Pietro Facchetti Paintings & Artwork for Sale | Pietro Facchetti Art Value Price Guide

May. 03, 2023
Pietro Facchetti
Est: €30,000 - €40,000
(Mantua 1535–1619 Rome) Portrait of a Cardinal, oil on panel, 168 x 135 cm, framed Provenance: sale, Sotheby’s Olympia, London, 3 July 2007, lot 342 (as Circle of Scipione Pulzone); where acquired by the present owner Literature: F. Petrucci, Pittura di ritratto a Roma. Il 600, III, Rome 2008, p. 788, fig. 809 (as ‘Pittore attivo a Roma primo quarto del 600’) We are grateful to Francesco Petrucci for confirming the attribution of the present painting on the basis of a photograph. The young cardinal is portrayed seated at a desk and holding a note in his right hand, indistinctly inscribed ‘All Ill mo … / … / … Roma (?)’. The sitter is shown in three-quarter length, according to an established compositional type. Facchetti had used this compositional format before, for example, in his Portrait of a Cardinal, formerly at Dorotheum (13 October 2010, lot 366). Nevertheless, while retaining the principles required of official portraiture, Facchetti was successfully able to integrate a degree of naturalism in the present painting, reminiscent of Caravaggio. The Lombard, Caravaggist character of Facchetti’s portraits is combined with a delicacy and elegance derived from the work of Gaetano Scipione Pulzone (1544–1598) who was the dominant official portraitist in Rome during this period. The present painting can be compared to Pulzone’s Portrait of Alessandro Farnese conserved in the Galleria Nazionale di Palazzo Barberini, Rome (inv. no. 2217). The features of the cardinal represented here are expressive, and the detailing of his robes, the arm chair and the drape behind him are realistic and define the cardinal in the surrounding space. Flemish influences, discernible in the crisp detailing of the stitching of the robes and in the tassels of the chair could have reached Facchetti in Mantua, from his knowledge of the Gonzaga collections and his contact with Peter Paul Rubens, as evidenced by his Portrait of Maria de’ Medici in her Youth conserved in Palazzo Lancellotti, Rome (see F. Solinas, Il ritratto di Maria de’Medici giovane di Pietro Facchetti (1535–1613) nella galleria del principe Lancellotti, in: Le ‘siècle’ de Marie de Médicis, ed. by F. Graziani, F. Solinas, M. Fumaroli, Alessandria 2003, pp. 3-11). Pietro Facchetti’s initial training, under the influence of the followers of Giulio Romano, occurred in Mantua where he entered the circle of artists employed at the court of the third duke of Mantua, Guglielmo Gonzaga (1538–1587). In around 1565 Facchetti moved to Rome, as can be ascertained from various letters written sent by the Bolognese cardinal, Filippo Guastavillani to the court in Mantua (see A. Dessì, Nuova luce su Pietro Facchetti pittore di Casa Orsini, in: Arte Documento, no. 33, 2017, p. 125). His practice as an official portraitist was asserted by his painting of Domenico Fontana presenting the plans of the library to Sixtus V dated to about 1588 and conserved in the Salone Sistino of the Biblioteca Apostolica Vaticana. Facchetti was also active as a copyist, as an engraver and as an art agent for the Gonzaga family. Indeed, he served as councillor to the Duke of Mantua in the acquisition of works by Rubens and of Caravaggio’s Death of the Virgin which had been rejected by the monks of Santa Maria della Scala (see B. Furlotti, Le collezioni Gonzaga: il carteggio tra Roma e Mantova (1587–1612), Cinisello Balsamo 2003, p. 44).
