Antonio (1665) Molinari Paintings & Artwork for Sale | Antonio (1665) Molinari Art Value Price Guide

Nov. 27, 2024
ANTONIO MOLINARI
Est: €8,000 - €12,000
(Venezia, 1655 - 1704) Lucrezia Olio su tela, cm 114X96 Provenienza: Conti Federici Milano, Asta della Galleria del Corso, 17-22 dicembre 1923, lotto 283 (come Paolo Veronese) Milano, collezione privata Lodato da Antonio Maria Zanetti che lo giudicò 'genio vigoroso ed originale' (cfr. A. Zanetti, Della pittura veneziana e delle opere pubbliche de' veneziani maestri, 1771, libro V, p. 407), Antonio Molinari, seguendo la linea del padre Giovanni, si perfezionò nella bottega di Antonio Zanchi, da cui apprese il gusto tenebroso e il robusto naturalismo che apprezziamo nelle sue opere giovanili, come la Susanna e i vecchioni e La vendetta di Tomiri conservate alla Staatliche Gemäldegalerie di Kassel. Tuttavia, in lui si ravvisa una evidente modernità in grado di aggiornare il gusto della precedente generazione in chiave settecentesca. La sua arte, infatti, tiene conto progressivamente degli esiti di Sebastiano Ricci. Si deve pertanto riconoscere al Molinari maturo questo importantissimo merito e constatarne l'affinità con Bartolomeo Bambini e altri artefici che determinarono il distacco dalla pittura dei 'tenebrosi'. In questi anni, infatti, l'artista conseguì un ragguardevole successo, dipingendo quadri da stanza dedicati alle eroine e ai protagonisti della storia romana. Ricordiamo in questo caso il Nerone davanti al cadavere di Agrippina di Kassel, l'Antonio e Cleopatra del Museo civico di Bassano e le tele a pendant di collezione privata raffiguranti Porzia e Cleopatra che scioglie la perla (cfr. Craievich 2005, p. 161, n. 82a), opere che manifestano una teatralità più equilibrata, meno concitata e dunque solenne, aspetti che ben riscontriamo nell'opera in esame e che Giorgio Fossaluzza assegna all'ultimo decennio del Seicento. Si deve infine prestare attenzione all'arma araldica a guisa di spilla visibile sulla spalla dell'ancella che si può riconoscere nell'arma della famiglia Medici, suggerendo una possibile committenza dell'opera. Si deve infatti tener conto che l'interesse da parte granducale nei confronti della pittura veneta iniziò agli inizi del Seicento per il tramite di diversi intermediari come Paolo Del Sera (1614-1672) e si intensificò con l'avvento di Ferdinando de Medici che si avvaleva dei servigi e dei consigli di Niccolò Cassana (Venezia, 1659 - Londra, 1714). Si ringrazia Giorgio Fossaluzza per l'attribuzione. Bibliografia di riferimento: C. Monbeig Goguel, Drawings by Antonio Molinari in the Louvre, in Master Drawings, 23-24, 1985-1986, p. 238 S. Brink, Genio vigoroso e originale. Die Zeichnungen des Antonio Molinari, catalogo della mostra, Düsseldorf 2005, p. 82 A. Craievich, Antonio Molinari, Soncino 2005, ad vocem
Wannenes Art Auctions
Oct. 07, 2024
Antonio Molinari 1655/65 Venice – 1704/34 , attributed
Est: €800 - €1,600
Antonio Molinari 1655/65 Venice – 1704/34 , attributed PART OF DARIO'S FAMILY AT ALEXANDER'S FEET. This painting is a detail from the complex painting La familia de Dario a los pies de Alejandro, which depicts a dangerous situation after Alexander the Great took over the enemy camp of Dario. In anxious expectation, the aged Sisygambis, Dario's mother, begs for mercy for herself and the harem. However, it turns out that she did not throw herself at the feet of the Macedonian ruler Alexander, but rather Hephaiston, his friend. Alexander solves this situation without becoming violent towards the women. This moment of dissolution and relief can also be seen in this excerpt: the young man in a submissive but not fearful attitude reaches into a box full of jewelery and jewels and, looking upwards, wants to hand it over to Hephaestion and Alexander the Great. Detailed depiction in convincing painterly quality by the baroque painter of the Venetian school Dimensions 72 x 60 cm Oil on canvas, relined on hardboard.
Fine Antiques Prague s.r.o.
Jul. 26, 2024
Molinari, Antonio (Attrib.): Junger Mann mit Geschmeide in den Händen
Est: €1,000 - €2,000
Molinari, Antonio (attribution - Young man with jewellery in his hands (Venice 1655-1704 ibid.) A young man bends over a box full of jewellery to hand it over to Alexander. Oil on canvas/hardboard mounted. 71.5 x 60 cm; not framed. - Marginal defects, traces of scratching. - Detail from the painting 'The Family of Darius before Alexander the Great' from 1690. // Molinari, Antonio (Attrib.) Junger Mann mit Geschmeide in den Händen (Venedig 1655-1704 ebd.) Ein junger Mann beugt sich über eine Kiste voller Schmuck, um ihn Alexander zu übergeben. Öl/Lwd./Hartfaserplatte aufgezogen. 71,5 x 60 cm; unger. - Randmängel, Kratzspuren. - Detail aus dem Gemälde ''Die Familie des Darius vor Alexander dem Großen'' aus dem Jahr 1690.
Kunstauktionshaus Schlosser
Jul. 05, 2024
Antonio Molinari 1655 Venezia-1704 Venezia, bottega di Teseo e Arianna
Est: €5,000 - €7,000
.
