Aureliano Milani Paintings & Artwork for Sale | Aureliano Milani Art Value Price Guide

Apr. 30, 2025
Attributed to AURELIANO MILANI (Bologna, 1675 - Rome, 1749) - The Repentance of Saint Peter
Est: €30,000 - €60,000
Oil on canvas, 75x58.5 cm unframed 85cm x 68.5cm with frame Aureliano Milani (Bologna, 1675 - Rome, 1749), Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of Saint Peter, a theme that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands clasped in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more vivid. The light, coming from the left, illuminates the saint's face, which is also highlighted by the ochre tone of his cloak. The intensity of the saint's face and the powerful dosage of chiaroscuro reveal the work of a master painter, well acquainted with Guido Reni's essays on the subject. The theme of the Weeping St. Peter, in the first two decades of the century, was frequently addressed by artists of the Carracci school. The intimate and pathetic tone of the work brings it closer to the style of Aureliano Milani, a highly accomplished Bolognese artist who, in his choice of warm colors and the expressive power of the figures, renews the power of the Carracci painting, especially that of Ludovico. Stylistically, the figure does not seem very far removed from those of St. Luke and St. Pellegrino in the Basilica dei Servi in Bologna, painted before his departure for Rome in 1719.
Templum Fine Art Auctions
Mar. 20, 2025
AURELIANO MILANI - The Repentance of Peter. (Bologna, 1675 - Rome, 1749) Italian 17th century
Est: €30,000 - €35,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently addressed by artists of the Carracci school in the first two decades of the century. Ex-Private collection.
Templum Fine Art Auctions
Feb. 20, 2025
Attributed to AURELIANO MILANI (Bologna, 1675 - Rome, 1749) - The Repentance of Saint Peter
Est: €30,000 - €60,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently tackled by artists of the Carracci school in the first two decades of the century. The intimate and pathetic tone of the work brings it close to the style of Aureliano Milani, a high-level Bolognese artist who, in the choice of warm colours and in the expressive force of the figures, renews the strength of the Carracci painting, especially that of Ludovico. Stylistically, the figure does not seem very far from those of St Luke and St Pellegrino in the Basilica dei Servi in Bologna, painted before his departure for Rome in 1719.
Templum Fine Art Auctions
Dec. 12, 2024
Attributed to AURELIANO MILANI (Bologna, 1675 - Rome, 1749) - The Repentance of Saint Peter
Est: €30,000 - €60,000
Oil on canvas, 75 x 58.5 cm unframed 85 cm x 68.5 cm framed Aureliano Milani (Bologna, 1675 - Rome, 1749), an Italian painter active during the late Baroque period. The painting is a refined product of 17th-century Bolognese painting. The scene shows the repentance of St. Peter, a subject that enjoyed great popularity during the Counter-Reformation. The Saint, presented half-length, has his hands together in an attitude of intimate conversation and looks up to heaven while tears wet his cheeks. A thick white beard frames the Saint's face, while his half-open mouth and disheveled curls make the image more lively. The light, coming from the left, illuminates the Saint's face, which also stands out due to the ochre tone of his cloak. The intensity of the saint's face and the powerful use of chiaroscuro reveal the work of a painter of great calibre, well acquainted with Guido Reni's essays on the subject. The theme of St Peter the Weeper was frequently tackled by artists of the Carracci school in the first two decades of the century. The intimate and pathetic tone of the work brings it close to the style of Aureliano Milani, a high-level Bolognese artist who, in the choice of warm colours and in the expressive force of the figures, renews the strength of the Carracci painting, especially that of Ludovico. Stylistically, the figure does not seem very far from those of St Luke and St Pellegrino in the Basilica dei Servi in Bologna, painted before his departure for Rome in 1719.
Templum Fine Art Auctions
Jan. 31, 2024
AURELIANO MILANI (BOLOGNA 1675-1749) The Combat of Aeneas and Turnus oil on
Est: $40,000 - $60,000
AURELIANO MILANI (BOLOGNA 1675-1749) The Combat of Aeneas and Turnus oil on canvas 67 ½ x 52 ½ in. (171.5 x 133.3 cm.)
