Lorenzo Ghiberti Paintings & Artwork for Sale | Lorenzo Ghiberti Art Value Price Guide

Mar. 21, 2024
Lorenzo Ghiberti, attributed
Est: €12,000 - €18,000
Pelago 1378 - Florence 1455, 70x47x20 cm., "Madonna with Child", polychrome terracotta sculpture
Colasanti Casa d'Aste
Jul. 14, 2023
Lorenzo Ghiberti, "Adam und Eva", Relief von der sog. Paradiespforte des Baptisteriums der Kathedrale von Florenz, Replik, Kunstguss, vergoldet, gerahmt
Est: €2,500 - €3,000
Lorenzo Ghiberti, "Adam und Eva", Relief von der sog. Paradiespforte des Baptisteriums der Kathedrale von Florenz, Replik, Kunstguss, vergoldet, gerahmt Lorenzo Ghiberti, um 1378 Pelago - 1455 Florenz, Bildhauer, Goldschmied, Erzgießer, Architekt und Kunsttheoretiker, Relief "Adam und Eva", 1. Relief links oben der sog. Paradiespforte (Ostportal) des Baptisteriums der Kathedrale von Florenz, 90 x 90 cm, Replik, polymerer Kunstguss, vergoldet, gerahmt, erworben bei Kunsthaus Artes, Berlin, nur Selbstabholung/Spedition Lorenzo Ghiberti, "Adam and Eve", relief from the so-called Paradise Gate of the Baptistery of Florence Cathedral, replica, art casting, gilt, framed Lorenzo Ghiberti, c. 1378 Pelago - 1455 Florence, sculptor, goldsmith, archfounder, architect and art theorist, relief "Adam and Eve", 1. Relief on the top left of the so-called Paradise Gate (east portal) of the Baptistery of the Florence Cathedral, 90 x 90 cm, replica, polymer art casting, gilded, framed, purchased at Kunsthaus Artes, Berlin, only self-collection/forwarding agency
K&K – Auktionen in Heidelberg
Jun. 10, 2022
THE NATIVITY AFTER DONATELLO (1386-1466) OR LORENZO GHIBERTI (1378-1455), I
Est: $30,000 - $50,000
THE NATIVITY AFTER DONATELLO (1386-1466) OR LORENZO GHIBERTI (1378-1455), ITALIAN, PROBABLY 18 1/4 x 14 in. (46.4 x 35.6 cm.) the relief 40 x 22 in. (101.6 x 55.9 cm.) the frame
Christie's
Nov. 19, 2019
SCULTURA IN STUCCO POLICROMO, TOSCANA XV SECOLO
Est: €50 - €100
Madonna con Bambino, prossima alla bottega di Lorenzo Ghiberti (Firenze, 1378 - ivi, 1455)- usure, rotture, cadute e riprese nella decorazione, restauri, mancanze e sbeccature Alt. cm 71,5, larg. cm 52, prof. cm 17 A POLYCHROME STUCCO SCULPTURE, TUSCANY, 15TH CENTURY- WEAR, DAMAGES, LOSSES, RESTORATIONS, CHIPS Bibliografia e esposizioni: AA.VV., A HeranÁa do Sagrado: Obras primas do Vaticano e de Museus Italianos, catalogo della mostra a cura di, Rio de Janeiro, Museu Nacional de Belas Artes, 2013, pagg. 180-181.