Cambi Casa d'Aste
Jun. 13, 2024
Antonio Molinari 1655 Venezia-1704 Venezia Teseo viene riconosciuto dal padre Egeo
Est: €18,000 - €24,000
“Nella scheda redatta per il catalogo della mostra che Rovigo ha recentemente dedicato a Mattia Bortoloni e al contesto artistico del Settecento veneto, confermando quanto già espresso da Bernard Aikema, si è ribadita la paternità di questa tela ad Antonio Molinari riaffermandone l'iconografia nel Banchetto di Baldassarre. Secondo il parere di Stefano Aloisi il dipinto raffigura, diversamente, la rara interpretazione di Teseo viene riconosciuto dal padre Egeo, secondo quanto descritto da Plutarco nelle ‘Vite parallele’ Teseo, eroe tra i più celebri dell'antica Grecia, nacque da Egeo re di Atene e da Etra figlia del re Pitteo di Trezene. Stando ad alcune fonti mitografiche una notte Egeo giacque con Etra e quando tempo dopo seppe che la fanciulla era incinta nascose la sua spada e i suoi calzari sotto una grande pietra facendosi promettere alla ragazza che se avesse dato alla luce un maschio che nel corso del tempo sarebbe divenuto un giorno così forte da spostare il masso, lei l'avrebbe mandato ad Atene portando con sé come segno di riconoscimento la spada e i calzari. Teseo crebbe alla corte di Pitteo divenendo un ragazzo bello, coraggioso e così forte da riuscire a spostare la pietra e quando Etra gli svelò le origini, decise di andare ad Atene. Qui il re Egeo, che ignorava che da Etra era nato un figlio, si era sposato con Medea da cui aveva avuto un bambino di nome Medo. Teseo arrivò alla corte di Egeo in incognito e la sola Medea indovinò la sua vera identità. Medea, preoccupata per i diritti ereditari di Medo, instillò in Egeo il dubbio che quel ragazzo di bell'aspetto fosse venuto ad Atene per ucciderlo. Egeo e Medea decisero quindi di avvelenare il giovane durante un banchetto, ma quando Teseo si stava apprestando a farsi mescere del vino Egeo riconobbe il figlio dalla sua spada un tempo nascosta sotto il masso, e con una manata rovesciò la brocca contenente la bevanda avvelenata. Una commistione tra fonti antiche e adattamenti teatrali d'epoca barocca suggerirebbe la chiave di lettura per interpretare iconograficamente questa tela, che non è avventato definire tra le migliori del Molinari, ove si esibisce una scena assai concitata, carica di pathos, ma anche dettagli validissimi, quali la bellezza quasi femminea di Teseo e la virile figura del monarca che con possente gesto rovescia la preziosa brocca, colma di vino avvelenato, dalla tavola imbandita.”
Cambi Casa d'Aste
Jun. 13, 2024
Antonio Molinari 1655 Venezia-1704 Venezia Porzia si ferisce alla gamba
Est: €12,000 - €18,000
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Cambi Casa d'Aste
Jun. 12, 2024
ANTONIO MOLINARI 1655-1704 Porzia - ANTONIO MOLINARI 1655-1704 Portia
Est: €13,000 - €15,000
Olio su tela. 209,00 x 90,00 cm - Oil on canvas. 82.28 x 35.43 in.
Aste Bolaffi
Mar. 21, 2024
Antonio Molinari, 1655/65 Venedig – 1704/34 ebenda, zugeschrieben
Est: €30,000 - €40,000
SAMSON UND DALILA Öl auf Leinwand. Doubliert. 155 x 110 cm. In dekorativem Holzrahmen. Szene aus dem Alten Testament: In Nahsicht, vor einer steinernen Rückwand und einem zur rechten Seite gezogenen und herabhängenden dunkelblauen Vorhang, die junge Dalila in einem weit ausgeschnittenen Kleid, eine Schere in ihrer rechten Hand haltend, mit der sie gerade Haare des vor ihr in ihrem Schoß liegenden und schlafenden Samson abgeschnitten hat, und ihn damit gleichzeitig seiner Kraft beraubt hat. Dieser mit gebräuntem nacktem Oberkörper, rötlichem Gesicht und einem roten Tuch um die Hüfte und das rechte Bein, hat kraftlos seinen muskulösen linken Arm zum Boden über ihr Bein herabhängen. Am rechten unteren Bildrand sind zudem Teile der bereits abgeschnittenen Haare erkennbar. Dalila hat ihren Blick nach rechts gerichtet und gibt dem dort wartenden Soldaten in glänzender Rüstung gleichzeitig ein Zeichen, dass die Verhaftung nun erfolgen kann. Der Soldat hält bereits in seinem erhobenen Arm einen kleinen Strick, mit dem Samson gefesselt und abgeführt werden soll. Die Darstellung ist eines in der Kunstgeschichte der Malerei beliebtes Motiv. Besonders herausgestellt wird hier der starke Konstrast der elegant gekleideten, mit Perlenketten im Haar wohlfrisierten und hellhäutigen Dalila, gegenüber dem einfach gekleideten, mit dunkler Haut und dunklem Gesicht wiedergegebenen Samson. Die Geschichte von Samson und Dalila lässt sich mehrfach im Werk des Künstlers finden. Rahmenschäden. Anmerkung: Der Künstler war ein italienischer Maler und Grafiker. Er lernte sein Handwerk bei seinem Vater, dem italienischen Maler Giovanni Battista Molinari (1638-um 1685). Ein Schüler Antonio Molinaris war Giovanni Battista Piazzetta (1682-1754). Molinari fertigte vorwiegend Gemälde mit biblischen Motiven und Szenen aus der Antike für venezianische Patrizierhäuser, Bruderschaften und Kirchengebäude an. Bedeutende Sammlungen von seinen Werken finden sich im Düsseldorfer Museum Kunstpalast und im Louvre in Paris. (13908145) Antonio Molinari, 1655/65 Venice – 1704/34 ibid., attributed SAMSON AND DALILA Oil on canvas. Relined. 155 x 110 cm. In decorative wooden frame.
Hampel Fine Art Auctions
Nov. 30, 2023
Antonio Molinari 1655 Venezia-1704 Venezia Rebecca ed Eliezer al pozzo
Est: €25,000 - €30,000
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Cambi Casa d'Aste
Nov. 20, 2023
Antonio Molinari 1655/65 Venice – 1704/34 , attributed
Est: €2,000 - €3,000
PART OF DARIO'S FAMILY AT ALEXANDER'S FEET. This painting is a detail from the complex painting La familia de Dario a los pies de Alejandro, which depicts a dangerous situation after Alexander the Great took over the enemy camp of Dario. In anxious expectation, the aged Sisygambis, Dario's mother, begs for mercy for herself and the harem. However, it turns out that she did not throw herself at the feet of the Macedonian ruler Alexander, but rather Hephaiston, his friend. Alexander solves this situation without becoming violent towards the women. This moment of dissolution and relief can also be seen in this excerpt: the young man in a submissive but not fearful attitude reaches into a box full of jewelery and jewels and, looking upwards, wants to hand it over to Hephaestion and Alexander the Great. Detailed depiction in convincing painterly quality by the baroque painter of the Venetian school Dimensions 72 x 60 cm Oil on canvas, relined on hardboard.
