Francesco Migliori Sold at Auction Prices

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    • Francesco Migliori L’IDOLATRIA DI SALOMONE Olio su tela, cm 108x142 L’opera è accompagnata dall’ expertise del prof. Dario Succi Provenienza: Collezione privata, Milano
      Dec. 20, 2018

      Francesco Migliori L’IDOLATRIA DI SALOMONE Olio su tela, cm 108x142 L’opera è accompagnata dall’ expertise del prof. Dario Succi Provenienza: Collezione privata, Milano

      Est: €10,000 - €15,000

      Francesco Migliori L’IDOLATRIA DI SALOMONE Olio su tela, cm 108x142 L’opera è accompagnata dall’ expertise del prof. Dario Succi Provenienza: Collezione privata, Milano

      Itineris
    • Francesco Migliori, 1684 Venedig – 1734
      Jun. 30, 2016

      Francesco Migliori, 1684 Venedig – 1734

      Est: €12,000 - €16,000

      Francesco Migliori, 1684 Venedig – 1734 SALOMONS GÖTZENDIENST Öl auf Leinwand. Doubliert. 112 x 145 cm. Beigegeben eine Expertise von Dr. Dario Succi. Das Gemälde zeigt die biblische Episode von König Salomons Götzendienst (1 Kön II, 1-13), als er, alt geworden, von seinen unzähligen Ehefrauen und Konkubinen dazu getrieben wird, falschen Göttern zu huldigen. Im Mittelpunkt des Gemäldes steht daher die imposante Figur Salomons, wie er, umgeben von jungen Frauen, neben seinem Thron steht, während seine Diener einer heidnischen Götterstatue Opfergaben darbringen. Das vorliegende Werk passt genau in den Werkekatalog des venezianischen Künstlers Francesco Migliori, einem der Hauptakteure zur Blütezeit der Lagunenstadt Venedig während der ersten Hälfte des 18. Jahrhunderts. Anfänglich gefielen Migliori die heftig gewaltsamen Hell-Dunkel-Kontraste von Antonio Molinari (1655 - 1704) und Giovanni Battista Piazzetta (1682 - 1754), später bevorzugte er jedoch die hellere barocke Malart eines Sebastiano Ricci (1659 - 1734) oder Luca Giordano (1632 - 1705). Migliori wusste ebenfalls die Einflüsse von Giambattista Tiepolo (1655 - 1704) originell umzusetzen, wie man es bei einigen Werken, die er im Verlaufe der vierten Dekade für die Kirche San Marcuola in Venedig malte, deutlich erkennen kann. Das vorliegende Werk gehört zu den besten Spätwerken Miglioris. Besonders gelungen sind im Fall dieses Gemäldes die lebhafte, monumentale und dennoch ausgewogene Komposition, die sichere Bildgestaltung sowie die Palette warmer, leuchtender Farbtöne. Sehr treffend ist der Vergleich mit dem Gemälde „Tanz um das goldene Kalb“, welches Migliori für die Chorempore der Kirche San Moisè in Venedig malte. (1060485) (21) Francesco Migliori, 1648 Venice - 1734 THE IDOLATRY OF SOLOMON Oil on canvas. Relined. 112 x 145 cm. Accompanied by an expert's report by Dr Dario Succi. The painting shows the biblical scene of The Idolatry of Solomon (1 Kings, 1-8). The offered lot is among Migliori's finest late works. The lively, monumental, yet balanced composition, the confident pictorial design and the palette of warm vibrant hues are particularly effective. It seems apt to compare the present work with Dance around the Golden Calf that Migliori painted for the choir loft of the San Moisè church in Venice.

      Hampel Fine Art Auctions
    • MIGLIORI FRANCESCO (1684 - 1734) Dido Preparing the Enclosure of Carthage.
      Jun. 10, 2015

      MIGLIORI FRANCESCO (1684 - 1734) Dido Preparing the Enclosure of Carthage.

      Est: €8,000 - €12,000

      MIGLIORI FRANCESCO (1684 - 1734) Dido Preparing the Enclosure of Carthage. Oil on canvas "The painting depicts a subject rarely treated in the Venetian painting of the eighteenth century: Dido, sitting surrounded by her ladies and maids, watches as the cowhide granted by King Iarba as the equivalent of land on which to found Carthage is torn into strips. The format of this painting, a highly elongated horizontal rectangle, is also found in the paintings preserved in the churches of San Marcuola and San Moise (Adoration of the Golden Calf), which have strong stylistic similarities to the work presented here.Francesco Milgiori, a Venetian, debuted with an apprenticeship at the workshop of Francesco Molinare, then developed a taste in Veronese neoclassicism at the end of the seventeenth century, acquiring the chromaticism of the founder Sebastiano Ricci. A series of paintings for the gallery of the elector of Saxony Frederick Augustus I are dated 1712 and testify the interest paid to Migliori outside the Venetian context. Since the end of the second decade of the eighteenth century, he received frequent commissions from Venetian churches and institutions that testify to his artistic maturity and his establishment in the context of the best Venetian artists. The painting is accompanied by a profile by Lucio Grossato. " 96,50 x 36,50 cm

      Capitolium Art
    • Francesco Migliori (active Venice 1684-1734)
      Dec. 10, 2010

      Francesco Migliori (active Venice 1684-1734)

      Est: £7,000 - £10,000

      Francesco Migliori (active Venice 1684-1734) Rebecca at the well; and the Triumph of David oil on canvas 22¼ x 41 7/8 in. (56.5 x 106.4 cm.) with inventory numbers '288' and '287' (on the reverse) a pair (2)

      Christie's
    • Old Master Painting: ATTRIBUÉ À FRANCESCO MIGLIORI
      Jun. 21, 2010

      Old Master Painting: ATTRIBUÉ À FRANCESCO MIGLIORI

      Est: €13,000 - €15,000

      Old Master Painting: ATTRIBUÉ À FRANCESCO MIGLIORI (1684 - 1736) ADORATION DU VEAU D'OR Toile 91 X 124 CM Restaurations anciennes

      Tajan
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