Francesco (1563) Vanni Paintings & Artwork for Sale | Francesco (1563) Vanni Art Value Price Guide

Oct. 26, 2024
Francesco VANNI (1563/65-1610)
Est: €800 - €1,200
Cabeza Feminina Trois crayons sur papier Signature en bas à droite H. 13 cm - L. 10 cm Provenance : ancienne collection Marquès del Cenete
OXIO
Oct. 25, 2024
Francesco Vanni (attr.) "Resting durgin the flight to Egypt" oil on paper applied on panel (27x20 cm.) wax stamps and inscriptions on verso in wooden frame and gilded stucco (defects)...
Est: €1,400 - €1,600
(Siena 1563 - 1610) (attr.) "Resting durgin the flight to Egypt" oil on paper applied on panel (27x20 cm.) wax stamps and inscriptions on verso in wooden frame and gilded stucco (defects) IT (attr.) "Riposo durante fuga in Egitto" olio su carta applicata su tavola (cm 27x20) timbri a ceralacca e iscrizioni al verso in cornice in legno e stucco dorato (difetti)
Il Ponte Auction House
Sep. 19, 2024
Francesco Vanni (Siena 1563 - 1610) bottega/cerchia di
Est: €1,800 - €3,000
Francesco Vanni (Siena 1563 - 1610) bottega/cerchia di Visione dell'angelo di San Francesco Olio su rame 23,5 x 18 cm L'opera nasce da un disegno di Vanni divenuto molto diffuso anche grazie all'incisione di Ludovico Carracci. Da notare il contrasto tra la bellezza celestiale del bellissimo angelo musico, tipicamente dedotto dai modelli di Federico Barocci, e il naturalismo che caratterizza il volto del santo. Francesco Vanni nacque a Siena. La madre, poco dopo essere rimasta vedova, sposò il pittore Arcangelo Salimbeni, che risultò essere il primo maestro del giovane artista. Con Giovanni De Vecchi andò prima a Roma, passando a Bologna nella bottega di Bartolomeo Passarotti. Ritornò a Siena dopo il 1580, iniziando la sua attività in proprio nell'oratorio inferiore di San Bernardino, denunciando un'ovvia influenza del Salimbeni e un influsso romano con citazioni dello Zuccari. Intorno al 1585 la sua arte subì una nuova linfa dispirazione, grazie allattenzione di Vanni per larte di Federico Barocci, anche se rimangono ricordi evidenti del suo passaggio a Bologna con linfluenza esercitata dai Carracci. Seguono quindici anni di attività senese, ove il baroccismo rimase comunque un dato esteriore, ispiratore delle composizioni e dei tratti fisionomici delle figure. Considerato dal Cardinale Leopoldo de Medici pittore di prima classe assieme a Ventura Salimbeni e Baldassare Peruzzi, egli cercò nella sua arte di allontanarsi dalle bizzarre e fredde realizzazioni del tardo Manierismo, per ricercare unarte fedele al solco della tradizione cinquecentesca che trova la sua origine in Raffaello e prosegue nel Correggio e nei già citati Barocci e Carracci. Francesco Vanni (Siena 1563 - 1610) workshop/circle of Vision of the Angel of Saint Francis Oil on copper 23,5 x 18 cm The artwork is based on a drawing by Vanni that became very popular thanks to the engraving of Ludovico Carracci. Note the contrast between the celestial beauty of the beautiful musician angel, typically derived from Federico Barocci's models, and the naturalism that characterises the saint's face.
Lucas Aste
Jul. 25, 2024
Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian.
