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Sebastiano Conca

Italy (Gaeta 1680 -  Napoli 1764 ) Wikipedia® : Sebastiano Conca
CONCA Sebastiano The Trinity

Bonhams
Oct 25, 2017
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Artworks in Arcadja
260

Some works of Sebastiano Conca

Extracted between 260 works in the catalog of Arcadja
Sebastiano Conca - The Birth Of The Virgin

Sebastiano Conca - The Birth Of The Virgin

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Lot number: 420
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Sebastiano Conca (Gaeta 1680–1764 Naples) The Birth of the Virgin, oil on canvas, 103x56cm, framed Provenance: probably Luigi Vanvitelli (1700–1773), Naples; Private collection, Mill Neck, Long Island; art market, New York; where acquired by the present owner Literature: probably J. Garms, Die Briefe des Luigi Vanvitelli an seinen Bruder Urbano in Rom. Kunsthistorisches Material, in: Römische historische Mitteilungen, 13, 1971, p. 271; probably N. Spinosa, Luigi Vanvitelli e i pittori attivi a Napoli nella seconda metà del Settecento: lettere e documenti inediti, in: Storia dell\’arte, 14, 1972, p. 195, note 9; probably F. Strazzullo, Le lettere di Luigi Vanvitelli della Biblioteca Palatina di Caserta, Galatina 1976, vol. I, p. 558 We are grateful to Matteo Borchia for his help in cataloguing this lot. The present painting is the bozzetto for the first canvas of a series of five paintings, executed in the summer of 1756 by Sebastiano Conca. Conca was commissioned to produce this series for the chapel of the Reggia di Caserta, depicting various episodes from the life of the Virgin for Carlo III Borbone and his wife Maria Amalia of Saxony. This was certainly the most important commission Conca received from the Bourbon court in Naples. The commission also involved the painters Giuseppe Bonito and Anton Raphael Mengs (with the exception of Bonito\’s Immaculate Conception and a few fragments of Conca\’s Nativity nothing remains of these works which were destroyed by bombing in August 1943). Luigi Vanvitelli wrote to his brother in a letter dated 13 July 1756, that he had received the preparatory study for a Nativity of the Virgin as a present from Conca. Vanvitelli was the Bourbon court architect and designer responsible for the Reggia di Caserta, and he had known Conca since youth when both the painter and architect had worked for Cardinal Pietro Ottoboni in Rome. They had consequently collaborated on works at the basilica of Santa Maria in Trastevere and on works for the Fabbrica di San Pietro. Particularly in the foreground group, the artist reveals himself to be conversant with the iconography of the best known examples of this theme, painted at the beginning of the seventeenth century by Annibale Carracci and Francesco Albani. Conca himself had already painted a version of the Birth of the Virgin in 1741 for the basilica of the Misericordia at Macerata: this work has a more essential composition with fewer figures. The scene he planned for Caserta was enriched with many additional figures inspired by some of his earlier works: the group with God the Father, for example, reiterates that represented in two versions of the Immaculate Conception conserved in Marfa (Sala degli Atti Letterari, Convento) and in Macerata. Indeed, the reuse of compositional formulae, even after a considerable passage of time, is typical of Conca\’s working practice. The fluid and luminous strokes that characterise this study also appear in the artist\’s later works. They occur for example in the preparatory canvases for the vault paintings of Santa Chiara, Naples, representing the Transportation of the Sacred Ark (Pandolfini, Florence, Dipinti Antichi, 15 October 2013, lot 151) and the Meeting of Solomon and the queen of Sheba (Christie\’s, Milan, Old Master Pictures, 25 May 2011, lot 56). There are particularly close points of comparison with the Annunciation (Morton and Mary Jane Harris collection, New York) and the Adoration of the Magi (W. Lacy collection, Lausanne) which were both included in the 1981 exhibition and at the time were already considered studies for the paintings of the same subjects made for Caserta. Despite his advanced age, Conca was capable in the present work of creating a scene of charged vitality imprinted with the Arcadian classicism of the early Settecento and enriched with a vivid luminosity, especially evident in the foreground figure of Saint Anne, that is evocative of the contemporary painting style of Corrado Giaquinto. Giancarlo Sestieri has suggested that the present painting may be a collaborative work of Sebastiano Conca and Corrado Giaquinto.
Sebastiano Conca - San Filippo Neri

Sebastiano Conca - San Filippo Neri

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Lot number: 26
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Sebastiano Conca Italian, 1680-1764 San Filippo Neri Oil on canvas 38 1/2 x 28 3/4 inches (97.8 x 73 cm) Provenance: Given by the Cesi Family of Rome to the church of San Biagio, Cantalupo in Sabina, Lazio Private collection, Germany Richard L. Feigen & Co., New York Dr. Eric Schleier, who has examined this painting, has confirmed that it is an autograph work by the artist. C
Sebastiano Conca - The Trinity

