Luigi Miradori Sold at Auction Prices

Painter, b. 1600 - d. 1654

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    • MIRADORI DETTO IL GENOVESINO LUIGI (1610 - 1654) - School of. Vanitas
      Jul. 16, 2024

      MIRADORI DETTO IL GENOVESINO LUIGI (1610 - 1654) - School of. Vanitas

      Est: €600 - €800

      MIRADORI DETTO IL GENOVESINO LUIGI (1610 - 1654). School of. Vanitas. 65,00 x 50,00 cm.

      Capitolium Art
    • Luigi Miradori il Genovesino (allegedly by) (Genova 1605 circa-Cremona 1656 circa) - Sleeping baby
      Apr. 19, 2024

      Luigi Miradori il Genovesino (allegedly by) (Genova 1605 circa-Cremona 1656 circa) - Sleeping baby

      Est: €16,000 - €99,999

      Oil painting on canvas "Painting that shows a clear naturalistic imprint, with Caravaggio-esque suggestions. Iconographic prototype of Renian derivation, Madonna in adoration of the sleeping child by Guido Reni. The work proposes the exact construction of the scene with the exception of the Madonna. The sleeping putto on an elegant cushion, almost in the identical position the curtain gathered on one side, which reveals a part of the landscape in the distance. Genovesino certainly knew the above painting, but he makes his extremely particular, opening the curtain to the landscape, giving a personal twist to the composition In addition to the iconological aspect, the stylistic aspect shows clear references regarding the chiaroscuro lights, the atmosphere, the pasty application dissected by the use of the brush tip tips, to define the modeling of the body, results mediated by Orazio Gentileschi with with whom he had had contact in Genoa. Furthermore, the face of the child, with plump red cheeks, almost smiling so as to give sweetness and sweetness to the whole composition, seems to match Strozzi's manner. These clues could suggest the idea that this is one of the few works performed by Miradori in his hometown of Genoa."STUDIO ASOR

      ArtLaRosa
    • Attributed to LUIGI MIRADORI “IL GENOVESINO” (Genoa, c. 1600-1610 - Cremona, c. 1656). "Skulls". Oil on wood. It has overpaints.
      Oct. 17, 2023

      Attributed to LUIGI MIRADORI “IL GENOVESINO” (Genoa, c. 1600-1610 - Cremona, c. 1656). "Skulls". Oil on wood. It has overpaints.

      Est: €7,000 - €9,000

      Attributed to LUIGI MIRADORI "IL GENOVESINO" (Genoa, c. 1600-1610 - Cremona, c. 1656). "Skulls". Oil on panel. With repainting. Measurements: 30 x 41,5 cm. The author presents us two skulls arranged on a background that is darkened in the base, in such a way that it seems to simulate a table. No element distorts the image of the two skulls, which present a grotesque gesture, especially the one on the left side of the composition, which seems to adopt a gesture of laughter. This type of subject matter featuring skulls, or simply the presence of skulls, was common during the Baroque period, which adopted the symbol of the skeleton as a way of capturing death and the destiny of mankind. One of the themes that most preoccupied Baroque painters was to capture the fleetingness of life. Vanities denounced the relativity of knowledge and the vanity of mankind, subject to the passage of time and death. This genre was particularly popular during the Baroque period, as mentioned above, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas. Due to the technical characteristics and even the subject matter, it is possible to relate this work to the artist known as Il Genovesino, Luigi Miradori. In fact, in his work "The Sleeping Cupid", which belongs to the collection of the Museo Civico Ala Ponzone in Cremona, a skull can be seen with the same gestures as in the present painting.... Of Genoese origin, Miradori began his academic training with the painter Panfilo Nuvolone, although it is thought that he also trained with Pietro Martire Neri. Most of his works are to be found in the churches of his adopted city of Cremona, where he died around 1656.

      Setdart Auction House
    • MIRADORI DETTO IL GENOVESINO LUIGI (1610 - 1654) - School of. Vanitas
      Oct. 17, 2023

      MIRADORI DETTO IL GENOVESINO LUIGI (1610 - 1654) - School of. Vanitas

      Est: €1,300 - €2,300

      MIRADORI DETTO IL GENOVESINO LUIGI (1610 - 1654). School of. Vanitas. 65,00 x 50,00 cm.