Est: €5,000 - €6,000
Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian. Measurements: 25 x 19 cm; 36 x 30,5 cm (frame). This painting belongs to the Tuscan mannerist school and is attributed to the painter Francesco Vanni. An etching of this painter with the same subject and compositional treatment, one of whose copies is preserved in the British Museum, may have served as a preliminary study for the oil painting shown here. The high quality of this painting, in accordance with the mastery of the Sienese master, shows St. Francis of Assisi leaning on a rock, with closed eyelids and half-open lips while listening to the celestial music of the violin played by an angel next to his ear. One of the saint's hands begins to bleed, his wound mimicking the stigmata of Christ's Passion. Each of these narrative details faithfully follows the passages described by St. Bonaventure, biographer of the founder of the Franciscan Order: being gravely ill, St. Francis began to hear music so beautiful that he thought he had already crossed the threshold to the eternal kingdom. Subtle gradations of halftones model the angel's infantile body. The seraphic face contrasts with the wiry, angular features of the ecstatic saint. An amber light emerges from the celestial background and outlines the infant's body against the light, giving it a great beauty, in which we identify Vanni's style. The work clearly belongs to the artistic circle of Francesco Vanni, an Italian painter, draughtsman, engraver, publisher and printer active in Rome and in his hometown of Siena. Vanni was part of a family of painters. When he was 16, Vanni moved to Bologna and then to Rome. He was apprenticed to Giovanni de 'Vecchi during 1579-1580, although he was also greatly influenced artistically by other Tuscan painters of his time. In Rome, he worked with Salimbeni, Bartolomeo Passerotti and Andrea Lilio. Pope Clement VIII commissioned him to paint an altarpiece for St. Peter's, later transferred to mosaic, Simon the Magician rebuked by St. Peter. He painted several other pictures for Roman churches; including St. Michael defeats the rebellious angels for the sacristy of S. Gregorio; a Pieta of St. Mary in Vallicella; and the Assumption of St. Lawrence in Miranda. In Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans. Vanni painted a Baptism of Constantine (1586-1587) for the church of San Agostino in Siena. He was active as an engraver and engraved three devotional engravings after his own designs. In addition, he was the publisher of a large 4-plate map of Siena that he himself had designed and had engraved by the Flemish engraver Pieter the Elder. He asked Lorenzo Usimbardi in 1595 for help in obtaining financial support for the publication of the map.
Setdart Auction House
May. 29, 2024
Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian.
Est: €17,000 - €18,000
Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian. Measurements: 25 x 19 cm; 36 x 30,5 cm (frame). This painting belongs to the Tuscan mannerist school and is attributed to the painter Francesco Vanni. An etching of this painter with the same subject and compositional treatment, one of whose copies is preserved in the British Museum, may have served as a preliminary study for the oil painting shown here. The high quality of this painting, in accordance with the mastery of the Sienese master, shows St. Francis of Assisi leaning on a rock, with closed eyelids and half-open lips while listening to the celestial music of the violin played by an angel next to his ear. One of the saint's hands begins to bleed, his wound mimicking the stigmata of Christ's Passion. Each of these narrative details faithfully follows the passages described by St. Bonaventure, biographer of the founder of the Franciscan Order: being gravely ill, St. Francis began to hear music so beautiful that he thought he had already crossed the threshold to the eternal kingdom. Subtle gradations of halftones model the angel's infantile body. The seraphic face contrasts with the wiry, angular features of the ecstatic saint. An amber light emerges from the celestial background and outlines the infant's body against the light, giving it a great beauty, in which we identify Vanni's style. The work clearly belongs to the artistic circle of Francesco Vanni, an Italian painter, draughtsman, engraver, publisher and printer active in Rome and in his hometown of Siena. Vanni was part of a family of painters. When he was 16, Vanni moved to Bologna and then to Rome. He was apprenticed to Giovanni de 'Vecchi during 1579-1580, although he was also greatly influenced artistically by other Tuscan painters of his time. In Rome, he worked with Salimbeni, Bartolomeo Passerotti and Andrea Lilio. Pope Clement VIII commissioned him to paint an altarpiece for St. Peter's, later transferred to mosaic, Simon the Magician rebuked by St. Peter. He painted several other pictures for Roman churches; including St. Michael defeats the rebellious angels for the sacristy of S. Gregorio; a Pieta of St. Mary in Vallicella; and the Assumption of St. Lawrence in Miranda. In Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans. Vanni painted a Baptism of Constantine (1586-1587) for the church of San Agostino in Siena. He was active as an engraver and engraved three devotional engravings after his own designs. In addition, he was the publisher of a large 4-plate map of Siena that he himself had designed and had engraved by the Flemish engraver Pieter the Elder. He asked Lorenzo Usimbardi in 1595 for help in obtaining financial support for the publication of the map.
Setdart Auction House
May. 14, 2024
Francesco Vanni (Siena 1563 - 1610)
Est: €1,200 - €1,800
Francesco Vanni (Siena 1563 - 1610) Cristo risorto e Santi Inchiostro e acquerello su carta 420 x 261 mm In basso: Cavalier Vanni - Fra Bartolomeo. Francesco Vanni (Siena 1563 - 1610) Risen Christ and Saints Ink and watercolour on paper 420 x 261 mm Below: Cavalier Vanni - Fra Bartolomeo.
Lucas Aste
May. 11, 2024
FRANCESCO VANNI (Attr.le), Olio su rame
Est: €6,000 - €8,000
FRANCESCO VANNI (Attr.le) (Siena 1563 - 1610) Madonna con Bambino in gloria, san Francesco d'Assisi e san Antonio da Padova Olio su rame Cornice coeva in legno intagliato con tracce di vecchia doratura Provenienza: Nobile famiglia siciliana. cm 26,5 x 20,5.
