Giacomo Farelli Paintings & Artwork for Sale | Giacomo Farelli Art Value Price Guide

Sep. 18, 2024
Giacomo Farelli (1629-1706) David et Goliath, huil…
Est: CHF5,000 - CHF7,000
Giacomo Farelli (1629-1706) David et Goliath, huile sur toile, 112x100 cm
Geneve Encheres
May. 27, 2024
GIACOMO FARELLI (attr. a)
Est: €1,000 - €2,000
(Roma, 1629 - Napoli, 1706) Giaele e Sisara Olio su tela, cm 131X96
Wannenes Art Auctions
Oct. 17, 2023
Attributed to GIACOMO FARELLI (Rome, 1624 - Naples, 1706). "Saint Cecilia". Oil on canvas. Reengineered from the 19th century. Presents repaints and frame h. 1850.
Est: €14,000 - €16,000
Attributed to GIACOMO FARELLI (Rome, 1624 - Naples, 1706). "Saint Cecilia". Oil on canvas. Re-retouching of the 19th century. It presents repainting and frame ca. 1850. Measurements; 123 x 93 cm; 143 x 115 cm (frame). Saint Cecilia of Rome was a Roman noblewoman converted to Christianity and martyred between 180 and 230 A.D., whose main documentation was the Acts of Saint Cecilia, dated in 480. In this text it talks about "órganis", word that was translated as organ (musical), being thus considered the patron saint of music and often accompanied by this instrument, although in this specific case she is represented next to a violin. Due to its technical characteristics, the work can be considered part of the artistic circle of Giacomo Farelli, who trained in the field of literature in his native Rome, but soon moved to Naples to develop his pictorial training as a pupil of Andrea Vaccaro. He entered Vaccaro's studio in 1644 and worked on numerous prints, particularly nudes, imitating the master to such an extent that some of his early works have often been confused with those of Vaccaro. Farelli's early paintings reveal a profound influence of his master, although his artistic language soon evolved towards a style closer to the classicism of Guido Reni and Domenichino. He soon became one of the leading exponents of Neapolitan Baroque classicism and in fact on some occasions worked alongside Francesco di Maria, the leading exponent of this school. His first documented works are "San Gennaro" and "The Massacre of the Innocents", executed in 1651 for Cesare Zattara. From his youth onwards his work reveals references to the naturalism of M. Stanzione, F. Vitale and C. and F. Fracanzano, influences that are added to those of Vaccaro and the unknown master of "Christ and the Adulterous Woman", which would appear on various occasions throughout his career. However, in a work of 1652, the "Vision of Saint Anthony", which he painted for the church of Trinita dei Peregrini in Naples, we can see a reduction of naturalism in favour of a chromatic sensibility closer to that of Cesare Fracanzano, as well as a certain influence of the works by Stanzione for the church of Santa Brigida. Shortly afterwards, between 1655 and 1656, he executed an altarpiece entitled "Apparition of Christ and the Virgin to Saint Bridget" (Naples, Saint Bridget), a work with which he intended to rival Luca Giordano (who had painted the "Miracle of Saint Nicholas" for the same church in 1655), and through which it is evident that Farelli developed a personal and independent, clearly identifiable style. This work reveals his experience in Vaccaro's workshop and a stricter construction of the volumes. From this point onwards his language evolved in the direction of colour, with soft, gentle tones, and was characterised by a growing importance of classicism, which modulated the naturalistic expressions of his beginnings. Particularly evident in his style was the virtuosity of his drawing, with its academic roots, as can be seen in the nudes of the "Allegory of the Arts" (Museo Nazionale di L'Aquila). During these years he also gave increasing importance to the draperies, which were worked in a softer manner, and his sensitivity to light became more pronounced, as can be seen in the "Vision of Saint John the Evangelist", signed and dated 1661, painted for the church of the same name in Sulmona. In this work, full of chromatic nuances, we see Farelli's progress in Giordano's direction. Already in his fresco decorations in the atrium of the sacristy of the Chapel of the Treasury in San Gennaro (1664) the master shows a marked approach to the eminently classical manner of Domenichino, laying the foundations of what would become his mature style.
