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Francesco Maffei

Italy (1605 -  1660 ) Wikipedia® : Francesco Maffei
MAFFEI Francesco Le Christ Au Roseau

Stockholms Auktionsverket
Dec 4, 2012
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Artworks in Arcadja
55

Some works of Francesco Maffei

Extracted between 55 works in the catalog of Arcadja
Francesco Maffei - Le Christ Au Roseau

Francesco Maffei - Le Christ Au Roseau

Original
Estimate:

Price:

Net Price
Lot number: 2427
Other WORKS AT AUCTION
Description:
FRANCESCO MAFFEI

Italien 1600/1620-1660, tillskriven

Le Christ au roseau

Olja på koppar, 27 x 20 cm.

Attributed to. Oil on copper.

EXPERTIS: Cabinet Turquin, Stéphane Pinta, Paris

PROVENIENS: Gösta Stenmans samling, inventarienr 5809

Tore Anderssons samling, Stockholm
Francesco Maffei - The Choice Of Hercules

Francesco Maffei - The Choice Of Hercules

Original
Estimate:

Price:

Gross Price
Lot number: 53
Other WORKS AT AUCTION
Description:
Francesco Maffei (Vicenza 1600/20-1660 Padua)

The Choice of Hercules

oil on canvas

110 x 170 cm.
Provenance
Since the 1950s in the family of the present owner.
Lot Notes
We are grateful to Dr. Moretti for confirming the attribution on
the basis of photographs (written communication, 18 August
2009).
Francesco Maffei - Recto: Study Of A Male Nude And A Small Sketch Of The Virgin Annunciate

Francesco Maffei - Recto: Study Of A Male Nude And A Small Sketch Of The Virgin Annunciate

Original
Estimate:

Price:

Lot number: 19
Other WORKS AT AUCTION
Description:
LOT 19

- FRANCESCO MAFFEI
VICENZA 1605 - 1660 PADUA
RECTO: STUDY OF A MALE NUDE AND A SMALL SKETCH OF THE VIRGIN ANNUNCIATE;
VERSO: MALE NUDE KNEELING

15,000—20,000 GBP

measurements note
265 by 200 mm
Pen and brown ink and wash over black chalk; bears number (recto): 440 and old attribution to Tintoretto (verso)

PROVENANCE
Sale, New York, Sotheby's (Property from a distinguished Private Collection), 26 January 2005, lot 104

CATALOGUE NOTE
These studies are closely comparable to two others of male nudes by Maffei. What Meijer wrote about those drawings applies equally to the present one: 'The expressive extremities - particularly the heads with their bizarre, floating hair, and the large, strangely foreshortened hands - as well as the infusion of an irrational élan... create the psychologically troubled quality that is a constant feature of Maffei's art.'1 Other drawings by Maffei bear old attributions to Tintoretto, reflecting his contacts with Venice. The figures cannot be directly related to paintings. Maffei painted several versions of The Annunciation, generally derived in composition from Veronese, and one in a private collection in Genoa has some similiarities with the present study.2
1. See Bert Meijer, 'Drawings by Francesco Maffei', Master Drawings, vol. XXII, no. 3, 1984, p. 303ff., plates 28, 29 2. See Paolo Rossi, Francesco Maffei, Milan 1991, p. 91, cat. no. 26, reproduced fig. 177
Francesco Maffei - Saints Dominic And Catherine Before The Madonna And Child, With Attendant Angels

Francesco Maffei - Saints Dominic And Catherine Before The Madonna And Child, With Attendant Angels

Original 1650
Estimate:

Price:

Gross Price
Lot number: 82
Other WORKS AT AUCTION
Description:
oil on canvas
this late work by maffei is a typical example of the artist's somewhat idiosyncratic style. the expressive gestures of his figures and the fluent brushwork are typical of maffei's mature work: compare, for example, his altarpiece of
saint martin of tours bringing a baby back to life
in the church of santa maria delle grazie, brescia, which dates from the early 1650s (p. rossi,
Francesco Maffei - A Loosely Draped Female Figure, With Hands Extended

Francesco Maffei - A Loosely Draped Female Figure, With Hands Extended

Original 1656
Estimate:

Price:

Gross Price
Lot number: 35
Other WORKS AT AUCTION
Description:
bears inscriptions in brown ink in a seventeenth-century hand:
bears inscriptions in brown ink in a seventeenth-century hand: lattantio (top left), gambara (top right) and era tra li donatimi dal s. pier antonio della penna cavalier/servittisimo perugino (bottom edge); and in brown ink in a slightly later hand: bresciano (top left), and scol.o di/giulio/campi (top right pen and brown ink and two shades of brown wash (recto); pen and dark brown ink and wash (verso) this lot contains 1 item(s).
pier antonio della penna, perugia;
provenance:pier antonio della penna, perugia; padre resta, milan (his inscriptions on the drawing, l.2992a); john, lord somers, london (l.2981; resta-somers number: l.407); pierre-jean mariette (l.1852); comte moritz von fries (l.2903, faint, bottom left corner); with galerie de bayser, paris, 1991 exhibited: the katalan collection of italian drawings, 1995-6, cat.46.the distinguished provenance of this drawing and its changing history of attributions epitomise the interest offered by this field of collecting. only recently identified by the present owner as a drawing by maffei, its likeness to numerous works by the artist is described in detail by roger rearick in the 1995-6 exhibition catalogue. in his inscriptions, padre resta noted an attribution to the brescian artist lattanzio gambara and recorded that the drawing had been given to him by pier antonio della penna. although maffei is a distinctly difficult draughtsman to pin down, this sheet does fit very well with the figure types known from his paintings, and the drawing style compares closely with the few generally accepted studies known by the artist. as seen here, maffei consistently reveals the influence of his master maganza, but becomes increasingly more free and lively; rearick suggests that this drawing dates from the middle of his career. though not precisely connected, the figure on the recto, a woman leaning forward in yearning, adoration or supplication, is similar to various angels and allegorical figures appearing in maffei's paintings; see for example that in the glorification of giovanni cavalli in the church of the blessed virgin, rovigo, or the hagar and the angel in a private collection (see paola rossi, francesco maffei, milan 1991, cat.79, fig.122 and cat 206, fig.xxiv). rearick notes that the figure in the drawing wears a stylised, theatrical form of drapery reminiscent of the costume designs made by maganza and other artists of his circle for the theatre in vicenza. he points out that maffei painted a decorative fresco cycle, now much damaged, in the sala dell'olimpo, next to the theatre. one of the surviving figures in the fresco is a female allegory, identified as the accademia olimpica, which is markedly reminiscent of the present drawing. the dark brown ink figures on the verso are very likely to be preliminary studies for the composition of the fall of the rebel angels, painted by maffei in 1656 and now on deposit in the pinacoteca di brera, milan, and are similar to two other sheets of studies of male nudes, one in the gabinetto dei disegni e delle stampe, rome and the other in the musée du louvre, paris (see paola rossi, op.cit., figs.227-8, and 322 and 323 respectively). for a further discussion of maffei's drawings see bert w. meijer, \\`\\`drawings by francesco maffei', master drawings, vol.xxii, no.3 (1984), pp.303-310 and pls.27-38. both meijer and rearick note the hectic, sometimes bizarre and even \\`\\`troubled' character of maffei's art, qualities which can also be seen in the present work.the drawing by sogliani in this sale (lot 16) bears another, similar inscription by padre resta.
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