Paolo Farinati Paintings & Artwork for Sale | Paolo Farinati Art Value Price Guide

Jun. 19, 2024
Farinati, Paolo (Verona 1524-1606 ebda.),
Est: €260 - €400
Venus und Amor. Radierung. In der Platte dat. 1566, nicht sign., bei Pietro Stephanoni (in Rom), um 1625. 27,5 x 26 cm. (47) - Bartsch XVI, 96, 6, II. Le Blanc II, 219, 5, II (mit der Adresse von Stephanoni).
Zisska & Lacher
Jun. 18, 2024
ORAZIO FARINATI
Est: €5,000 - €8,000
(Verona, 1559 - 1616) PAOLO FARINATI (Verona, 1524 - 1606) Madonna con il Bambino e San Giovannino Olio su tela, cm 83X75,5 Provenienza: Torino, collezione privata Allievo di Nicola Giolfino secondo il Vasari, ma certamente formatosi nella bottega paterna, Paolo Farinati guardò al raffaellismo di Giulio Romano per poi esprimere una similitudine espressiva con il più giovane Paolo Veronese. La tela in esame, di fatto, esprime una comune sensibilità pittorica, senza dimenticare l'influenza di Domenico Brusasorci, per l'intonazione cromatica di argentea luminosità. Per quanto riguarda l'intervento del figlio Orazio, è chiaro trattarsi di un distinguo filologico difficile da dirimere, ma inevitabile per una corretta presentazione e lettura dell'opera. La sua personalità e il suo catalogo, infatti, sono ancora da delineare e comprendere, ma, nel nostro caso, la diversa conduzione del fondale e degli angeli che sorreggono il tessuto alle spalle della Vergine e le stesure, obbligano a riflettere sul suo intervento. Detto ciò, si deve prendere atto di come funzionasse una bottega cinquecentesca e ribadire che Orazio coadiuvasse il padre, in modo particolare per questo genere di opere destinate a una committenza privata e alla domestica devozione. Fatte queste considerazioni e valutando il tenore dell'opera si può quindi supporre che sia stata eseguita tra l'ottavo e il nono decennio. Ringraziamo Giorgio Fossaluzza per l'attribuzione su base fotografica. Bibliografia di riferimento: Paolo Farinati, 1524 ; 1606, dipinti, incisioni e disegni per l'architettura, a cura di G. Marini, P. Marini, F. Rossi, Venezia 2005, ad vocem
Wannenes Art Auctions
Jun. 07, 2024
Farinati, Paolo (Verona 1524-1606 ebda.),
Est: €260 - €400
Venus und Amor. Radierung. In der Platte dat. 1566, nicht sign., bei Pietro Stephanoni (in Rom), um 1625. 27,5 x 26 cm. (47) - Bartsch XVI, 96, 6, II. Le Blanc II, 219, 5, II (mit der Adresse von Stephanoni).
Zisska & Lacher
May. 29, 2024
Farinati, Paolo: Der trunkene Satyr, von Putti gestützt von einer Ziege fallend
Est: €700 - €900
Der trunkene Satyr, von Putti gestützt von einer Ziege fallend. Radierung. 13,1 x 39,5 cm. B. 9 II. Wz. Doppeladler mit Krone. Von der Hand des Veroneser Malers und äußerst produktiven Zeichners Paolo Farinati verzeichnet Bartsch nur zehn Radierungen, sämtlich mit dem Monogramm und einer Schnecke signiert, deren Bedeutung bis heute nicht aufgelöst werden konnte. Farinatis Graphiken zeigen eine für ihn typische Neigung zur michelangelesken Monumentalität der Figuren. Mit der von Bartsch genannten Adresse des Augsburger Verlegers Wilhelm Peter Zimmermann (stirbt 1630). Ausgezeichneter, teils etwas zarter Druck mit Fehlätzungen in den oberen Ecken und Plattenton in den unteren, mit schmalen Rändchen an den Längsseiten sowie breiten Rändern unten und oben. Zwei geglättete vertikale Falten, die linke alt hinterlegt, sowie eine Diagonalfalte in der linken unteren Ecke. Außerhalb der Darstellung in den weißen Rändern drei Wurmlöchlein, oben rechts Quetschfalten vom Druck, etwas fleckig, die fehlende linke untere Ecke alt ergänzt, alle vier Ecken verso hinterlegt. Insgesamt in guter Erhaltung. Selten. Aus dem Nachlass von Tilman Falk, Neusäss. - 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
May. 04, 2024
Farinati, Orazio
Est: €300 - €450
(1559 Verona nach 1616) zugeschrieben. Maria mit dem Kind u. dem Johannesknaben in einer Landschaft mit Ruine. Radierung n. Paolo Farinati (1524-1606). Blgr. 16,4 x 27,1 cm. Mit dem Monogr. "P.F." i.d. Platte unt. li. Meist mit schmalem Rändchen um die Einfassung. B. 4. Vgl. Rijksmuseum RP-P-OB-36.063. - Etw. angestaubt, stellenw. etw. fleckig, 1 winziges Löchlein im Haar von Jesus. Verso undeutl. Sammlungsstempel. R
Kiefer Buch- und Kunstauktionen
Apr. 10, 2024
Paolo Farinati (Verona 1524-1606) Study of a woman and a child
Est: £1,500 - £2,000
Paolo Farinati (Verona 1524-1606) Study of a woman and a child bears inscription 'Paulo Farinato' (lower left) pen and brown ink on blue laid paper, verso studies of a vase and figures in black chalk 13.5 x 7.4cm (5 5/16 x 2 15/16in).
