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Giovanni Martinelli

(1600 -  1659 ) Wikipedia® : Giovanni Martinelli
MARTINELLI Giovanni Semiramis Called To Battle

Christie's
May 11, 2011
Find artworks, auction results, sale prices and pictures of Giovanni Martinelli at auctions worldwide.
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Along with Giovanni Martinelli, our clients also searched for the following authors:
Peter Nason, Pieter Ii Neefs, Flaminio Torri, Francesco Codino, Giuseppe Recco, Joost Cornelisz Droochsloot, David Vinckboons
Artworks in Arcadja
73

Some works of Giovanni Martinelli

Extracted between 73 works in the catalog of Arcadja
Giovanni Martinelli - The Holy Family

Giovanni Martinelli - The Holy Family

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Lot number: 120
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Description:
Giovanni Martinelli (Arezzo 1600/4-1659 Florence) The Holy Family oil on canvas 44 ¾ x 38 1/8 in. (113.6 x 96.6 cm.) Provenance Nelson Shanks (1937-2015), Andalusia, Pennsylvania, from whom acquired by the La Salle University Art Museum in 1990. Literature C.P. Wistar, La Salle University Art Museum: Guide to the Collection, Philadelphia, 2002, p. 115, fig. 3. F. Baldassari, Le opere di devozione pubblica e privata di Giovanni Martinelli, Florence, 2011, pp. 92-93, 95, fig. 33. Publishing it in her monographic article on Giovanni Martinelli (op. cit.), Francesca Baldassari dates this tender representation of the Holy Family to around 1653. She posits that the canvas may be identifiable as the Holy Family called before the Accademia del Disegno that same year, alongside the artist\’s Feast of Balthasar (op. cit.). In this late phase of the artist\’s career, she notes his employment of broader brushwork, his shift toward more balanced compositions and a more tender, emotional approach to his subject. The face of the Virgin can be compared to that in Martinelli\’s Madonna and Child with the Infant Saint John (op. cit., p. 88, 91, fig. 24), whose features and expression are remarkably similar.
Giovanni Martinelli - Woman With A Book (allegory Of Knowledge)

Giovanni Martinelli - Woman With A Book (allegory Of Knowledge)

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Lot number: 3007
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Lot 3007: Giovanni Martinelli, Woman with a book (Allegory of Knowledge)
Description:
Giovanni Martinelli, Woman with a book (Allegory of Knowledge), , Circa 1640, , 28 1/2 x 22 7/8 in.,
Provenance:
Private collection, Riga / 1929 collection Frieda Hinze, Berlin / collection Elisabeth Rohde, Berlin. Source, collection Rohde-Hinze: receipt of Herrn Olin, Riga, 27 March 1929, 1.000 RM / inventory list of pictures (1950) no. 87 (1928), as "Italiener, Martinelli\“, previous owner (Hermann ?) "Voss\“, 800 RM
Exhibited:
Hermann Voss (ed.): Italienische Malerei des 17. und 18. Jahrhunderts, exh. cat., Wiesbaden, 1935, cat. no. 133 (included in the volume of illustrations)
Giovanni Martinelli - Saint Cecilia With Two Angels

Giovanni Martinelli - Saint Cecilia With Two Angels

Original
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Lot number: 313
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Giovanni Martinelli

FLORENCE 1610 - 1659

SAINT CECILIA WITH TWO ANGELS

oil on canvas

54 1/4 38 5/8 in.; 137.7 by 98.2 cm.

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Saleroom Notice

Literature

F. Baldassari et al., Giovanni Martinelli da Montevarchi pittore in Firenze, Florence 2011, p. 82, reproduced p. 84, fig. 19.

In her 2011 catalogue (see Literature) Francesca Baldassari dates Giovanni Martinelli's Saint Cecilia to the early 1640s, noting the influence of Lorenzo Lippi in the smooth modeling of the face and naturalism of the figure.
Giovanni Martinelli - Sainte Marie Madeleine

Giovanni Martinelli - Sainte Marie Madeleine

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Lot number: 23
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Description:
Acquis par l'actuelle propriétaire en 1984 dans une vente publique à Saint-Germain-en -Laye (comme Sainte Catherine).
Giovanni Martinelli

FLORENCE 1610 - 1659

SAINTE MARIE MADELEINE

GIOVANNI MARTINELLI ; MARY MAGDALENE ; BEAR A WAX STAMP ON THE REVERSE ; OIL ON CANVAS

Porte un cachet de cire au dos.

Huile sur toile

68 x 54,5 cm ; 26 3/4 by 21 1/2 in

The painting is overall in a moderately satisfactory state of conservation. It has been properly relined during the past century. It has been cleaned a bit strongly and it has damaged the dark areas and some of the glazes have disappeared in the neck and in the face. Under UV light, the painting appears under a green uniform and light varnish. There are a few points of retouching in the black background and a few isolated retouching in the red drapery. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Giovanni Martinelli - Semiramis Called To Battle

Giovanni Martinelli - Semiramis Called To Battle

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Lot number: 80
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Description:
Giovanni Martinelli (Montevarchi c.1600/4-1659 Florence) Semiramis called to battle oil on canvas 82.5 x 65.3 cm.
Acquired by the grandparents of the present owners at least 80years ago.
In 1621 Giovanni Martinelli moved to Florence to study withJacopo Ligozzi. After his training he almost certainly travelled toRome in the second half of the 1620s, where he was influenced byCaravaggesque naturalism. He returned to Florence in 1636, where heenrolled in the influential Accademia del Disegno.
Martinelli presumably executed the present painting in Rome in hisearly years, circa 1625-32.
In all likelyhood the present painting depicts the story ofSemiramis called to battle, as recounted by the Roman historian andmoralist Valerius Maximus in his De Factis Dictisque MemorabilibusLibri (vol. IX, p.3, ext.4). Semiramis, queen of Assyria, wasinterrupted at her toilette by news that Babylon had rebelled. Sheimmediately ran to arms and showed her determination as a ruler byrefusing to finish combing her hair until she had led her army andrestored the power in her city.
We are grateful to Paul Taylor of the Warburg Institute, London,for suggesting the subject matter.
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