Domenico Duprà Paintings & Artwork for Sale | Domenico Duprà Art Value Price Guide

Jun. 18, 2024
DOMENICO DUPRÀ
Est: €2,000 - €3,000
(Torino, 1689 - 1770) Ritratto di gentiluomo a mezzo busto, con giacca di seta grigia, gilet ricamato e un mantello rosso Olio su tela, cm 77X61,5 Provenienza: Collezione Bernard Combemale Londra, Christie's, 6 ottobre 1994, lotto 26 Italia, collezione privata La formazione dell'artista si svolse a Roma nella bottega di Francesco Trevisani per poi trasferirsi in Portogallo convocato dal re Giovanni V di Braganza in qualità di ritrattista di corte che, al suo congedo, lo ricompensò con ben undici chilogrammi e mezzo d'oro (Carvalho, 1958). Le opere di questi anni esprimono uno stile di gusto internazionale, romano, ma altresì attento alla moda francese. Tra il 1730 e il 1750 l'artista lo sappiamo nuovamente nella Città Eterna prima di trasferirsi alla corte sabauda, grazie all'interessamento del cardinale Alessandro Albani. A Roma Duprà fu il ritrattista delle più importanti famiglie, intratteneva stretti rapporti con l'aristocrazia cardinalizia e con i re esiliati Giacomo III Stuart e Clementina Sobieska. Tornando alla tela in esame trova evidenti analogie con il ritratto di gentiluomo firmato e datato 1741 pubblicato da Busiri Vici (fig. 19), che lo studioso confronta con i ritratti Stuard per l'impostazione e il 'vivo sguardo espressivo'. Bibliografia di Riferimento: A. de Carvalho, Domenico Duprà. royal portrait painter to various European courts, in Connoisseur Year-book, 1958, pp. 78-85 A. Busiri Vici, Ritratti a Roma di Domenico Duprà, in L'Urbe, XI, 1977, 2, pp. 1-16 S. Rudolph, La pittura del '700 a Roma, Milano 1983, fig. 248 Arte di corte a Torino da Carlo Emanuele III a Carlo Felice, Torino 1987, pp. 72-75 S. Ghisotti, in La pittura in Italia. Il Settecento, II, Milano 1990, p. 705
Wannenes Art Auctions
Oct. 25, 2023
Domenico Duprà (attr.)
Est: €600 - €800
Portrait of Vittorio Amedeo III di Savoia oil on canvas, cm. 79x64
Bolli & Romiti s.r.l
Sep. 26, 2023
GIUSEPPE DUPRÀ (attr. a)
Est: €3,000 - €5,000
(Torino, 1703 - 1784) DOMENICO DUPRÀ (attr. a) (Torino, 1689 - 1770) Ritratto di re Vittorio Amedeo III di Savoia? Olio su tela ovale, cm 108X87 La tela trova confronto con quella conservata nel Palazzo reale di Racconigi riferita a un pittore di 'ambito piemontese' (Cfr. https://www.catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0100398805). Tuttavia in questo caso, per motivazioni qualitative e di stile, l'opera si potrebbe riferire ai fratelli Giuseppe e Domenico Duprà, attivi per la corte sabauda dalla metà del XVIII secolo dopo i loro soggiorni a Roma e in Portogallo (Cfr. N. Gabrielli, Racconigi, Torino 1972, p. 209). Il ritratto descrive l'effigiato di trequarti con lo sguardo rivolto verso sinistra, porta una parrucca con tre file di boccoli e indossa una regale pelliccia di ermellino su cui spicca il collare dell'ordine della SS.ma Annunziata. La formazione dei due artisti si svolse a Roma nella bottega di Francesco Trevisani per Domenico e in quella di Benefial per Giuseppe. È verosimile che il fratello minore seguì poi Domenico in Portogallo quando questi fu convocato da Giovanni V di Braganza, ma li sappiamo entrambi nuovamente nella Città Eterna tra il 1730 e il 1750, prima di trasferirsi alla corte sabauda grazie all'interessamento del cardinale Alessandro Albani.
Wannenes Art Auctions
May. 29, 2023
Atribuído a Giorgio Domenico DUPRÀ (168 Retrato de D. Tomaz de Almeida - 1º Patriarca de Lisboa em 1716 e Cardeal em 1733 Óleo sobre tela
Est: €3,000 - €6,000
Atribuído a Giorgio Domenico DUPRÀ (1689-1770) Retrato de D. Tomaz de Almeida - 1º Patriarca de Lisboa em 1716 e Cardeal em 1733 Óleo sobre tela Dim. aprox.: 87 x 74 cm.; Dim. total aprox.: 104 x 90 cm. Restauros. Verso com inscrição: "Pertence ao Exmo. Senhor Duque de Palmela". Emoldurado (defeitos).
