Ercole Ferrata Paintings & Artwork for Sale | Ercole Ferrata Art Value Price Guide

Dec. 03, 2024
ERCOLE FERRATA (PELLIO INTELVI 1610 - ROMA 1686) ATTRIBUITO
Est: €8,000 - €12,000
Ercole Ferrata (Pellio Intelvi 1610 - Roma 1686) attribuito Sant'Andrea Bassorilievo di marmo 50 x 38 cm Ferrata fu tra i massimi esponenti della scultura barocca in ambito romano e italiano. Si formò a Genova come allievo di Tommaso Orsolino. Successivamente si spostò Napoli ove collaborò con Cosimo Fanzago e Giuliano Finelli, scoprendo, grazie a quest'ultimo, la lezione di Gian Lorenzo Bernini, del quale fu tra i più importanti collaboratori. Nel contempo, ebbe modo di entrare nella scuola di Alessandro Algardi, di cui fu uno dei discepoli prediletti. Nel 1673 il granduca di Toscana Cosimo III lo nominò a dirigere l’accademia di Villa Madama a Roma. Nella sua bottega si formarono diversi dei più noti scultori della seconda metà del secolo. Il suo stile si plasmò grazie al naturalismo napoletano e al Bernini, con suggestioni classicheggianti, ricevute a Napoli da Du Quesnoy e ritrovato nelle opere antiche. Ercole Ferrata (Pellio Intelvi 1610 - Rome 1686) attributed Saint Andrew Marble bas-relief 50 x 38 cm
Lucas Aste
Apr. 20, 2023
Attributed to Ercole Ferrata (1616-1686), The Virgin and Child with St John, bronze plaquette,
Est: £300 - £500
Attributed to Ercole Ferrata (1616-1686), The Virgin and Child with St John, bronze plaquette, the Virgin holding the sleeping Christ Child, St John on the left clinging to her robe and holding a cross, 125mm (Scaglia XIII.16; Morgenroth 196), pierced, very fine contemporary cast with brown patina Ex Alain Edrei (1931-2021) collection, Paris [inventory number 4 in red on reverse].
Morton & Eden
Apr. 20, 2023
Attributed to Ercole Ferrata (1616-1686), The Virgin and Child with St John, bronze plaquette
Est: £500 - £700
Attributed to Ercole Ferrata (1616-1686), The Virgin and Child with St John, bronze-gilt plaquette, the Virgin holding the sleeping Christ Child, St John on the left clinging to her robe and holding a cross, 125mm (Scaglia XIII.16; Morgenroth 196), pierced, very fine contemporary cast and set within a period-style painted circular frame Ex Alain Edrei (1931-2021) collection, Paris [inventory number 4.BIS in red on reverse].
Morton & Eden
May. 01, 2019
ATTRIBUTED TO ERCOLE FERRATA (1619-1686) A WHITE MARBLE BUST OF A YOUNG GEN
Est: $120,000 - $180,000
ATTRIBUTED TO ERCOLE FERRATA (1619-1686) A WHITE MARBLE BUST OF A YOUNG GENTLEMAN, POSSIBLY THE MARCHESE CENTURIONI,... 30 in. (76 cm.) high, including integral socle
Christie's
Dec. 11, 2017
ALLÉGORIE DU TEMPS SOUS LES TRAITS D’UN PUTTO
Est: €35,000 - €50,000
11 ALLÉGORIE DU TEMPS SOUS LES TRAITS D’UN PUTTO Par Ercole FERRATA (1610-1686) Italie, milieu du XVIIe siècle, vers 1660 Terre cuite, tilleul peint et doré H. 22,5 cm, L. 33 cm, P. 15 cm Petits éclats Provenance Galerie Kugel, acheté lors de l’exposition de Maastricht Bibliographie Notre oeuvre est publiée dans Massimo Vezzosi (sous la direction de), Andrea Bacchi, Terrecotte italiane tra maniersimo e barocco, Florence, n° 3 p. 24 et suivantes Le putto réalisé en terre cuite patinée est allongé sur un drapé aux lourds plissés. De sa main gauche il tient un sablier qu’il présente de sa main droite. Son visage adopte une expression grimaçante. La composition ainsi que le traitement du sujet sont à rapprocher de l’oeuvre en bronze d’Alessandro Algardi (1595-1654), Hercule enfant se battant contre un serpent, daté des années 1650. La posture d’Hercule, à demi allongé sur un drapé, est identique à notre sujet. Le rendu potelé du corps des bambins est comparable, tout comme le traitement de la chevelure conçue en épaisses boucles. Parmi les artistes romains ayant des affinités avec l’Algarde, Ercole Ferrata semble en être le plus proche de par son classicisme. Ce dernier est documenté à Rome à partir de 1647, où il travaille pour Le Bernin à la Basilique Saint-Pierre et prit la relève des travaux à San Nicola Tolentino à la mort de l’Algarde. 35 000 – 50 000€
Marc Arthur Kohn Paris
Aug. 13, 2017
After Ercole Ferrata (Italian 1610 - 1686) Bronze, Seated Cherub with Chalice, Signed, 30cm
Est: R2,500 - R3,500
After Ercole Ferrata (Italian 1610 - 1686) Bronze, Seated Cherub with Chalice, Signed, 30cm