Wannenes Art Auctions
Dec. 13, 2017
BARBEDIENNE FOUNDRY FRENCH, SECOND HALF 19TH CENTURY AFTER LORENZO GHIBERTI (1378-1455) | The Gates of Paradise
Est: £50,000 - £70,000
bronze, dark brown patina, on a wood core
Sotheby's
Jul. 06, 2017
ATTRIBUTED TO THE WORKSHOP OF LORENZO GHIBERTI (1378-1455) ITALIAN, FLORENCE, SECOND QUARTER 15TH CENTURY | Relief with the Virgin and Child
Est: £20,000 - £25,000
inscribed: AVE MARIA GR
Sotheby's
Jun. 06, 2016
Calotype “Paradise door by L. Ghiberti, Florence“ Alinari, 1855
Est: €600 - €780
Calotype Italy, around 1855 Leopoldo Alinari (1832-65) – Italian photographer Numbered in the photography "11." Dimensions of the photograph approx. 33.9 (H) x 26 (W) cm Dimensions of the cardboard 46.5 (H) x 35.5 (W) cm In good condition This calotype has been taken around the year 1855 by the Italian photographer Leopoldo Alinari. The motif presents the eastern door of the baptistery of Florence, the so-called door of paradise, which was created by Lorenzo Ghiberti in the years between 1425 and 1452. The ten gilded panels present scenes of the Old Testament. This photograph is not signed, but numbered "11." in the photography and can be doubtless attributed to Leopoldo Alinari. The calotype is in a good condition and is one of the early works by Alinari (see negative number 11) and thus produced by himself and not by one of his assistants. The photograph measures 33.9 (H) x 26 (W) cm, the cardboard measures 46.5 (H) x 35.5 (W) cm. Numbered 1611. The Alinari Brothers Leopoldo Alinari (1832–1865) founded a small photographic studio in the Via Cornina in Florence in the year 1852. His two brothers, Romualdo Alinari (1830–1890) and Giuseppe Alinari (1836–1890), became his partners in the year 1854. Their studio was called Fratelli Alinari (Alinari Brothers) and was specialized in portraits and artistic architectural photography. In the following year, the Alinaris had their first presentation at the Paris International Exposition that made them very popular. In 1855, their sales catalogue contained 84 photographs with motifs of Florence, Pisa and Siena and several other places. The Alinari archive holds more than 5.5 million photographs from all over the world. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Auctionata Paddle8 AG
Mar. 22, 2016
After Lorenzo Ghiberti (1378-1435). A set of nine gilt bronze relief plaques, representing a section of The Gates of Paradise, the cent
Est: £3,000 - £5,000
After Lorenzo Ghiberti (1378-1435). A set of nine gilt bronze relief plaques, representing a section of The Gates of Paradise, at the Baptistery of San Giovanni, Florence, cast by Ferdinand Barbedienne (1810-1892), including a central panel depicting 'The Story of Joseph', signed F. BARBEDIENNE, the central panel 17in. square
Gorringes
Jan. 29, 2016
AFTER A COMPOSITION ASCRIBED TO LORENZO GHIBERTI (1378-1455) ITALIAN, FLORENCE, SECOND QUARTER 15TH CENTURY | relief of the Madonna and Child
Est: $12,000 - $18,000
gilt and painted stucco
Sotheby's
Dec. 10, 2015
Werkstatt von Lorenzo Ghiberti, Florenz, 1378 - 1455
Est: €8,000 - €12,000
PROPHET Stuckrelief, bemalt, in einem Rahmen aus gefriestem und vergoldetem Holz. 53,6 x 30,8 cm (Höhe der Figur: 42,5 cm). Wir danken Giancarlo Gentilini für diesen Katalogbeitrag. Dieses Relief lehnt sich eng an die 24 biblischen Figuren an, welche abwechselnd die Umrandung der Quadrate der zweiten goldenen Bronzetür zieren, die von Lorenzo Ghiberti für das Baptisterium in Florenz geschaffen wurde. Dabei halfen ihm zwischen 1425 und 1452 zahlreiche, hochqualifizierte Mitarbeiter. Es handelt sich hier um ein weltberühmtes Kunstwerk, das Michelangelo als „La Porta del Paradiso“ bezeichnete (heute ist die „Paradiespforte“ im Museo dell’opera del Duomo zu sehen). Es handelt sich hier um die erste kleine Figur, oben links, welche die Sequenz neben der Darstellung von Adam und Eva einleitet, in der man - wenn auch nicht mit vollkommener Sicherheit - den Propheten Ezechiel zu erkennen meint. Mit dieser Figur hat das vorliegende Relief verschiedene Gemeinsamkeiten, zum Beispiel die furchtlos zurückgebeugte Körperhaltung, die jugendliche Physionomie und die Gestik, denn auch hier ist die linke Hand nach vorne gerichtet, während die rechte mit gestrecktem Zeigefinger eine Schriftrolle geöffnet hält. Ähnlich ist außerdem der Faltenwurf der Kleidung, der von eleganten Querfalten unterbrochen wird; hier erkennt man einige feine Variationen, wie die stärkere Plastizität und vor allem bei den wie vom Wind hochgeschlagenen Mantelfalten um die Schultern des Propheten und dem dichteren Faltenwurf der Tunika entlang des linken Fußes, die bis auf den Boden reicht. Diese Details - die