Get a Manfredi Certificate of Authenticity for your painting (COA) for your Manfredi drawing.

For all your Manfredi artworks you need a Certificate of Authenticity (COA) in order to sell, to insure or to donate for a tax deduction.

Getting a Manfredi Certificate of Authenticity (COA) is easy. Just send us photos and dimensions and tell us what you know about the origin or history of your Manfredi painting or drawing.

If you want to sell your Manfredi painting or drawing use our selling services. We offer Manfredi selling help, selling advice, private treaty sales and full brokerage.

We have been authenticating Manfredi and issuing certificates of authenticity since 2002. We are recognized Manfredi experts and Manfredi certified appraisers. We issue COAs and appraisals for all Manfredi artworks.

Our Manfredi paintings and drawings authentications are accepted and respected worldwide.

Each COA is backed by in-depth research and analysis authentication reports.

The Manfredi certificates of authenticity we issue are based on solid, reliable and fully referenced art investigations, authentication research, analytical work and forensic studies.

We are available to examine your Manfredi painting or drawing anywhere in the world.

You will generally receive your certificates of authenticity and authentication report within two weeks. Some complicated cases with difficult to research Manfredi paintings or drawings take longer.

Our clients include Manfredi collectors, investors, tax authorities, insurance adjusters, appraisers, valuers, auctioneers, Federal agencies and many law firms.

We perform Bartolomeo Manfredi art authentication, appraisal, certificates of authenticity (COA), analysis, research, scientific tests, full art authentications. We will help you sell your Bartolomeo Manfredi or we will sell it for you.

Bartolomeo Manfredi was an Italian painter, a leading member of the Caravaggisti (followers of Michelangelo Merisi da Caravaggio) of the early 16th century. Manfredi was born in Ostiano, near Cremona. He may have been a pupil of Caravaggio in Rome—at his famous libel trial in 1603 Caravaggio mentioned that a certain Bartolomeo, accused of distributing scurrilous poems attacking Caravaggio’s detested rival Baglione, had been a servant of his. Certainly the Bartolomeo Manfredi known to art history was a close follower of Caravaggio’s innovatory style, with its enhanced chiaroscuro and insistence on naturalism, with a gift for story-telling through expression and body-language.

Caravaggio in his brief career—he rocketed to fame in 1600, was exiled from Rome in 1606, and was dead by 1610—had a profound effect on the younger generation of artists, particularly in Rome and Naples. And of these Caravaggisti (followers of Caravaggio), Manfredi seems in turn to have been the most influential in transmitting the master’s legacy to the next generation, particularly with painters from France and the Netherlands who came to Italy. Unfortunately no documented, signed works by Manfredi survive, and several of the forty or so works now attributed to him were formerly believed to be by Caravaggio. The steady disentangling of Caravaggio from Manfredi has made clear that it was Manfredi, rather than his master, who was primarily responsible for popularising low-life genre painting among the second generation of Caravaggisti.

Manfredi was a successful artist, able to keep his own servant before he was thirty years old, “a man of distinguished appearance and fine behaviour” according to the biographer Giulio Mancini, although seldom sociable. He built his career around easel paintings for private clients, and never pursued the public commissions upon which wider reputations were built, but his works were widely collected in the 17th century and he was considered Caravaggio’s equal or even superior. His Mars Chastising Cupid offers a tantalising hint at a lost Caravaggio: the master promised a painting on this theme to Mancini, but another of Caravaggio’s patrons, Cardinal Francesco Maria Del Monte, had taken it, and Mancini therefore commissioned Manfredi to paint another for him, which Mancini considered Manfredi’s best work.

Manfredi died in Rome in 1622. Gerard Seghers (or Segers; 1589-1651) was one of his pupils. Still wondering about an Italian painting in your family collection? Contact us…it could be by Bartolomeo Manfredi.