Fine Antiques Prague s.r.o.
Sep. 18, 2023
Antonio Molinari 1655/65 Venice – 1704/34 , attributed
Est: €3,000 - €5,000
PART OF DARIO'S FAMILY AT ALEXANDER'S FEET. This painting is a detail from the complex painting La familia de Dario a los pies de Alejandro, which depicts a dangerous situation after Alexander the Great took over the enemy camp of Dario. In anxious expectation, the aged Sisygambis, Dario's mother, begs for mercy for herself and the harem. However, it turns out that she did not throw herself at the feet of the Macedonian ruler Alexander, but rather Hephaiston, his friend. Alexander solves this situation without becoming violent towards the women. This moment of dissolution and relief can also be seen in this excerpt: the young man in a submissive but not fearful attitude reaches into a box full of jewelery and jewels and, looking upwards, wants to hand it over to Hephaestion and Alexander the Great. Detailed depiction in convincing painterly quality by the baroque painter of the Venetian school
Fine Antiques Prague s.r.o.
Sep. 18, 2023
Antonio Molinari (1655-1704), Finding Moses
Est: €6,000 - €8,000
Antonio Molinari was the son of the painter Giovanni Molinari and learned from the well-known representative of tenebrism - Antonio Zanchi (1631-1722). In the Collegio dei pittori, an association of painters in Venice, he held the position of consigliere in 1682, and in 1699 the position of sindaco. In 1771, Anton Maria Zanetti called him "a vigorous and original genius" (Della Pittura Veneziana, Venezia 1771, libro V, p. 407: "Genio vigoroso ed originale"). The famous Giovanni Battista Piazzetta (1682–1754) was Molinari's pupil, and was influenced by his style of tenebrism. The light in this painting mainly emphasizes the light skin of the main characters. The emphasized realism of his teacher Zanchi gave way to a harmoniously rhythmic composition of figures, which is also filled with psychological intensity. The description focuses on the handing over of the basket with Moses to Pharaoh's maidservant daughter. She looks at the child with concern and leans forward to reach the basket. The small child stretches his arms and kicks his feet. His body is highlighted by a white fabric that shines brightly among the muted tones of the women's clothing, which together form a color harmony. A surprised boy runs into the scene from the right. According to Dario Succi, it is a mature work that can be dated to the last decade of the 17th century. It is an important testimony to the development of Molinari's style in the transitional phase of the Venetian Baroque from the seicento, to the settecento.
Fine Antiques Prague s.r.o.
Sep. 09, 2023
ANTONIO MOLINARI 21. Januar 1655 Venedig - 3. Februar 1704
Est: €3,000 - €6,000
ANTONIO MOLINARI 21. Januar 1655 Venedig - 3. Februar 1704 Ebenda MARTYRIUM DES HEILIGEN SIMON (BOZETTO) Öl auf Leinwand (doubl.). 33 x 22 cm (R. 41 x 30,5 cm). Auf altem Papierlabel Zuschreibung an Giovanni Antonio Pellegrini. Rahmen. Die hier angebotene Ölstudie zeigt den Heiligen Simon mit ausgestreckten Armen. Zu seinen Füßen ist die Säge als Attribut zu sehen. Er wird von hinten von seinen Peinigern ergriffen. Der Überlieferung nach war Simon während der Folter bereits sehr schwach und konnte nur mit Mühe von seinen Schändern mit kreuzweise gestreckten Armen auf dem Stuhl aufrecht gehalten werden. Als die Folter fortgesetzt wurde, starb er kurze Zeit später. Die Studie ist zweifellos eine Vorarbeit für ein großes Altargemälde. Eine Vorzeichnung zu dieser Komposition beherbergt der Kunstpalast Düsseldorf. Eine enge Verwandtschaft zeigt gleichfalls eine Arbeit Molinaris, die sich im Museum Correr in Venedig befindet. Auch hier beherbergt der Kunstpalast in Düsseldorf die dazugehörige Vorstudie. Vgl.zu den Vorstudien: Green, R.C.: Molinari Zeichnungen in Düsseldorf, Meisterzeichnungen, 1984, Band 22, Nr.2. Weiterhin zu der Arbeit Molinaris im Museum Correr: Martini, Egidio: LA PITTURA VENEZIANA DEL SETTECENTO, Venedig 1964, Fig. 55 und 56. Provenienz: Internationale Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Jul. 12, 2023
Antonio Molinari, attributed
Est: €800 - €1,200
Venezia 1655 - 1704, 95x72,5 cm., "Allegory of Music", oil on canvas, within gilt wood frame
Colasanti Casa d'Aste
Jul. 10, 2023
Antonio Molinari (1655-1704), Finding Moses
Est: €7,000 - €9,000
Antonio Molinari was the son of the painter Giovanni Molinari and learned from the well-known representative of tenebrism - Antonio Zanchi (1631-1722). In the Collegio dei pittori, an association of painters in Venice, he held the position of consigliere in 1682, and in 1699 the position of sindaco. In 1771, Anton Maria Zanetti called him "a vigorous and original genius" (Della Pittura Veneziana, Venezia 1771, libro V, p. 407: "Genio vigoroso ed originale"). The famous Giovanni Battista Piazzetta (1682–1754) was Molinari's pupil, and was influenced by his style of tenebrism. The light in this painting mainly emphasizes the light skin of the main characters. The emphasized realism of his teacher Zanchi gave way to a harmoniously rhythmic composition of figures, which is also filled with psychological intensity. The description focuses on the handing over of the basket with Moses to Pharaoh's maidservant daughter. She looks at the child with concern and leans forward to reach the basket. The small child stretches his arms and kicks his feet. His body is highlighted by a white fabric that shines brightly among the muted tones of the women's clothing, which together form a color harmony. A surprised boy runs into the scene from the right. According to Dario Succi, it is a mature work that can be dated to the last decade of the 17th century. It is an important testimony to the development of Molinari's style in the transitional phase of the Venetian Baroque from the seicento, to the settecento. Expert opinion by Dario Succi.
Fine Antiques Prague s.r.o.