Benedetto Trionfante Auction House s.r.l
Mar. 20, 2024
Francesco VANNI Sienne, 1563 - 1610 Etude de sainte aux bras attachés dans le dos Crayon noir
Est: €1,200 - €1,500
Francesco VANNI Sienne, 1563 - 1610 Etude de sainte aux bras attachés dans le dos Crayon noir Etude de personnages au verso Sans cadre Study of a saint, black pencil, by F. Vanni h: 14 w: 9,70 cm Provenance : Vente anonyme ; Genève, Piguet, 19-21 juin 2007, n° 962 (comme anonyme) ; Acquis lors de cette vente par l'actuel propriétaire ; Collection particulière européenne Commentaire : La douceur apportée au traitement de ses figures font de Francesco Vanni un des artistes les plus attachants de l'école siennoise de la fin du XVIe siècle. Nombreuses sont les études de petit format qui accordent une importance particulière au drapé comme dans notre feuille. Estimation 1 200 - 1 500 €
Artcurial
Mar. 20, 2024
Francesco Vanni, Follower of. Saint Francis of Assisis vision of Mary and the Child
Est: €1,500 - €2,000
Francesco Vanni, follower of. 1563/64 Siena - 1610 ebenda Saint Francis of Assisis vision of Mary and the Child Oil auf canvas. 62 x 53.5 cm. Relined. Restored. Damaged. Damage to frame (80 x 70 cm). Das populäre Motiv scheint hier dem Kupferstich von Cornelis Galle nach der Vorlage Vannis nachempfunden zu sein.
Neumeister
Feb. 20, 2024
Francesco Vanni (Siena 1563 - 1610)
Est: €3,000 - €5,000
Francesco Vanni (Siena 1563 - 1610) Madonna adora il Bambino dormiente Olio su tela 66 x 52,5 cm L'opera ci riconduce alla produzione pittorica del Vanni, come dimostra la tela quasi identica commissionata, con altre tre, nel 1591 dalla Compagnia di Santa Caterina in Fontebranda. Ritroviamo lo stesso impianto, anche se vi sono evidenti variazioni: la posizione del capo del Bambino, la mancanza del drappo in alto e della rosa in mano a Gesù. Nel contempo se il volto della nostra Madonna richiama stilemi toscani cinquecenteschi, quello della tela di Siena è tipicamente baroccesco. Ad una analisi stilistica si può supporre che la nostra opera sia da datarsi nel primo Seicento, periodo del secondo soggiorno romano, quando compaiono i fondi scuri e indefiniti. Francesco Vanni nacque a Siena. La madre, poco dopo essere rimasta vedova, sposÃ² il pittore Arcangelo Salimbeni, che risultò essere il primo maestro del giovane artista. Con Giovanni De' Vecchi andò prima a Roma, passando a Bologna nella bottega di Bartolomeo Passarotti. Ritornò a Siena dopo il 1580, iniziando la sua attività in proprio nell'oratorio inferiore di San Bernardino, denunciando un'ovvia influenza del Salimbeni e un influsso romano con citazioni dello Zuccari. Intorno al 1585 la sua arte subì una nuova linfa d'ispirazione, grazie all'attenzione di Vanni per l'arte di Federico Barocci, anche se rimangono ricordi evidenti del suo passaggio a Bologna con l'influenza esercitata dai Carracci. Seguono quindici anni di attività senese, ove il baroccismo rimase comunque un dato esteriore, ispiratore delle composizioni e dei tratti fisionomici delle figure. Considerato dal Cardinale Leopoldo de'Medici pittore di prima classe assieme a Ventura Salimbeni e Baldassare Peruzzi, egli cercò nella sua arte di allontanarsi dalle bizzarre e fredde realizzazioni del tardo Manierismo, per ricercare un'arte fedele al solco della tradizione cinquecentesca che trova la sua origine in Raffaello e prosegue nel Correggio e nei già citati Barocci e Carracci. Francesco Vanni (Siena 1563 - 1610) Madonna Adores the Sleeping Child Oil on canvas 66 x 52,5 cm The artwork leads us back to Vanni's art with certainty thanks to the almost identical canvas commissioned, with three others, in 1591 by the Compagnia di Santa Caterina in Fontebranda. We find the same structure, even if there are evident variations: the position of the Child's head, the lack of the cloth at the top, and the rose in Jesus' hand. At the same time, if the face of our Madonna recalls 16th-century Tuscan stylistic elements, that of the Siena is typically Baroque. From a stylistic analysis, it can be assumed that our artwork can be dated to the early 17th century, the period of the second Roman stay, when dark and undefined backgrounds appeared.