Christie's
Sep. 26, 2023
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc
Est: €800 - €1,200
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc Annoté 'Vanni' en bas à gauche et 'Dentatus rejecting the Bribes of the Samnites / [...] Barker Am 1789 / March / 1841' au verso h: 24,50 w: 37,50 cm Provenance : Collection Benjamin West, Londres, son cachet (L. 419) en bas à droite ; Probablement sa vente, Londres, 1820, selon l'annotation au verso ; Collection William Esdaile, Londres, son paraphe (L. 2617) en bas à droite, avec l'attribution 'aureliano' dans le bas sur le montage et ses initiales avec date et inscription '1820 W E B West's sale P4N50' au verso ; Vente anonyme, Paris, Christie's, 21 octobre 2013, n° 329 Estimation 800 - 1 200 €
Artcurial
Jul. 04, 2023
AURELIANO MILANI (BOLOGNA 1675-1749) The Death of Saint Francis, after Anni
Est: £700 - £1,000
AURELIANO MILANI (BOLOGNA 1675-1749) The Death of Saint Francis, after Annibale Carracci black chalk, stumping, heightened with white, on light brown paper, black chalk framing lines 25.4 x 18.3 cm (10 x 7 1/4 in.)
Christie's
Jun. 13, 2023
MILANI AURELIANO (1675 - 1749) Saint Francis Xavier converts the indigenous
Est: €5,000 - €8,000
MILANI AURELIANO (1675 - 1749). Saint Francis Xavier converts the indigenous. Cm 97,50 x 61,50.
Capitolium Art
May. 24, 2022
Aureliano Milani, Italian, 1675-1749: Two Hunters and Other Figures in a Landscape, a Town in the Middle Distance
Est: $1,500 - $3,000
Aureliano Milani Italian, 1675-1749 Two Hunters and Other Figures in a Landscape, a Town in the Middle Distance Inscribed Derback? (lr) and numbered 458 (ur) in graphite pencil; inscribed Orig. di Aureliano Milani: Roma 1730 in brown ink on the verso, along with an extensive modern inscription in graphite pencil Brown ink and wash on heavy paper 15 x 20 1/2 inches (38.1 x 52 cm) C Estate of Dr. Robert A. Silver
DOYLE Auctioneers & Appraisers
Mar. 15, 2022
AURELIANO MILANI (attr. a)
Est: €4,000 - €6,000
(Bologna, 1675 - Roma, 1749) Scena mitologica Ercole e l'Idra Matita su carta applicata su tela, cm 57X65 (2) Aureliano Milani apprese i primi insegnamenti con lo zio Giulio Cesare Milani, frequentò la bottega del Pasinelli e infine quella di Cesare Gennari ma furono certamente per lui importanti gli esempi dei Carracci. Il trasferimento a Roma nel 1719 segna una svolta importante per la carriera dell'artista, che culmina nel 1733 con la commissione per le decorazioni a fresco della Galleria degli Specchi di Palazzo Doria-Pamphilj. Il ciclo era chiaramente ispirato all'opera di Annibale Carracci, in particolare agli affreschi della Galleria Farnese. I dipinti di Milani presentano nudi muscolari di un genere che potrebbe essere interpretato come un marchio di fabbrica della sua produzione. Continuò a lavorare per tutto il 1740 fino alla sua morte su una serie di cicli di affreschi e pale d'altare in cui rielabora composizioni simili modellate su disegni e studi preparati in varie fasi della sua carriera. Anche nella nostra tela l'influenza carraccesca è particolarmente evidente, in cui prevale la forza disegnativa dei corpi, mostrando un artista sostanzialmente controcorrente rispetto al classicismo di Carlo Maratti.
