Mariano Nani Paintings & Artwork for Sale | Mariano Nani Art Value Price Guide

Oct. 09, 2024
Pair of still lifes, Mariano Nanni (Naples, c. 1725 – Madrid, 1804), signed and published
Est: €20,000 - €30,000
Stunning pair of still lifes by Mariano Nanni. Both compositions feature a detailed study of food and utensils, characteristic of the Neapolitan Baroque style. The realism of the elements, combined with a masterful use of light, make these works exceptional pieces of still life painting.
Templum Fine Art Auctions
Feb. 07, 2024
Pareja de naturalezas muertas
Est: -
Uno de ellos firmado y fechado en 1762 en la parte superior central, en un trozo de papel. Bibliografía: Cherry, P., “Luis Meléndez Still-life Painter”, Fundación De Apoyo a La Historia Del Arte Hispánico, Madrid, 2006, págs. 254-56, nº. 225 y 226 (reproducidos)
Isbilya Subastas
Dec. 13, 2023
MARIANO NANI (Naples, 1725-Madrid, 1804). "Still Lifes", 1762. Oil on canvas. Reproduced in; Peter Cherry Luis Melendez Still-life Painter; Fundacion De Apoyo a La Historia Del Arte Hispanico, Madrid, 2006 page 256.
Est: €19,000 - €20,000
MARIANO NANI (Naples, 1725-Madrid, 1804). "Still Lifes", 1762. Oil on canvas. Reproduced in; Peter Cherry Luis Melendez Still-life Painter; Fundacion De Apoyo a La Historia Del Arte Hispanico, Madrid, 2006 page 256. There are slight flaws on the pictorial surface. Measurements: 76 x 101 cm; 97 x 121 cm (frame). Pair of still lifes formed by food and dead birds, following a similar composition centred on a clearly delimited space, limited by the wooden table on which the elements are arranged and closed at the back by a plain wall, worked in neutral tones and darker on one of its sides, looking for the light variation and the contrast of lights and shadows. Formally, the composition is also notable for its illusionist taste, with elements protruding from the outside of the table, typical baroque trompe l'oeil. One of the most characteristic elements of the artist's mastery can be seen in the still life of the vegetable, in which a drawer on the table is half-open. Mariano Nani was the son and pupil of Giacomo Nani, another painter, and specialised in painting still lifes. Around 1755 he began to work like his father in the royal porcelain factory in Capodimonte. He moved to Spain in 1759 in the entourage of Charles III. Settling in Madrid, he collaborated with his designs in the creation of the Royal Porcelain Factory of the Buen Retiro without abandoning still-life painting and miniatures, a technique he taught to his pupils, José de la Torre and Manuel Sorrentini. In 1764 he became a member of merit of the San Fernando Royal Academy of Fine Arts. From 1775 and through the mediation of Anton Raphael Mengs he also provided cartoons for the Royal Tapestry Factory of Santa Bárbara. In the course of this activity he produced some of the models that were to decorate the palaces of El Pardo and Aranjuez. His style advocates hunting still lifes that are not devoid of drama, with large prey such as deer and wild boar, or small ones such as rabbits or hares. His compositions, influenced by those of the Low Countries, tend towards naturalistic representation, conveyed through a precious, soft technique and balanced tonalities. The Neapolitan still-life school of the Baroque period enjoyed a spectacular development, leaving behind the splendour of the 16th century and progressing within a clearly identifiable, fully Baroque style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specialising in the painting of flowers, fruit, fish and game, thus satisfying the demands of a vast clientele characterised by a new 17th-century taste. In addition to these artists, there are also the minor figures who are slowly emerging from an unjust oblivion, and some artists who worked between the 17th and 18th centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still-life painters, who worked during the 17th and early 18th centuries, are known as "i generisti", and were important not only in their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by Italian influence, particularly the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life genre. The distinguishing feature of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromaticism, with a dominance of reddish and earthy tones.
Setdart Auction House
Dec. 29, 2022
MARIANO NANI (Naples, 1725-Madrid, 1804). “Still Life”, 1762- Oil on canvas. Played on; Peter Cherry Luis Melendez Still-life Painter; Support Foundation for Hispanic Art History, Madrid, 2006 page 256. Has minor flaws.
Est: €28,000 - €30,000
MARIANO NANI (Naples, 1725-Madrid, 1804). "Still Lifes", 1762- Oil on canvas. Reproduced in; Peter Cherry Luis Melendez Still-life Painter; Fundacion De Apoyo a La Historia Del Arte Hispanico, Madrid, 2006 page 256. It has slight faults. Measurements: 76 x 101 cm; 97 x 121 cm (frame). Pair of still lifes formed by food and dead birds, following a similar composition centred in a clearly delimited space, limited by the wooden table on which the elements are arranged and closed at the back by a smooth wall, worked in neutral tones and darker on one of its sides, looking for the light variation and the contrast of lights and shadows. Formally, the composition is also notable for its illusionist taste, with elements protruding from the outside of the table, typical baroque trompe l'oeil. One of the most characteristic elements of the artist's mastery can be seen in the still life of the vegetable, in which a drawer on the table is half-open. Mariano Nani was the son and pupil of Giacomo Nani, another painter, and specialised in painting still lifes. Around 1755 he began to work like his father in the royal porcelain factory in Capodimonte. He moved to Spain in 1759 in the entourage of Charles III. Settling in Madrid, he collaborated with his designs in the creation of the Royal Porcelain Factory of the Buen Retiro without abandoning still-life painting and miniatures, a technique he taught to his pupils, José de la Torre and Manuel Sorrentini. In 1764 he became a member of merit of the San Fernando Royal Academy of Fine Arts. From 1775 and through the mediation of Anton Raphael Mengs, he also provided cartoons for the Royal Tapestry Factory of Santa Bárbara. In the course of this activity he produced some of the models that were to decorate the palaces of El Pardo and Aranjuez. His style advocates hunting still lifes that are not devoid of drama, with large prey such as deer