Palácio do Correio Velho
May. 24, 2022
GIORGIO DOMENICO DUPRÁ - Portrait of Charles Edward Stuart, Bonnie Prince Charlie
Est: €120 - €240
GIORGIO DOMENICO DUPRÁ pinxit Turin 1689 - 1770 JEAN DAULLÉ sculpit France 1703 - 1763 Portrait of Charles Edward Stuart, Bonnie Prince Charlie. 1740 Copper engraving Size 430 x 300 mm plate
Subastas Segre
Sep. 28, 2021
Prince Francisco of Braganza, Infante of Portugal, 7th Duke of Beja and Great-Prior of the Order of Malta in Portugal
Est: €10,000 - €15,000
Oil on canvas Ca. 1730
Veritas Art Auctioneers
Jun. 26, 2021
Domenico DUPRA (Turin, 1689- 1770) Portrait de Charles Édouard STUART,
Est: €6,000 - €8,000
Domenico DUPRA (Turin, 1689- 1770) Portrait de Charles Édouard STUART, appelé Bonnie Prince Charlie (1720-1788) - Toile ovale - Cadre : cadre en bois sculpté et redoré d'époque Louis XIV - Hauteur : 82 cm - Largeur : 66 cm - petits manques Expert : CABINET TURQUIN - 69, rue Sainte Anne - 75002 PARIS - 01.47.03.48.78
Antoine Petit -Hôtel des ventes d'Epernay
Oct. 15, 2019
Giorgio Domenico Duprà (Turin 1689-1770) Portrait of Carlo Emanuele III (1701-1773), half-length, in an ermine cloak,... oil on canvas, unlined 32 x 25 7/8 in. (81.3 x 65.7 cm.)
Est: £3,000 - £4,000
Giorgio Domenico Duprà (Turin 1689-1770) Portrait of Carlo Emanuele III (1701-1773), half-length, in an ermine cloak, wearing the chain of the Order of the Annunciation, with a crown and sceptre oil on canvas, unlined 32 x 25 7/8 in. (81.3 x 65.7 cm.)
Christie's
Oct. 15, 2019
Giorgio Domenico Duprà (Turin 1689-1770) Portrait of Vittorio Amedeo III of Savoy (1726-1796), bust-length, in armour... oil on canvas, unlined, oval 31 x 25 ¼ in. (78.7 x 64.2 cm)
Est: £4,000 - £6,000
Giorgio Domenico Duprà (Turin 1689-1770) Portrait of Vittorio Amedeo III of Savoy (1726-1796), bust-length, in armour with a crimson wrap, wearing the chain of the Order of the Annunciation, holding a baton oil on canvas, unlined, oval 31 x 25 ¼ in. (78.7 x 64.2 cm)
Christie's
Sep. 28, 2018
DUPRA, GIORGIO DOMENICO
Est: CHF5,000 - CHF7,000
DUPRA, GIORGIO DOMENICO (1689 Turin 1770) Portrait of Jakob Frey (1681-1752). 1740. Oil on canvas. Verso with original signature and date transferred to doubled canvas: Dom.co Duprà Fece. Roma 1740. 74 x 61 cm. Provenance: - Schloss Schauensee near Lucerne (label verso). - Swiss private collection. --------------- DUPRA, GIORGIO DOMENICO (1689 Turin 1770) Bildnis des Jakob Frey (1681-1752). 1740. Öl auf Leinwand. Verso Originalsignatur und Datierung auf doublierte Leinwand übertragen: Dom.co Duprà Fece. Roma 1740. 74 x 61 cm. Provenienz: - Schloss Schauensee bei Luzern (verso Etikett). - Schweizer Privatbesitz. Dieses kürzlich in einer Schweizer Privatsammlung wiederentdeckte Bildnis zeigt den Schweizer Kupferstecher und Verleger Jakob Frey und wurde vom Turiner Porträtmaler Giorgio Domenico Dupra angefertigt. Jakob Frey, der die Zeichenkunst bereits in jungen Jahren von seinem Onkel, einem Graveur, lernte, reiste 1702 nach Rom, wo er bei dem Kupferstecher Arnold van Westerhout (1651-1725) tätig war. Um 1705 erhielt Frey privaten Zeichenunterricht bei Carlo Maratta (1625-1713) und fertigte Kupferstiche nach dessen Gemälden sowie auch Werken von Annibale Carracci (1560-1609) an. Es folgten zahlreiche Buchillustrationen und einige selbständige Arbeiten. In den 1720er Jahren gründete Frey seinen eigenen Verlag in Rom. Seine Geschicklichkeit im Umgang mit dem Grabstichel und die Kombination aus Radierung und Kupferstich zeichneten ihn aus und entsprachen dem Geschmack seiner Zeitgenossen. Besonders Künstler wie auch Kunstliebhaber zollten ihm grosse Anerkennung. Ein Kupferstich nach unserem Gemälde ist von J. Jacob Haid überliefert (siehe Busiri Vici, Andrea: Ritratti a Roma di Domenico Duprà, in: L’Urbe, 40, 1977, S. 1-16; und in: Jatta, Barbara (Hg.) Scritti d’arte, Rom 1990, S. 361-374, Abb. 15, S. 366).