5th Avenue Auctioneers
Jun. 11, 2017
After Ercole Ferrata (Italian 1610 - 1686) Bronze, Seated Cherub with Chalice, Signed, 30cm
Est: R3,000 - R5,000
After Ercole Ferrata (Italian 1610 - 1686) Bronze, Seated Cherub with Chalice, Signed, 30cm
5th Avenue Auctioneers
Jun. 21, 2016
ATTRIBUTED TO ERCOLE FERRATA (ITALIAN, 1610-1686) OR DOMENICO GUIDI (ITALIAN, 1625-1701): A MID-17TH CENTURY ROMAN BRONZE PLAQUE SHOWING A PAIR OF MOURNING CHERUBIM HOLDING UP THE VEIL OF ST VERONICA of rectangular form, one of the cherubim wiping away a tear, with a plain column behind, 18cm x 21.5cm PROVENANCE: CHARLES AVERY COLLECTION Charles Avery is a specialist in European sculpture, particularly Italian, French, English, Flemish and Dutch. A graduate in Classics at Cambridge University, he obtained a Diploma in the History of Art at the Courtauld Institute and a doctorate for published work from Cambridge. Having been Deputy Keeper of Sculpture at the Victoria and Albert Museum for twelve years (1966-79), and a Director of Christies for ten years, since 1990 he has been a highly respected, independent historian, consultant, writer and lecturer. His books include Florentine Renaissance Sculpture, 1970, Giambologna the Complete Sculpture, Phaidon, 1987, Donatello: An Introduction, John Murray, 1994; Bernini, Genius of the Baroque, Thames and Hudson, 1997 (paperback, 2006), and The Triumph of Motion: Francesco Bertos, 2008. Previous provenance: Edward Cheney, Badger Hall, Shropshire; Francis Capel-Cure Collection (sold London, Christie's, 4 May 1905, lot. 54). Comparative Literature: Oreste Ferrari and Serenita Papaldo,'Le Sculpture del Seicento a Roma', Rome, 1999, p.8; Cristiano Giometti, 'Museo Nazionale di Palazzo Venezia, Sculture in Terracotta', Rome, 2011, pp. 44-45, 57-58; Tim Knox, Edward Cheney, 'Badger Hall: a forgotten collector of Italian sculpture, in Sculpture Journal, 16.1, 2007, pp. 5-20. This apparently unrecorded incuse-cast plaque is almost certainly identical with one that was in the distinguished English collection of Edward Cheney of Badger Hall, Shropshire, for its description in a later sale catalogue corresponds closely, as do its measurements in inches: A RECTANGULAR BRONZE PLAQUE, cast with two figures of Cherubs holding the handkerchief of Saint Veronica 7in. by 8½ in Italian, early part of the 17th century. The cherubim flank a short column recalling the one against which by tradition Jesus was tied when being whipped at the command of Pontius Pilate during the Passion, after he personally had found him not guilty, as is corroborated by the symbolic Instruments of the Passion lying on the ground to either side, a leather cat of nine tails to the left and a bundle of twigs to the right. The present tentative attribution to Ercole Ferrata or Domenico Guidi is based on its thematic and stylistic similarity to a set of eight much bigger - marble reliefs (four by each artist) that are set over the small doorways (porticelle) round the choir of Borrominis major Roman church of SantAgnese in Agone, on Piazza Navona, Rome. These depict plump, adorable and sprightly cherubim in flight bearing the symbolic instruments of Agness martyrdom, a sword, a brazier a lamb and so forth, for which Ferrata was paid in 1658 and Guidi in 1669. A cast in gilt stucco from a preliminary model for the panel showing Two Cherubim with the Lamb of God in the Museo di Palazzo Venezia is as wide as this plaque is high (21.5cm), which indicates that this was a scale at which the sculptors in question were used to working (Giometti, 2011, pp.57-58, no. 39). Another relief there, St Agnes appearing to St Constance, in the same material (Giometti, 2011, pp. 44-45, no. 19), but by Algardi, clearly indicates the ultimate stylistic source of this type of cherub, the work of two of the triumvirate of great sculptors active in Rome, François Duquesnoy and Algardi. St Veronica was a woman of Jerusalem who wiped the face of Christ with her veil while he was on the way to Calvary. According to early Christian tradition, though there is no historical evidence or scriptural reference, the cloth was imprinted with the image of Christs face and became one of the most revered relics of the
Est: £1,000 - £1,500