Jun. 29, 2023
Antonio Molinari, 1655/65 Venedig – 1704/34 ebenda, zugeschrieben
Est: €2,000 - €4,000
TEILSTÜCK VON DARIOS FAMILIE ZU ALEXANDERS FÜSSEN Öl/Leinwand, doubliert auf Hartfaserplatte. 72 x 60 cm. Ungerahmt. Bei diesem Gemälde handelt es sich um einen Ausschnitt aus dem komplexen Gemälde „La familia de Dario a los pies de Alejandro“ auf dem eine gefährliche Situation nach der Übernahme des feindlichen Lagers von Dario durch Alexander den Großen dargestellt ist. In ängstlicher Erwartung fleht die greise Sisygambis, die Mutter Darios, um Gnade für sich und den Harem. Jedoch stellt sich heraus, dass sie sich nicht dem Makedonenherrscher Alexander, sondern Hephaiston, dessen Freund, vor die Füße geworfen hat. Alexander löst diese Situation ohne gewalttätig gegen die Frauen zu werden. Dieser Augenblick der Auflösung und Erleichterung zeigt sich auch in diesem Ausschnitt: der junge Mann in untertäniger aber nicht furchtsamer Haltung greift in eine Kiste voller Schmuck und Geschmeide und will sie mit nach oben gerichtetem Blick Hephaistion und Alexander dem Großen übergeben. Detaildarstellung in überzeugender malerischer Qualität des barocken Malers der venezianischen Schule. Anmerkung: Der Künstler war ein italienischer Maler und Grafiker. Er lernte sein Handwerk bei seinem Vater, dem italienischen Maler Giovanni Battista Molinari (1638- um 1685). Ein Schüler Antonio Molinaris war Giovanni Battista Piazzetta (1682-1754). Molinari fertigte vorwiegend Gemälde mit biblischen Motiven und Szenen aus der Antike für venezianische Patrizierhäuser, Bruderschaften und Kirchengebäude an. Bedeutende Sammlungen von seinen Werken finden sich im Düsseldorfer Museum Kunstpalast und im Louvre in Paris. (13619320) (19)
Hampel Fine Art Auctions
May. 04, 2023
Antonio Molinari (Venezia 1655 - 1704), Sansone e Dalila
Est: €10,000 - €20,000
Allievo di Antonio Zanchi e grande esponente dell'arte veneziana della fine del Seicento, il pittore deve gran parte del suo successo alla realizzazione di quadri da stanza raffiguranti soggetti biblici, storici o mitologici. Questo dipinto è testimone della predilezione del pittore per i fondali teatrali, che evocano l'architettura classica. Un altro importante riferimento al mondo teatrale è dato dalla posa del Sansone addormentato tra le braccia dell'amante Dalila.
Telearte
Apr. 29, 2023
Antonio Molinari (1655-1704), Finding Moses
Est: €9,000 - €18,000
Antonio Molinari was the son of the painter Giovanni Molinari and learned from the well-known representative of tenebrism - Antonio Zanchi (1631-1722). In the Collegio dei pittori, an association of painters in Venice, he held the position of consigliere in 1682, and in 1699 the position of sindaco. In 1771, Anton Maria Zanetti called him "a vigorous and original genius" (Della Pittura Veneziana, Venezia 1771, libro V, p. 407: "Genio vigoroso ed originale"). The famous Giovanni Battista Piazzetta (1682–1754) was Molinari's pupil, and was influenced by his style of tenebrism. The light in this painting mainly emphasizes the light skin of the main characters. The emphasized realism of his teacher Zanchi gave way to a harmoniously rhythmic composition of figures, which is also filled with psychological intensity. The description focuses on the handing over of the basket with Moses to Pharaoh's maidservant daughter. She looks at the child with concern and leans forward to reach the basket. The small child stretches his arms and kicks his feet. His body is highlighted by a white fabric that shines brightly among the muted tones of the women's clothing, which together form a color harmony. A surprised boy runs into the scene from the right. According to Dario Succi, it is a mature work that can be dated to the last decade of the 17th century. It is an important testimony to the development of Molinari's style in the transitional phase of the Venetian Baroque from the seicento, to the settecento. Expert opinion by Dario Succi.
Fine Antiques Prague s.r.o.
Mar. 22, 2023
ANTONIO MOLINARI (VENISE 1655-1704) Le Christ cloué sur la Croix (recto) ;
Est: €2,000 - €3,000
ANTONIO MOLINARI (VENISE 1655-1704) Le Christ cloué sur la Croix (recto) ; Homme nu en buste... sanguine, plume et encre brune, lavis brun, sur papier brun clair (recto) ; sanguine (verso) 26,8 x 31,5 cm (10 1/2 x 12 3/8 in.)
Christie's
Jan. 28, 2023
Antonio Molinari (1655-1704), Finding Moses
Est: €9,000 - €11,000
Antonio Molinari was the son of the painter Giovanni Molinari and learned from the well-known representative of tenebrism - Antonio Zanchi (1631-1722). In the Collegio dei pittori, an association of painters in Venice, he held the position of consigliere in 1682, and in 1699 the position of sindaco. In 1771, Anton Maria Zanetti called him "a vigorous and original genius" (Della Pittura Veneziana, Venezia 1771, libro V, p. 407: "Genio vigoroso ed originale"). The famous Giovanni Battista Piazzetta (1682–1754) was Molinari's pupil, and was influenced by his style of tenebrism. The light in this painting mainly emphasizes the light skin of the main characters. The emphasized realism of his teacher Zanchi gave way to a harmoniously rhythmic composition of figures, which is also filled with psychological intensity. The description focuses on the handing over of the basket with Moses to Pharaoh's maidservant daughter. She looks at the child with concern and leans forward to reach the basket. The small child stretches his arms and kicks his feet. His body is highlighted by a white fabric that shines brightly among the muted tones of the women's clothing, which together form a color harmony. A surprised boy runs into the scene from the right. According to Dario Succi, it is a mature work that can be dated to the last decade of the 17th century. It is an important testimony to the development of Molinari's style in the transitional phase of the Venetian Baroque from the seicento, to the settecento. Expert opinion by Dario Succi.
Fine Antiques Prague s.r.o.