Bonhams
Jan. 31, 2024
Galatea
Est: $18,000 - $22,000
Paolo Farinati Verona 1524 - 1606 Galatea pen and brown ink and wash over black chalk, heightened with white; inscribed in brown ink, lower right: galatea bears old attribution and numbering, verso: P. Farinato 4.1 and further numbering and attribution, verso: 842 P. Farin...(see Provenance) 11 by 5 ½ in.; 277 by 141 mm
Sotheby's
Nov. 18, 2023
Miracolo di san Bartolomeo apostolo che libera un ossesso
Est: -
(ambito di) Miracolo di san Bartolomeo apostolo che libera un ossesso Olio su tela, 130x96,5 cm; cornice antica.
Meeting Art Casa D'Aste
Nov. 14, 2023
PAOLO FARINATI (1524-1606) (A
Est: -
Paolo Farinati (1524-1606) (attrib.), Crucifixion, woodcut with narrow margin around the border line, verso Latin text in red and black, monogrammed ''P.F.'' in the lower left stick, 19 x 14 cm, fly mounted on cardboard 43 x 32 cm
Historia Auctionata
Sep. 28, 2023
Paolo Farinati, 1524 Verona – 1606
Est: €4,000 - €5,000
DER SÜNDENFALL, UM 1600 Zeichnung/ Mischtechnik mit Bleistift und Weißhöhung auf Papier Sichtmaß: 35 x 25 cm. Rechts unten bezeichnet „PAULUS FARINATUS..V.F...“ Verso Aufkleber mit Künstlerangabe. Im Passepartout, hinter Glas gerahmt. Im Zentrum der am Baum der Erkenntnis sitzende Adam, in seiner Hand den gepflückten verbotenen Apfel haltend, neben ihm stehend Eva. Er wendet sich mit seinem Kopf zurück und blickt auf die Schlange mit dem Kopf einer Frau. Am Boden ein Igel, der im Mittelalter als Symbol des Teufels verstanden wurde. In der Mitte des Bodens eine kleine Schnecke, die laut Aufkleber zu den Initialen des Künstlers „PV“ oder „PV.F“ gehört. Für den Künstler typische Darstellung in der Formensprache des Manierismus. Nicht geöffnet. Obwohl der Maler Schüler von Nicolo II Ursino von Giolfino (1476-1555) war, hatte er sich doch mehr an die Vorbilder Giulio Romano (um 1499-1546) und Paolo Veronese (1528-1588) gehalten. So zählt er zu den italienischen Manieristen und wirkte sowohl in Verona, als auch in Mantua und Venedig. Sein erstes Hauptwerk war wohl das Altarblatt für den Dom von Mantua. Zusammen mit Veronese, Domenico Riccio Brusasorzi (1516-1567) sowie Battista Angelo del Moro (um 1514-um 1574) arbeitete er an den Fresken in der Sakristei des Doms. Bereits von dem frühen Biografen Giorgio Vasari (1511-1574) wurde er für seine Kompositionen gerühmt. Dies hatte auch zur Folge, dass er mehrere Aufträge, wie etwa in Santa Maria in Organo, in Piacenza in der Kirche Sankt Sixtus und weiteren Orten, erhielt. Werke, von denen sich bereits viele weltweit in Museen befinden. (13713330) (18)
Hampel Fine Art Auctions
Sep. 26, 2023
Attribué à Paolo FARINATI Vérone, 1524 - 1606 La Déposition Lavis de sanguine, gouache et rehauts de blanc sur papier préparé rose
Est: €400 - €600
Attribué à Paolo FARINATI Vérone, 1524 - 1606 La Déposition Lavis de sanguine, gouache et rehauts de blanc sur papier préparé rose Porte une marque de collection non identifiée (L.336), dite autrefois des Conte di Bardi, en bas vers la droite (Usures et manques) Sans cadre h: 25 w: 39 cm Estimation 400 - 600 €
Artcurial
Jun. 07, 2023
Farinati, Paolo: Der trunkene Satyr, von Putti gestützt von einer Ziege fallend
Est: €900 - €1,200
Der trunkene Satyr, von Putti gestützt von einer Ziege fallend. Radierung. 13,1 x 39,5 cm. B. 9 II. Wz. Doppeladler mit Krone. -- -- Von der Hand des Veroneser Malers und äußerst produktiven Zeichners Paolo Farinati verzeichnet Bartsch nur zehn Radierungen, sämtlich mit dem Monogramm und einer Schnecke signiert, deren Bedeutung bis heute nicht aufgelöst werden konnte. Farinatis Graphiken zeigen eine für ihn typische Neigung zur michelangelesken Monumentalität der Figuren. Mit der von Bartsch genannten Adresse des Augsburger Verlegers Wilhelm Peter Zimmermann (stirbt 1630). Ausgezeichneter, teils etwas zarter Druck mit Fehlätzungen in den oberen Ecken und Plattenton in den unteren, mit schmalen Rändchen an den Längsseiten sowie breiten Rändern unten und oben. Zwei geglättete vertikale Falten, die linke alt hinterlegt, sowie eine Diagonalfalte in der linken unteren Ecke. Außerhalb der Darstellung in den weißen Rändern drei Wurmlöchlein, oben rechts Quetschfalten vom Druck, etwas fleckig. Die fehlende linke untere Ecke alt ergänzt, alle vier Ecken verso hinterlegt. Insgesamt in guter Erhaltung. Aus dem Nachlass von Tilman Falk, Neusäss. Selten. -- -- - 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
Mar. 31, 2023
Attributed to PAOLO FARINATI
Est: CHF8,000 - CHF12,000