      Capitolium Art
    • Luigi Miradori, Italy, around 1600 - around 1657 "Infant Jesus Asleep" 17th century
      Jul. 06, 2023

      Luigi Miradori, Italy, around 1600 - around 1657 "Infant Jesus Asleep" 17th century

      Est: €5,000 - €6,000

      Luigi Miradori was a painter who was born around the year 1600. MUDEC - Museo delle Culture presented the work of Luigi Miradori in the past. Luigi Miradori's work has been offered for auction multiple times, with realized prices ranging from $1,656 to $228,000, depending on the size and medium of the artwork. The record price for this artist at auction since 2005 is USD 228,000 for Portrait of an Olivetan Priest and Member of the Pueroni Family, sold at Christie's New York in 2005. 65cm x 49cm

      Templum Fine Art Auctions
    • Luigi Miradori Madonna con Bambino e San Giovannino
      Jun. 27, 2023

      Luigi Miradori Madonna con Bambino e San Giovannino

      Est: €8,000 - €12,000

      .

      Cambi Casa d'Aste
    • MIRADORI DETTO IL GENOVESINO LUIGI (1610 - 1654) School of. Vanitas
      Jun. 13, 2023

      MIRADORI DETTO IL GENOVESINO LUIGI (1610 - 1654) School of. Vanitas

      Est: €2,500 - €4,500

      MIRADORI DETTO IL GENOVESINO LUIGI (1610 - 1654). School of. Vanitas. Cm 65,00 x 50,00.

      Capitolium Art
    • Luigi Miradori, detto il Genovesino (Genova 1605-Cremona 1656) - Young pilgrim
      May. 30, 2023

      Luigi Miradori, detto il Genovesino (Genova 1605-Cremona 1656) - Young pilgrim

      Est: €3,000 - €6,000

      oil on canvas 125 x 87 cm We thank Dr. Yuri Primarosa for proposing this attribution after viewing the painting in original.

      Finarte
    • il Genovesino Luigi Miradori (attribuito a) (Genova 1605 circa-Cremona 1656 circa) - Sleeping child
      Feb. 24, 2023

      il Genovesino Luigi Miradori (attribuito a) (Genova 1605 circa-Cremona 1656 circa) - Sleeping child

      Est: -

      Oil painting on canvas "This painting displays a naturalistic style with Caravaggesque influences. It is based on the iconographic prototype of Madonna in Adoration of the Sleeping Child by Guido Reni. The composition closely resembles the original scene, except for the depiction of the Madonna. The sleeping putto is depicted resting on an elegant cushion, with a curtain gathered on one side revealing a landscape in the distance. It is likely that the artist, who is believed to be from Genoa, was familiar with Reni's painting but added his own personal touch by incorporating the landscape into the composition. In addition to the iconography, the style of the painting exhibits clear references to chiaroscuro lighting, atmosphere, and pasty brushstrokes, which are similar to the techniques used by Orazio Gentileschi, with whom the artist may have had contact in Genoa. The child's face, with its plump red cheeks and slight smile, also bears resemblance to the manner of Strozzi. These clues suggest that this could be one of the few works created by the artist while in his hometown of Genoa." ASORSTUDIO

      ArtLaRosa
    • LUIGI MIRADORI CALLED GENOVESINO (Genoa, 1605 - Cremona, 1656), ATTRIBUTED TO
      Nov. 17, 2022

      LUIGI MIRADORI CALLED GENOVESINO (Genoa, 1605 - Cremona, 1656), ATTRIBUTED TO

      Est: €2,500 - €3,500

      Vanitas Oil on canvas, cm. 68x51. Framed.