and wild boar, or small ones such as rabbits or hares. His compositions, influenced by those of the Low Countries, tend towards naturalistic representation, conveyed through a precious, soft technique and balanced tonalities. The Neapolitan still-life school of the Baroque period enjoyed a spectacular development, leaving behind the splendour of the 16th century and progressing within a clearly identifiable, fully Baroque style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specialising in the painting of flowers, fruit, fish and game, thus satisfying the demands of a vast clientele characterised by a new 17th-century taste. In addition to these artists, there are also the minor figures who are slowly emerging from an unjust oblivion, and some artists who worked between the 17th and 18th centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still-life painters, who worked during the 17th and early 18th centuries, are known as "i generisti" and were important not only in their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by Italian influence, particularly the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life genre. The distinguishing feature of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromaticism, with a dominance of reddish and earthy tones.
Setdart Auction House
Jul. 19, 2022
MARIANO NANI. Naples (1726) / Madrid (1806). "Still Life with Birds and a Cat on a Fish Basket", 1788.
Est: €9,000 - €12,000
Oil on canvas. Signed and dated in the lower left corner. 77.5 x 101.5 cm.
Ansorena
Jun. 22, 2022
MARIANO NANI (Naples, 1725-Madrid, 1804). “Still Life”, 1762- Oil on canvas. Played on; Peter Cherry Luis Melendez Still-life Painter; Support Foundation for Hispanic Art History, Madrid, 2006 page 256. Has minor flaws.
Est: €28,000 - €30,000
MARIANO NANI (Naples, 1725-Madrid, 1804). "Still Lifes", 1762- Oil on canvas. Reproduced in; Peter Cherry Luis Melendez Still-life Painter; Fundacion De Apoyo a La Historia Del Arte Hispanico, Madrid, 2006 page 256. It has slight faults. Measurements: 76 x 101 cm; 97 x 121 cm (frame). Pair of still lifes formed by food and dead birds, following a similar composition centred in a clearly delimited space, limited by the wooden table on which the elements are arranged and closed at the back by a smooth wall, worked in neutral tones and darker on one of its sides, looking for the light variation and the contrast of lights and shadows. Formally, the composition is also notable for its illusionist taste, with elements protruding from the outside of the table, typical baroque trompe l'oeil. One of the most characteristic elements of the artist's mastery can be seen in the still life of the vegetable, in which a drawer on the table is half-open. Mariano Nani was the son and pupil of Giacomo Nani, another painter, and specialised in painting still lifes. Around 1755 he began to work like his father in the royal porcelain factory in Capodimonte. He moved to Spain in 1759 in the entourage of Charles III. Settling in Madrid, he collaborated with his designs in the creation of the Royal Porcelain Factory of the Buen Retiro without abandoning still-life painting and miniatures, a technique he taught to his pupils, José de la Torre and Manuel Sorrentini. In 1764 he became a member of merit of the San Fernando Royal Academy of Fine Arts. From 1775 and through the mediation of Anton Raphael Mengs, he also provided cartoons for the Royal Tapestry Factory of Santa Bárbara. In the course of this activity he produced some of the models that were to decorate the palaces of El Pardo and Aranjuez. His style advocates hunting still lifes that are not devoid of drama, with large prey such as deer and wild boar, or small ones such as rabbits or hares. His compositions, influenced by those of the Low Countries, tend towards naturalistic representation, conveyed through a precious, soft technique and balanced tonalities. The Neapolitan still-life school of the Baroque period enjoyed a spectacular development, leaving behind the splendour of the 16th century and progressing within a clearly identifiable, fully Baroque style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specialising in the painting of flowers, fruit, fish and game, thus satisfying the demands of a vast clientele characterised by a new 17th-century taste. In addition to these artists, there are also the minor figures who are slowly emerging from an unjust oblivion, and some artists who worked between the 17th and 18th centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still-life painters, who worked during the 17th and early 18th centuries, are known as "i generisti" and were important not only in their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by Italian influence, particularly the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life genre. The distinguishing feature of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromaticism, with a dominance of reddish and earthy tones.
Setdart Auction House
Jun. 15, 2022
MARIANO NANI Naples (1726) / Madrid (1806) "Still life of meat".
Est: €10,500 - €14,000
Oil on canvas . 62 x 81 cm
Ansorena
May. 10, 2022
MARIANO NANI. Naples (1726) / Madrid (1806). "Still Life with Birds and Cat on a Basket of Fish", 1788.
Est: €12,000 - €16,000
Oil on canvas. Signed and dated in the lower left corner. .77,5 x 101,5 cm
Ansorena
Jan. 26, 2022
MARIANO NANI (1726 / 1806) "Still life with turkey, sausage, futa and wine", 1762
Est: €45,000 - €60,000
"Still Life with Meat and Vegetables" One of them signed and dated in the upper centre, on a piece of paper. He learned his trade as a painter in the workshop of his father, Giacomo Nani, who specialised in painting flowers and landscapes. Mariano came to Spain in 1759 in the service of Charles III to work at the Buen Retiro Factory and from 1775 he also produced tapestry cartoons at the Royal Factory of Santa Barbara. From his early years in Spain he painted still lifes, no doubt in an attempt to improve his social position and recognition, which he lacked as a painter at the porcelain factory. For this reason he presented Charles III with two still lifes of hunting. It seems that he soon made a name for himself on the Madrid market, and several examples of his work are known from the early 1960s, such as this pair of still lifes. His paintings are characterised by their compositional balance, naturalistic conception, Flemish influence and great expressive force, all executed with a soft brushstroke and precious technique. Bibliography: Cherry, P., "Luis Meléndez Still-life Painter", Fundación De Apoyo a La Historia Del Arte Hispánico, Madrid, 2006, pp. 254-56, nos. 225 and 226 (reproduced). . 76,5 x 100 cm y 77 x 100,5 cm. Two oil on canvas