Wannenes Art Auctions
Jan. 19, 2022
Attribuito à Aureliano MILANI (1675-1769)
Est: €600 - €800
Attribuito à Aureliano MILANI (1675-1769) La guérison de saint Pellegrino Laziosi (1265-1345) de l'ordre de Servites de Marie Black stone, lavi grey On the verso : traces of inscriptions in the upper right corner and N° 30 in the lower left corner La guérison de saint Pellegrino Laziosi (1265-1345) de l'ordre de Servites de Marie Pierre noire, lavis gris Au verso, traces d'inscriptions en haut à droite et N° 30 en bas à gauche H_40,1 cm L_22,1 cm Works related : - Rome, San Marcello al Corso - Bologna, Chiesa di Santa Maria dei Servi La guarigione di san Pellegrino Laziosi (1265-1345) dell'ordine dei Srviti di Maria Pietra nera, lavi grigio Al verso : tracce d'iscrizione in alto a destra e N° 30 in basso a sinistra La guérison de saint Pellegrino Laziosi (1265-1345) de l'ordre de Servites de Marie Pierre noire, lavis gris Au verso, traces d'inscriptions en haut à droite et N° 30 en bas à gauche H_40,1 cm L_22,1 cm Opere in rapporto : - Roma, San Marcello al Corso - Bologna, Chiesa di Santa Maria dei Servi
Pierre Bergé & Associés
Nov. 26, 2021
AURELIANO MILANI
Est: €3,000 - €5,000
(Bologna, 1675 - Roma, 1749) Cattura di Sansone Olio su tela, cm 101X77 Provenienza: New York, Christie's, 7 giugno 2002, lotto 42 (come cerchia di Paolo Pagani) Il pittore apprese i primi insegnamenti con lo zio Giulio Cesare Milani, frequentò la bottega del Pasinelli e infine quella di Cesare Gennari ma furono certamente per lui importanti gli esempi dei Carracci. Il trasferimento a Roma nel 1719 segna una svolta importante per la carriera dell'artista, che culmina nel 1733 con la commissione per le decorazioni a fresco della Galleria degli Specchi di Palazzo Doria-Pamphilj. Il ciclo era chiaramente ispirato all'opera di Annibale Carracci, in particolare agli affreschi della Galleria Farnese. I dipinti di Milani presentano nudi muscolari di un genere che potrebbe essere interpretato come un marchio di fabbrica della sua produzione. Continuò a lavorare per tutto il 1740 fino alla sua morte su una serie di cicli di affreschi e pale d'altare in cui rielabora composizioni simili modellate su disegni e studi preparati in varie fasi della sua carriera. Anche nella nostra tela l'influenza carraccesca è particolarmente evidente, in cui prevale la forza disegnativa dei corpi, mostrando un artista sostanzialmente controcorrente rispetto al classicismo di Carlo Maratti. L'opera è corredata da una scheda critica di Alberto Cottino.
Wannenes Art Auctions
Jun. 17, 2021
MILANI AURELIANO (1675 - 1749) Hercules and Onfale.
Est: €500 - €800
MILANI AURELIANO (1675 - 1749). Hercules and Onfale.. Cm 29,50 x 21,00.
Capitolium Art
Apr. 29, 2021
ERCOLE LELLI (BOLOGNA, 1702-1766) DA AURELIANO MILANI (BOLOGNA, 1675 – ROMA, 1749) SAN GAETANO
Est: -
San Gaetano supported by two angels in front of the Madonna and Child seated on a cloud, among other angels and little angels. The inscription "Sanctus Caietanus clericorum regularium fundator" is engraved at the bottom, with the names of the authors on the sides. Etching, 510x351mm Nice impression, glued on cardboard.
Bertolami Fine Art s.r.l.
