Orazio Samacchini Sold at Auction Prices

FOLLOWER OF ORAZIO SAMACCHINI (BOLOGNA 1532-1577)

FOLLOWER OF ORAZIO SAMACCHINI (BOLOGNA 1532-1577) FOLLOWER OF ORAZIO SAMACCHINI (BOLOGNA 1532-1577) The Flagellation of Christ oil on panel (arched) bears later inscription (verso) 32.5 x 44.5 cm. (12 3/4 x 17 1/2 in.)

Orazio Samacchini 1532 Bologna-1577 Bologna Salvator Mundi

Si ringrazia il Dott. Alessandro Delpriori per aver confermato l'attribuzione

ORAZIO SAMACCHINI (BOLOGNE 1532-1577) Putti assis soutenant une vasque sur

ORAZIO SAMACCHINI (BOLOGNE 1532-1577) Putti assis soutenant une vasque sur son dos plume et encre brune, lavis brun, rehaussé de blanc, sur papier beige, les bords irréguliers 17,8 x 10 cm (7 x 4 in.)

Orazio Samacchini (Bologna 1532 – 1577), La Flagellazione di Cristo

Lo storico e critico d'arte Andrea Emiliani attribuisce questo eccellente dipinto, recentemente restaurato, all'opera di Orazio Samacchini. La grammatica compositiva del dipinto è costituita da diversi elementi: la composizione fortemente imperniata sul disegno toscano, come da formazione dell'artista, si bilancia con la forte vicinanza al ritorno agli ideali del classicismo rinascimentale degli anni '70 del XVI secolo. La derivazione di questa tela dalla Flagellazione di Sebastiano del Piombo della Cappella Borgherini in San Pietro in Montorio è piuttosto evidente. La composizione è direttamente desunta dal disegno conservato all'Albertina di Vienna attribuito da Diane De Grazia al Samacchini, dopo una prima attribuzione al fiammingo Denys Calvaert. L'opera è munita di una perizia del Prof. Andrea Emiliani. Olio su tela, dimensioni ext. 151x120, int. 128x96 cm.

Orazio Samacchini (Bologna 1532 – 1577), La Flagellazione di Cristo

Lo storico e critico d'arte Andrea Emiliani attribuisce questo eccellente dipinto, recentemente restaurato, all'opera di Orazio Samacchini. La grammatica compositiva del dipinto è costituita da diversi elementi: la composizione fortemente imperniata sul disegno toscano, come da formazione dell'artista, si bilancia con la forte vicinanza al ritorno agli ideali del classicismo rinascimentale degli anni '70 del XVI secolo. La derivazione di questa tela dalla Flagellazione di Sebastiano del Piombo della Cappella Borgherini in San Pietro in Montorio è piuttosto evidente. La composizione è direttamente desunta dal disegno conservato all'Albertina di Vienna attribuito da Diane De Grazia al Samacchini, dopo una prima attribuzione al fiammingo Denys Calvaert. L'opera è munita di una perizia del Prof. Andrea Emiliani

Attribué à Orazio Samacchini (Bologne 1532-1577) La Sacre famille, avec Saint Jean Baptiste et un ange unframed

Attribué à Orazio Samacchini (Bologne 1532-1577) La Sacre famille, avec Saint Jean Baptiste et un ange Attributed to Orazio Samacchini (Bologna 1532 - 1577) The Holy Family with the Infant Saint John and angel pen and brown ink, brown wash, heightened with white on laid paper 24.5 x 19.5cm (9 5/8 x 7 11/16in). unframed

SAMACCHINI ORAZIO (1532 - 1577) Madonna of the milk

SAMACCHINI ORAZIO (1532 - 1577). Madonna of the milk. We thank Prof. Marco Riccomini for having expressed his positive opinion regarding the autograph of the painting.. Cm 19,50 x 25,00.