Koller Auctions
Jul. 05, 2013
DOMENICO DUPRÀ
Est: £2,000 - £3,000
TURIN 1689 - 1770 PORTRAIT OF BELLINGHAM BOYLE (1709-1771) Oil on canvas; inscribed lower centre: Belengir Boyle Esq. / at Rome 1739 and there is a further transcription of the old inscription on the canvas, verso: Done for Belenginr Boyle Esq. from /Ireland of the Society of Young Gentlemen Travelers at Rome in the year / 1739 and given to Sir James Stewart Bart. 62.3 by 48.4 cm.; 24 4/8 by 19 1/8 in.
Sotheby's
Jul. 08, 2010
ATTRIBUTED TO DOMENICO DUPRÀ
Est: £8,000 - £12,000
ATTRIBUTED TO DOMENICO DUPRÀ TURIN 1689 - 1770 PORTRAIT OF A LADY, HALF LENGTH, HOLDING A CLOTH WITH FLOWERS bears signature lower right: Rosalba./... oil on canvas 79 by 64.5 cm.; 31 1/8 by 25 3/8 in.
Sotheby's
Oct. 29, 2009
DOMENICO DUPRÀ
Est: £4,000 - £6,000
PORTRAIT OF A MEMBER OF THE HOUSE OF SAVOY IN ARMOUR WITH A RED VELVET AND ERMINE CLOAK WEARING THE ORDER OF THE ANNUNCIATA
Sotheby's
Oct. 29, 2008
Circle of Domenico Dupra (Turin 1689-1770)
Est: £2,000 - £3,000
Circle of Domenico Dupra (Turin 1689-1770) Portrait of Prince Charles Edward Stuart (1720-1788), half-length, in armour with an ermine-lined red velvet cloak, wearing the Garter sash with the badge of the Order of the Thistle and Star of the Order of the Garter, in a feigned oval oil on canvas 30 x 25 in. (76.3 x 63.5 cm.)
Christie's
Oct. 29, 2008
Giorgio Domenico Dupra (Turin 1689-1770)
Est: £3,000 - £5,000
Giorgio Domenico Dupra (Turin 1689-1770) Portrait of a gentleman, bust-length, in a red coat with gold embroidery signed and dated 'DOM. DUPRA FECIT ROMA 1741' (lower left) oil on canvas 25 x 19 in. (63.5 x 48.3 cm.) in an 18th Century English carved and gilded frame
Christie's
Nov. 05, 2002
Attributed to Pompeo Batoni (Italian, 1708-1787) An important portrait of Prince James Francis
Est: $7,801 - $10,921
Edward Stuart, the 'Old Pretender' (1688-1765), wearing grey coat with gold brocade trim and buttons and ermine-lined scarlet cloak, white shirt and cravat, blue sash of the Garter and full-bottomed, powdered wig gilt-metal frame oval, 70mm. (2 3/4in.) high Provenance: Mrs. J.K.E. Stamford Collection; Sotheby's, London; 26th November, 1973, lot 68 Over the years, the present lot has previously been attributed to Veronica Telli (née Stern), Sir Robert Strange and Nicholas Dixon. It shows a very distinctive style, with strong stippling and heavy use of gum arabic. Comparison with the few miniatures known to be by Batoni (including the example sold in these rooms, possibly of Horace Walpole, 21st March 1995, lot 21) shows a very similar technique. The heavy use of gum in these examples indicates that Batoni was not used to the method of painting in watercolour on ivory. The heavy stippling is also a reflection of this, as well as a reference to the influence of Rosalba Carriera's work on ivory. In 1744, James commissioned Batoni to produce miniatures of himself, Maria Clementina Sobieska and their two sons, Charles Prince of Wales and Henry, Duke of York, 'coppid from the likest pictures'. In the event, however, Veronica Telli (1717-1807) was commissioned for this group and Batoni was left with a commission for Henry, taken from a portrait by Domenico Dupra (1689-1770). There was a mixed reaction to Telli's miniature copies and Batoni's effort was the only miniature that met with general approval. It is possible that Batoni was later asked to take other miniatures from existing oils, of which the present lot is an example. The exiled Scottish family would have been well aware of Batoni's talent and his loyal British patronage. In 1757, it is recorded that Batoni painted a portrait of James, then in old age (now lost). The head of James in this portrait appears to have been taken from the portrait by Dupra painted in 1742. The costume may relate to the portrait attributed to Anton Raphael Mengs (1728-1779), now in the National Portrait Gallery, London, in which he wears the same gold-edged, grey coat. This portrait by Mengs has been dated to circa 1748, a year in which Telli was again producing miniatures of James. In the exhibition catalogue, The King over the Water, Edinburgh, 2001 (p.96, fig.90), a miniature of James by Telli, painted in 1748, shows a very different painting style to the present lot. This example is hard-featured, with stylised hair and stiff drapery. Two other miniatures, this time of Charles and Henry, signed and dated by Telli, 1743 (in the collection of Lord Ancaster, Drummond Castle) show a softer style of painting, but still with stiff drapery and rather mask-like features. These examples demonstrate characteristics quite unlike the qualities of the present lot, which shows a confident handling of drapery and a particularly three-dimensional understanding of the human face.
Bonhams