Feb. 11, 2021
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc,
Est: €1,000 - €1,500
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc, annoté 'Vanni' en bas à gauche et 'Dentatus rejecting the Bribes of the Samnites / [...] Barker Am 1789 / March / 1841' au verso h: 24,50 w: 37,50 cm Provenance : Collection Benjamin West, Londres, son cachet (L. 419) en bas à droite ; Probablement sa vente, Londres, 1820, selon l'annotation au verso ; Collection William Esdaile, Londres, son paraphe (L. 2617) en bas à droite, avec l'attribution 'aureliano' dans le bas sur le montage et ses initiales avec date et inscription '1820 W E B West's sale P4N50' au verso ; Vente anonyme, Paris, Christie's, 21 octobre 2013, n° 329 Estimation 1 000 - 1 500 €
Artcurial
Oct. 20, 2020
AURELIANO MILANI (BOLOGNA 1675-1749),
Est: $70,000 - $90,000
AURELIANO MILANI (BOLOGNA 1675-1749) The Combat of Aeneas and Turnus signed and dated 'AURELIANO MILANI. MDCCVIII' (center right, on the pediment of the temple) oil on canvas 67 1/2 x 52 1/2 in. (171.5 x 133.3 cm.) ,
Christie's
Jun. 09, 2020
Aureliano Milani
Est: €20,000 - €30,000
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Bologna 1675–1749 Rome) The Drunkenness of Noah, oil on canvas, 49.5 x 66 cm, framed Provenance: Collection of Prince René of Bourbon-Parme (1894–1962), Denmark (according to a label on the reverse); sale, Sotheby’s, New York, 26 January 2012, lot 150 (as Bolognese School, 17th Century); sale, Tajan, Paris, 22 March 2018, lot 33 (as Aureliano Milani); where acquired by the present owner We are grateful to Francesco Petrucci for confirming the attribution of the present painting on the basis of a digital photograph. The present painting is the pendant of lot 405, sold at Dorotheum, Vienna, 30 April 2019. Noah is portrayed stretched out and asleep, lying with abandon in an alcoholic stupor. At his shoulder Cham points him mockingly, while his two brothers Shem and Japheth hurry to cover the elderly Noah with a mantle. While Noah’s body is rendered with impressive naturalism, by the smooth modelling of his torso which is bathed in light falling from the left, his sons, steeped in shadow, are by comparison merely sketched in with fast and informal brush strokes. The light distributed across Noah’s body contributes to the rendering of the nude figure in a sculptural manner. Noah is represented as a strong muscular man, giving Milani the opportunity for exercising his skills in human anatomy. Indeed, Aureliano Milani’s production is typically characterised by the male nude and somewhat taught, muscular, anatomies, pervaded by a mannerist undercurrent, which is also typical of the Bolognese tradition. The pose taken up by Noah is reminiscent for example of Michelangelo, and particularly his sculpted figure of Night for the tomb of Giuliano de’ Medici in the New Sacristy of San Lorenzo, Florence. The torsion in the bust of Noah also distantly revisits classical prototypes such as the Torso del Belvedere in the Vatican Museum. Aureliano Milani worked between Rome and his native city of Bologna. After an initial apprenticeship with his uncle he studied with Lorenzo Pasinelli before entering the studio of Cesare Gennari. When he was in Rome in the 1720s he espoused a return to the art of the Carracci and became recognised as among the foremost painters of the Bolognese school. He received important commissions among which the most prestigious was the frescoed vault decoration of the Galleria degli Specchi of Palazzo Doria Pamphilij in 1733.
Dorotheum
May. 26, 2020
AURELIANO MILANI att. to
Est: €1,200 - €1,800
AURELIANO MILANI, att. to (Bologna 1675 - Rome 1749) LANDSCAPE WITH RESTING SANSONE Oil on canvas, cm. 45 x 37 Golden frame CONDITION OF THE PAINTING Late nineteenth century re-lining. Points and lines of restoration scattered in the sky, points of restoration on the skin tones AURELIANO MILANI, att. a (Bologna 1675 - Roma 1749) PAESAGGIO CON SANSONE AL RIPOSO Olio su tela, cm. 45 x 37 Cornice dorata CONDIZIONI DEL DIPINTO Rintelo tardo ottocentesco. Punti e linee di restauro sparse nel cielo, punti di restauro sugli incarnati
Casa d'Aste Babuino
Feb. 04, 2020
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc,
Est: €1,500 - €2,000
Aureliano MILANI Bologne, 1675 - Rome, 1749 L'incorruptibilité de Fabricius Plume et encre brune, lavis brun et rehauts de blanc, annoté 'Vanni' en bas à gauche et 'Dentatus rejecting the Bribes of the Samnites / [...] Barker Am 1789 / March / 1841' au verso h: 24,50 w: 37,50 cm Provenance : Collection Benjamin West, Londres, son cachet (L. 419) en bas à droite ; Probablement sa vente, Londres, 1820, selon l'annotation au verso ; Collection William Esdaile, Londres, son paraphe (L. 2617) en bas à droite, avec l'attribution 'aureliano' dans le bas sur le montage et ses initiales avec date et inscription '1820 W E B West's sale P4N50' au verso ; Vente anonyme, Paris, Christie's, 21 octobre 2013, n° 329 Estimation 1 500 - 2 000 €
Artcurial
Nov. 21, 2019
AURELIANO MILANI (Bologna, 1675 - Rome, 1749), ATTRIBUTED TO - The baptism of Christ
Est: €2,400 - €3,000
AURELIANO MILANI (Bologna, 1675 - Rome, 1749), ATTRIBUTED TO The baptism of Christ Oil on canvas, cm. 70x57,5
Bertolami Fine Art s.r.l.
