Parrasio Micheli Paintings & Artwork for Sale | Parrasio Micheli Art Value Price Guide

Oct. 03, 2023
Parrasio Micheli (Venezia 1516 - 1578), attr.a, Danae
Est: €60,000 - €80,000
Perizia: Massimo Pulini. Olio su tela, dimensioni 243x105 cm.
Telearte
Mar. 28, 2023
OIL PAINTING BY MICHELI PARRASIO 16TH CENTURY
Est: €6,000 - €8,000
MICHELI PARRASIO (Venezia 1516 ca. - 1578) LA SALOMÈ CON LA TESTA DEL BATTISTA Olio su tela, cm. 104 x 93 PROVENIENZA Famiglia veneta CONDIZIONI DEL DIPINTO Rintelo ottocentesco. Piccoli punti di restauro ossidati sul volto di Salomè, tre punti di restauro recenti a sinistra. Il dipinto è in buono stato di conservazione CORNICE Cornice a guantiera in legno a lacca arancio e oro, con bordi a palmette e perlatura, della fine del XVII secolo (rilaccatura) Il dipinto è accompagnato da perizia di Egidio Martini
Casa d'Aste Babuino
Feb. 07, 2023
Venetian school, late 16th century. Circle of PARRASIO MICHELI (Venice, ca.1516-1578). "Woman with a Lute". Oil on canvas. Re-framed. Frame changed in the middle of the 19th century.
Est: €8,000 - €10,000
Venetian school, late 16th century. Circle of PARRASIO MICHELI (Venice, ca.1516-1578). "Woman with a Lute". Oil on canvas. Re-framed. Frame changed in the middle of the 19th century. Measurements: 101 x 86 cm; 111 x 98 cm (frame). Important painting belonging to the Venetian High Renaissance, a period of artistic splendour in the capital of the Veneto. The figures of Giorgione and Titian left an important mark until the end of the century. In the present painting it is above all Titian's influence that is most notable: the framing, with the rectangular window open to the landscape, and the courtesan portrayed in three-quarter view, as well as the dreamy but characterful type of woman (see Titian's Roxelana, for example), is here assimilated and masterfully resolved. The theme of the Young Woman with a Lute became popular in the 16th century, first in Venice, then spreading to other Italian and northern European locations. In the Venetian context, it was commissioned by aristocrats from their wives and daughters, but also from courtesans and muses. In any case, as the features were idealised, it was often difficult to identify the sitters. Until then, sumptuous portraits were reserved for royalty and celebrities. This canvas bears remarkable similarities to a work of the same name by Parrasio Micheli, "A Young Woman Playing the Lute" (now in the Museum of Fine Arts, Houston), painted at the same time, in the last third of the 16th century. The black almond-shaped eyes, the finely outlined carmine lip, the turgidity of the flesh tones, the hair curled and tied up in the same way, the pearl necklace, the position of the fingers of the right hand plucking the strings of the lute, the opening onto a twilight landscape on the lady's right... all appear in a similar way. It is tempting to venture that we could be looking at a work by Micheli, or at least from his workshop. The sensuality of the colours, the veils of the gauze, the brocades and the damask masterfully resolved between the silk trimmings, as well as the wide sleeves that reveal the arms, are elements that stand out in both paintings. The great contributions of the Venetian school are embodied in this delicate composition. Micheli's lute player's seduction is barely hinted at (in contrast to other female portraits by the artist, in which he sought a more evident eroticism), and this characteristic is also reflected in the feminine ideal depicted here. These painters were inspired by the poetic ideal of femininity established by Petrarch, which regained popularity in the age of Titian and Micheli. The son of a Venetian patrician, Michele Parrasio trained in Titian's studio, as is corroborated by indirect documentary sources such as a letter from Micheli himself to the King of Spain, Philip II, in which the painter stated that he had Titian as a reference for all his studies. He later became associated with Veronese, whose designs he regularly used for his own compositions. It is recorded that in 1563 he received an important commission: the painting of a large canvas dedicated to the Doge Lorenzo Priuli with the Senate and the allegories of Fortune and Venice for the College Hall of the Doge's Palace, which was probably destroyed in the fire of 1577. The painting, of which a sketch exists in Berlin, is known to have been installed in its place in 1569 and the artist was paid a considerable sum for it, an indication of the prestige he had achieved. He was also well rewarded for two oil paintings of two pairs of saints - Saints Prosdocimus and Justina and Saints Anthony and Daniel - commissioned in 1565 by the canons of Padua Cathedral and kept in the sacristy of the canons of the cathedral. Two of Parrasio's works are in the Museo del Prado.
Setdart Auction House
Jun. 22, 2022
Venetian school, late 16th century. Circle of Parrasio Micheli (Venice, ca.1516-1578) "Woman with a Lute". Oil on canvas. Re-framed. Frame changed in the middle of the 19th century.