Ansorena
Dec. 29, 2021
MARIANO NANI (Naples, 1725-Madrid, 1804). "Still life of hunting". Oil on canvas.
Est: €10,000 - €12,000
MARIANO NANI (Naples, 1725-Madrid, 1804). "Still life of hunting". Oil on canvas. Slight repainting (about 10%). Work reproduced in "Die Genrebilder der Madrider Teppichmanufaktur und die Anfänge Goyas", Berlin, reproduced on page 177 and catalogued with the number 342. Measurements: 68 x 198 cm; 94 x 224 cm (frame). Son and disciple of the also painter Giacomo Nani, Mariano Nani was an artist specialized in painting still lifes of hunting. Around 1755 he began working like his father in the royal porcelain factory in Capodimonte. He moved to Spain in 1759 in the entourage of Charles III. Settled in Madrid, he collaborated with his designs in the creation of the Royal Porcelain Factory of Buen Retiro without abandoning the painting of still lifes and miniatures, a technique he taught to his students, José de la Torre and Manuel Sorrentini. In 1764 he became a member of merit of the Royal Academy of Fine Arts of San Fernando. From 1775 and through the mediation of Anton Raphael Mengs, he also provided cartoons for the Royal Tapestry Factory of Santa Barbara. In the development of this activity he made some of the models that were to decorate the palaces of El Pardo and Aranjuez. His style defends hunting still lifes not exempt of dramatism, with large prey, such as deer and wild boars, or small ones such as rabbits or hares. His compositions, influenced by those of the Netherlands, tend to the naturalistic representation, transmitted through a precious and soft technique, with balanced tonalities. Currently his works are preserved in important art galleries in the country, highlighting the Prado Museum. Highly appreciated within the antiquarian market, as well as among collectors and art historians, the Neapolitan still life school of the Baroque enjoyed a spectacular development, leaving behind the splendors of the 16th century and progressing within a fully Baroque and clearly identifiable style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specializing in the painting of flowers, fruits, fish and game, thus satisfying the demand of a vast clientele characterized by a new taste typical of the 17th century. To these authors must also be added the minor figures, who are slowly emerging from an unjust oblivion, and some artists who worked between the seventeenth and eighteenth centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still life painters, who worked during the 17th and early 18th century, are called "i generisti", and were important not only within their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by the Italian influence, specifically by the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life. The distinctive sign of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromatism, with a dominance of reddish and earthy tones.
Setdart Auction House
Dec. 29, 2021
Attributed to MARIANO NANI (Naples, 1725-Madrid, 1804). "Still life with fish, seafood and grapes". Oil on canvas. Relined. With back frame.
Est: €8,000 - €10,000
Attributed to MARIANO NANI (Naples, 1725-Madrid, 1804). "Still life with fish, seafood and grapes". Oil on canvas. Relined. With back frame. Measurements: 70 x 230 cm; 97 x 250 cm (frame). Son and disciple of the also painter Giacomo Nani, Mariano Nani was an artist specialized in the painting of hunting still lifes. Around 1755 he began working like his father in the royal porcelain factory in Capodimonte. He moved to Spain in 1759 in the entourage of Charles III. Settled in Madrid, he collaborated with his designs in the creation of the Royal Porcelain Factory of Buen Retiro without abandoning the painting of still lifes and miniatures, a technique he taught to his students, José de la Torre and Manuel Sorrentini. In 1764 he became a member of merit of the Royal Academy of Fine Arts of San Fernando. From 1775 and through the mediation of Anton Raphael Mengs, he also provided cartoons for the Royal Tapestry Factory of Santa Barbara. In the development of this activity he made some of the models that were to decorate the palaces of El Pardo and Aranjuez. His style defends hunting still lifes not exempt of dramatism, with large prey, such as deer and wild boars, or small ones such as rabbits or hares. His compositions, influenced by those of the Netherlands, tend to the naturalistic representation, transmitted through a precious and soft technique, with balanced tonalities. Currently his works are preserved in important art galleries in the country, highlighting the Prado Museum. Highly appreciated within the antiquarian market, as well as among collectors and art historians, the Neapolitan still life school of the Baroque enjoyed a spectacular development, leaving behind the splendors of the 16th century and progressing within a fully Baroque and clearly identifiable style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specializing in the painting of flowers, fruits, fish and game, thus satisfying the demand of a vast clientele characterized by a new taste typical of the 17th century. To these authors must also be added the minor figures, who are slowly emerging from an unjust oblivion, and some artists who worked between the seventeenth and eighteenth centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still life painters, who worked during the 17th and early 18th centuries, are called "i generisti", and were important not only within their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by Italian influence, specifically by the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life. The distinctive sign of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromatism, with a dominance of reddish and earthy tones.
Setdart Auction House
Jul. 13, 2016
Attributed to Mariano Nani Nápoles h. 1725 - Madrid 1804 Still Life
Est: €400 -
Attributed to Mariano Nani Nápoles h. 1725 - Madrid 1804 Still Life Oil on canvas 76x100,5 cm Atribuido a Mariano Nani Nápoles h. 1725 - Madrid 1804 Bodegón Óleo sobre lienzo 76x100,5 cm
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Pair of still lifes, Mariano Nanni (Naples, c. 1725 – Madrid, 1804), signed and published