Oct. 19, 2019
Attributed to MILANI, Aureliano The Incredulity of Saint Thomas. C. 1700-17
Est: €350 - €600
Attributed to MILANI, Aureliano The Incredulity of Saint Thomas. C. 1700-1749 Drawing, pen and brown ink with wash, heightened with white, 44 x 32 cm, on verso in cont. hand "A. Milani" (min. foxing, sm. blue stains in lower right, rep. tear in lower part, sm. defects in lower left margin). Stuck by upper corners under passe-partout. Classical representation of Jesus, here in an architectural setting and surrounded by numerous disciples, guiding Thomas' fingers into the wound. The ms. note refers to the Italian painter of the late Baroque period A. Milani (1675-1749), who was active in Bologna and Rome.
Arenberg Auctions
Jul. 04, 2018
AURELIANO MILANI | An angel playing a trumpet
Est: £10,000 - £15,000
Black and red chalk heightened with white chalk on pinkish-brown prepared paper; bears numbering in pen and brown ink, verso: ? 69?
Sotheby's
Mar. 22, 2018
Auréliano MILANI (Bologne 1675-1749) L’ivresse de Noé Noa drunkness, canvas, on the stretcher’s back, a collection label: Collection de
Est: €10,000 - €15,000
Auréliano MILANI (Bologne 1675-1749) L’ivresse de Noé Noa drunkness, canvas, on the stretcher’s back, a collection label: Collection de Son Altesse Royale / Monseigneur le Prince/ RENE DE BOURBON PARME, in a 17th century French carved giltwood frame 19 1/2 X 25 5/8 IN. € 10,000-15,000 Le pendant de ce tableau est conservé dans une collection particulière (Abel Mort ?). Auréliano MILANI (Bologne 1675-1749) L’ivresse de Noé Toile Restaurations anciennes Au revers du châssis, une étiquette de collection : Collection de Son Altesse Royale / Monseigneur le Prince/ RENE DE BOURBON PARME Dans un cadre en bois doré français du XVIIe siècle 49,5 X 65 CM.
Tajan
Jan. 30, 2018
"Santísima Trinida"
Est: -
GIOVANNI BATTISTA SINTES, sculpit (Italy, c.1680 - c.1760), AURELIANO MILANI, invent et delineabit (Bologna, 1675 - Rome, 1749). "Santísima Trinidad". Engraving by etching. 32 x 21.5 cm "Santísima Trinida" GIOVANNI BATTISTA SINTES, sculpit (Italia, c. 1680 - c. 1760) AURELIANO MILANI, invent et delineabit (Bolonia, 1675 - Roma, 1749) Grabado al aguafuerte 32 x 21,5 cm
Isbilya Subastas
Jan. 30, 2018
Aureliano Milani (Bologna 1675-1749 Rome) Study of a partially draped male nude, three-quarter length
Est: $3,000 - $4,000
Aureliano Milani (Bologna 1675-1749 Rome) Study of a partially draped male nude, three-quarter length black chalk, watermark PA in a heart 10 1/8 x 7 ¼ in. (25.7 x 18.4 cm)
Christie's
Jun. 25, 2016
Attribué à Auréliano MILANI (1675 - 1749)
Est: €10,000 - €11,000
Attribué à Auréliano MILANI (1675 - 1749) Sanson et les philistins Toile 77 x 116 cm Porte une inscription à l'encre au dos de la toile: N.37 Petits manques Cabinet Turquin Expert en tableaux anciens et du XIXème 69 rue Sainte Anne 75002 Paris Tél : +33 (0)1 47 03 48 78 Fax : +33 (0)1 42 60 59 32
Pays de Fayence Enchères
Aug. 13, 2015
Attribué à Auréliano MILANI (1675 - 1749) Sanson tuant les philistins. Toile. 77 x 116 cm.Porte une inscription à l'encre au dos de la toile: N.37. Petits manques Cabinet Turquin. Expert en tableaux anciens et du XIXème. 69 rue Sainte Anne.