Orazio Samacchini (Bologna 1532 – 1577), La Flagellazione di Cristo

Lo storico e critico d'arte Andrea Emiliani attribuisce questo eccellente dipinto, recentemente restaurato, all'opera di Orazio Samacchini. La grammatica compositiva del dipinto è costituita da diversi elementi: la composizione fortemente imperniata sul disegno toscano, come da formazione dell'artista, si bilancia con la forte vicinanza al ritorno agli ideali del classicismo rinascimentale degli anni '70 del XVI secolo. La derivazione di questa tela dalla Flagellazione di Sebastiano del Piombo della Cappella Borgherini in San Pietro in Montorio è piuttosto evidente. La composizione è direttamente desunta dal disegno conservato all'Albertina di Vienna attribuito da Diane De Grazia al Samacchini, dopo una prima attribuzione al fiammingo Denys Calvaert. L'opera è munita di una perizia del Prof. Andrea Emiliani

Orazio Samacchini (1532 – 1577), Adoration of Magi

In this large-format painting, the figures appear to be tightly composed to fill the space. The intention is to consciously involve the viewer in the vicinity of what is happening. We find this stylistic feature in almost all of the artist´s other works. It also corresponds to late Renaissance painting and was still cultivated in the Baroque period. The group of figures of the Holy Family, with Mary and the baby Jesus, is placed in the left half of the picture at the edge, with Joseph in the rear, almost shaded. The centre of the picture, however, is dominated by the figure of the king, emphasised in large size, in adoration of the child. This striking highlight gives the image a deliberate emphasis as the subject of the adoration of the kings. The altarpiece was probably also intended for the corresponding festival. According to the apocrypha, the elderly king is Melchior, who keeps his hands clasped here, while a servant holds a treasure chest to the right, behind him. The dark-skinned king in the upper right corner of the picture is sometimes interpreted as the youth Caspar, and to the left Balthasar, whereas the assignments of the figures vary in pictorial art. Two Roman-armed youths with a lance fill the picture space to the right-hand of Balthasar between the main characters. The stylistic feature of the artist is the grace especially of Mary or the younger figures in the picture. This canvas is a beautiful example of sixteenth-century Bolognese painting.

Orazio Samacchini (1532 – 1577), Adoration of Magi

In this large-format painting, the figures appear to be tightly composed to fill the space. The intention is to consciously involve the viewer in the vicinity of what is happening. We find this stylistic feature in almost all of the artist´s other works. It also corresponds to late Renaissance painting and was still cultivated in the Baroque period. The group of figures of the Holy Family, with Mary and the baby Jesus, is placed in the left half of the picture at the edge, with Joseph in the rear, almost shaded. The centre of the picture, however, is dominated by the figure of the king, emphasised in large size, in adoration of the child. This striking highlight gives the image a deliberate emphasis as the subject of the adoration of the kings. The altarpiece was probably also intended for the corresponding festival. According to the apocrypha, the elderly king is Melchior, who keeps his hands clasped here, while a servant holds a treasure chest to the right, behind him. The dark-skinned king in the upper right corner of the picture is sometimes interpreted as the youth Caspar, and to the left Balthasar, whereas the assignments of the figures vary in pictorial art. Two Roman-armed youths with a lance fill the picture space to the right-hand of Balthasar between the main characters. The stylistic feature of the artist is the grace especially of Mary or the younger figures in the picture. This canvas is a beautiful example of sixteenth-century Bolognese painting.

ORAZIO SAMACCHINI (BOLOGNA 1532-1577) The Baptism of Christ oil on canvas 5

ORAZIO SAMACCHINI (BOLOGNA 1532-1577) The Baptism of Christ oil on canvas 59 3/8 x 48 1/8 in. (150.8 x 122.2 cm.)