Dorotheum
Mar. 15, 2022
PIETRO FACCHETTI (attr. a)
Est: €500 - €800
(Mantova, 1539 - Roma, 1619) Ritratto d'uomo Olio su tela, cm 37,5X34,5 Nato a Mantova, l'artista si trasferì intorno all'ottavo decennio a Roma, dedicandosi specialmente al genere del ritratto e riscuotendo un notevole successo. Le sue opere evidenziano l'influenza di Scipione Pulzone e del gusto caravaggesco. Altrettanto importante fu la sua attività di corrispondente artistico per la corte di Mantova e le fonti attestano un rapporto costante con il Duca Vincenzo I il quale gli commissionò numerose copie di dipinti appartenenti alle collezioni romane per arricchire la propria galleria o per farne dono a monarchi, chiedendogli anche giudizi sulla qualità delle opere d'arte che era intenzionato ad acquistare. Rammarica che gran parte della sua produzione sia ancora dispersa e necessiti di una catalogazione precisa, perché Facchetti fu certamente uno dei più importanti ritrattisti dell'età caravaggesca, come ben attesta anche il Baglione nelle sue Vite. Bibliografia di riferimento: G. Baglione, Le vite de' pittori scultori et architetti, Roma 1642, I, p. 127 F. Petrucci, Pittura di ritratto a Roma. Il Seicento, Roma 2008, ad vocem
Wannenes Art Auctions
Jun. 09, 2020
Pietro Facchetti
Est: €40,000 - €60,000
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Mantua 1535–1619 Rome) Portrait of a Cardinal, oil on panel, 135 x 168 cm, framed Provenance: sale, Sotheby’s Olympia, London, 3 July 2007, lot 342 (as Circle of Scipione Pulzone); where acquired by the present owner Literature: F. Petrucci, Pittura di ritratto a Roma. Il 600, III, Rome 2008, pag. 788 ill. 809 (as ‘Pittore attivo a Roma primo quarto del 600’) We are grateful to Francesco Petrucci for confirming the attribution of the present painting on the basis of a digital photograph. The young cardinal is portrayed seated at a desk and holding a note in his right hand, indistinctly inscribed ‘All Ill mo … / … / … Roma (?)’. The sitter is shown in three-quarter length, according to an established compositional type. Facchetti had used this compositional format before, for example, in his Portrait of a Cardinal, formerly at Dorotheum (13 October 2010, lot 366). Nevertheless, while retaining the principles required of official portraiture, Facchetti was successfully able to integrate a degree of naturalism in the present painting, reminiscent of Caravaggio. The Lombard, Caravaggist character of Facchetti’s portraits are combined with a delicacy and elegance derived from the work of Gaetano Scipione Pulzone (Gaeta 1544–1598 Rome) who was the dominant official portraitist in Rome during this period, and the present painting can be compared to Pulzone’s Portrait of Alessandro Farnese conserved in the Galleria Nazionale di Palazzo Barberini, Rome (inv. no. 2217). The features of the cardinal represented here are expressive, and the detailing of his robes, of the arm chair and of the drape behind him, are refined and realistic. The two latter elements are enough to define the cardinal in the surrounding space, resulting in a focused and modern composition. Flemish influences, discernible in the crisp detailing of the stitching of the robes and in the tassels of the chair could have reached Facchetti in Mantua, from his knowledge of the Gonzaga collections and his contact with Peter Paul Rubens, as evidenced by his Portrait of Maria de’ Medici in her Youth conserved in Palazzo Lancellotti, Rome (see F. Solinas, Il ritratto di Maria de’Medici giovane di Pietro Facchetti (1535-1613) nella galleria del principe Lancellotti, in: Le ‘siècle’ de Marie de Médicis, ed. by F. Graziani, F. Solinas, M. Fumaroli, Alessandria 2003, pp. 3-11). Pietro Facchetti’s initial training, under the influence of the followers of Giulio Romano, occurred in Mantua where he entered the circle of artists employed at the court of the third Duke of Mantua, Guglielmo Gonzaga (1538–1587). In around 1665 Facchetti moved to Rome, as can be ascertained from various letters written by the Bolognese cardinal, Filippo Guastavillani sent to the court in Mantua (see A. Dessì, Nuova luce su Pietro Facchetti pittore di Casa Orsini, in: Arte Documento, no. 33, 2017, p. 125). His practice as an official portraitist was asserted by his painting of Domenico Fontana presenting the plans of the library to Sixtus V, dated to about 1588 and conserved in the Salone Sistino of the Biblioteca Apostolica Vaticana. Facchetti was also active as a copyist, as an engraver and as an art agent for the Gonzaga family. Indeed, he served as councillor to the duke of Mantua in the acquisition of works by Rubens and of Caravaggio’s Death of the Virgin which had been rejected by the monks of Santa Maria della Scala (see B. Furlotti, Le collezioni Gonzaga: il carteggio tra Roma e Mantova (1587–1612), Cinisello Balsamo 2003, p. 44).
Dorotheum
Dec. 01, 2018
Pietro Facchetti (1535-1619) - Virgin Mary washing Infant Jesus - C. 1528
Est: €1,200 - €1,600
Rare print by Facchetti who made only five prints, only two of them known to Bartsch. This example of his virtuoso work goes back to a painting by Guilio Romano, at the time considered as a work by Raphael and now in the old master gallery in Dresden. Splendid, nuanced and clear impression of the second state with the publishers address of Nicolas van Aelst. Bartsch XVII.16.1
Old Master Print
Jul. 04, 2018
PIETRO FACCHETTI (MANTUA 1535-1619 ROME) - Portrait of the architect, Domenico Fontana (1543-1607), threequarter-
Est: £50,000 - £70,000
PIETRO FACCHETTI (MANTUA 1535-1619 ROME) Portrait of the architect, Domenico Fontana (1543-1607), threequarter- length, seated beside a desk with a book in one hand and a pair of dividers in the other, a view of the dome of Saint Peter’s, Rome, beyond oil on canvas 119.7 x 102.6cm (47 1/8 x 40 3/8in).
