Niccolò (1476) Giolfino Sold at Auction Prices

Wood Carver, Painter, Map draughtsman, b. 1476 - d. 1555

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      • A Florentine giltwood and painted cassone, possibl…
        Dec. 05, 2024

        A Florentine giltwood and painted cassone, possibl…

        Est: £8,000 - £12,000

        A Florentine giltwood and painted cassone, possibly early 16th century and incorporating later elements, the panels from the circle of Niccolò Giolfino, Italian, 1476-1555, the central circular panel with two putti carrying a coat of arms, flanked by two further panels depicting a battle scene with soldiers on horseback and a boar hunt respectively, the sarcophagus form body decorated with grotesques and fish-scale motifs overall, the sides inset with two further pokerwork roundels painted with putti and armorials, raised on a stepped base, 77cm high, 173cm wide, 52cm deep Provenance: The George Farrow Collection.

        Roseberys
      • A Florentine giltwood and painted cassone, possibl…
        Jun. 26, 2024

        A Florentine giltwood and painted cassone, possibl…

        Est: £15,000 - £25,000

        A Florentine giltwood and painted cassone, possibly early 16th century and incorporating later elements, the panels from the circle of Niccolò Giolfino, Italian, 1476-1555, the central circular panel with two putti carrying a coat of arms, flanked by two further panels depicting a battle scene with soldiers on horseback and a boar hunt respectively, the sarcophagus form body decorated with grotesques and fish-scale motifs overall, the sides inset with two further pokerwork roundels painted with putti and armorials, raised on a stepped base, 77cm high, 173cm wide, 52cm deep Provenance: The George Farrow Collection.

        Roseberys
      • A Florentine giltwood and painted cassone,
        Jun. 04, 2024

        A Florentine giltwood and painted cassone,

        Est: £30,000 - £50,000

        A Florentine giltwood and painted cassone, Possibly early 16th century and incorporating later elements, the panels from the circle of Niccolò Giolfino, Italian, 1476-1555, The central circular panel with two putti carrying a coat of arms, flanked by two further panels depicting a battle scene with soldiers on horseback and a boar hunt respectively, the sarcophagus form body decorated with grotesques and fish-scale motifs overall, the sides inset with two further pokerwork roundels painted with putti and armorials, raised on a stepped base, 77cm high, 173cm wide, 52cm deep

        Roseberys
      • Niccolo Giolfino (1476 - 1555), Mucius Scaevola thrusting his hand into the Flame
        Nov. 30, 2023

        Niccolo Giolfino (1476 - 1555), Mucius Scaevola thrusting his hand into the Flame

        Est: £100,000 - £200,000

        Niccolo Giolfino (1476 - 1555) Mucius Scaevola thrusting his hand into the Flame Tempera on gold ground panel Old Thomas Agnew & Sons label, verso, with inventory number 42622. Provenance: Great Russell Street, 1792; T. G. N. Batting; Sotheby's London, 14 February 1968, lot 33; Where bought by Agnew's (1968); Major Peter Harris (1968) Dimensions: (Panel) 10 1/2 in. (H) x 12 1/2 in. (W) (Panel) 26.7 cm (H) x 31.8 cm (W) The scene is depicted as taking place in the Piazza dei Signori in Verona, of which Giolfino was a life-long inhabitant. On the left is the Loggia del Consiglio; on the right the Palazzo del Capitano, and at the far end of the Piazza is the Palazzo del Governo. A glimpse of the Scaglier tombs can be seen in the right-hand background. In the Castelvecchio Museum in Verona there are two long panels by Giolfino (measuring 12 x 36 inches each) representing respectively the 'Trial' and the 'Martyrdom of St. Agatha'. Each of these panels is divided into three scenes, and the left-hand scene of 'The Trial' shows a view of the Piazza dei Signori in Verona, which is almost identical to that of our picture. Slight architectural differences between the two would suggest that our picture is the earlier one. The most significant of these is a late fifteenth-century window on the second floor of the Palazzo del Governo, which is not to be found in our picture. The Verona panel is discussed in Madonna Verona V, 1911, p. 240, by A. Avena, 'La Piazza dei Signora e un dipinto di Niccolo Giolfino'. The incident depicted is a celebrated one in the history of Rome. When Porsenna, king of the Etruscan town of Clusium, was laying siege to Rome, Mucius, a Roman patrician, decided to resolve the situation by assassinating Porsenna. The attempt failed and Mucius was seized and brought before the King. In reply to threats of torture, the Roman thrust his hand into a fire, and held it there without flinching. Porsenna, who was amazed at his fortitude let him go free, deciding thereupon to make peace with the Romans. Mucius received the name of Scaevola, or left-handed, from the loss of his right hand. Property of a Family