      Bertolami Fine Art s.r.l.
    • Luigi Miradori, genannt „Genovesino“, 1600/10 – um 1656, zugeschrieben
      Jun. 30, 2022

      Luigi Miradori, genannt „Genovesino“, 1600/10 – um 1656, zugeschrieben

      Est: €25,000 - €35,000

      Gemäldepaar ErZENGEL MICHAEL DEN TEUFEL BEZWINGEND und HEILIGER GEORG MIT DEM DRACHEN Öl auf Leinwand. Doubliert. 230 x 93 cm. Jeweils in ihrer Rüstung zeigt uns der Künstler die schlanken Bildfelder fast vollends ausfüllenden Figuren des Erzengels und des Georg in bewegter Gestik. Eine Berührung der Gliedmaßen der Figuren mit den Bildrändern ist zu erahnen oder auf Grund der suggerierten Bewegung doch zumindest vorauszuahnen. Während der Erzengel ein dämonisches Wesen mit menschlichem Gesicht zu Boden drücken vermag, ohne die Waagschale in seiner Hand in Bewegung zu versetzen, hält er das erhobene Richtschwert in seiner Hand. Der Heilige Georg tritt scheinbar mühelos mit einem Fuß auf das Haupt eines Drachen, dessen heraushängende Zunge von der Entmachtung seines Wesens zeugt. Das schlanke Format ist für Genovesino nicht ungewöhnlich; wir kennen es zum Beispiel aus zwei hochformatigen Blättern seiner Hand in der Kirche Marcellino e Pietro in Cremona. Die flächenfüllende Anlage seiner Figurenmalerei ist hingegen in einigen der Portraits seiner Hand überliefert, wie sie in verschiedenen Privatsammlungen zu finden sind. Rest. (1322031) (3) (13) Luigi Miradori, also known as “Genovesino”, 1600/10 – ca. 1656, attributed A pair of paintings ARCHANGEL MICHAEL VANQUISHING SATANand SAINT GEORGE AND THE DRAGON Oil on canvas. Relined. 230 x 93 cm.

      Hampel Fine Art Auctions
    • Attributed to LUIGI MIRADORI “IL GENOVESINO” (Genoa, c. 1600-1610 - Cremona, c. 1656). "Skulls". Oil on wood. It has overpaints.
      Feb. 10, 2022

      Attributed to LUIGI MIRADORI “IL GENOVESINO” (Genoa, c. 1600-1610 - Cremona, c. 1656). "Skulls". Oil on wood. It has overpaints.

      Est: €10,000 - €12,000

      Attributed to LUIGI MIRADORI "IL GENOVESINO" (Genoa, c. 1600-1610 - Cremona, c. 1656). "Skulls". Oil on panel. With repainting. Measurements: 30 x 41,5 cm. The author presents us two skulls arranged on a background that is darkened in the base, in such a way that it seems to simulate a table. No element distorts the image of the two skulls, which present a grotesque gesture, especially the one on the left side of the composition, which seems to adopt a gesture of laughter. This type of subject matter featuring skulls, or simply the presence of skulls, was common during the Baroque period, which adopted the symbol of the skeleton as a way of capturing death and the destiny of mankind. One of the themes that most preoccupied Baroque painters was to capture the fleetingness of life. Vanities denounced the relativity of knowledge and the vanity of mankind, subject to the passage of time and death. This genre was particularly popular during the Baroque period, as mentioned above, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas. Due to the technical characteristics and even the subject matter, it is possible to relate this work to the artist known as Il Genovesino, Luigi Miradori. In fact, in his work "The Sleeping Cupid", which belongs to the collection of the Museo Civico Ala Ponzone in Cremona, a skull can be seen with the same gestures as in the present painting.... Of Genoese origin, Miradori began his academic training with the painter Panfilo Nuvolone, although it is thought that he also trained with Pietro Martire Neri. Most of his works are to be found in the churches of his adopted city of Cremona, where he died around 1656.