Nov. 29, 2022
ANTONIO MOLINARI (VENEZIA 1655 - 1704)
Est: €7,000 - €12,000
Antonio Molinari (Venezia 1655 - 1704) San Girolamo Olio su tela ovale 94,5 x 75 cm L'opera mostra stringenti affinità nel disegno della figura (spalla avanzata, rotazione del busto, postura leggermente inclinata) con molti dei personaggi eseguiti da Molinari. Tra le tante, si veda l'identica postura della Vergine in Madonna con il Bambino e San Mauro della chiesa della Madonna dell'Orto a Venezia. Le reminiscenze tenebrose, sommate ad una esecuzione briosa e ai chiaroscuri ammorbiditi, ci inducono a datare l'opera tra il XVII e il XVIII secolo. La formazione di Antonio Molinari avvenne sotto la guida del padre e di Antonio Zanchi, dalla bottega del quale uscì intorno al 1678. Lo stesso anno firmò il ritratto di Elena Lucrezia Corner Piscopia, conservato al Museo civico di Padova. Fino ai primi anni Ottanta lavorò seguendo le linee del suo maestro, trovandosi nell’alveo dei tenebrosi, di cui fecero parte Luca Giordano, Giambattista Langetti, Antono Carneo, Carl Loth, Pietro Negri. In seguito si allontanò dai toni cupi, adottando morbidi effetti atmosferici e fisionomie più aggraziate, accogliendo l’eleganza di Maratta. Sul finire del secolo ottenne successo con la produzione di quadri da stanza che raffigurano episodi di carattere storico, mitologico o biblico. Nella fase estrema della sua vita seppe aggiornarsi nuovamente e raggiungere l’eleganza neo veronesiana proposta in laguna da Antonio Bellucci. Ebbe importanti seguaci, come i suoi coetanei Angelo Trevisani e Antonio Arrigoni, e anche artisti più giovani, come Antonio Pellegrini e Girolamo Brusaferro. Antonio Molinari (Venice 1655 - 1704) St. Jerome Oil on oval canvas 94,5 x 75 cm The artwork shows strong affinities in the drawing of the figure (advanced shoulder, slightly inclined posture) with many of Molinari's charactersi. You should see the identical posture of the Virgin in Madonna with Child and San Mauro in the church of the Madonna dell'Orto, Venice. The dark reminiscences, added to a lively execution and softened chiaroscuro, lead us to date the artwork between the 17th and 18th centuries.
Lucas Aste
Nov. 03, 2022
Antonio Molinari (Venezia 1655 - 1704), Sansone e Dalila
Est: €40,000 - €60,000
Allievo di Antonio Zanchi e grande esponente dell'arte veneziana della fine del Seicento, il pittore deve gran parte del suo successo alla realizzazione di quadri da stanza raffiguranti soggetti biblici, storici o mitologici. Questo dipinto è testimone della predilezione del pittore per i fondali teatrali, che evocano l'architettura classica. Un altro importante riferimento al mondo teatrale è dato dalla posa del Sansone addormentato tra le braccia dell'amante Dalila.
Telearte
Sep. 22, 2022
Antonio Molinari, 1655 Venedig – 1704 ebenda, zugeschrieben
Est: €10,000 - €16,000
DIE GNADE DES SCIPIO Öl auf Leinwand. Doubliert. 170 x 220 cm. Rückwärtig mit handschriftlicher Nummerierung „6“. In barock geschnitztem Rahmen, mit überfangenem Akanthusdekor. Für den Maler typische, das Bildfeld füllende Figuren, mit den beleuchteten Hauptdarstellern in Seitenansicht, in flott gemaltem Pinselduktus. Der Künstler war ein italienischer Maler und Grafiker. Er lernte sein Handwerk bei seinem Vater, dem italienischen Maler Giovanni Battista Molinari (1638-um 1685). Ein Schüler Antonio Molinaris war Giovanni Battista Piazzetta (1682-1754). Molinari fertigte vorwiegend Gemälde mit biblischen Motiven und Szenen aus der Antike für venezianische Patrizierhäuser, Bruderschaften und Kirchengebäude an. Bedeutende Sammlungen von seinen Werken finden sich im Düsseldorfer Museum Kunstpalast und im Louvre in Paris. Alters- und Gebrauchssp., rest. (†) (13306019) (10) Antonio Molinari, 1655 Venice – 1704 ibid., attributed THE CLEMENCY OF SCIPIO Oil on canvas. Relined. 170 x 220 cm. Handwritten number “6” on reverse. In carved Baroque frame surmounted by acanthus scroll décor. (†)
Hampel Fine Art Auctions
Sep. 10, 2022
ANTONIO MOLINARI MARTYRIUM DES HEILIGEN SIMON (BOZETTO)
Est: €3,000 - €6,000
ANTONIO MOLINARI 21 January 1655 Venice - 3 February 1704 Ibid MARTYRDOM OF SAINT SIMON (BOZETTO) Oil on canvas (lined). 33 x 22 cm (F. 41 x 30,5 cm). Verso on old paper label attribution to Giovanni Antonio Pellegrini. Frame. The oil study offered here shows Saint Simon with outstretched arms. At his feet the saw can be seen as an attribute. He is seized from behind by his tormentors. According to tradition, Simon was already very weak during the torture and could only with difficulty be held upright on the chair by his abusers with his arms stretched crosswise. As the torture continued, he died a short time later. The study is undoubtedly a preparatory work for a large altarpiece. A preparatory drawing for this composition is housed in the Kunstpalast Düsseldorf. A work by Molinari, which is in the Museum Correr in Venedig, also shows a close relationship. Here, too, the Kunstpalast in Düsseldorf houses the corresponding preparatory study. Cf. on the preliminary studies: Green, R.C.: Molinari Zeichnungen in Düsseldorf, Meisterzeichnungen, 1984, Vol. 22, No.2. Further on Molinari's work in the Museum Correr: Martini, Egidio: LA PITTURA VENEZIANA DEL SETTECENTO, Venice 1964, Fig. 55 and 56. Provenance: International private collection. Zeichen(10)ANTONIO MOLINARI 21. Januar 1655 Venedig - 3. Februar 1704 Ebenda MARTYRIUM DES HEILIGEN SIMON (BOZETTO) Öl auf Leinwand (doubl.). 