Setdart Auction House
May. 30, 2023
Giacomo Farelli (Roma 1629-Napoli 1706) - Cleopatra
Est: €4,000 - €8,000
oil on canvas 91 x 70 cm The painting is accompanied by a copy of an expertise by Professor Riccardo Lattuada, which confirms this attribution.
Finarte
Feb. 21, 2023
Giacomo Farelli (Roma 1629-Napoli 1706) - Cleopatra
Est: €6,000 - €12,000
The painting is accompanied by a copy of an expert report by Professor Riccardo Lattuada, which confirms this attribution. The scholar finds comparisons between the figure of this Cleopatra and the Angels of the altarpiece depicting the Ransom of the slaves in Naples, Church of Santa Maria della Mercede and Sant'Alfonso de' Liguori , and the Ganymede now in a private collection. In all these examples cited, not only the typical physiognomies and compositions of the painter recur, but also his particular loose and flowing ductus, with thin layers of color, which often allow the preparation to emerge in the dark shades. For all these characteristics, the work can be dated to the last decade of the seventeenth century, in the artist's mature phase.
Finarte
Jun. 14, 2022
Attributed to GIACOMO FARELLI (Rome, 1624 - Naples, 1706). "Saint Cecilia". Oil on canvas. Reengineered from the 19th century. Presents repaints and frame h. 1850.
Est: €15,000 - €16,000
Attributed to GIACOMO FARELLI (Rome, 1624 - Naples, 1706). "Saint Cecilia". Oil on canvas. Re-retouching of the 19th century. It presents repainting and frame ca. 1850. Measurements; 123 x 93 cm; 143 x 115 cm (frame). Saint Cecilia of Rome was a Roman noblewoman converted to Christianity and martyred between 180 and 230 A.D., whose main documentation was the Acts of Saint Cecilia, dated in 480. In this text it talks about "órganis", word that was translated as organ (musical), being thus considered the patron saint of music and often accompanied by this instrument, although in this specific case she is represented next to a violin. Due to its technical characteristics, the work can be considered part of the artistic circle of Giacomo Farelli, who trained in the field of literature in his native Rome, but soon moved to Naples to develop his pictorial training as a pupil of Andrea Vaccaro. He entered Vaccaro's studio in 1644 and worked on numerous prints, particularly nudes, imitating the master to such an extent that some of his early works have often been confused with those of Vaccaro. Farelli's early paintings reveal a profound influence of his master, although his artistic language soon evolved towards a style closer to the classicism of Guido Reni and Domenichino. He soon became one of the leading exponents of Neapolitan Baroque classicism and in fact on some occasions worked alongside Francesco di Maria, the leading exponent of this school. His first documented works are "San Gennaro" and "The Massacre of the Innocents", executed in 1651 for Cesare Zattara. From his youth onwards his work reveals references to the naturalism of M. Stanzione, F. Vitale and C. and F. Fracanzano, influences that are added to those of Vaccaro and the unknown master of "Christ and the Adulterous Woman", which would appear on various occasions throughout his career. However, in a work of 1652, the "Vision of Saint Anthony", which he painted for the church of Trinita dei Peregrini in Naples, we can see a reduction of naturalism in favour of a chromatic sensibility closer to that of Cesare Fracanzano, as well as a certain influence of the works by Stanzione for the church of Santa Brigida. Shortly afterwards, between 1655 and 1656, he executed an altarpiece entitled "Apparition of Christ and the Virgin to Saint Bridget" (Naples, Saint Bridget), a work with which he intended to rival Luca Giordano (who had painted the "Miracle of Saint Nicholas" for the same church in 1655), and through which it is evident that Farelli developed a personal and independent, clearly identifiable style. This work reveals his experience in Vaccaro's workshop and a stricter construction of the volumes. From this point onwards his language evolved in the direction of colour, with soft, gentle tones, and was characterised by a growing importance of classicism, which modulated the naturalistic expressions of his beginnings. Particularly evident in his style was the virtuosity of his drawing, with its academic roots, as can be seen in the nudes of the "Allegory of the Arts" (Museo Nazionale di L'Aquila). During these years he also gave increasing importance to the draperies, which were worked in a softer manner, and his sensitivity to light became more pronounced, as can be seen in the "Vision of Saint John the Evangelist", signed and dated 1661, painted for the church of the same name in Sulmona. In this work, full of chromatic nuances, we see Farelli's progress in Giordano's direction. Already in his fresco decorations in the atrium of the sacristy of the Chapel of the Treasury in San Gennaro (1664) the master shows a marked approach to the eminently classical manner of Domenichino, laying the foundations of what would become his mature style.