Est: €15,000 - €17,000
Venetian school, late 16th century. Circle of Parrasio Micheli (Venice, ca.1516-1578) "Woman with a Lute". Oil on canvas. Re-framed. Frame changed in the middle of the 19th century. Measurements: 101 x 86 cm; 111 x 98 cm (frame). Important painting belonging to the Venetian High Renaissance, a period of artistic splendour in the capital of the Veneto. The figures of Giorgione and Titian left an important mark until the end of the century. In the present painting it is above all Titian's influence that is most notable: the framing, with the rectangular window open to the landscape, and the courtesan portrayed in three-quarter view, as well as the dreamy but characterful type of woman (see Titian's Roxelana, for example), is here assimilated and masterfully resolved. The theme of the Young Woman with a Lute became popular in the 16th century, first in Venice, then spreading to other Italian and northern European locations. In the Venetian context, it was commissioned by aristocrats from their wives and daughters, but also from courtesans and muses. In any case, as the features were idealised, it was often difficult to identify the sitters. Until then, sumptuous portraits were reserved for royalty and celebrities. This canvas bears remarkable similarities to a work of the same name by Parrasio Micheli, "A Young Woman Playing the Lute" (now in the Museum of Fine Arts, Houston), painted at the same time, in the last third of the 16th century. The black almond-shaped eyes, the finely outlined carmine lip, the turgidity of the flesh tones, the hair curled and tied up in the same way, the pearl necklace, the position of the fingers of the right hand plucking the strings of the lute, the opening onto a twilight landscape on the lady's right... all appear in a similar way. It is tempting to venture that we could be looking at a work by Micheli, or at least from his workshop. The sensuality of the colours, the veils of the gauze, the brocades and the damask masterfully resolved between the silk trimmings, as well as the wide sleeves that reveal the arms, are elements that stand out in both paintings. The great contributions of the Venetian school are embodied in this delicate composition. Micheli's lute player's seduction is barely hinted at (in contrast to other female portraits by the artist, in which he sought a more evident eroticism), and this characteristic is also reflected in the feminine ideal depicted here. These painters were inspired by the poetic ideal of femininity established by Petrarch, which regained popularity in the age of Titian and Micheli. The son of a Venetian patrician, Michele Parrasio trained in Titian's studio, as is corroborated by indirect documentary sources such as a letter from Micheli himself to the King of Spain, Philip II, in which the painter stated that he had Titian as a reference for all his studies. He later became associated with Veronese, whose designs he regularly used for his own compositions. It is recorded that in 1563 he received an important commission: the painting of a large canvas dedicated to the Doge Lorenzo Priuli with the Senate and the allegories of Fortune and Venice for the College Hall of the Doge's Palace, which was probably destroyed in the fire of 1577. The painting, of which a sketch exists in Berlin, is known to have been installed in its place in 1569 and the artist was paid a considerable sum for it, an indication of the prestige he had achieved. He was also well rewarded for two oil paintings of two pairs of saints - Saints Prosdocimus and Justina and Saints Anthony and Daniel - commissioned in 1565 by the canons of Padua Cathedral and kept in the sacristy of the canons of the cathedral. Two of Parrasio's works are in the Museo del Prado.
Setdart Auction House
Sep. 21, 2021
PARRASIO MICHELI (seguace di)
Est: €100 - €500
(Venezia, 1516 - 1578) Dama Olio su tavola, cm 24X22 Le fonti storiche, in modo particolare Claudio Ridolfi e Pietro Aretino, descrivono Parrasio Micheli una personalità ben inserita nel mondo culturale veneziano e allievo di Tiziano Vecellio. Tuttavia, l'esiguo numero di opere documentate e le molte copie desunte dal maestro e da Paolo Veronese a lui ascrivibili, ostacolano la compilazione di un catalogo ragionato e una cronologia. È accertato che le prime opere note si datano alla fine del sesto decennio e che nel corso della carriera si mise in luce per la produzione di ritratti. Bibliografia: I. Babic, Una copia di un quadro di Tiziano. Proposte per Parrasio Micheli, in Prilozi Pvijesti umjetnosti u Dalmaciji (Contributions to the History of art in Dalmatia), pp. 287 296, fig. p. 293, vol. 41, n. 1, 2011
Wannenes Art Auctions
Dec. 11, 2020
Parrasio Micheli (Venezia 1516 ca.-1578), copia da, Ritratto di dama con libro
Est: €2,000 - €3,000
olio su tela, cm 125x100 entro cornice dorata, L'opera appare esemplata sul "Ritratto di gentildonna" eseguito da Parrasio Micheli o Michiel, oggi ammirabile presso la Galleria di Palazzo Rosso (Genova). Il pittore veneziano, dopo un iniziale tirocinio presso la bottega di Tiziano, si avvicinò in seguito ai modi più affettati di Paolo Veronese, esperendo le sue doti di abile ritrattista. Il "Ritratto di dama", tradizionalmente riferito a Paris Bordon, è stato in seguito rimesso al suo catalogo e datato intorno al 1565.