33 x 22 cm (R. 41 x 30,5 cm). Auf altem Papierlabel Zuschreibung an Giovanni Antonio Pellegrini. Rahmen. Die hier angebotene Ölstudie zeigt den Heiligen Simon mit ausgestreckten Armen. Zu seinen Füßen ist die Säge als Attribut zu sehen. Er wird von hinten von seinen Peinigern ergriffen. Der Überlieferung nach war Simon während der Folter bereits sehr schwach und konnte nur mit Mühe von seinen Schändern mit kreuzweise gestreckten Armen auf dem Stuhl aufrecht gehalten werden. Als die Folter fortgesetzt wurde, starb er kurze Zeit später. Die Studie ist zweifellos eine Vorarbeit für ein großes Altargemälde. Eine Vorzeichnung zu dieser Komposition beherbergt der Kunstpalast Düsseldorf. Eine enge Verwandtschaft zeigt gleichfalls eine Arbeit Molinaris, die sich im Museum Correr in Venedig befindet. Auch hier beherbergt der Kunstpalast in Düsseldorf die dazugehörige Vorstudie. Vgl.zu den Vorstudien: Green, R.C.: Molinari Zeichnungen in Düsseldorf, Meisterzeichnungen, 1984, Band 22, Nr.2. Weiterhin zu der Arbeit Molinaris im Museum Correr: Martini, Egidio: LA PITTURA VENEZIANA DEL SETTECENTO, Venedig 1964, Fig. 55 und 56. Provenienz: Internationale Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
May. 20, 2022
Ecole italienne du XVIIe siècle Group of characters (Saint Catherine between soldiers)
Est: €200 - €500
Ecole italienne du XVIIe siècle Group of characters (Saint Catherine between soldiers) Black stone. Restorations Old attribution to Antonio Molinari (1655-1704) Scuola italiana del XVII secolo Gruppo di personaggi (Santa Caterina fra i soldati) Carboncino 18 x 13,5 cm Groupe de personnages (Sainte Catherine entre des soldats) Pierre noire. Restaurations Ancienne attribution à Antonio Molinari (1655-1704) Scuola italiana del XVII secolo Gruppo di personaggi (Santa Caterina fra i soldati) Carboncino 18 x 13,5 cm
Pierre Bergé & Associés
Mar. 16, 2022
Antonio Molinari (Venice 1655 - 1704), Samson and Delilah
Est: €40,000 - €60,000
A pupil of Antonio Zanchi and a great exponent of Venetian art at the end of the 17th century, the painter owed much of his success to his room paintings depicting biblical, historical or mythological subjects. This painting bears witness to the painter's predilection for theatrical backdrops, evoking classical architecture. Another important reference to the theatrical world is the pose of Samson asleep in the arms of his lover Delilah.
Telearte
Nov. 27, 2021
Antonio Molinari (1655-1704), Lot and his Daughters
Est: €15,000 - €20,000
The Venetian painter Antonio Molinari was a student of Antonio Zanchi and the teacher of Giovanni Battista Piazzetta. Lot is leaning back, bare chest, propped up on his left arm and holding up his right hand with the drinking bowl. He looks inquiringly at his daughter with shiny eyes. She reaches for the wine jar to refill the bowl. She holds her left hand tenderly on her father's neck. In the back right is Noah's second daughter. Lot's muscular body is modelled with great sensuality and sensitivity, and the fluffy beard is convincingly characterised. Expertise Dr. Dario Succi
Fine Antiques Prague s.r.o.
Nov. 26, 2021
ANTONIO MOLINARI e BOTTEGA
Est: €1,500 - €2,500
(Venezia, 1655 - 1704) San Luigi Gonzaga Olio su tela, cm 74X63,5 Allievo di Antonio Zanchi, l'artista fu particolarmente influenzato dall'arte del maestro, da cui il gusto tenebroso e il robusto naturalismo delle prime opere, come ad esempio Susanna e i vecchioni e La vendetta di Tomiri (Staatliche Gemäldegalerie di Kassel). Tuttavia, in Molinari si ravvisa un rinnovamento capace di attualizzare il gusto della precedente generazione in chiave settecentesca, che farà capo al Piazzetta, ma al contempo permise quella modulazione rocaille che con il Pellegrini assumerà una diffusione europea. Quindi, è importantissimo riconoscere all'artista il merito di aver reso possibile, in affinità con Sebastiano Ricci, il corso successivo dell'arte veneziana. Ciò avviene durante il nono decennio, osservando la Cattura di Sansone (Madrid, collezione privata), dove l'accentuata teatralità dei gesti, la tavolozza chiara e la fluidità della pennellata decretano il pieno affrancamento dalla cultura tenebrosa. Sono gli anni in cui il Molinari beneficiò di un ragguardevole successo, dipingendo quadri da stanza raffiguranti episodi di carattere storico, mitologico o biblico. Ringraziamo Michele Danieli per l'attribuzione. Bibliografia di riferimento: A. Craievich, Antonio Molinari, Soncino 2005, ad vocem
Wannenes Art Auctions
Sep. 23, 2021
Antonio Molinari, 1655 Venedig – 1704 ebenda, zugeschrieben
Est: €40,000 - €70,000
RefOld13921 SAMSON UND DALILA Öl auf Leinwand. 155 x 110 cm. In dekorativem Holzrahmen.Szene aus dem Alten Testament: In Nahsicht, vor einer steinernen Rückwand und einem zur rechten Seite gezogenen und herabhängenden dunkelblauen Vorhang, die junge Dalila in einem weit ausgeschnittenen Kleid, eine Schere in ihrer rechten Hand haltend, mit der sie gerade Haare des vor ihr in ihrem Schoß liegenden und schlafenden Samson abgeschnitten hat, und ihn damit gleichzeitig seiner Kraft beraubt hat. Dieser mit gebräuntem nacktem Oberkörper, rötlichem Gesicht und einem roten Tuch um die Hüfte und das rechte Bein, hat kraftlos seinen muskulösen linken Arm zum Boden über ihr Bein herabhängen. Am rechten unteren Bildrand sind zudem Teile der bereits abgeschnittenen Haare erkennbar. Dalila hat ihren Blick nach rechts gerichtet und gibt dem dort wartenden Soldaten in glänzender Rüstung gleichzeitig ein Zeichen, dass die Verhaftung nun erfolgen kann. Der Soldat hält bereits in seinem erhobenen Arm einen kleinen Strick, mit dem Samson gefesselt und abgeführt werden soll. Die Darstellung ist eines in der Kunstgeschichte der Malerei beliebtes Motiv. Besonders herausgestellt wird hier der starke