Setdart Auction House
Apr. 28, 2022
Ecole Italienne du XVIIème siècle, entourage de Simone del TINTORE
Est: €2,000 - €3,000
Nature morte au homard, cédrat, bouquet de fleurs et plat Huile sur toile 74 x 95 cm - 29.13 x 37.40 in. Oil on canvasEcole m Restaurations
Maison Verneuil
Jan. 26, 2022
Attributed to GIACOMO FARELLI (Rome, 1624 - Naples, 1706). "Saint Cecilia". Oil on canvas. Reengineered from the 19th century. Presents repaints and frame h. 1850.
Est: €18,000 - €18,500
Attributed to GIACOMO FARELLI (Rome, 1624 - Naples, 1706). "Saint Cecilia". Oil on canvas. Re-retouching of the 19th century. It presents repainting and frame ca. 1850. Measurements; 123 x 93 cm; 143 x 115 cm (frame). Saint Cecilia of Rome was a Roman noblewoman converted to Christianity and martyred between 180 and 230 A.D., whose main documentation was the Acts of Saint Cecilia, dated in 480. In this text it talks about "órganis", word that was translated as organ (musical), being thus considered the patron saint of music and often accompanied by this instrument, although in this specific case she is represented next to a violin. Due to its technical characteristics, the work can be considered part of the artistic circle of Giacomo Farelli, who trained in the field of literature in his native Rome, but soon moved to Naples to develop his pictorial training as a pupil of Andrea Vaccaro. He entered Vaccaro's studio in 1644 and worked on numerous prints, particularly nudes, imitating the master to such an extent that some of his early works have often been confused with those of Vaccaro. Farelli's early paintings reveal a profound influence of his master, although his artistic language soon evolved towards a style closer to the classicism of Guido Reni and Domenichino. He soon became one of the leading exponents of Neapolitan Baroque classicism and in fact on some occasions worked alongside Francesco di Maria, the leading exponent of this school. His first documented works are "San Gennaro" and "The Massacre of the Innocents", executed in 1651 for Cesare Zattara. From his youth onwards his work reveals references to the naturalism of M. Stanzione, F. Vitale and C. and F. Fracanzano, influences that are added to those of Vaccaro and the unknown master of "Christ and the Adulterous Woman", which would appear on various occasions throughout his career. However, in a work of 1652, the "Vision of Saint Anthony", which he painted for the church of Trinita dei Peregrini in Naples, we can see a reduction of naturalism in favour of a chromatic sensibility closer to that of Cesare Fracanzano, as well as a certain influence of the works by Stanzione for the church of Santa Brigida. Shortly afterwards, between 1655 and 1656, he executed an altarpiece entitled "Apparition of Christ and the Virgin to Saint Bridget" (Naples, Saint Bridget), a work with which he intended to rival Luca Giordano (who had painted the "Miracle of Saint Nicholas" for the same church in 1655), and through which it is evident that Farelli developed a personal and independent, clearly identifiable style. This work reveals his experience in Vaccaro's workshop and a stricter construction of the volumes. From this point onwards his language evolved in the direction of colour, with soft, gentle tones, and was characterised by a growing importance of classicism, which modulated the naturalistic expressions of his beginnings. Particularly evident in his style was the virtuosity of his drawing, with its academic roots, as can be seen in the nudes of the "Allegory of the Arts" (Museo Nazionale di L'Aquila). During these years he also gave increasing importance to the draperies, which were worked in a softer manner, and his sensitivity to light became more pronounced, as can be seen in the "Vision of Saint John the Evangelist", signed and dated 1661, painted for the church of the same name in Sulmona. In this work, full of chromatic nuances, we see Farelli's progress in Giordano's direction. Already in his fresco decorations in the atrium of the sacristy of the Chapel of the Treasury in San Gennaro (1664) the master shows a marked approach to the eminently classical manner of Domenichino, laying the foundations of what would become his mature style.