Lucas Aste
Jan. 25, 2024
Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian.
Est: €17,000 - €18,000
Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian. Measurements: 25 x 19 cm; 36 x 30,5 cm (frame). This painting belongs to the Tuscan mannerist school and is attributed to the painter Francesco Vanni. An etching of this painter with the same subject and compositional treatment, one of whose copies is preserved in the British Museum, may have served as a preliminary study for the oil painting shown here. The high quality of this painting, in accordance with the mastery of the Sienese master, shows St. Francis of Assisi leaning on a rock, with closed eyelids and half-open lips while listening to the celestial music of the violin played by an angel next to his ear. One of the saint's hands begins to bleed, his wound mimicking the stigmata of Christ's Passion. Each of these narrative details faithfully follows the passages described by St. Bonaventure, biographer of the founder of the Franciscan Order: being gravely ill, St. Francis began to hear music so beautiful that he thought he had already crossed the threshold to the eternal kingdom. Subtle gradations of halftones model the angel's infantile body. The seraphic face contrasts with the wiry, angular features of the ecstatic saint. An amber light emerges from the celestial background and outlines the infant's body against the light, giving it a great beauty, in which we identify Vanni's style. The work clearly belongs to the artistic circle of Francesco Vanni, an Italian painter, draughtsman, engraver, publisher and printer active in Rome and in his hometown of Siena. Vanni was part of a family of painters. When he was 16, Vanni moved to Bologna and then to Rome. He was apprenticed to Giovanni de 'Vecchi during 1579-1580, although he was also greatly influenced artistically by other Tuscan painters of his time. In Rome, he worked with Salimbeni, Bartolomeo Passerotti and Andrea Lilio. Pope Clement VIII commissioned him to paint an altarpiece for St. Peter's, later transferred to mosaic, Simon the Magician rebuked by St. Peter. He painted several other pictures for Roman churches; including St. Michael defeats the rebellious angels for the sacristy of S. Gregorio; a Pieta of St. Mary in Vallicella; and the Assumption of St. Lawrence in Miranda. In Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans. Vanni painted a Baptism of Constantine (1586-1587) for the church of San Agostino in Siena. He was active as an engraver and engraved three devotional engravings after his own designs. In addition, he was the publisher of a large 4-plate map of Siena that he himself had designed and had engraved by the Flemish engraver Pieter the Elder. He asked Lorenzo Usimbardi in 1595 for help in obtaining financial support for the publication of the map.
Setdart Auction House
Nov. 23, 2023
Adoration of the Christ Child
Est: €8,000 - €10,000
Oil on panel cm. 59x48. With tabernacle frame This fine panel painting constitutes a rather interesting attributive case. The work shows an obvious iconographic and compositional relationship with the painting of the same subject executed, along with three others, by Francesco Vanni by the end of 1591 on commission from the Compagnia di Santa Caterina in Fontebranda in Siena. The Madonna in Adoration of the Child marks one of the points of greatest adherence of Vanni's language to that of Federico Barocci: an adherence of which, in fact, no trace remains in the version illustrated here. In any case, the artistic achievement was a happy one, and Vanni's painting was immediately translated in print into a woodcut attributable to Andrea Andreani, who omitted the motif of the roses held by the Child with his right hand, replacing it with the gesture of pulling a sheet. Shortly thereafter Vanni himself translated Andreani's woodcut into engraving, confirming the same motif of the pulled sheet, which is also found in a further engraving of the image made by Cornelis Galle around 1600 and, not least, also in our painting. Indeed, the expressive register of our panel aligns with the more serene and joyful one that Vanni introduces in his engraving and that significantly changes the severe intonation of the painting he had shortly before made for the Sienese confraternity.
Bertolami Fine Art s.r.l.
Nov. 09, 2023
Vanni, Francesco (Nachfolger/Follower)
Est: €300 - €400
Vanni, Francesco (Nachfolger/Follower) Siena 1563 - 1610 29 x 19 cm Christ with angels and a nun. Pen in brown/paper, laid on cardboard. At the lower margin inscribed: ...francesco Vanni. Private Collection, Northrhine Westphalia.
Nagel Auction
Oct. 18, 2023
Follower of FRANCESCO VANNI (Siena, 1563 – 1610). “Virgin of Silence.” Oil on copper.