Attributed to PAOLO FARINATI (1524 Verona 1606) Saint Jerome in a forest landscape. Oil on canvas. 107 × 93.5 cm. Provenance: - Collection of the former German Chancellor Dr Konrad Adenauer (1876–1967), Bonn. - Collection of Heinz Kisters, Kreuzlingen. - Sale Fischer, Lucerne, 24 –28.11.1970, Lot 1911 (as Titian). - European private collection. Literature: Heinz Kisters: Adenauer als Kunstsammler, 1970, p. 107, ill. (as Titian). --------------- PAOLO FARINATI, zugeschrieben (1524 Verona 1606) Heiliger Hieronymus in einer Waldlandschaft. Öl auf Leinwand. 107 × 93,5 cm. Provenienz: - Sammlung des ehemaligen deutschen Bundeskanzlers Dr. Konrad Adenauer (1876–1967), Bonn. - Sammlung Heinz Kisters, Kreuzlingen. - Auktion Fischer, Luzern, 24.–28.11.1970, Los 1911 (als Tizian). - Europäischer Privatbesitz. Literatur: Heinz Kisters: Adenauer als Kunstsammler, 1970, S. 107, mit Abb. (als Tizian). Das hier angebotene Gemälde greift eine Komposition Tizians auf, welche sich heute im Musée du Louvre in Paris befindet (Inv.-Nr. 750, Öl auf Leinwand, 102 × 80 cm). ---------------
Koller Auctions
Dec. 15, 2022
Paolo Farinati - Rest on the flight to Egypt
Est: €350 - €420
Rest on the flight into Egypt; in a landscape, to right the Virgin seated on a hillock facing front, holding the infant Christ in her arms, with St Joseph seated to left in profile facing right, reading a book. Signed bottom left P.F. The design with the reading Joseph is known from other versions by Cantarini, Della Bella, Siriani... but differs considerably. This etching seems rare. Only one other found in the Detroit Institute of Art. No reference found so with the signature, and given as by or after Paolo Farinati.
Old Master Print
Nov. 26, 2022
Farinati Paolo
Est: CHF2,800 - CHF3,500
Hl. Margarethe Unten Rechts und Links mit Sammlungsstempel. Unten von alter Hand bez. "Paolo Farinato" und Sammlungsnummer 29. Sammlung Paris / New York. Joseph van Haecken (1699-1749), Lugt 2517. Gerahmt unter Passepartout Ausrufdatum: 26.11.2022 Ungefähre Ausrufzeit: 19:00 MEZ
Auktionshaus Zofingen
Nov. 23, 2022
Farinati Paolo, Sacra Famiglia
Est: €2,000 - €3,000
olio su tela, W. 91 - H. 105 Cm, Expertise Prof. Ferdinando Arisi
Cambi Casa d'Aste
Sep. 23, 2022
Attributed to PAOLO FARINATI
Est: CHF8,000 - CHF12,000
Attributed to PAOLO FARINATI (1524 Verona 1606) Saint Jerome in a forest landscape. Oil on canvas. 107 × 93.5 cm. Provenance: - Collection of the former German Chancellor Dr Konrad Adenauer (1876–1967), Bonn. - Collection of Heinz Kisters, Kreuzlingen. - Sale Fischer, Lucerne, 24 –28.11.1970, Lot 1911 (as Titian). - European private collection. Literature: Heinz Kisters: Adenauer als Kunstsammler, 1970, p. 107, ill. (as Titian). --------------- PAOLO FARINATI, zugeschrieben (1524 Verona 1606) Heiliger Hieronymus in einer Waldlandschaft. Öl auf Leinwand. 107 × 93,5 cm. Provenienz: - Sammlung des ehemaligen deutschen Bundeskanzlers Dr. Konrad Adenauer (1876–1967), Bonn. - Sammlung Heinz Kisters, Kreuzlingen. - Auktion Fischer, Luzern, 24.–28.11.1970, Los 1911 (als Tizian). - Europäischer Privatbesitz. Literatur: Heinz Kisters: Adenauer als Kunstsammler, 1970, S. 107, mit Abb. (als Tizian). Das hier angebotene Gemälde greift eine Komposition Tizians auf, welche sich heute im Musée du Louvre in Paris befindet (Inv.-Nr. 750, Öl auf Leinwand, 102 × 80 cm). ---------------
Koller Auctions
Jul. 23, 2022
Paolo Farinati (1524–1606), Announciation
Est: €1,500 - €3,000
Paolo Farinati came from Verona and worked mainly in Verona, Mantua and Venice and in numerous smaller places. In his style, he merged mainly Roman and Venetian influences. Maria kneels to the left of the podium with the scriptures, from whose reading she is startled by the arrival of the archangel. In a gentle and elegant turn, Gabriel leans toward the startled Mary to tell her that the Holy Spirit will receive the Son of God. The expression of the faces is very intimate and touching. The room is only hinted at and is mostly filled with clouds on which the archangel descended from heaven. The style of painting clearly shows the influence of Titian's late, painterly, form-dissolving style. Titian's announciation in the Church of San Salvador in Venice could have inspired him with the dramatic, and at the same time, mystical lighting direction. According to Allesandro Delpriori, Mary's profile shows similarity to that of the Madonna in the Adoration of the Magi at the Museo di Castelvecchio, in Verona. The angel's posture resembles the Cupid of a drawing by Farinati in the Louvre, Paris (Mars, Venus, Eros and Anteros).
Fine Antiques Prague s.r.o.