Setdart Auction House
Dec. 09, 2021
Giacomo Farelli, 1624 Rom – 1706 Neapel
Est: €25,000 - €30,000
ALLEGORIE DER CARITAS Öl auf Leinwand. Doubliert. 204 x 98 cm. In breitem marmoriertem Rahmen. Beigegeben ein Gutachten von Nicola Spinosa, Neapel, ohne Datum, in Kopie. Die großformatige Leinwand zeigt vor einem Architekturversatzstück die allegorische Figur einer jungen Frau, die im Begriff ist, drei Kinder zu nähren, welche sie umspielen. Farelli war Schüler von Andrea Vaccaro, folgte jedoch schon bald dem Stil von Guido Reni (1575-1642) und Luca Giordano (1643-1705). Viele seiner Gemälde sind als Fresko oder auf Leinwand von sakralen Themen durchzogen und befinden sich in den Kirchen Neapels. Seine erste bekannte Altararbeit in der Chiesa dell’Arciconfraternita della Trinità dei Pellegrini ist von ihm signiert und datiert 1652. Ein Gemälde mit Bathseba im Bade, welches annähernd die gleichen Maße aufweist wie das hier angebotene Werk, ist in einer italienischen Privatsammlung zu finden und wird von Spinosa auf ca. 1676-1683 datiert. 1693 zog Farelli nach Pisa, wo er den Palazzo Pubblico ausgestaltete- hierbei bediente er sich Darstellungen biblischen, historischen aber auch mythologischen Inhaltes. Eine Darstellung mit Venus und Adonis etwa befindet sich in Melfi in der Basilicata, ein „Samson und Dalila“ sowie ein „Raub der Sabinerinnen“ befinden sich in einer Privatsammlung. Literatur: Vgl. Achille della Ragione, Giacomo Farelli: Opera completa, Neapel 2011. (1281185) (2) (13) Giacomo Farelli, 1624 Rome – 1706 Naples ALLEGORY OF CARITAS Oil on canvas. Relined. 204 x 98 cm. Accompanied by a copy of an expert’s report by Nicola Spinosa, Naples, n.d. Literature: cf. Achille della Regione, Giacomo Farelli: Opera completa, Naples 2011.
Hampel Fine Art Auctions
Dec. 09, 2021
Giacomo Farelli, 1624 Rom – 1706 Neapel
Est: €15,000 - €20,000
ARIADNE UND BACCHUS Öl auf Leinwand. 145 x 193 cm. In schmalem vergoldetem Rahmen. Prof. Riccardo Lattuada und Laura Raucci schreiben das vorliegende Gemälde nach eingehender Untersuchung Giacomo Farelli zu. Das Werk auch in der 2020 publizierten Monografie über den Künstler, ca. 1690 – 1700 datiert. Das Gemälde schildert die antike Legende, nach der Ariadne nach Beendigung ihrer Beziehung zu Theseus vom jugendlichen Weingott Bacchus vor einer Höhle auf der Insel Naxos aufgefunden wurde. Hier ist der Moment der ersten Begegnung gezeigt. Die schlafende Ariadne mit langen blonden Haaren, ihr zarter heller Körper teils nur mit einem weißen Laken bedeckt, zudem auf einem blauen Tuch mit goldener Bordüre liegend. Links von ihr stehend Bacchus in einem violetten, faltenreich wehendem Umhang, mit Weinlaub im Haar, die Schlafende behutsam und vorsichtig beobachtend, in die er sich sofort verliebt. Links hinter Bacchus eine Figur aus dem Gefolge des Bacchus mit erhobenem Tamburin. Im Hintergrund die weite Landschaft im abendlichen Licht der gerade untergegangenen Sonne. Feine, qualitätvolle Malerei, bei der das helle Inkarnat der Ariadne und der leicht gebräunte Körper des Bacchus gegenüber dem dunklen Hintergrund besonders hervorgehoben werden. Rest., teils Retuschen. Provenienz: Deutsche Privatsammlung. Auktionhaus Lempertz, Auktion 1132, Fine Art, 18.05.2019, Lot 1263. Sammlung Chatsworth Castle, England, Auktion in „Chatsworth: The Attic Sale“, Sotheby‘s, London, 5.