Konstrast der elegant gekleideten, mit Perlenketten im Haar wohlfrisierten und hellhäutigen Dalila, gegenüber dem einfach gekleideten, mit dunkler Haut und dunklem Gesicht wiedergegebenen Samson. Die Geschichte von Samson und Dalila lässt sich mehrfach im Werk des Künstlers finden. Wenige Retuschen. Rahmenschäden. Der Künstler war ein italienischer Maler und Grafiker. Er lernte sein Handwerk bei seinem Vater, dem italienischen Maler Giovanni Battista Molinari (1638-um 1685). Ein Schüler Antonio Molinaris war Giovanni Battista Piazzetta (1682-1754). Molinari fertigte vorwiegend Gemälde mit biblischen Motiven und Szenen aus der Antike für venezianische Patrizierhäuser, Bruderschaften und Kirchengebäude an. Bedeutende Sammlungen von seinen Werken finden sich im Düsseldorfer Museum Kunstpalast und im Louvre in Paris. (†) (1281673) (18) Antonio Molinari,1655 Venice – 1704 ibid., attributedSAMSON AND DELILAH Oil on canvas.155 x 110 cm.In decorative wooden frame.Important collections of his works are held at the Museum Kunstpalast in Düsseldorf and at the Louvre in Paris. (†)
Hampel Fine Art Auctions
Sep. 22, 2021
Raffael Vanni (1587-1673): St. Catherine of Sienna
Est: $500 - $800
Two-sided sanguine on paper, unsigned, with two indistinct inscriptions on the reverse; together with Attributed to Antonio Molinari (1655-1704): Two Figures, two-sided pencil with white highlights on paper, unsigned, indistinctly inscribed on the reverse. 11 x 8 in. (sheet), 18 x 15 in. (frame), 16 3/4 x 10 1/2 in. (sheet), 21 x 15 in. (frame). An Artist's Life: The Collection of Henry Koehler
STAIR
Sep. 18, 2021
Antonio Molinari (1655-1704), Lot and his Daughters
Est: €15,000 - €20,000
The Venetian painter Antonio Molinari was a student of Antonio Zanchi and the teacher of Giovanni Battista Piazzetta. Lot is leaning back, bare chest, propped up on his left arm and holding up his right hand with the drinking bowl. He looks inquiringly at his daughter with shiny eyes. She reaches for the wine jar to refill the bowl. She holds her left hand tenderly on her father's neck. In the back right is Lot's second daughter. Lot's muscular body is modelled with great sensuality and sensitivity, and the fluffy beard is convincingly characterised.
Fine Antiques Prague s.r.o.
Jun. 23, 2021
Antonio Molinari, attributed Venezia 1655 - 1704 95x72,5 cm.
Est: €2,000 - €3,000
"Allegory of Music", oil on canvas, within gilt wood frame
Colasanti Casa d'Aste
May. 25, 2021
Antonio Molinari (Venezia 1655-1704) - Martyrdom of Saint Simon
Est: €3,500 - €5,000
oil on canvas, within a painted arched shape on the frame bears a label from the German collection with the attribution to Giovanni Antonio Pellegrini.
Finarte
May. 19, 2021
Antonio Molinari (Venezia 1655-1704), attribuito a, Morte di Lucrezia
Est: €3,000 - €4,000
olio su tela, cm 117x128, L'opera è corredata di Attestato di Libera Circolazione
Cambi Casa d'Aste
Nov. 19, 2020
Molinari, Antonio: Sophonisbe
Est: €12,000 - €15,000
Molinari, Antonio Venice 1655 - 1704 Oil on canvas. Relined. 113,5 x 94,5cm. Framed. Literature: A. Craievich: Antonio Molinari, Cremona 2005, p. 200 S. Brink: Genio vigoroso ed originale. Die Zeichnungen des Antonio Molinari, Düsseldorf 2005, p. 40-41, cat. 6. Provenance: Private ownership, Italy. The figure of the Sophonisbe originates from Roman history and has traditionally been popular both for her beauty and her intelligence. She was the wife of Syphax, who, as king of the Massäsyliers, allied himself with the Carthaginians against the Romans on their advice. After the defeat by the Romans in 203 B.C., she made the king of Numidia Massinissa fall in love with her. To escape the humiliation of slavery after her capture by Scipio, Massinissa sent her a cup of poison. Sofonisba drank the tragic gift and preferred to die rather than live as a slave to the Romans. The present painting shows Sophonisbe holding the cup of poison in her right hand and the letter from her husband in her left, which tempts her to commit suicide. The author of the work is the Venetian Antonio Molinari, born in 1655, who was trained by his father Giovanni and Antonio Zanchi, known as a representative of the Tenebrosi. When Molinari was about twenty years old, he began to paint on his own, always following the example of the Tenebrosi in the spirit of naturalism and an accentuated theatricality of the scenery. From the eighties onwards Molinari changed his style and turned to more elegant forms and more delicate colours in the taste of the Neo-Renaissance, achieving considerable success with the smaller and medium-sized image formats. These represented in particular episodes of historical, mythological or biblical character, the success of which is confirmed by the demand for numerous repetitions. These paintings often celebrate famous heroines, such as Portia or, as in the present painting, Sofonisba, some of them depicting figures from Roman history, depicted in theatrical poses in front of classical backdrops. Molinari was also an excellent draughtsman, whose extensive graphic activity is documented by two collections, one in the Kunstpalast Museum in Düsseldorf and the other in the drawing cabinet of the Louvre. Molinari was able to summarize an entire composition with a few pen and watercolour strokes. The drawings often serve as graphic models for paintings: this Sofonisba was created on the basis of a drawing preserved in Düsseldorf. Explanations to the Catalogue Antonio Molinari Baroque 17th C. Old Masters Literary theme Painting Historical people Estimated Shippingcost for this lot: Arrangement after the auction.