Orazio Samacchini, 1532 Bologna - 1577 ebenda

ANBETUNG DER KÖNIGE Öl auf Leinwand. 126 x 89 cm. Ungerahmt. Beigegeben eine Expertise von Alessandro Delpriori. In diesem großformatig angelegten Gemälde erscheinen die Figuren eng gedrängt und raumfüllend in die Darstellung einkomponiert. Damit soll der Betrachter bewusst in die Nähe des Geschehens eingebunden werden. Dieses Stilmerkmal finden wir bei nahezu allen weiteren Werken des Malers, es entspricht auch der Malerei der Spätrenaissance und wurde im Barock weiterhin kultiviert. Die Figurengruppe der Heiligen Familie, mit Maria und dem Jesuskind, ist in die linke Bildhälfte am Bildrand platziert, links dahinter Joseph, nahezu verschattet. Die eigentliche Bildmitte jedoch beherrscht die betont groß wiedergegebene Figur des Königs, in Anbetung des Kindes. Diese auffallende Hervorhebung verleiht dem Bild die bewusste Betonung als Thema der Anbetung der Könige. So war das Altarbild wohl auch für das entsprechende Fest gedacht. Den Apokryphen gemäß handelt es sich bei dem betagten König um Melchior, der hier seine Hände gefaltet hält, während ein Diener rechts hinter ihm ein Schatzkästchen als Gabe bereithält. Der dunkelhäutige König in der rechten oberen Bildecke wird zuweilen als der Jüngling Caspar gedeutet, links daneben Balthasar, wobei die Zuordnungen der Gestalten in der Bildkunst variieren. Ein Knabe mit anmutigem Gesicht, etwa im Mittelgrund, sowie zwei römisch gerüstete Jünglinge mit Lanze füllen den Bildraum zum rechtsstehenden Balthasar zwischen den Hauptfiguren. Stilistisches Merkmal des Künstlers ist hierbei die Anmut besonders der Maria oder der jüngeren Gestalten im Bild. Samacchinis Werk steht deutlich unter dem Einfluss des Giorgio Vasari, wie auch des Emilianischen Manierismus. Die Drängung der Figuren, die dennoch eine überlegte Komposition mit Diagonalbezügen der Figuren zueinander aufweist, zählen zu den Beispielen für diesen damals neuen Stil. In Rom wurde Samacchini 1563 für die Ausmalung des Vatikanischen Belvedere und der Sala Regia für Papst Pius IV herangezogen. Die Arbeiten führte er zusammen mit seinem Bruder und Taddeo Zuccari aus. Zurück in seiner Heimatstadt stand er bald auch unter den Einfluss des Pellegrino Tibaldi. In der Folge erhielt er zahlreiche Aufträge, etwa für Arbeiten im Palazzo Vitelli in Sant‘Egidio, San Giacomo Maggiore, der Corpus Domini-Kirche, oder auch für Fresken in Sant‘Abbondio, Cremona. A. R. Literatur: Sydney J. Freedberg, Pelican History of Art (ed.). Painting in Italy, 1500-1600, Penguin Books 1993, S. 567. (12313415) Orazio Samacchini, 1532 Bologna – 1577 ibid. THE ADORATION OF THE MAGI Oil on canvas. 126 x 89 cm. Unframed. Accompanied by an expert’s report by Alessandro Delpriori. Literature: Sydney J. Freedberg, Pelican History of Art (ed.). Painting in Italy, 1500-1600, Penguin Books 1993, p. 567.

Orazio Samacchini (Bologna 1532 - Bologna 1577), attr. Allegory of Vigilance.

Oil/canvas, 51,5 x 41,5 cm, some rest., relined. - Provenance: Private collection Sweden. - One of the main exponents of Bologna mannerism. S. mainly worked in Bologna but was also commissioned to paint in the Sala Regia in Vatican and in the Parma cathedral. He held leading positions in the Bologna painter's guild. Most of his works are not in Museums but in churches. Mus.: Paris (Louvre), Florence (Uffizi). Lit.: Thieme-Becker, Bénézit.

Sainte Famille avec ange Plume et encre brune, rehauts de craie blanche 24,5 x 19,5 cm

Sainte Famille avec ange Plume et encre brune, rehauts de craie blanche 24,5 x 19,5 cm Holy Family with angel Feather and brown ink, white chalk highlights 24,5 x 19,5 cm

Samacchini, Orazio (1532-1577), in der Art von

Taufe. Quadrierte Rötelzeichnung/Bütten (rest., montiert). 21,5x 16 cm.