      Setdart Auction House
    • il Genovesino Luigi Miradori (attribuito a) (Genova 1605 circa-Cremona 1656 circa) - Sleeping baby
      Dec. 11, 2021

      il Genovesino Luigi Miradori (attribuito a) (Genova 1605 circa-Cremona 1656 circa) - Sleeping baby

      Est: €16,000 - €9,999,999

      Oil painting on canvas"Painting that shows a clear naturalistic imprint, with Caravaggesque suggestions. The iconographic prototype is the Madonna in adoration of the sleeping child by Guido Reni. The work proposes the exact construction of the scene except for the Madonna. The sleeping putto is on an elegant cushion and, almost in the same position, the curtain gathered on one side, which reveals a part of the landscape in the distance. Surely the Genoese knew the above painting, but he renders it extremely particular, opening the curtain to the landscape, giving a personal twist In addition to the iconological data, the stylistic aspect shows evident references regarding the chiaroscuro lights, the atmosphere, the pasty draft sectioned by the use of the sparkles given with a brush tip, to define the modeling of the body, results mediated by Horace Gentileschi with whom he had had contact in Genoa. In addition, the child's face, with its plump, reddened cheeks, almost smiling the gentleness and sweetness of the whole composition seems to accord with Strozzi's manner. These clues could suggest that this is one of the few works performed by Miradori in his hometown of Genoa. "ASOR STUDIO

      ArtLaRosa
    • Luigi Miradori, genannt „Genovesino“, 1600/10 – um 1656, zugeschrieben
      Dec. 09, 2021

      Luigi Miradori, genannt „Genovesino“, 1600/10 – um 1656, zugeschrieben

      Est: €30,000 - €40,000

      HEILIGE DES KARMELITERORDENS UND FÜRSTENPAAR IN ANBETUNG VOR MARIA MIT DEM KINDE Öl auf Leinwand. Doubliert. 139 x 117 cm. Ungerahmt. In einem durch klassische kannelierte Säulen und Ehrenvelum definierten Innenraum rechts Maria mit dem Kinde sitzend, deren Häupter durch eine Gloriole umfangen werden. Der linke Bildraum durch eine Dreistaffelung definiert durch den ehrerbietig knienden Hieronymus, der durch seine Kardinalsinsignien sowie durch den am unteren Bildrand erkennbaren Löwen identifizierbar ist, sowie Johannes den Evangelisten mit seinem Attribut dem Kelch mit der daraus emporsteigenden Schlange (Dämon). Dahinter ein Fürstenpaar mit ihren Insignien, wobei der Fürst (vielleicht Marchese Cesare Soresina Vidoni) aus dem Bild den Betrachter anblickt und somit als möglicher Stifter des Gemäldes in Frage kommt. In der dritten Reihe drei Karmelitermönche, die in dem Zusammenhang mit der beschenkten Kirche gestanden habend dürften. Rest. Anmerkung: Aufgrund des Zusammenhanges mit dem Karmeliterordens und der Tätigkeit Miradoris in Cremona, käme die Kirche Santi Clemente e Imerio in Frage, deren Säulen nicht in echten korinthischen Kapitellen enden, sondern in Lorbeerblättern, die auch auf unserem Gemälde in engem Zusammenhang mit den Säulen stehen. In der erwähnten Literatur auf Seite 225: „L’ordine, che qui diciamo composito, è alquanto bastardo: in luogo delle foglie d’acanto ci sonofestoni di lauro appesi agli occhi delle volute“. Literatur: Giuseppe Picenardi, Nuova guida di Cremona, Cremona 1820, S. 224-226. Dort Verweis, dass Luigi Miradori auch ein Gemälde mit Maria und dem Kind und Heiligen des Karmeliterordens malte. Es ist nicht ausgeschlossen, dass es sich hier um das erwähnte Werk handelt: S. 226: „L’ultimoaltare da questo latomedesimo, vicino alla porta, ove sonnovi Santi dell’ Ordine Carmelitano in varie maniere rappresentati, è parimenti opera dello stesso Miradori“. (1290541) (3) (13) Luigi Miradori, also known as “Genovesino”, 1600/10 – ca. 1656, attributed FEMALE SAINT OF THE CARMELITE ORDER AND PRINCELY COUPLE IN ADORATION OF THE VIRGIN AND CHRIST CHILD Oil on canvas. Relined. 139 x 117 cm. Unframed. Notes: Due to the connection with the Carmelite Order and the activity of Luigi Miradori in Cremona, the church of Santi Clemente e Imerio would be an option to consider. The columns there are not topped by Corinthian capitals, but by laurel leaves, which are similar to the columns in our painting. In the below mentioned literature see page 225: “L’ordine, che qui diciamo composito, è alquanto bastardo: in luogo delle foglie d’acanto ci sonofestoni di lauro appesi agli tatting delle volute”. Literature: Giuseppe Picenardi, Nuova guida di Cremona, Cremona 1820, p. 224-226, with reference that Luigi Miradori also painted a painting with Mary and the Child and a Saints of the Carmelite Order. It cannot be ruled out that the present work is identical with the one mentioned there see p. 226: “L’ultimoaltare da questo latomedesimo, vicino alla porta, ove sonnovi Santi dell’ Ordine Carmelitano in varie maniere rappresentati, è parimenti opera dello stesso Miradori”.