Van Ham Kunstauktionen
Jun. 30, 2020
Antonio Molinari (Venezia 1655-1704), attribuito a, Morte di Lucrezia
Est: €4,000 - €6,000
olio su tela, cm 117x128, L'opera è corredata di Attestato di Libera Circolazione
Cambi Casa d'Aste
Jun. 27, 2020
Unidentified artist, 2nd half of 19th century,copy after
Est: €600 - €1,200
Unidentified artist, 2nd half of 19th century,copy after the painting Christ and the adulteress of the Venetian painter Antonio Molinari (1655-1704) in Castle Wilhelmshöhe inKassel, oil / canvas, small missing parts in color, approx. 31x41cm, frame approx. 37x47cm . German Description: Unbekannter Künstler, 2. Hälfte 19. Jh., Kopie nach dem Gemälde Christus u. die Ehebrecherin des venezianischen Malers Antonio Molinari (1655-1704) im Schloß Wilhelmshöhe in Kassel, Öl/Lwd, ca. 31x41cm, R. ca. 37x47cm im unteren Teil krakeliert mit l. Farbfehlstellen, gut getroffene Wiederholung, feine Ausarbeitung der Gesichter u. Hände
Henry's Auktionshaus
May. 20, 2020
Antonio Molinari, attributed Venezia 1655 - 1704 97x72 cm.
Est: €2,000 - €3,000
"Allegoria delle virtù", oil on oval canvas, defects of the canvas
Colasanti Casa d'Aste
Dec. 13, 2019
Antonio Molinari (Venezia 1655-1704), Rebecca ed Eliezer al pozzo
Est: €40,000 - €50,000
olio su tela, cm 280x400
Cambi Casa d'Aste
Dec. 13, 2019
Antonio Molinari (Venezia 1655-1704), attribuito a, Morte di Lucrezia
Est: €5,000 - €6,000
olio su tela, cm 117x128, L'opera è corredata di Attestato di Libera Circolazione
Cambi Casa d'Aste
Nov. 28, 2019
Antonio Molinari (1655-1704)-circle
Est: €300 - €600
Antonio Molinari (1655-1704)-circle, Lot and his daughters; a strip of 5cm on the upper border adapted; oil on canvas.
Deutsch Auktionen
Jun. 26, 2019
Antonio Molinari attributed
Est: €2,000 - €4,000
Antonio Molinari attributed, Allegory of Music oil on canvas within gilt wood frame, Venezia 1655 - 1704
Colasanti Casa d'Aste
Oct. 18, 2018
ANTONIO MOLINARI, ATTRIBUTED VENEZIA 1655 - 1704 97X74 CM
Est: €2,000 - €4,000
"Venus and Mars", oil on canvas, framed in gilded wood. On examination of the Wood's lamp will highlight some interventions of repainting. There are some drops of color that let you see the canvas at the bottom right and a cut in the central part at the bottom. Damage highlighted are not serious and will not compromise the great quality of the painting, which is in good condition and fully readable. On the back of the canvas there is a not legible wax seal stamp.
Colasanti Casa d'Aste
Dec. 04, 2017
MOLINARI ANTONIO
Est: €15,000 - €16,500
MOLINARI ANTONIO (1655-1704) 'L'Ultima Cena' olio bella cornice in legno intagliato e dorato cm. 148x88
Aste Boetto SRL
Oct. 16, 2017
Antonio Molinari (Venezia 1655-Venezia 1704) GIUDITTA AND OLOFERNE | GIUDITTA E OLOFERNE
Est: €5,000 - €7,000
Judith with the head of Holofernes, oil on canvas, cm 126x95. Carved and gilded ancient frame | Giuditta con la testa di Oloferne, olio su tela, cm 126x95 Cornice coeva in legno intagliato e dorato.
Casa d'aste ARCADIA
Mar. 31, 2017
MOLINARI, ANTONIO
Est: CHF900 - CHF1,200
MOLINARI, ANTONIO (1655 Venice 1704) The death of Saint Joseph. Pen and brush in brown. 24.6 x 16.8 cm. Framed. Provenance: - Collection of T.W.Waller ( - 1910), London, Lugt 2472. --------------- MOLINARI, ANTONIO (1655 Venedig 1704) Der Tod des Heiligen Joseph. Feder und Pinsel in Braun. 24,6 x 16,8 cm. Gerahmt. Provenienz: - Sammlung T.W.Waller ( - 1910), London, Lugt 2472.
Koller Auctions
Feb. 20, 2017
MOLINARI ANTONIO
Est: €30,000 - €33,500
MOLINARI ANTONIO (1655-1704) "La clemenza di Scipione " e "La morte di Seneca" coppia di olii cornice coeva cm.140x195 pubblicati su "Gli amori degli Dei e degli Eroi" 1997 [...] Il dipinto del pittore veneto Antonio Molinari raffigura Scipione con il suo seguito di soldati sulla destra di fronte a lui attorniata dai familiari è la fanciulla dono della vittoria ottenuta in guerra ancora disorientata e turbata mentre il comandante romano sta manifestando il suo atto di clemenza. Il dipinto fa parte di un pendant: la morte di Seneca è il soggetto raffigurato nell'altra tela tema parimenti simboleggiante il rinnovato interesse nel corso del XVII secolo per le dottrine storiche quelle teorie che sostenevano cioè il dominio della ragione sulle passioni. Sono evidenti in entrambi le tele le caratteristiche della maturità del Molinari; infatti dopo un primo momento di adesione alla pittura plastica e fortemente chiaroscurata degli artisti tenebrosi lagunari quale fu il suo primo maestro Zanchi il Molinari dimostra di preferire interpretazioni compositive tipicamente barocche vivaci e movimentate con intonazioni cromatiche esuberanti e nervose e un raffinato gusto luministico. In questo senso pare orientarsi con decisione verso la pittura di Pietro Liberi di Luca Giordano e del tardo Carlo Loth con soluzioni parallele a quelle di un Balestra o di un Pellegrini. Nelle opere del Molinari è poi sempre presente come accade ad esempio anche nel Cristo e l'Adultera del Museo di Kassel un tono moralistico e un pò melodrammatico sostenuto tuttavia da un fare estremamente vigoroso ed elegante da tocchi nervosi e col passare del tempo straordinariamente prossimi alla pittura di Sebastiano Ricci. Nicosetta Roio
Aste Boetto SRL
Sep. 27, 2016
Antonio Molinari (1655-1704)-attributed, Pilgrims
Est: €1,500 - €2,500
Antonio Molinari (1655-1704)-attributed, Pilgrims and angels washing feet in a classical ancient interior with view to a mountaineous landscape; oil on canvas.
Deutsch Auktionen