        Sloane Street Auctions
      • Paolo Farinati, auch genannt "Farinato", 1524 Verona – 1606 ebenda, zug.
        Apr. 02, 2020

        Paolo Farinati, auch genannt "Farinato", 1524 Verona – 1606 ebenda, zug.

        Est: €5,000 - €8,000

        MARIAE VERKÜNDIGUNG Öl auf Kupfer. 22,8 x 18,5 cm. In einem durchbrochen geschnitzten und vergoldeten Barock-Rahmen. Dem Gemälde ist eine Expertise von Alessandro Delpriori, Florenz, o.J., beigegeben. Obwohl Farinati bei Niccolo Giolfino (1476-1555) gelernt hatte, folgte er doch weitgehend in Malweise und Bildauffassung den großen Meistern Giulio Romano (um 1499-1546) und Paolo Veronese (1528-1588). Fresken seiner Hand finden sich in Verona, im Museum Berlin etwa eine „Darstellung im Tempel“. Ein weiteres seiner Meisterwerke desselben Themas bewahrt die Communal-Galerie in Verona auf. Selbst im kleinen Format erweist sich hier die Meisterschaft sowohl der Komposition als auch der eleganten Farbgebung in zurückhaltendem, nahezu ins Grisaille neigendem Kolorit. Das Hauptaugenmerk ist auf den in Wolken erscheinenden Verkündigungsengel gelegt, der in eleganter Verbeugung Maria einen Lilienstängel reicht. Vor dunklerem Hintergrund kniet die jugendlich gezeigte Maria am Betpult, die Hand auf ein Buch gelegt. Die Taube des Heiligen Geistes in einem die Wolken durchbrechenden Licht am oberen Bildrand. Die Körperhaltungen, in leichter Drehung, wie wir sie in den weiteren Werken Farinatis stets finden, aber auch die Farbgebung, repräsentieren den Stil des norditalienischen Manierismus. Ganz offensichtlich ist die Darstellung beeinflusst von Tiziano Vecellios (1485/89-1576) Werk in der Kirche San Salvator in Venedig, vor allem was die Lichtführung und die Farbwirkung betrifft. Im Beiliegenden Gutachten wird auf einen Vergleich des vorliegenden kleinen Gemäldes mit dem Werk „Anbetung der Könige“ in Museo di Castelvecchio in Verona verwiesen, ebenfalls mit der „Madonna mit Kind“ im nämlichen Musem. Der Experte schlägt zur Datierung des Bildes den Zeitrum zwischen 1580 und 1590 vor. Literatur: Giorgio Marini, Paola Marini e Francesca Rossi, Paolo Farinati. 1524-1606 . Dipinti, incisioni e Disegni per Lárchitettura, Venedig 2005. (12205617) (11)

        Hampel Fine Art Auctions
      • Nicola Giolfino (Verona 1476-1555)
        Jul. 06, 2010

        Nicola Giolfino (Verona 1476-1555)

        Est: £50,000 - £80,000

        Nicola Giolfino (Verona 1476-1555) Three scenes from the Life of Cato the Younger: Cato tries to kill himself with a dagger; The wounded Cato cured by the physician; and Cato's death oil on panel 8 1/8 x 12 7/8 in. (20.5 x 32.5 cm.) a set of three (3)

        Christie's
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