Jul. 08, 2022
ATTRIBUTED TO PAOLO FARINATI (VERONA 1524-1606) Saint Jerome in penance oil
Est: £12,000 - £18,000
ATTRIBUTED TO PAOLO FARINATI (VERONA 1524-1606) Saint Jerome in penance oil on slate 14 x 12 in. (35.5 x 30.5 cm.)
Christie's
Jun. 22, 2022
Farinati, Orazio
Est: €350 - €600
Farinati, Orazio (1559 – ca. 1620). Kreuzabnahme. Radierung, nach Paolo Farinati (1524-1606). In der Pl. bezeichnet u. datiert 1583. Wz. Vierblatt auf Kreis. 34,9:55,4 cm. Bartsch 16, S. 169, 2. Müller/Singer I, 422. Nagler. Monogr. III, 1317, verzeichnet das Blatt unter Nr. 3, I. Zustand (von III). – Knapp über Bildrand beschnitten. – Provenienz: Sammlung Dr. Gisela Scheffler.
Schneider-Henn
Jun. 15, 2022
PAOLO FARINATI Verona (1524) / (1606) "Resurrection of Christ".
Est: €3,000 - €4,000
Pen and sepia wash on laid paper. In the lower left corner mark of the Giorgio Dalla Bella collection, in blue ink. Attribution and inscription in pencil on the back with attribution to the painter and indication that it is a study for the fresco done in the church of San Bernardino in Verona. . 30 x 20 cm.
Ansorena
Apr. 01, 2022
Attributed to PAOLO FARINATI
Est: CHF12,000 - CHF18,000
Attributed to PAOLO FARINATI (1524 Verona 1606) Saint Jerome in a forest landscape. Oil on canvas. 107 × 93.5 cm. Provenance: - Collection of the former German Chancellor Dr Konrad Adenauer (1876–1967), Bonn. - Collection of Heinz Kisters, Kreuzlingen. - Sale Fischer, Lucerne, 24 –28.11.1970, Lot 1911 (as Titian). - European private collection. Literature: Heinz Kisters: Adenauer als Kunstsammler, 1970, p. 107, ill. (as Titian). --------------- PAOLO FARINATI, zugeschrieben (1524 Verona 1606) Heiliger Hieronymus in einer Waldlandschaft. Öl auf Leinwand. 107 × 93,5 cm. Provenienz: - Sammlung des ehemaligen deutschen Bundeskanzlers Dr. Konrad Adenauer (1876–1967), Bonn. - Sammlung Heinz Kisters, Kreuzlingen. - Auktion Fischer, Luzern, 24.–28.11.1970, Los 1911 (als Tizian). - Europäischer Privatbesitz. Literatur: Heinz Kisters: Adenauer als Kunstsammler, 1970, S. 107, mit Abb. (als Tizian). Das hier angebotene Gemälde greift eine Komposition Tizians auf, welche sich heute im Musée du Louvre in Paris befindet (Inv.-Nr. 750, Öl auf Leinwand, 102 × 80 cm).
Koller Auctions
Jan. 09, 2022
PAOLO FARINATI (ITALIAN 1524-1606)
Est: $350 - $700
Paolo Farinati (Italian 1524-1606) "The Multiplication of Bread and Fish", ca. 1603, Etching; signed and inscribed in plate. signed and inscribed in plate. Sheet Size: 18.25 x 20.5 in. Unframed.
Helmuth Stone
Dec. 15, 2021
Attributed to Paolo Farinati (Italian, 1524-1606)
Est: £600 - £800
Attributed to Paolo Farinati (Italian, 1524-1606) Attributed to Paolo Farinati (Italian, 1524-1606) Madonna and Child with Saint Elizabeth and Saint Joseph brown washes heightened with white 26 x 40cm Inscribed indistinctly on paper label on frame.
Sworders
Dec. 01, 2021
Farinati, Paolo: Die Nächstenliebe
Est: €260 - €350
Die Nächstenliebe. Radierung. 22,1 x 23,6 cm. B. 4. Wz. Kleiner Doppelkopfadler. Ganz ausgezeichneter, teils schön klarer Druck meist an die Plattenkante geschnitten, teils mit zartem Plattenton. Etwas angestaubt verso schwache geglättete Trockenfältchen, links geschlossener Randeinriss, weitere unauffällig ausgebesserte Randläsuren links, sonst noch sehr gut. - 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
Nov. 27, 2021
Paolo Farinati (1524–1606), Announciation
Est: €2,500 - €3,500
Paolo Farinati came from Verona and worked mainly in Verona, Mantua and Venice and in numerous smaller places. In his style, he merged mainly Roman and Venetian influences. Maria kneels to the left of the podium with the scriptures, from whose reading she is startled by the arrival of the archangel. In a gentle and elegant turn, Gabriel leans toward the startled Mary to tell her that the Holy Spirit will receive the Son of God. The expression of the faces is very intimate and touching. The room is only hinted at and is mostly filled with clouds on which the archangel descended from heaven. The style of painting clearly shows the influence of Titian's late, painterly, form-dissolving style. Titian's announciation in the Church of San Salvador in Venice could have inspired him with the dramatic, and at the same time, mystical lighting direction. According to Allesandro Delpriori, Mary's profile shows similarity to that of the Madonna in the Adoration of the Magi at the Museo di Castelvecchio, in Verona. The angel's posture resembles the Cupid of a drawing by Farinati in the Louvre, Paris (Mars, Venus, Eros and Anteros).
Fine Antiques Prague s.r.o.