Est: €10,000 - €11,000
Attribué à Auréliano MILANI (1675 - 1749) Sanson tuant les philistins. Toile. 77 x 116 cm.Porte une inscription à l'encre au dos de la toile: N.37. Petits manques Cabinet Turquin. Expert en tableaux anciens et du XIXème. 69 rue Sainte Anne. 75002 Paris Tél : +33 (0)1 47 03 48 78 Fax : +33 (0)1 42 60 59 32
Pays de Fayence Enchères
Jul. 08, 2015
AURELIANO MILANI | An elaborate frieze showing the triumph of a Roman general
Est: £7,000 - £9,000
Pen and brown ink heightening with white on buff paper, the bottom margin of the sheet washed light pinkish beige; bears old attribution in brown ink lower left: Tiepolo
Sotheby's
Jun. 30, 2015
AURELIANO MILANI(attr.) Zenobia and Alexander
Est: £1,100 - £1,500
AURELIANO MILANI(attr.) Zenobia and Alexander Black pen on paper It can be dated between the first and second decade of the 18th century. The drawing reveals the artist's thin and elegant line during the period when he was working in the Gal- lery of Mirrors at Doria Pamphili Palace in Rome with the Stories of Hercules and the Allegories of the Liberal Arts. It's a preparatory study for an unknown alterpiece elaborated with the criterion of the refusal of pagan idols' cult and consequent martyrdom frequently found in the Roman art of the first quarter of the 18th century. 312 x 210 mm
Bertolami Fine Art s.r.l.
Jan. 29, 2015
Aureliano Milani (Bologna 1675-1749) The abduction of Helen black chalk wit
Est: $12,000 - $18,000
Aureliano Milani (Bologna 1675-1749) The abduction of Helen black chalk with stumping, pen and black ink, grey wash 11 3/8 x 19 3/8 in. (28.8 x 49.4 cm.)
Christie's
Nov. 28, 2014
Milani, A. (1675-1749). (Christ carrying the cross to Calvary). Large engraving (printed) on 3 attached sheets, 62x123,5 cm., 2-line engr. Latin caption below image, framed. - Three vertical and one horizontal former folds; large closed horizontal
Est: €300 - €500
Milani, A. (1675-1749). (Christ carrying the cross to Calvary). Large engraving (printed) on 3 attached sheets, 62x123,5 cm., 2-line engr. Latin caption below image, framed. - Three vertical and one horizontal former folds; large closed horizontal tear at left; a few closed splits at vertical folds; trifle foxed; vague waterstain in left blank margin, sl. and vaguely affecting portion of image. = Impressive scene with numerous people before a Jerusalem city gate, Golgotha in the distance.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Jun. 26, 2014
Milani, Aureliano
Est: €1,000 - €1,200
Milani, Aureliano Gesù condotto al Calvario Acquaforte, Roma, s.e., 725, mm. 610 x 1250 all'impronta della lastra e 1490 x 780 il foglio, strappo al margine bianco laterale, rinforzi.