im Bronzerelief fehlen, jedoch kohärent mit dem Charakter der Figur sind - erinnern an die „Nordpforte“ des Baptisteriums, die zwischen 1403 und 1424, gänzlich im Sinne der internationalen Gotik, entstand. Aufgrund der erwähnten Abweichungen kann es sich bei dem Stuckrelief folglich nicht um den Abdruck eines Ausschnitts der Bronzepforte handeln; eher anzunehmen ist hingegen, dass es sich um eine Vorstudie aus der Zeit der Planung handeln könnte, das heißt, es könnte sich um einen „Abdruck“ des Wachsmodells handeln, das Ghiberti um 1425/ 1430 für den Guss der Rahmen (1437 vollendet) erstellen ließ - ein Abdruck also in einem dauerhafteren, langlebigeren Material zur Erinnerung, der dann als religiöse Darstellung sein Eigenleben fand, bemalt wurde und einen vergoldeten Rahmen bekam, wie es im Quatrocento in Florenz bei Bildhauern und Gießern, wie man aus vielen Quellen weiß, durchaus üblich war. (1022071) (11) Workshop of Lorenzo Ghiberti Florence, 1378 - 1455 PROPHET Relief in stucco, painted, in giltwood frame. 53,6 x 30,8 cm (figure: 42,5 cm). We would like to thank Mr. Giancarlo Gentilini for cataloguing. This stucco relief closely follows one of the 24 biblical figures that decorate alternately, the border of the relief squares adorning the second gilded bronze door that Lorenzo Ghiberti created for The Florence Baptistery. During its creation, between 1425 and 1452, Ghiberti was supported by many highly qualified assistants. This is a world-famous artwork that Michelangelo described as La Porta del Paradiso and today these Gates to Paradise are held at the Museo dell’opera del Duomo. The present relief shows the first small figure, at top left, which initiates the sequence of depictions of Adam and Eve, and is believed to depict the prophet Ezekiel. This figure shares several similarities with the relief in hand, such as the posture, arched fearlessly backwards, the youthful physiognomy and gestures. Here, too, the left hand is stretched out while the right hand, with pointed index finger, holds an unfolded scroll. The arrangement of the falling folds, interrupted by elegant lateral folds, is similar too: it reveals several subtle variations, such as the more pronounced three-dimensionality, above all, in comparing the cloak folds around the prophet’s shoulders, that are turned up by the wind and the denser folds of the tunic reaching down to the floor around the left foot. These details, missing in the bronze relief, are coherent with the figure’s character and bring to mind the North Gate of the Baptistery that was created between 1403 and 1424 and was still entirely committed to the international Gothic style. As a result of the above-mentioned variations, the present stucco relief cannot be an impression of a section of the bronze gates. Instead, it is more likely to be a preliminary study from the planning stage. In other words, this could be an impression of the wax model that Ghiberti had made around 1425/ 1430 for the cast of the frame (finished in 1437). And it could therefore be an impression, made in a more durable material as a memento; it then developed a life of its own as a religious depiction and was painted and set in a gilded frame. As is known from many contemporary sources, this was common practice among sculptors and founders in Florence during the Quattrocento.
Hampel Fine Art Auctions
Jan. 31, 2013
AN ITALIAN GILT AND PAINTED STUCCO RELIEF OF THE MADONNA AND CHILD, AFTER A COMPOSITION ASCRIBED TO LORENZO GHIBERTI (1378-1455),
Est: $40,000 - $60,000
PROPERTY FROM A PRIVATE COLLECTION within Renaissance style gilt and painted wood framework, remains of two collection labels on the reverse, one with the number 393 in ink. height of the relief 21 1/4 in., 54.7 cm.; with frame 28 1/2 in., 72.5 cm.
Sotheby's
Jan. 22, 2004
A FLORENTINE GILT AND POLYCHROME PAINTED STUCCO RELIEF OF THE MADONNA AND CHILD, FROM THE WORKSHOP OF LORENZO GHIBERTI (FLORENCE 1378-1455 FLORENCE), FIRST HALF 15TH CENTURY
Est: $30,000 - $50,000
modelled in high relief with the Virgin in half-length, her head inclined slightly downward and toward the infant and covered with a veil falling gently around her shoulders, her eyes downcast and rendering a benign expression, the Christ Child supported in her left arm and her right hand holding both of His hands, the Child's body covered in a blanket, His head also inclined downward and resting against the Virgin's cheek. RELATED LITERATURE F. Schottmüller, Italienischen und Spanischen Bildwerke der Renaissance und des Barocks in Marmor, Ton, Holz und Stuck, Berlin 1913, fig. 6, p. 6. Spunti per conversare, Galleria Nella Longari, Milano, 1998, no. 6, pp. 16-17.
Sotheby's