Nov. 26, 2021
WORKSHOP OF PAOLO FARINATI (VERONA, 1524 CIRCA - 1606): SAINT CELSUS ENTRUSTED TO SAINT NAZARIUS BY HIS MOTHER
Est: €4,000 - €6,000
Oil on canvas, cm. 98,5x149,5
Bertolami Fine Art s.r.l.
Nov. 18, 2021
Paolo Farinati: John the Evangelist
Est: €30,000 - €40,000
FARINATI, PAOLO Verona 1524 - 1606 Title: John the Evangelist. Date: Ca 1567. Technique: Oil on wood. Measurement: 60,5 x 47cm. Frame/Pedestal: Framed. Provenance: Collection Firmian till 1782, Milan; Probably collection Jean-Baptiste-Pierre Lebrun till 1809, Paris; Probably collection Louis Pillivuyt, Paris; Private ownership till 1924, Graz; Auction Dorotheum, Vienna, 25.04.2017, Lot 13; European private ownership. Literature: R. Pancheri: La pittura veneta nella collezione di Carlo Firmian. In: Le raccolte di Minerva. Le collezioni artistiche e librarie del conte Carlo Firmian, Trento 2013, p. 116-117; R. Pancheri: Carlo Firmian "avido collettore" d'arte: il mancato acquisto della pala di Cremia e il San Giovanni Evangelista di Paolo Farinati. In: Studi trentini, 96 (2017), 2018, p. 440-451. Young, blond, beardless, dressed in green and crimson, John the Evangelist, depicted as a youth, appears in radiant light. With his face tilted to the side, he listens to the divine voice transmitted by the dove hovering in the upper right corner of the picture. The saint's typically maniristic posture is agitated and dynamic, as in most of the figures by the artist Paolo Farinatis, painted around the middle of the 16th century. The apostle holds the manuscript of his Gospel on his left knee, at the same time dipping the quill into the inkpot with his right hand: a gesture emphasising the sequence of "word-inspiration-writing". The scene takes place in the midst of the clouds, creating a mystical and at the same time realistic experience in which the eagle at the feet of the saint seems to gaze with curiosity at the shell lying in front of him, which is the symbol and signature of the artist. The work, which is strongly reminiscent of Mannerist painting in central and northern Italy, was painted in the 1560s and was inspired by the style of artists from Emilia and Tuscany. Who commissioned the painting and where it was originally placed is as yet unknown. The first mention of St John the Evangelist is in the catalogue of the painting collection of Count Karl Gotthard von Firmian (Trento 1716 - Milan 1782), who was Minister Plenipotentiary and Governor General of Austrian Lombardy under Maria Theresa of Austria from 1758. Firmian was a dedicated patron of the sciences and arts and was instrumental in establishing Johann Joachim Winckelmann and Angelika Kauffmann. The "Gabinetto Firmiano" was undoubtedly one of the most important art collections in Milan at the time; its rapid dissemination was preceded by an inventory and the compilation of a printed catalogue, which were entrusted to the painters Giuliano Traballesi and Martin Knoller, the sculptor Giuseppe Franchi and the abbot Carlo Bianconi. Among the works of Count Firmian from the 16th century was a painting by the Veronese artist Paolo Farinati, which is mentioned in the handwritten inventory of the collection from 1782 as "FARINATO PAOLO". It continues: "San Giovanni Evangelista, figura intera, sedente sulle nubi tiene sulle ginocchia un libro, su cui si dispone a scrivere quello che il Dator de' lumi il Santo Spirito è per dettargli. Crediamo di dire tutto, asserendo che lo stesso se n'è compiaciuto non solo per l'esattezza con cui l'ha finito, ma per averlo ancora inciso di sua mano e pubblicato". To underline the quality of the painting, Bianconi also referred to the original engraving made by the painter in 1567. Based on the description, Roberto Pancheri was able to identify the present painting with the Firmian work when it was offered on the art market in 2017. The Firmian collection was auctioned in Milan after the death of its founder in 1782 and the small panel disappeared into the hands of collectors. It was probably bought at auction by the merchant Jean-Baptiste-Pierre Lebrun, who brought it to France at the end of the century: In November 1809, an exhibition of paintings from the "Maison de M. Lebrun" was held in a palace in the Rue du Gros-Chenet, No. 4 in Paris. The painting was attributed to Parmigianino at the time and titled "Saint Jean l'Evangéliste" and described as "Peinture sur bois, Hauteur 22 pouces 1/2, largeur 17 pouces". The dimensions and support correspond to the present painting. The following year, in March 1810, the painting was sold, also in Paris, to Louis Pillivuyt. For about a century, traces of the work were lost, probably due to the change in attribution caused by the limited knowledge of the artist outside his area of origin. At the beginning of the 20th century it reappeared in Graz and from there it went to Italy to a private collection.