Pareja de naturalezas muertas

MARIANO NANI (Naples, 1725-Madrid, 1804). "Still Lifes", 1762. Oil on canvas. Reproduced in; Peter Cherry Luis Melendez Still-life Painter; Fundacion De Apoyo a La Historia Del Arte Hispanico, Madrid, 2006 page 256.

MARIANO NANI (Naples, 1725-Madrid, 1804). “Still Life”, 1762- Oil on canvas. Played on; Peter Cherry Luis Melendez Still-life Painter; Support Foundation for Hispanic Art History, Madrid, 2006 page 256. Has minor flaws.

MARIANO NANI. Naples (1726) / Madrid (1806). "Still Life with Birds and a Cat on a Fish Basket", 1788.

MARIANO NANI (Naples, 1725-Madrid, 1804). “Still Life”, 1762- Oil on canvas. Played on; Peter Cherry Luis Melendez Still-life Painter; Support Foundation for Hispanic Art History, Madrid, 2006 page 256. Has minor flaws.

MARIANO NANI Naples (1726) / Madrid (1806) "Still life of meat".

MARIANO NANI. Naples (1726) / Madrid (1806). "Still Life with Birds and Cat on a Basket of Fish", 1788.

MARIANO NANI (1726 / 1806) "Still life with turkey, sausage, futa and wine", 1762

MARIANO NANI (Naples, 1725-Madrid, 1804). "Still life of hunting". Oil on canvas.

Attributed to MARIANO NANI (Naples, 1725-Madrid, 1804). "Still life with fish, seafood and grapes". Oil on canvas. Relined. With back frame.

Attributed to Mariano Nani Nápoles h. 1725 - Madrid 1804 Still Life

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