-7.10.2010, Lot 66. Anmerkung: Die Darstellung ähnelt einer Darstellung desselben Themas von Luca Giordano (1634-1705) in Verona (Museo di Castelvecchio). Auch viele andere Maler haben sich diesen Themas angenommen, so auch Tizian, dessen Gemälde um 1520-1523 entstand. Literatur: Riccardo Lattuada, Laura Raucci, Vita e opere di Giacomo Farelli (1629-1706). Artista e gentiluomo nell´Italia Barocca, Todi 2020, S. 287-288, A83. (1290601) (18) Giacomo Farelli, 1624 Rome – 1706 Naples ARIADNE and BACCHUSOil on canvas. 145 x 193 cm. Professor Riccardo Lattuada and Laura Raucci attribute the painting to the artist and dated it ca. 1690 – 1700 in their monograph on the painter. The painting illustrates an ancient legend according to which Ariadne was found by the youthful wine god Bacchus in front of a cave on the island of Naxos after having been abandoned there by Theseus. Provenance: Private collection, Germany. Lempertz Auction House, Auction 1132, Fine Art, 18 May 2019, lot 1263. Collection Chatsworth Castle, England, Auction in “Chatsworth: The Attic Sale”, Sotheby’s London, 5 – 7 October 2010, lot 66. Notes: The painting is similar to a depiction of the same subject by Luca Giordano (1634-1705) held in Verona (Museo di Castelvecchio). Literature: Riccardo Lattuada, Laura Raucci, Vita e opere di Giacomo Farelli (1629-1706). Artista e gentiluomo nell’Italia Barocca, Todi 2020, p. 287-288, A83.
Hampel Fine Art Auctions
Apr. 11, 2015
OLD MASTER CIRCLE OF GIACOMO FARELLI (ITALIAN 1624-1706) The Abduction of Helen of Troy oil on canvas late 17th - early...
Est: $4,000 - $8,000
OLD MASTER CIRCLE OF GIACOMO FARELLI (ITALIAN 1624-1706) The Abduction of Helen of Troy oil on canvas late 17th - early 18th century relined and restretched 74 1/2" x 98 1/2"
Nadeau's Auction Gallery
Jun. 17, 2014
ATTRIBUTED TO GIACOMO FARELLI, (ITALIAN 1624-1706), HEAD OF THE MADONNA
Est: $1,000 - $1,500
ATTRIBUTED TO GIACOMO FARELLI (italian 1624-1706)/span HEAD OF THE MADONNA Graphite, touch of black and red chalk on paper, unframed 15 1/2 x 11 1/16 in. (39.3 x 28cm) provenance: /spanPrivate Collection, Oklahoma.
Freeman's | Hindman
Sep. 12, 2010
painting, Giacomo Farelli, David and Goliath
Est: $10,000 - $15,000
Unframed oil on canvas, David with the Head of Goliath, unsigned, by Giacomo Farelli (Italian, 1624-1706), overall: 48.25''h x 37.75''w. Note: Painting was lined in the 19th century. Provenance: Judge Edwin B. Crocker (by repute), legal council for the Central Pacific Railroad, Sacramento, California, founder of the Crocker Museum of Art. Most likely collected during his grand tour of Europe in 1869-1871. Purchased by the owner from Howard Settle, San Francisco, 1995. The attribution has been confirmed by both Dr. Stefano Causa and Dr. Nicola Spinosa, both of Naples, Italy.
Clars Auctions
Apr. 29, 2010
GIACOMO FARELLI
Est: £6,000 - £8,000
GIACOMO FARELLI ROME 1624 - 1706 NAPLES SAINT ANTHONY OF PADUA WITH THE CHRIST CHILD oil on canvas 208 by 145.8 cm.; 81 7/8 by 57 3/8 in.
Sotheby's