Van Ham Kunstauktionen
Oct. 14, 2021
Paolo Farinati (Verona 1524-1606) Saint Barbara with Saints Anthony Abbot a
Est: $40,000 - $60,000
Paolo Farinati (Verona 1524-1606) Saint Barbara with Saints Anthony Abbot and Roch black chalk, pen and brown ink, brown wash heightened with white on light brown paper 16 ¾ x 9 7/8 in. (42.5 x 25 cm)
Christie's
Sep. 23, 2021
Paolo Farinati, 1524 Verona – 1606
Est: €12,000 - €15,000
RefOld13921 DEPOSITIONE CHRISTI Öl auf Leinwand. 64 x 46 cm.Die Darstellung gibt eine apotheotische Auffassung der Kreuzabnahme Christi wieder. Im Zentrum ist der Leichnam Christi in C-bogiger Körperhaltung gezeigt, gehalten von zwei Engeln mit großen Schwingen, die Gruppe in schwebender Position aufgefasst. Hinter dem Oberkörper Christi, höhergestellt, Maria in rotem Kleid und Kopfschleier, mit nach oben gerichtetem leidendem Antlitz und ausgebreiteten Händen. Der Hintergrund wolkig. Die gedämpften Farben zeigen sich in den Textilien in den Tönen Rot, Violett, Gold-Gelb und Weiß, was einen Verweis auf die manieristische Maltradition gibt. Obwohl der Maler Schüler von Nicolo II Ursino von Giolfino (1476-1555) war, hatte er sich doch mehr an die Vorbilder Giulio Romano (um 1499-1546) und Paolo Veronese (1528-1588) gehalten. So zählt er zu den italienischen Manieristen und wirkte sowohl in Verona, als auch in Mantua und Venedig. Sein erstes Hauptwerk war wohl das Altarblatt für den Dom von Mantua. Zusammen mit Veronese, Domenico Riccio Brusasorzi (1516-1567) sowie Battista Angelo del Moro (um 1514-um 1574) arbeitete er an den Fresken in der Sakristei des Doms. Bereits von dem frühen Biografen Giorgio Vasari (1511-1574) wurde er für seine Kompositionen gerühmt. Dies hatte auch zur Folge, dass er mehrere Aufträge, wie etwa in Santa Maria in Organo, in Piacenza in der Kirche Sankt Sixtus und weiteren Orten, erhielt. Werke, von denen sich bereits viele weltweit in Museen befinden.Literatur: Giovanna Baldissin Molli, Farinati, Paolo, in: Fiorella Bartoccini (Hrsg.), Dizionario Biografico degli Italiani (DBI), Band 45: Farinacci-Fedrigo, Istituto della Enciclopedia Italiana, Rom 1995. (1280851) (11)Paolo Farinati,1524 Verona – 1606THE DEPOSITION FROM THE CROSS Oil on canvas.64 x 46 cm.Even though Farinati was a pupil of Nicolo II Ursino v. Giolfino (1476-1555) he rather followed the paragons of Giulio Romano (ca. 1499-1546) and Paolo Veronese (1528-1588). He is regarded as one of the Italian Mannerists and was active in Verona, Mantua and Venice. His first major work was probably an altarpiece for Mantua Cathedral. He frescoed the chapel of the Sacrament of the Cathedral alongside Veronese, Domenico Riccio Brusasorzi (1516-1567) and Battista Angelo del Moro (ca. 1514-ca. 1574).Literature:G. Baldissin Molli, Farinati, Paolo, in: F. Bartoccini (ed.), Dizionario Biografico degli Italiani (DBI), vol. 45: Farinacci-Fedrigo, Istituto della Enciclopedia Italiana, Rome, 1995.
Hampel Fine Art Auctions
Aug. 21, 2021
Paolo Farinati (1524-1606) (
Est: -
Paolo Farinati (1524-1606) (attrib.), Italian painter and architect. Two cupids in embrace as a design for a supraport. Ink on light brown washed paper with partial white heightening, at the lower margin old inscribed ''P. farinati'', ca. 10 x 10 cm, framed behind glass 38 x 29 cm
Historia Auctionata
Jun. 08, 2021
FARINATI PAOLO
Est: €4,500 - €5,000
PAOLO FARINATI (1524-1606) 'Deposizione' olio bella cornice in legno intagliato laccato e dorato cm.90x125
Aste Boetto SRL
Jun. 05, 2021
Paolo Farinati (1524–1606), Announciation
Est: €3,000 - €4,000
Paolo Farinati came from Verona and worked mainly in Verona, Mantua and Venice and in numerous smaller places. In his style, he merged mainly Roman and Venetian influences. Maria kneels to the left of the podium with the scriptures, from whose reading she is startled by the arrival of the archangel. In a gentle and elegant turn, Gabriel leans toward the startled Mary to tell her that the Holy Spirit will receive the Son of God. The expression of the faces is very intimate and touching. The room is only hinted at and is mostly filled with clouds on which the archangel descended from heaven. The style of painting clearly shows the influence of Titian's late, painterly, form-dissolving style. Titian's proclamation in the Church of San Salvador in Venice could have inspired him with the dramatic and at the same time mystical lighting direction. According to Allesandro Delpriori, Mary's profile shows similarity to that of the Madonna in the Adoration of the Magi at the Museo di Castelvecchio in Verona. The angel's posture resembles the Cupid of a drawing by Farinati in the Louvre, Paris (Mars, Venus, Eros and Anteros).
Fine Antiques Prague s.r.o.
May. 22, 2021
Paolo Farinati (1524–1606), Announciation
Est: €3,000 - €4,000
Paolo Farinati came from Verona and worked mainly in Verona, Mantua and Venice and in numerous smaller places. In his style, he merged mainly Roman and Venetian influences. Maria kneels to the left of the podium with the scriptures, from whose reading she is startled by the arrival of the archangel. In a gentle and elegant turn, Gabriel leans toward the startled Mary to tell her that the Holy Spirit will receive the Son of God. The expression of the faces is very intimate and touching. The room is only hinted at and is mostly filled with clouds on which the archangel descended from heaven. The style of painting clearly shows the influence of Titian's late, painterly, form-dissolving style. Titian's proclamation in the Church of San Salvador in Venice could have inspired him with the dramatic and at the same time mystical lighting direction. According to Allesandro Delpriori, Mary's profile shows similarity to that of the Madonna in the Adoration of the Magi at the Museo di Castelvecchio in Verona. The angel's posture resembles the Cupid of a drawing by Farinati in the Louvre, Paris (Mars, Venus, Eros and Anteros).
