Antonio Gentili Sold at Auction Prices

copperplate engraver, b. 1519 - d. 1609

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    • A silver pax with the Incredulty of Saint Thomas, attributed to Antonio Gentili
      Nov. 16, 2024

      A silver pax with the Incredulty of Saint Thomas, attributed to Antonio Gentili

      Est: €2,000 - €2,500

      The silver plaque depicts the Apostle Thomas placing his hand into the wound in Christ's side surrounded by the other Apostles. The back of the Mannerist brass surround would have originally been fitted with a handle, the lower edge of the frame is inscribed "FRANCISCUS SPAGNIA CVSTOS 1634". The pax has most recently been attributed to Antonio Gentili da Faenza, an artist active in Rome as of 1550, and dated to the late 16th century.

      Kunsthaus Lempertz KG
    • Italian school, XVI century. Crucified Christ, ca. 1570. Gilded bronze. Cast by ANTONIO GENTILI (1519-1609). Modeled after GUGLIELMO DELLA PORTA (ca. 1500-1577). Cross and base in methacrylate. Presents some wear in the gilding.
      May. 29, 2024

      Italian school, XVI century. Crucified Christ, ca. 1570. Gilded bronze. Cast by ANTONIO GENTILI (1519-1609). Modeled after GUGLIELMO DELLA PORTA (ca. 1500-1577). Cross and base in methacrylate. Presents some wear in the gilding.

      Est: €3,000 - €4,000

      Italian school, XVI century. Crucified Christ, ca. 1570. Gilded bronze. Cast by ANTONIO GENTILI (1519-1609). Modeled on GUGLIELMO DELLA PORTA (ca. 1500-1577). Cross and base in methacrylate. Presents some wear in the gilding. Measurements: 24 x 20,5 x 4,5 cm (Christ); 43 x 28 cm (base and cross). Crucified Christ in gilded bronze, cast by Antonio Gentili da Faenza around 1570, from a model of the sculptor Guillermo Della Porta. The exquisiteness of the Renaissance goldsmith and the mannerist solutions of Della Porta are happily combined in this delicate effigy. It represents a dead Christ with three nails. Stylistically, the sculpture belongs to the Renaissance tradition of the Cinquecento, which can be seen in the author's desire to avoid the representation of pathos, choosing instead to depict the moment after death. The relaxed muscles, the harmony of the anatomical proportions, the leftward inclination of the knees and the rightward inclination of the head, the skillful play of the drapery of the purity cloth and the stylization of the physiognomic features make up a classic and timeless ensemble. However, a genuinely mannerist feature is the subtle lengthening of the arms. It is an expressive deformation typical of mannerism intended, in this case, to emphasize and underline the tragic beauty of the crucifixion. Antonio Gentili, also known as Antonio da Faenza, was an Italian goldsmith, sculptor and engraver born in Faenza, Italy. He is considered one of the most important goldsmiths of the 16th century, renowned for his intricate and masterful works in precious metals. Gentili's early life and artistic training are not entirely clear. It is believed that he apprenticed with local goldsmiths in Faenza before moving to Rome in the mid-16th century. Rome, at the time, was a vibrant artistic center, and Gentili's exposure to the Renaissance masters undoubtedly influenced his style and technique. In Rome, Gentili established a successful workshop and gained recognition for his exquisite craftsmanship. He received numerous commissions from wealthy clients, including cardinals, popes and members of the Roman nobility. His works were highly coveted for their elegance, technical virtuosity and incorporation of precious stones, enamels and other decorative elements.Gentili's most notable works include: the Farnese Cross and Candlesticks (1581-1582), The Reliquary of the Holy Thorn (1586-1589), commissioned by Pope Sixtus V, and the Miter of Pope Gregory XIII (1583-1585). Guglielmo della Porta was an Italian architect and sculptor of the Mannerist period. He was born into a renowned family connected with the arts. His father, Giovanni Battista della Porta, excelled as a sculptor. He apprenticed in the workshop of his uncle Giovanni Giacomo della Porta in Genoa. He worked with him on the construction of the cathedral of Milan. Around 1530 he was entrusted with the task of reproducing some of Leonardo da Vinci's works. Back in Genoa, he perfected his drawing technique under the master Perin del Vaga, with whom he worked on the Palazzo Doria. Around 1537 he moved to Rome, where he came into contact with Sebastiano del Piombo, who recommended him to Michelangelo. He worked on the legs of the Hercules Farnese, a sculpture found without its legs. When the original legs were found, Michelangelo recommended that Della Porta's be kept, this being presented as a demonstration that the moderns could be compared with the ancients. He obtained a position in the papal mint.

      Setdart Auction House
    • A silver pax with the Incredulty of Saint Thomas, attributed to Antonio Gentili
      Nov. 20, 2021

      A silver pax with the Incredulty of Saint Thomas, attributed to Antonio Gentili

      Est: €4,000 - €5,000

      RefScu121121 The silver plaque depicts the Apostle Thomas placing his hand into the wound in Christ's side surrounded by the other Apostles. The back of the Mannerist brass surround would have originally been fitted with a handle, the lower edge of the frame is inscribed "FRANCISCUS SPAGNIA CVSTOS 1634". The pax has most recently been attributed to Antonio Gentili da Faenza, an artist active in Rome as of 1550, and dated to the late 16th century.

      Kunsthaus Lempertz KG
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