Attribué à Orazio SAMACCHINI (1532-1577)

Attribué à Orazio SAMACCHINI (1532-1577) Sainte Famille avec saint Jean-Baptiste Plume et encre brune, lavis brun et rehauts de gouache blanche Gouache partiellement oxydée Dessin doublé Attr. to O. Samacchini, Holy Family with St. John the Baptist, pen and brown ink, brown wash and white gouache highlights, gouache partially oxided, doubled drawing 19,7 x 13 CM - 7 3/4 X 5 1/8 IN. €3,000-5,000

Attributed to Orazio Samacchini (Bologna - God the Father and attendant putti

Attributed to Orazio Samacchini (Bologna God the Father and attendant putti black chalk, pen and brown ink, grey wash, heightened with white 11½ x 10 in. ( 29.2 x 25.4 cm.)

Orazio Samacchini (1532–1577)-school of, Saint Cat

Orazio Samacchini (1532–1577)-school of, Saint Catherine, oil on canvas, in a gilded classicistic frame.

Orazio Samacchini (1532-1577)-studio, Jesus with S

Orazio Samacchini (1532-1577)-studio, Jesus with Saint Peter and two fishers at the Sea of Galilee; in the background a prospect of the Sea of Galilee. Oil on wooden panel in a decorative gilded and partly painted arched frame, as well decorated with stucco ornaments in Renaissance style.

Attributed to Orazio Samacchini (Italian, 1532 - 1577)

16" x 10-7/8" paper A military encampment with a soldier giving a prisoner of war his obe. Pen and dark brown ink and wash with white highlights on paper mounted onto another sheet of paper, inscribed "Samachino" in ink, lower right, framed and matted under plexi, overall 23 1/4" x 17 1/2". Online Bidding and additional information at AspireAuctions.com

ECOLE BOLONAISE DE LA FIN DU 16èME, SUIVEUR DE ORAZIO SAMACCHINI (1532-1577)

ECOLE BOLONAISE DE LA FIN DU 16èME, SUIVEUR DE ORAZIO SAMACCHINI (1532-1577) La Sainte Famille Huile sur panneau parqueté Dimensions : 65 x 47,5 cm

Attribué à Orazio SAMACCHINI (1532-1577) La Sainte Famille et Saint Jean-Baptiste Plume et encre brune, lavis brun et rehauts de gou...

Attribué à Orazio SAMACCHINI (1532-1577) La Sainte Famille et Saint Jean-Baptiste Plume et encre brune, lavis brun et rehauts de gouache blanche 23 × 18,5 cm Notre dessin est techniquement assez proche d'un Saint Jean Baptiste debout vu de face du Louvre (inv. 33544) L'activité d'Orazio Samacchini, avant la fin des années 1560, fut consacrée à des oeuvres de dévotions de petits formats. Notre dessin, à l'instar des deux feuilles du Musée du Louvre (La Vierge, Saint Joseph et un ange auprès de l'enfant endormi et Le mariage mystique de Sainte Catherine) pourrait dater de cette époque (voir M/Faietti et D. Cordelier, Un siècle de dessin à Bologne, 1480-1580, de la Renaissance à la réforme tridentine, p. 161, n°48 et p. 166, n°48.1, repr.) Provenance : vente anonyme, hôtel Drouot, Paris, 28 mars 2003, lot 4

Orazio Samacchini

Pen and brown ink and wash, heightened with white, on blue-green paper;squared in black chalk for transfer,246 by 190 mm; 9 1/2  by 7 3/16  in

Orazio Samacchini (Bologna 1532-1577)

Orazio Samacchini (Bologna 1532-1577) A prophet in an architectural niche black chalk, pen and brown ink, brown wash, watermark device inscribed in a circle 11 1/8 x 15 7/8 in. (28.1 x 40.4 cm.)

Orazio Sammacchini

Orazio Sammacchini

Attribué à Orazio Samacchini Bologne, 1532 - 1577 La Sainte Famille sous un dais avec saint Antoine Plume et encre brune, lavis brun...