ATTRIBUTED TO ERCOLE FERRATA (ITALIAN, 1610-1686) OR DOMENICO GUIDI (ITALIAN, 1625-1701): A MID-17TH CENTURY ROMAN BRONZE PLAQUE SHOWING A PAIR OF MOURNING CHERUBIM HOLDING UP THE VEIL OF ST VERONICA of rectangular form, one of the cherubim wiping away a tear, with a plain column behind, 18cm x 21.5cm PROVENANCE: CHARLES AVERY COLLECTION Charles Avery is a specialist in European sculpture, particularly Italian, French, English, Flemish and Dutch. A graduate in Classics at Cambridge University, he obtained a Diploma in the History of Art at the Courtauld Institute and a doctorate for published work from Cambridge. Having been Deputy Keeper of Sculpture at the Victoria and Albert Museum for twelve years (1966-79), and a Director of Christies for ten years, since 1990 he has been a highly respected, independent historian, consultant, writer and lecturer. His books include Florentine Renaissance Sculpture, 1970, Giambologna the Complete Sculpture, Phaidon, 1987, Donatello: An Introduction, John Murray, 1994; Bernini, Genius of the Baroque, Thames and Hudson, 1997 (paperback, 2006), and The Triumph of Motion: Francesco Bertos, 2008. Previous provenance: Edward Cheney, Badger Hall, Shropshire; Francis Capel-Cure Collection (sold London, Christie's, 4 May 1905, lot. 54). Comparative Literature: Oreste Ferrari and Serenita Papaldo,'Le Sculpture del Seicento a Roma', Rome, 1999, p.8; Cristiano Giometti, 'Museo Nazionale di Palazzo Venezia, Sculture in Terracotta', Rome, 2011, pp. 44-45, 57-58; Tim Knox, Edward Cheney, 'Badger Hall: a forgotten collector of Italian sculpture, in Sculpture Journal, 16.1, 2007, pp. 5-20. This apparently unrecorded incuse-cast plaque is almost certainly identical with one that was in the distinguished English collection of Edward Cheney of Badger Hall, Shropshire, for its description in a later sale catalogue corresponds closely, as do its measurements in inches: A RECTANGULAR BRONZE PLAQUE, cast with two figures of Cherubs holding the handkerchief of Saint Veronica 7in. by 8½ in Italian, early part of the 17th century. The cherubim flank a short column recalling the one against which by tradition Jesus was tied when being whipped at the command of Pontius Pilate during the Passion, after he personally had found him not guilty, as is corroborated by the symbolic Instruments of the Passion lying on the ground to either side, a leather cat of nine tails to the left and a bundle of twigs to the right. The present tentative attribution to Ercole Ferrata or Domenico Guidi is based on its thematic and stylistic similarity to a set of eight much bigger - marble reliefs (four by each artist) that are set over the small doorways (porticelle) round the choir of Borrominis major Roman church of SantAgnese in Agone, on Piazza Navona, Rome. These depict plump, adorable and sprightly cherubim in flight bearing the symbolic instruments of Agness martyrdom, a sword, a brazier a lamb and so forth, for which Ferrata was paid in 1658 and Guidi in 1669. A cast in gilt stucco from a preliminary model for the panel showing Two Cherubim with the Lamb of God in the Museo di Palazzo Venezia is as wide as this plaque is high (21.5cm), which indicates that this was a scale at which the sculptors in question were used to working (Giometti, 2011, pp.57-58, no. 39). Another relief there, St Agnes appearing to St Constance, in the same material (Giometti, 2011, pp. 44-45, no. 19), but by Algardi, clearly indicates the ultimate stylistic source of this type of cherub, the work of two of the triumvirate of great sculptors active in Rome, François Duquesnoy and Algardi. St Veronica was a woman of Jerusalem who wiped the face of Christ with her veil while he was on the way to Calvary. According to early Christian tradition, though there is no historical evidence or scriptural reference, the cloth was imprinted with the image of Christs face and became one of the most revered relics of the church. According to legend, Veronica bore the veil away from the Holy Land and used it to cure the Emperor Tiberius of some illness. It was seen in Rome in the 8th century and was translated to St Peters in 1297. Her act of kindness is represented in the sixth of the fourteen Stations of the Cross. The present plaque may therefore be one of a series of such markers for a shrine of domestic dimensions.