Cambi Casa d'Aste
Apr. 03, 2020
Parrasio Micheli, um 1516 – 1578, Umkreis des
Est: €8,000 - €10,000
SÄNGERIN MIT LAUTE 78 x 97,5 cmÖl auf Holz. Darstellung einer hinter einem Tisch stehenden jungen Frau, eine Laute spielend. Hinterfangen durch grünen, reich gefälteten Vorhang mit Landschaftsausblick zur Linken. Anmerkung: Dieses Motiv war typisch für Micheli Parrasio, von dessen Hand eine Lautenspielerin zum Beispiel in der Galerie Colonna, Rom, zu finden ist. Siehe hierzu: Safarik E.A./ Milantoni G., Catalogo sommario della Galleria Colonna in Roma. Dipinti , 1981, Nr. 119. (1222053) (4) (13)
Hampel Fine Art Auctions
Dec. 06, 2017
Micheli Parrasio (Venice circa 1516-1578) Portrait of a Diva, said to be Ar
Est: -
Micheli Parrasio (Venice circa 1516-1578) Portrait of a Diva, said to be Artemisia Roberti, three-quarter-length, wearing a fur-lined coat, pearls, and holding a musical score
Bonhams
Jun. 15, 2016
Ancient Paintings
Est: €7,000 - €9,000
Micheli Parrasio (Venezia - 1516 circa Ð Venezia - aprile 1578) - attribuito a - ÒRitratto di donna con liutoÓ - olio su tela - H cm 106x86
Gregory's Casa d'Aste
Sep. 24, 2015
Parrasio Micheli, 1516 Venedig - 1578
Est: €25,000 - €35,000
Parrasio Micheli, 1516 Venedig - 1578 PORTRAIT EINER VENEZIANISCHEN KURTISANE UND IHRES DIENERS Öl auf Leinwand, auf Holz. 104 x 88 cm. Beigegeben eine Expertise von Prof. Egidio Martini. Das Gemälde zeigt eine prachtvoll gekleidete venezianische Dame, eine Kurtisane, wie sie Micheli gerne malte. Es ähnelt anderen Werken gleichen Inhalts und vergleichbar hoher Qualität, wie die berühmten Darstellungen in der Galleria Colonna in Rom und im Museum der Schönen Künste in Budapest, aber auch "Bildnis einer Edelfrau" in der Galleria del Palazzo Rosso in Genua. Das vorliegende Gemälde ist von auffallend hoher Qualität und gehört bestimmt zu den besten Werken Michelis, einem Anhänger Tizians, dessen Schüler er eventuell war, und von Paolo Veronese, von dem er die helle, leuchtende Farbgebung übernahm. Das Gemälde hat, dank seiner kräftig leuchtenden Farben und der üppigen Schönheit der Frau mit ihren Juwelen und kostbaren Kleider, deren Beschaffenheit minutiös wiedergegeben und mit Lichtreflexen durchsetzt wird, einen unwiderstehlichen Charme. Das Bildnis spiegelt die Opulenz und Mondänität der vornehmen venezianischen Gesellschaft wieder, dies jedoch in einem sehr klaren, anmutigen und dekorativen Stil. Dennoch fehlt der Darstellung nicht der moralischer Fingerzeig, da der Bedienstete der Dame einen Spiegel vorhält, eine Anspielung auf die Vergänglichkeit solch großer Schönheit und Eleganz, ein Hauch der Vorahnung der Flüchtigkeit der "vanitas", die allen irdischen Gütern innewohnt. (10216414) (21) Parrasio Micheli, 1516 Venice – 1578 PORTRAIT OF A VENETIAN COURTESAN AND HER MAID Oil on canvas, mounted on panel. 104 x 88 cm. Accompanied by an expert’s report by Prof Egidio Martini. The painting shows one of Micheli’s favourite subjects: a Venetian lady, a Courtesan, dressed in luxuriant garments. It is similar and of the same high quality as other works with the same subject such as the famous depictions held at the Galleria Colonna in Rome and at the Museum of Fine Arts in Budapest, but also “Portrait of a Noblewoman” at the Galleria del Palazzo Rosso in Genoa. The present painting is of strikingly high quality and is certainly a work by Micheli, a follower of Titian (whose student he may have been) and of Paolo Veronese whose light, luminous colouration he adopted. The painting has an irresistible charm due to its very vibrant colours and the lady’s voluptuous beauty, the jewels and luxurious garments, whose texture is rendered in minute detail and interspersed with reflections of light. The portrait reflects the opulence and fashionable lifestyle of the aristocratic Venetian society and is yet rendered in a very plain, charming and decorative style. Nevertheless the depiction also includes a moral undertone: the maid is holding up a mirror to her lady, a reference to the ephemerality of such beauty and elegance, a premonition of the elusiveness of the “vanitas”, which is inherent in all material goods.
Hampel Fine Art Auctions
May. 02, 2012
MICHELI PARRASIO
Est: £10,000 - £15,000
VENICE, BEFORE 1516 - 1578 PORTRAIT OF A DIVA, SAID TO BE ARTEMISIA ROBERTI, THREE QUARTER LENGTH, WEARING A FUR-LINED COAT, PEARLS, AND HOLDING A MUSICAL SCORE oil on canvas 98 by 76.5 cm.; 38 1/2 by 30 1/4 in.
Sotheby's