Attribué à Orazio Samacchini Bologne, 1532 - 1577 La Sainte Famille sous un dais avec saint Antoine Plume et encre brune, lavis brun, sur trait de crayon noir Annotation peu distincte en bas à droite 'THE HOLY FAMILY UNDER A CANOPY WITH SAINT ANTHONY', PEN AND BROWN INK, BROWN WASH, BLACK CHALK, INSCRIBED, ATTRIBUTED TO ORAZIO SAMACCHINI h: 28,10 w: 19 cm Provenance : Ancienne collection Pascalis, son cachet bleu numéroté '262' (L.2707a) en bas à droite

Orazio Samacchini (Bologna 1532-1577)

Orazio Samacchini (Bologna 1532-1577) The Baptism of Christ with the coat-of-arms of Johann Caspar and Jacob Franz Brücker (centre left) oil on canvas 59 1/8 x 47 7/8 in. (150.3 x 121.7 cm.)

Orazio Samacchini (Bologna 1532-1577)

Orazio Samacchini (Bologna 1532-1577) Lapidazione di Santo Stefano olio su tela 140 x 107 cm.

The Holy Family with Saint Catherine of Alexandria

Orazio Sammachini (Bologna 1532-1577) The Holy Family with Saint Catherine of Alexandria oil on canvas, transferred from panel 37 3/8 x 30 1/8 in. (94.9 x 76.4 cm.)

The Flight of Daedalus and Icarus

Orazio Samacchini (Bologna 1532-1577) The Flight of Daedalus and Icarus with inscriptions '55', 'del Francesco Salviati' on the mount and 'Expertius vacuum Aedalus aera Pennis non homini datis. Ho r. Lib. I Ode 3.v. 34' on the verso of the mount black chalk, heightened with white (partially oxidized), squared in black chalk, on blue paper, on an 18th century English mount 8¾ x 15 3/8 in. (223 x 390 mm.)

ORAZIO SAMACCHINI BOLOGNA 1532 - 1577

RECTO: STUDY OF A YOUNG BOY, SEATED; VERSO: A TRACING OF THE SAME FIGURE measurements note 192 by 154mm bears old attribution bottom left in pen and brown ink: ...a del Sarto black chalk (recto and verso), the verso squared in black chalk PROVENANCE J.P. Heseltine (according to a note on the back of the mount); does not bear Michael Ingram's collector's mark NOTE This drawing resembles stylistically Samacchini's very interesting drawing of Susannah Bathing, which is a preparatory study for one of a pair of small panel paintings in the Uffizi (see Drawing in Bologna 1500-1600, exhibition catalogue, London, Courtauld Institute Galleries, 1992, cat. no. 53, and fig. 24). The handling of chalk in both drawings is very similar, as is the morphology of the faces. The observations about the Susannah in the Courtauld exhibition catalogue can be applied equally to the present drawing: ' ...[it reflects] Samacchini's interest in Roman and Tuscan Mannerism but in the less static execution and in the number of pentimenti [it shows] an eclectic and less predictable side of his artistic personality'.

ORAZIO SAMACCHINI (CIRCLE OF) (Bologna 1532-1577 Bologna) A Woman Holding a Child. Pen and black ink over black chalk on cream laid paper mounted on card stock. 121x79 mm; 4x3 inches.

Orazio Samacchini (Bologna 1532-1577)

A flying angel holding the nails of the Passion with inscription 'Seintazeti' black chalk, pen and brown ink, brown wash heightened with white on blue paper, squared in black chalk 7 1/8 x 43/4 in. (180 x 118 mm.) NOTES The figure type of this angel is close to that of putti found on Samacchini's work such as in the picture of the Presentation at the Temple in S. Giacomo Maggiore in Bologna or The four Cardinal Virtues in S. Abbondio in Cremona (J. Winckelmann, 'Orazio Samacchini' in Pittura bolognese del '500, Bologna, 1986, pp. 673 and 677). A drawing similar in handling to the present one was sold at Sotheby's New York, 25 January 2002, lot 8.

f - *Orazio Samacchini1532-1577

Pen and brown ink and wash, over black chalk, heightened with white, on blue paper. This lot contains 1 item(s).