la représentation minutieuse de la société de son époque.
Rois & Vauprès
Dec. 04, 2017
Luigi Crespi - Portrait of a prelate
Est: €6,000 - €8,000
Luigi Crespi (Bologna, 1708 - 1779) Portrait of a prelate oil on canvas, cm 127x100
Bertolami Fine Art s.r.l.
Dec. 05, 2016
CRESPI LUIGI
Est: €4,500 -
LUIGI CRESPI (1710-1779) "Figura femminile e pastore" olio cm. 27x34
Aste Boetto SRL
Nov. 06, 2007
Attribuito a Luigi Crespi 1710-1779 , Ritratto di prelato olio su carta, su una pagina di libro probabilmente del secolo XVI
Est: €1,200 - €1,800
olio su carta, su una pagina di libro probabilmente del secolo XVI
Sotheby's