Finarte Roma
Oct. 29, 2013
Aureliano Milani (Bologna 1675 - 1749), nei modi di, Recto: â€aeGuerrieroâ€? Verso: â€aeStudi di mani"
Est: €800 - €1,000
Aureliano Milani (Bologna 1675 - 1749), nei modi di, Recto: â€aeGuerrieroâ€ Verso: â€aeStudi di mani" matita e sanguigna su carta, mm 450x290
Cambi Casa d'Aste
May. 22, 2013
Milani, Aureliano (Bologna 1675 - Roma 1749)
Est: €1,000 - €1,800
Milani, Aureliano (Bologna 1675 - Roma 1749) L'EBREZZA DI NOE' Penna e inchiostro bruno con rialzi a tempera ...
Pandolfini Casa d'Aste
Jan. 31, 2013
Aureliano Milani (Bologna 1675-1749)
Est: $5,000 - $8,000
Aureliano Milani (Bologna 1675-1749) The Incorruptibility of Gaius Fabricius with inscription 'Vanni' (lower left) and with inscription 'Dentatus rejecting the Bribes of the Samnites [...] Barker Am 1789 March 1841' (on the verso) pen and brown ink, brown wash, heightened with white (partly oxidized) 9 7/8 x 14¾ in. (25 x 37.4 cm.)
Christie's
Jun. 26, 2011
Attribué à Auréliano MILANI - Sanson tuant les philistins
Est: €8,000 - €10,000
Attribué à Auréliano MILANI (1675 - 1749) Sanson tuant les philistins Toile 77 x 116 cm Porte une inscription à l'encre au dos de la toile: N.37 Petits manques
Pays de Fayence Enchères
Jun. 08, 2010
AURELIANO MILANI
Est: €12,000 - €16,000
AURELIANO MILANI BOLOGNA 1675 - 1749 SAN FRANCESCO SAVERIO CONVERTE GLI INDIGENI olio su tela, sagomato, grisaille 61.5 x 96.5 cm
Sotheby's
Oct. 27, 2009
[ Master Drawings, Prints before 1900,
Est: €6,000 - €8,000
[ Master Drawings, Prints before 1900, Watercolours, Miniatures ] Aureliano Milani (1675-1749) attributed to
Dorotheum
Jul. 09, 2009
Aureliano Milani (Bologna 1675-1749 Rome)
Est: £3,000 - £4,000
Aureliano Milani (Bologna 1675-1749 Rome) Five studies of a horse's head (recto); A standing soldier (verso) with inscription 'Aurelian Milani f Cinqo alta 1691. AL.[?]' (verso) red chalk, brown wash (recto); black chalk, pen and brown ink (verso) 7¼ x 11 3/8 in. (18.3 x 28.8 cm.), unframed
Christie's
Sep. 15, 2008
*MILANI, AURELIANO
Est: CHF88,000 - CHF140,000
MILANI, AURELIANO (1675 Bologna 1749) Christ and the Samaritan woman at the well. Oil on canvas. 172.5 x 120 cm. Expertise : Prof. Giancarlo Sestieri, Rome , 16. April 2007. MILANI, AURELIANO (1675 Bologna 1749) Christus mit der Samariterin am Brunnen. Öl auf Leinwand. 172,5 x 120 cm.
Koller Auctions
Jan. 23, 2008
Aureliano Milani , Bologna 1675 - 1749 the stoning of st. stephen Black chalk and gray wash, heightened with white; arched top
Est: $8,000 - $12,000
Black chalk and gray wash, heightened with white; arched top
Sotheby's
Nov. 29, 2005
AURELIANO MILANI BOLOGNA 1675 - 1749
Est: €15,000 - €20,000
CACCIATA DI ADAMO ED EVA measurements note 153 x 105.5 cm. olio su tela
Sotheby's
Jul. 06, 2005
AURELIANO MILANI BOLOGNA 1675 - 1749 GOD THE FATHER SURROUNDED BY PUTTI
Est: £2,000 - £3,000
bears numbering and old attribution, verso: 239/Aurelio Millani black chalk with stumping PROVENANCE Pierre Crozat ? (L.474), now thought to be the mark of the Comte de Caylus CATALOGUE NOTE This charming drawing compares stylistically and technically to other works in black chalk given to Milani. The broad areas of stumping, the sfumato effect, and the rounded faces of the putti seem particularly distinctive.