Fine Antiques Prague s.r.o.
Apr. 19, 2021
Paolo Farinati (Verona 1524 - 1606) attribuito/attributed
Est: €2,000 - €3,000
Paolo Farinati (Verona 1524 - 1606) attribuito/attributed "Figura allegorica" Olio su tela "Allegorical figure" Oil on canvas 110 x 79 cm In gioventù si reca a Mantova, dove studia e assimila l’opera di Giulio Romano. In realtà il suo principale ispiratore è l'amico Paolo Caliari, detto il Veronese. La sua carriera fu caratterizzata da un'intensa produzione, divisa variamente tra soggetti d’arte sacra e profana. Le sue opere erano destinate ai palazzi cittadini e alle nascenti ville venete, ai nobili casati, nonché alle chiese dell’intero territorio della Serenissima. Alla sua morte, nel 1606, l’attività della sua vivace bottega è condotta dai figli Orazio e Giambattista. Paolo Farinati è considerato un pittore espressamente veronesiano: in effetti, il suo stile rispecchia un linguaggio molto legato a quello di Paolo Caliari, sebbene non manchi assolutamente una riscrittura e personalizzazione dei modi del celeberrimo amico. L’opera qui presentata ricalca gli stilemi veronesiani rivisti da Farinati con la sua pittura asciutta, stesa lasciando intravedere il supporto, magra di medium da sembrare spesso una tempera. L’esecuzione è veloce e al contempo capace di delineare in pochi ma calibrati tocchi la conformazione della figura, che accesa da colpi luce emerge volumetricamente alla nostra vista. Una datazione plausibile designa questa tela verso la fine dell’attività di Farinati, quindi allo scadere del XVI secolo: periodo in cui, aiutato dai figli, dipinge sovente serie di figure allegoriche o mitologiche eseguite con sintesi e sciolta bravura, scevre di quella ricercata ricchezza d’un tempo. Tra queste opere appena citate, si rimanda alla comparazione con il “San Pietro”, conservato al Museo di Castelvecchio a Verona. Per quanto riguarda l’impostazione, la comparazione va fatta con l’affresco conservato nel medesimo museo, “Figura mitologica in nicchia”, che vista in controparte ricalca perfettamente la nostra opera. In particolare va segnalata la precisa convergenza del disegno delle mani. Infine, si invita a guardare il disegno “L’abbondanza” di Windsor Caste, probabilmente all’origine di questa fortunata raffigurazione femminile nell’arte di Farinati, a sua volta probabilmente ispirato dall’invenzione del Veronese per “Diana cacciatrice”, oggi all’Ermitage di San Pietroburgo
Lucas Aste
Mar. 25, 2021
* Farinati (Paolo, 1524-1606). Head and torso of a femal nude seated
Est: £2,000 - £3,000
* Attributed to Paolo Farinati (1524-1606). Head and torso of a female nude seated, holding a letter or paper in her right hand, pen, brown ink and brown wash heightened with white gouache, with additional pencil study to verso of a cavalier holding a shield and spear, sheet size 275 x 185 mm (10.8 x 7.25 ins) Qty: (1)
Dominic Winter Auctions
Mar. 25, 2021
* Farinati (Paolo, 1524-1606). Female deity holding a fire torch and pouring water from a jug
Est: £2,000 - £3,000
* Attributed to Paolo Farinati (1524-1606). Female deity holding a fire torch and pouring water from a jug, pen, brown ink and brown wash on pale blue laid paper, heightened with white gouache, some light soiling to sheet edges, and small snag to top margin, without loss, sheet size 280 x 218 mm (11 x 8.6 ins) Qty: (1)
Dominic Winter Auctions
Mar. 11, 2021
Attribué à Paolo Farinati ( 1524 - 1606) Sainte Lucie?
Est: €600 - €800
Attribué à Paolo Farinati ( 1524 - 1606) Sainte Lucie? Plume et encre brune sur traits de crayon noir, lavis brun et rehauts de gouache blanche partiellement oxydée 39 x 24.8 cm ( pliure horizontale au centre, mouillures en bas à gauche, quelques rousseurs)
Piasa
Mar. 02, 2021
PAOLO FARINATI (1524 / 1606) ""Female bust flanked by satyrs between draperies"."
Est: €3,150 - €4,200
On the back with number 24. Provenance: -Private collection, Madrid -Christie's "Important Old master drawings" New York 28/01/2000. Inks on paper
Ansorena
Feb. 13, 2021
Paolo Farinati (1524–1606), Announciation
Est: €3,000 - €5,000
Paolo Farinati came from Verona and worked mainly in Verona, Mantua and Venice and in numerous smaller places. In his style, he merged mainly Roman and Venetian influences. Maria kneels to the left of the podium with the scriptures, from whose reading she is startled by the arrival of the archangel. In a gentle and elegant turn, Gabriel leans toward the startled Mary to tell her that the Holy Spirit will receive the Son of God. The expression of the faces is very intimate and touching. The room is only hinted at and is mostly filled with clouds on which the archangel descended from heaven. The style of painting clearly shows the influence of Titian's late, painterly, form-dissolving style. Titian's proclamation in the Church of San Salvador in Venice could have inspired him with the dramatic and at the same time mystical lighting direction. According to Allesandro Delpriori, Mary's profile shows similarity to that of the Madonna in the Adoration of the Magi at the Museo di Castelvecchio in Verona. The angel's posture resembles the Cupid of a drawing by Farinati in the Louvre, Paris (Mars, Venus, Eros and Anteros).