Sebastiano Conca - The Trinity

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Lot number: 126
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Sebastiano Conca (Gaeta circa 1676-1764 Naples) The Trinity oil on canvas 41.2 x 32cm (16 1/4 x 12 5/8in). Footnotes The present work is a bozzetto for Conca's Trinity in the church of San Marcello al Corso, Rome. There are numerous differences from the finished picture, such as the positioning of the dove.
Sebastiano Conca - The Holy Trinity And Saints In Glory

Sebastiano Conca - The Holy Trinity And Saints In Glory

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Lot number: 36
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Sebastiano Conca

GAETA 1680 - 1764 NAPLES

THE HOLY TRINITY AND SAINTS IN GLORY, A SKETCH FOR A CEILING

oil on canvas

28 7/8 by 38 5/8 in.; 73.2 by 98.1 cm.

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Saleroom Notice

Provenance

With Heim Gallery, London, 1667;

With Carrol Gallery, Munich, 1981;

Anonymous sale, New York, Sotheby's, 25 January 2001, lot 188.

Exhibited

London, Heim Gallery, Baroque sketches, drawings & sculptures. Autumn exhibition, 7 November - 24 December 1967, no. 24 (as Giovanni Antonio Pellegrini);

Gaeta, Palazzo del Vio, Sebastiano Conca, 1680-1764, July - October 1981, no. 54 (as Conca).

Literature

G. Sestieri, Sebastiano Conca, 1680-1764, exhibition catalogue, Gaeta 1981, p. 192, cat. no. 54, reproduced p. 193 (as Conca).

Catalogue Note
This detailed oil sketch first came to light in 1967 when it was exhibited at Heim Gallery with an attribution to Giovanni Antonio Pellegrini (see Exhibited). The painting was later recognized as the work of Sebastiano Conca by Giancarlo Sestieri in 1981 and was included in an exhibition of the painter\’\’\’\’s works in his home city of Gaeta (see Exhibited). While no corresponding decoration has been identified to date, this composition was undoubtedly a bozzetto for a ceiling design. Not only is the celestial subject well suited for the purpose, the poses of the foreshortened figures, framed by tumbling putti, are clearly intended to be viewed from below.
While heavily influenced by Luca Giordano, this sketch also displays the close relation of Conca\’\’\’\’s working technique with that of his contemporary Corrado Giaquinto. Despite the similarities, however, Giaquinto\’\’\’\’s diaphanous coloration and transparent draperies contrast with Conca\’\’\’\’s rich modeling and dynamic forms.
1
Conca\’\’\’\’s palette is muted and he instead employs light and modeling to create a rich surface. The undulating folds of drapery and twisting poses in this painting create an illusion of vitality and motion, a feat that was not always realized in Conca\’\’\’\’s finished large-scale frescoes.
2
Sestieri dates this canvas between 1730 and 1735, citing its affinity with other sketches by the artist, his Triumph of the Church, in the Museo Duca di Martina, Naples, his Assumption of the Virgin in the Galleria Nazionale di Capodimonte, Naples and his Allegory, formerly in the Schaffer collection, New York.
3
Each of these bozzetti can be dated stylistically to within a decade of the present painting. Like this sketch, the eventual locations for their finished iterations has yet to be determined, but in themselves these bozzetti provide a fascinating and detailed insight into the artist\’\’\’\’s preparatory methods.
Sebastiano Conca - Die Heiligen Drei Könige Vor Herodes

Sebastiano Conca - Die Heiligen Drei Könige Vor Herodes

Original
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Lot number: 427
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Description:

CONCA, SEBASTIANO

1680 Gaeta - 1764 Neapel - Schule

Die Heiligen Drei Könige vor Herodes. Öl auf Leinwand. Doubliert. 78 x 144cm. Rahmen.

Das Gemälde ist eine Kopie nach Concas Gemälde aus der Dresdner Gemäldegalerie, Inventarnummer Gal.-Nr. 505. Die dargestellte Geschichte basiert auf der "Legenda Aurea" des Dominikaners Jacobus de Voragine (1228/29-1298)
.

CONCA, SEBASTIANO

1680 Gaeta - 1764 Naples - school

The Three Magi in front of Herod. Oil on canvas. Relined. 78 x 144cm. Framed.

The painting is a copy of Conca's painting at the Gemäldegalerie Dresden, inventory number Gal.-Nr. 505. The depicted story is based on the "Legenda Aurea" by the black friar Jacobus de Voragine (1228/29-1298).
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