Sotheby's
Apr. 20, 2004
AURELIANO MILANI, BOLOGNA 1675 - 1749
Est: £2,000 - £3,000
signed lower right: Io Aureliano Milani pen and black ink and grey wash
Sotheby's
Dec. 13, 2000
Aureliano Milani (Bologna 1675-1749)
Est: $116,000 - $174,000
The Combat of Aeneas and Turnus signed and dated 'AURELIANO MILANI. MDCCVIII' (centre right on the pediment of the temple) oil on canvas 671/2 x 521/2 in. (171.5 x 133.3 cm.) PROVENANCE Walter P. Chrysler, Jr., Norfolk, Virginia; Sotheby's, London, 12 December 1973, lot 57 (œ2,500 to Villiers Gallery). with the Villiers Gallery, London, from whom acquired by the present owner in 1974. LITERATURE R. Roli, Pittura Bolognese 1650-1800 dal Cignani ai Gandolfi, Bologna, 1977, p. 277. G. Sestieri, Repertorio della Pittura Romana della fine del Seicento e del Settecento, Rome, 1993, I, p. 129, II, pl. 765. EXHIBITION New York, Finch College Museum of Art, Baroque Painters of Bologna and neighbouring Cities, 1962, no. 38. Norfolk, Virginia, Museum of Arts and Sciences, Italian Paintings from the Collection of Walter P. Chrysler, 1967-8, no. 58. Chicago, Art Institute; Minneapolis, Institute of Art; Toledo, Museum of Art, Painting in Italy in the 18th Century: Rococo to Romanticism, 1970-1971, catalogue by J. Moxon and J.J. Rishel, no. 56. NOTES Milani trained in Bologna in the studios of Lorenzo Pasinelli and Cesare Gennari. However, as a young artist he was influenced most profoundly not by the studios in which he worked, but by the exhaustive studies he made of the Carracci fresco cycles in the Palazzo Fava and the Palazzo Magnani in Bologna. His work there not only provided the inspiration for the present canvas but also served as the basis for the creation of his whole artistic identity. Milani's revival of the style of the Carracci of over a century earlier makes him one of the most distinctive Bolognese painters of his generation. Milani enjoyed a successful career in his native city. He is known to have executed religious commissions such as the fresco of The Annunciation for the Servite convent in 1705 and there exist, in addition to the present picture, other secular works for private patrons such as the four stories of Samson now in the collection of the Banca Popolare in Modena. The prominence given in these works to the male figure shown in striking athletic poses is clearly reminiscent of the present canvas. Here, the costume and vigorous poses recall the figure style employed by the Carracci in the Palazzo Fava where Milani had been granted free access (and financial assistance) by Count Alessandro Fava. As pointed out by J. Moxon and J.J. Rischel, loc. cit., a more direct source for the the two counterpoised protagonists can be traced to two analogous figures in the Death of Amulius from the somewhat later fresco cycle by the Carracci in the Palazzo Magnani. In 1718 Milani moved to Rome where he was to remain for the rest of his life, painting a number of altarpieces and executing frescoes in the Palazzo Pamphilij, begun in 1732. The subject of the picture derives from Virgil's Aeneid. When Aeneas finally arrived in Latium, by the Tiber, he found the land ruled by King Latinus, whose daughter, Lavinia, was betrothed to Turnus, the nearby ruler of the Rutuli. Latinus, however, had learned from an oracle that his daughter was fated to marry a foreigner and to become mother of a race that would make the world its Empire; he therefore agreed to an alliance with the Trojans, promising Aeneas her hand in marriage. However Juno, Aeneas' implacable enemy, turned both Latins and Rutuli against Aeneas; in the resulting war, Aeneas proposed a single combat between himself and Turnus to settle the fighting and, although Turnus initially refused, in the end the two confronted each other. Aeneas won the fight, and Turnus declared defeat, pledging Lavinia to his rival. Aeneas thus established the Trojans in Latium, naming their settlement Lavinium after his bride. Through his son, Ascanius, he became the legendary ancestral founder of the Roman race, and the forebear of the Julian line that founded Caesar and Augustus.
Christie's