      Hampel Fine Art Auctions
    • LUIGI MIRADORI CALLED GENOVESINO, (GENOVA, 1600 - CREMONA, 1657), ATTRIBUTED TO : FLOWER GARLAND WITH HOLY FAMILY, ST. JOHN THE BAPTIST AND ANGELS
      Nov. 26, 2021

      LUIGI MIRADORI CALLED GENOVESINO, (GENOVA, 1600 - CREMONA, 1657), ATTRIBUTED TO : FLOWER GARLAND WITH HOLY FAMILY, ST. JOHN THE BAPTIST AND ANGELS

      Est: €4,500 - €5,500

      Oil on canvas, cm. 97x79

      Bertolami Fine Art s.r.l.
    • Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), Rebecca ed Eliezer al pozzo
      May. 19, 2021

      Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), Rebecca ed Eliezer al pozzo

      Est: €3,000 - €5,000

      olio su tela, cm 98x132

      Cambi Casa d'Aste
    • Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), Rebecca ed Eliezer al pozzo
      Dec. 10, 2020

      Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), Rebecca ed Eliezer al pozzo

      Est: €5,000 - €7,000

      olio su tela, cm 98x132

      Cambi Casa d'Aste
    • Oil paint on canvas depicting Jesus child feeding birds with grapes. Luigi Miradori's attribution (Genova, 1605, Cremona
      Oct. 10, 2020

      Oil paint on canvas depicting Jesus child feeding birds with grapes. Luigi Miradori's attribution (Genova, 1605, Cremona

      Est: €1,200 - €9,999,999

      Oil paint on canvas depicting Jesus child feeding birds with grapes. Luigi Miradori's attribution (Genova, 1605, Cremona 1656), called the Genovesino. Cm 55 x 40,5, in frame cm 71x58. "Religious scene, although it does not seem, that leads to think of the generosity and goodness of the Jesus child feeding birds with grapes, which represents Divine help to humanity. This painting shows the erudite culture of Miradori. In fact his paintings are characterized by the great inventive freedom that shows a clear influence deriving from the Caravaggio suggestions assimilated from the Gentileschi, during the Genovese period, and that give us a vividly realistic split through the manipulations of color with chiaroscuro tones. This painter was defined "cheerful, bizarre, facetious" by Arisi, his biographer, and in this painting seems to demonstrate these characteristics: the tones are perfectly calibrated and the taste for original inventions and anecdotal descriptions is evident." ASOR Studio

      ArtLaRosa
    • Luigi Miradori (Genoa, about 1605 - Cremona, approximately 1656) known as "The Genovesino". Cherub
      May. 16, 2020

      Luigi Miradori (Genoa, about 1605 - Cremona, approximately 1656) known as "The Genovesino". Cherub

      Est: -

      Luigi Miradori (Genoa, about 1605 - Cremona, approximately 1656) known as "The Genovesino". Cherub dormant. 64X98, oil paint on canvas, 88x122 in the frame. Painting showing a clear naturalistic impression, from Caravaggio suggestions. iconographic of derivation Reni Prototype. Madonna adoring the Sleeping Child by Guido Reni. The work proposes the exact construction of the scene with the exception of the Madonna. The sleeper putto on an elegant pillow, almost identical position the tent collection the one hand, that reveals a part of the landscape in the distance. Surely the Genovesino knew the painting shown above, but it makes her very special, opening the curtain to the landscape, giving a personal touch to the composition. In addition to the given iconologic, the stylistic aspect shows obvious references concerning the chiaroscuro lights, the atmosphere, the drafting pasty evicted and sectioned by the use of shine to the tip of brush data, to finish the molded body. Findings mediated by Orazio Gentileschi with whom he had contacts in Genoa. In addition, the face of the child, the chubby cheeks flushed, almost smiling is to give joavita and sweetness to the composition of the whole, seems to grant to the Strozzi ways, might suggest the idea that one of the few works performed by Miradori in his hometown of Genoa.