Bonhams
Mar. 21, 2018
PIETRO FACCHETTI
Est: €8,000 - €10,000
(Mantova, 1539 - Roma, 1619) Ritratto del Vescovo di Lodeve Olio su tela, cm 120X92 Nato a Mantova, l'artista si trasfer“ intorno all'ottavo decennio a Roma, dedicandosi specialmente al genere del ritratto riscuotendo un notevole successo. Le sue opere evidenziano l'influenza di Scipione Pulzone e del gusto caravaggesco. Altrettanto importante fu la sua attivitˆ di corrispondente artistico per la corte di Mantova e le fonti attestano un rapporto costante con il Duca Vincenzo I il quale gli commission˜ numerose copie di dipinti appartenenti alle collezioni romane per arricchire la propria galleria o per farne dono a monarchi, chiedendogli anche giudizi sulla qualitˆ delle opere d'arte che era intenzionato ad acquistare. Rammarica che gran parte della sua produzione sia ancora dispersa e necessiti di una catalogazione precisa, perchŽ Facchetti fu certamente uno dei pi importanti ritrattisti dell'etˆ caravaggesca come ben attesta il Baglione: 'Quest'huomo ritrasse quasi tutte le Dame Romane, e ne acquist˜ molto credito. Fece anche gran parte de Gentil'huomini, e de' Titolati di Roma e ne riport˜ fama, e utile e in somma, a dirne il vero, i suoi ritratti non solamente assomigliavano, ma erano con buon gusto, e perfetto disegno condotti'. Bibliografia di riferimento: G. Baglione,Ê'Le vite de' pittori scultori et architetti', Roma 1642, I, p. 127 F. Petrucci, 'Pittura di ritratto a Roma. Il Seicento', Roma 2008, ad vocem
Wannenes Art Auctions
May. 26, 2016
Facchetti, Pietro: Die Jungfrau Maria, den Jesusknaben waschend
Est: €2,500 - €3,500
Die Jungfrau Maria, den Jesusknaben waschend. Radierung und Kupferstich. 29,7 x 26 cm. B. XVII, 16, 1 II; Seccareccia 1 II. Der Maler und Kupferstecher Pietro Facchetti ging nach seiner Ausbildung bei Lorenzo Costa in jugendlichem Alter nach Rom, wo er sich vor allem als Bildnismaler hervortat. Laut Baglione soll er fast alle Damen der römischen Gesellschaft porträtiert haben und durch diese Tätigkeit zu großem Ansehen gelangt sein. Dennoch lebte der Künstler zurückgezogen und in ärmlichen Verhältnissen, wie aus einem 1613 datierten Brief Facchettis an den Kardinal Herzog von Mantua hervorgeht, in dem er seine mißliche Lebenslage beklagt. Obwohl Facchetti sein ganzes Leben in Rom verbrachte, blieb er seiner Heimatstadt verbunden und unterhielt enge Beziehungen zu dem Hof der Gonzaga in Mantua, indem er unter anderem als Agent für den Herzog tätig war und ihn beim Ankauf von Gemälden für die Sammlung (die sogenannte Celeste Galeria ) beriet. Das druckgraphische Werk Facchettis ist sehr klein und zählt lediglich fünf Stiche, die in ihrer Gesamtheit erst 1995 von Stefania Seccareccia katalogisiert wurden (Grafica d'Arte, 1995, Nr. 24, S. 8-13). Bereits Bartsch, der nur zwei Blatt kannte, wunderte sich über die Tatsache, daß Facchettis Tätigkeit als Kupferstecher offenbar völlig der Aufmerksamkeit früherer Autoren entgangen war. Dies ist umso befremdlicher, da sich die bekannten Blätter seiner Hand durch ihre beachtliche künstlerische und technische Qualität auszeichnen. Die Komposition des vorliegenden Blattes geht auf ein um 1528 entstandenes Gemälde Giulio Romanos zurück, das zur Zeit Facchettis als eine Schöpfung Raphaels galt und sich heute in der Gemäldegalerie Alte Meister in Dresden befindet (s. Frederick Hartt. Giulio Romano, New Haven, 1958. Bd. II, Nr. 125). Prachtvoller, nuancierter und klarer Druck des zweiten Druckzustandes, "retouchée au burin d'une manière très intelligente" (Bartsch) und mit der Verlegeradresse von Nicolaes van Aelst. Mit feinem Rändchen um die Plattenkante. Unauffällige geglättete Hängefalte verso, geringfügige Gebrauchsspuren, sonst sehr gut erhalten.
Bassenge Auctions
Dec. 17, 2014
Pietro facchetti 1535-1619
Est: €6,000 - €8,000
Pietro facchetti 1535-1619 Ritratto di cardinale olio su tela 115,5x143cm
Bertolami Fine Art s.r.l.
Jun. 16, 2011
Artwork by: Pietro Facchetti (Mantua 1535 or 1539
Est: €20,000 - €30,000
Artwork by: Pietro Facchetti (Mantua 1535 or 1539 - Rome 1619),
Dorotheum