Chiswick Auctions
Mar. 27, 2014
FERRATA, E. (Ercole Ferrata, Pellio Inferiore
Est: CHF30,000 - CHF50,000
FERRATA, E. (Ercole Ferrata, Pellio Inferiore 1610-1686 Rome), Rome ca. 1660. Terracotta and wood. Reclining putto with an hour glass on a rectangular base with scrolled volute feet. Repairs and losses. Figure: L 35 cm. H 23 cm. Base: 35x17x6 cm. Provenance: from a French collection. Expertise by the Cabinet Dillée, Guillaume Dillée / Simon Pierre Etienne, Paris 2014 . FERRATA, E. (Ercole Ferrata, Pellio Inferiore 1610-1686 Rom), Rom um 1660. Terracotta und Holz. Liegender Putto mit Sanduhr, auf rechteckigem Sockel mit eingerollten Volutenfüssen. Reparaturen und Fehlstellen. Figur: L 35 cm. H 23 cm. Sockel: 35x17x6 cm. Provenienz: Aus französischem Besitz. Expertisiert durch das Cabinet Dillée, Guillaume Dillée / Simon Pierre Etienne, Paris 2014. Die hier angebotene Terracottafigur ist abgebildet und beschrieben in: M. Vezzosi (Hg.), Terracotte italiane tra manierismo e barocco, Florenz o.J.; S. 24-29. Die Figur orientiert sich am 'Ercole fanciullo che lotta con il serpente' von A. Algardi (1598-1654) - heute Teil der Sammlungen von Burghley House, England -, mit welchem E. Ferrata in den 1640er Jahren einen intensiven Kontakt pflegte. E. Ferrata begann seine Künstlerlaufbahn, nach sechsjähriger Ausbildung bei T. Orsolini in Genua, später in Neapel und L'Aquila, ehe er zu Beginn der 1640er Jahre nach Rom zog, begleitet von seinem Schüler, Melchiore Caffa (gest. 1667). Ab 1647 arbeitete er für G.L. Bernini (1598-1680) an Skulpturen für den Petersdom, 1653 mit A. Raggi (1624-1686) für die Dekoration der Basilika Santa Maria Maggiore und später vollendete er Werke von A. Algardi. Zudem arbeitete er für den Hof der Königin Christine von Schweden, welche ab 1656 in Rom lebte. Sein bekanntestes Werk ist der Elefant vor Santa Maria sopra Minerva in Rom. Lit.: Thieme / Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Leipzig 1999; XXI/XXII, S,465f. (biogr. Angaben).
Koller Auctions
Jan. 29, 2010
ITALY, ROME, LATE 17TH/EARLY 18TH CENTURY
Est: $25,000 - $35,000
CROSS the corpus after a model by Ercole Ferrata (1610 - 1686), some mounts later and associated letters on gilt bronze cartouche on base: SIC NOS DILEXIT
Sotheby's
Apr. 28, 2009
Attribué à Ercole Ferrata (1610-1686), Enfant au sablier (Allégorie ou Vanité ?) en terre cuite Italie, XVII e siècle , An Italian Terracotta Child with hourglass (A Vanitas Allegory ?) attributed to Ercole Ferrata (1610-1686), on a giltwood base
Est: €30,000 - €50,000
le visage grimaçant, à demi allongé sur une draperie, une main appuyée sur un sablier. terre cuite patinée ; socle en bois peint et doré
Sotheby's
Mar. 31, 2009
KREISFÖRMIGE PLAKETTE, Italien, 17./18. Jh., nach
Est: CHF700 - CHF900
KREISFÖRMIGE PLAKETTE, Italien, 17./18. Jh., nach Ercole Ferrata (Pelsotto 1610 - 1686 Roma). Bronze mit Resten einer Versilberung. Gegossen mit der Darstellung von Maria mit Kind und Johannes. Das Kind schlafend. D 12,5 cm. DAZU: ovale BRONZEPLAKETTE, in der Art des 16. Jh. Ziseliert mit der Darstellung eines schwebenden Engels. H 8 cm. Literatur zum Vergleich: Comune di Ferrara. Plachette e bronzi nelle Civiche Collezioni, Firenze 1974/75. Nr. 50. Die Medaille wird Ercole Ferrata zugeschrieben. Die Darstellung ist Verwandt mit einem Tondo im Palazzo di Venezia, die Maria mit Kind und Chreubinen zeigt.
Koller Auctions