      ArtLaRosa
    • Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), Eucarestia
      Dec. 13, 2019

      Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), Eucarestia

      Est: €20,000 - €25,000

      olio su tela, cm 145x107, Pubblicazioni: Catalogo della mostra "Genovesino, Natura e invenzione nella pittura del Seicento a Cremona", Cremona 2017, pag. 166, fig. 75

      Cambi Casa d'Aste
    • Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), ambito di, Vanitas con Bambino dormiente, teschio e clessidra
      Dec. 13, 2019

      Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), ambito di, Vanitas con Bambino dormiente, teschio e clessidra

      Est: €1,500 - €2,000

      olio su tela, cm 32x42,5

      Cambi Casa d'Aste
    • DIPINTO
      Dec. 04, 2017

      DIPINTO

      Est: €2,000 - €2,300

      Scuola lombarda sec.XVIII 'Natura morta con figura' olio cornice in legno laccato e dorato cm. 60x63

      Aste Boetto SRL
    • MIRADORI LUIGI
      Dec. 04, 2017

      MIRADORI LUIGI

      Est: €25,000 - €27,500

      MIRADORI LUIGI detto GENOVESINO (1600-1655) 'La Circoncisione' olio su tela cornice coeva in legno intagliato e dorato cm. 150x120

      Aste Boetto SRL
    • Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), attribuito a "Allegoria della passione di Cristo"
      Oct. 29, 2013

      Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), attribuito a "Allegoria della passione di Cristo"

      Est: €8,000 - €10,000

      Luigi Miradori detto il Genovesino (Genova 1605 - Cremona 1659), attribuito a "Allegoria della passione di Cristo" olio su tela, cm 64x90

      Cambi Casa d'Aste
    • Follower of Luigi Miradori (Italian, lived circa 1605-died circa 1654) Vanitas 17 3/4 x 21 1/2in (45.1 x 54.6cm)
      Oct. 21, 2009

      Follower of Luigi Miradori (Italian, lived circa 1605-died circa 1654) Vanitas 17 3/4 x 21 1/2in (45.1 x 54.6cm)

      Est: $3,000 - $5,000

      Vanitas oil on canvas 17 3/4 x 21 1/2in (45.1 x 54.6cm)

      Bonhams
    • Saint Cecilia in concert with Angels
      Apr. 15, 2008

      Saint Cecilia in concert with Angels

      Est: $80,000 - $120,000

      Luigi Miradori, il Genovesino Genoa c. 1600/10-1656/7 Cremona? Saint Cecilia in concert with Angels oil on canvas 23 x 17 in. 58.4 x 43.2 cm.

      Christie's
    • Luigi Miradori, il Genovesino (Genoa c. 1600/10-1656/7 ?Cremona)
      Dec. 08, 2006

      Luigi Miradori, il Genovesino (Genoa c. 1600/10-1656/7 ?Cremona)

      Est: £25,000 - £30,000

      A vanitas still-life with a baby on a red velvet cushion resting on a skull, by an hourglass oil on canvas 14 1/2 x 20 1/8 in. (36.9 x 51.2 cm.)

      Christie's
    • Luigi Miradori, il Genovesino (Genoa, c. 1600/10-1656/7 Cremona?)
      Jan. 26, 2005

      Luigi Miradori, il Genovesino (Genoa, c. 1600/10-1656/7 Cremona?)

      Est: $100,000 - $150,000

      Portrait of an Olivetan priest and a member of the Pueroni family inscribed 'Molto R.mo Sig.r Mio E. ss. mo la carica a Vs [...] R. bene di proclamrsi con [...]' (on the letter) oil on canvas 56 1/4 x 38 1/8 in. (142.5 x 97 cm.)

      Christie's
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