Fine Antiques Prague s.r.o.
Jan. 28, 2021
PAOLO FARINATI (1524-1606) - Saint Peter
Est: £800 - £1,200
PAOLO FARINATI (1524-1606) Saint Peter etching, circa 1560, on laid paper, without watermark, a very good impression of this extremely rare print Plate 118 x 78 mm. Sheet 120 x 79 mm.
Christie's
Jan. 26, 2021
Paolo Farinati (1524–1606), Announciation
Est: €3,000 - €5,000
Paolo Farinati came from Verona and worked mainly in Verona, Mantua and Venice and in numerous smaller places. In his style, he merged mainly Roman and Venetian influences. Maria kneels to the left of the podium with the scriptures, from whose reading she is startled by the arrival of the archangel. In a gentle and elegant turn, Gabriel leans toward the startled Mary to tell her that the Holy Spirit will receive the Son of God. The expression of the faces is very intimate and touching. The room is only hinted at and is mostly filled with clouds on which the archangel descended from heaven. The style of painting clearly shows the influence of Titian's late, painterly, form-dissolving style. Titian's announciation in the Church of San Salvador in Venice could have inspired him with the dramatic and at the same time mystical lighting direction. According to Allesandro Delpriori, Mary's profile shows similarity to that of the Madonna in the Adoration of the Magi at the Museo di Castelvecchio in Verona. The angel's posture resembles the Cupid of a drawing by Farinati in the Louvre, Paris (Mars, Venus, Eros and Anteros).
Fine Antiques Prague s.r.o.
Dec. 15, 2020
PAOLO FARINATI 1524 / 1606 "Female bust flanked by satyrs in curtains"
Est: €4,500 - €6,000
Back with number 24. Provenance: - Private collection, Madrid -Cristie's "Important Old master drawings" New York 28/01/2000. Inks on paper
Ansorena
Dec. 08, 2020
Circle of Paolo Farinati (Verona 1524-1606) Saint Mark the Evangelist (i);
Est: £1,500 - £2,500
Circle of Paolo Farinati (Verona 1524-1606) Saint Mark the Evangelist (i); Saint John the Evangelist (ii); and A... pen and brown ink, brown wash (i and ii), pen and brown ink, brown wash on yellow-brown prepared paper (iii), fragmentary watermark goblet (i) (i) 7 1/8 x 3 ¾ in. (18 x 9.5 cm) (ii) 7 1/8 x 3 ½ in. (18.2 x 8.7 cm) (iii) 6 1/8 x 3 ¼ in. (15.4 x 8 cm) (3)
Christie's
Nov. 19, 2020
Farinati, Paolo: Lamentation of Christ
Est: €12,000 - €15,000
Farinati, Paolo Verona 1524 - 1606 Oil on canvas. 87 x 76cm. Framed. Provenance: Private ownership, Italy. Explanations to the Catalogue Paolo Farinati Mannerism 16th C. Old Masters Religious Theme
Van Ham Kunstauktionen
Nov. 14, 2020
Paolo Farinati, in the manner of, The Conversion of a Roman to Christianity
Est: €1,500 - €2,000
RefDra61120 Both the detailed composition of this study and the female figure in the manner of Paolo Veronese are reminiscent of the Veronese painter Paolo Farinati.
Kunsthaus Lempertz KG
Aug. 17, 2020
Paolo Farinati (1524–1606) Announciation
Est: €7,000 - €10,000
Paolo Farinati came from Verona and worked mainly in Verona, Mantua and Venice and in numerous smaller places. In his style, he merged mainly Roman and Venetian influences. Maria kneels to the left of the podium with the scriptures, from whose reading she is startled by the arrival of the archangel. In a gentle and elegant turn, Gabriel leans toward the startled Mary to tell her that the Holy Spirit will receive the Son of God. The expression of the faces is very intimate and touching. The room is only hinted at and is mostly filled with clouds on which the archangel descended from heaven. The style of painting clearly shows the influence of Titian's late, painterly, form-dissolving style. Titian's proclamation in the Church of San Salvador in Venice could have inspired him with the dramatic and at the same time mystical lighting direction. According to Allesandro Delpriori, Mary's profile shows similarity to that of the Madonna in the Adoration of the Magi at the Museo di Castelvecchio in Verona. The angel's posture resembles the Cupid of a drawing by Farinati in the Louvre, Paris (Mars, Venus, Eros and Anteros).
Fine Antiques Prague s.r.o.
Aug. 01, 2020
Paolo Farinati (1524–1606) Announciation
Est: €7,000 - €10,000
Paolo Farinati came from Verona and worked mainly in Verona, Mantua and Venice and in numerous smaller places. In his style, he merged mainly Roman and Venetian influences. Maria kneels to the left of the podium with the scriptures, from whose reading she is startled by the arrival of the archangel. In a gentle and elegant turn, Gabriel leans toward the startled Mary to tell her that the Holy Spirit will receive the Son of God. The expression of the faces is very intimate and touching. The room is only hinted at and is mostly filled with clouds on which the archangel descended from heaven. The style of painting clearly shows the influence of Titian's late, painterly, form-dissolving style. Titian's proclamation in the Church of San Salvador in Venice could have inspired him with the dramatic and at the same time mystical lighting direction. According to Allesandro Delpriori, Mary's profile shows similarity to that of the Madonna in the Adoration of the Magi at the Museo di Castelvecchio in Verona. The angel's posture resembles the Cupid of a drawing by Farinati in the Louvre, Paris (Mars, Venus, Eros and Anteros).
Fine Antiques Prague s.r.o.