Est: €1,400 - €1,600
Follower of FRANCESCO VANNI (Siena, 1563 - 1610). "Madonna of Silence. Oil on copper. Size: 21 x 15,5 cm; 36,5 x 30 cm (frame). The iconographic theme is the contemplation of the child who is sleeping while his mother, the Virgin, adores him. It is the combination of the concepts of mother and child in a natural and tender attitude, as well as the mother of God observing the divine and transcendental character of her son. The painter offers us a scene with a very long tradition in the Christian West, worked with subtle gradations of half-tones. Since the end of the Middle Ages artists have insisted on depicting, in an increasingly intense manner, the bond of affection that united Christ with his Mother and the close relationship between them, and this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterised a large part of artistic production. This characteristic became increasingly common over the centuries. It is worth noting the symbolism of the colours of the cloth, the blue cloak representing universality, the red tunic alluding to the passion of Christ, and the white cloth showing the purity and innocence of Jesus. Therefore, despite the calmness of the Virgin's facial gestures, her clothing defines her as a suffering mother, aware of her son's fate. Aesthetically the work belongs to the artistic circle of Francesco Vanni, an Italian painter, draughtsman, engraver, publisher and printer active in Rome and in his native city of Siena. Vanni came from a family of painters. When he was 16, Vanni moved to Bologna and then to Rome. He was apprenticed to Giovanni de 'Vecchi during 1579-1580, although he was also greatly influenced by other Tuscan painters of his day. In Rome he worked with Salimbeni, Bartolomeo Passerotti and Andrea Lilio. Pope Clement VIII commissioned him to paint an altarpiece for Saint Peter's, later transferred to mosaic, Simon the Magician rebuked by Saint Peter. He painted several other pictures for Roman churches, including St Michael defeating the rebellious angels for the sacristy of St Gregory's; a Pieta of St Mary in Vallicella; and the Assumption of St Lawrence in Miranda. In Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans. Vanni painted a Baptism of Constantine (1586-1587) for the church of San Agostino in Siena. He was active as an engraver and engraved three devotional engravings to his own designs. In addition, he was the publisher of a large four-plate map of Siena that he himself had designed and engraved by the Flemish engraver Pieter the Elder. In 1595 he asked Lorenzo Usimbardi for help in obtaining financial support for the publication of the map.
Setdart Auction House
Sep. 28, 2023
Vanni (Francesco) Breve Trattato Cosmografico per passare con facilta' alla Studio della Geografia, first edition, Palermo, Antonio Epiro, 1729.
Est: £800 - £1,200
Vanni (Francesco) Breve Trattato Cosmografico per passare con facilta' alla Studio della Geografia, first edition, 10 folding engraved plates, one with ink annotations, occasional soiling, contemporary sprinkled calf, spine gilt, 8vo, Palermo, Antonio Epiro, 1729. ⁂ Provenance: 'Ad uso del Dr. D. Gaetano Ma. di Alessandro' (ink inscription to title); Biblioteca Salomone, Nicosia (3 ink stamps); early 20th century bookplate with name scored out.
Forum Auctions - UK
Mar. 22, 2023
FRANCESCO EUGENIO VANNI (SIENNE 1563-1610) Vierge à l'Enfant pierre noire,
Est: €3,000 - €5,000
FRANCESCO EUGENIO VANNI (SIENNE 1563-1610) Vierge à l'Enfant pierre noire, sanguine, filigrane fragmentaire cercle, les angles coupés 11,5 x 8,5 cm (4 5/8 x 3 3/8 in.)
Christie's
Dec. 17, 2022
FRANCESCO VANNI (Bottega di), Olio su tavola
Est: €3,000 - €4,000
FRANCESCO VANNI (Bottega di) (Siena 1563-1610) Venere, Vulcano e Cupido Olio su tavola parchettata Cornice in legno dorato e laccato Provenienza: Nobile famiglia catanese. cm 33,5 x 42.
Benedetto Trionfante Auction House s.r.l
Dec. 08, 2022
Francesco Vanni, 1563/65 – 1610, zugeschrieben/ Kreis des
Est: €5,000 - €7,000
Die Madonna mit dem Jesusknaben Öl auf Leinwand. 67 x 52 cm. In dekorativem, teils mit Gold bemaltem Rahmen. Halbbildnis der Madonna in rotem Gewand mit dunklem Mantel, weißer Kopfbedeckung, vor dunklem Hintergrund, dieser jedoch aufgehellt durch einen Strahlennimbus mit Sternenkranz um das Haupt der Madonna. Vor ihr auf einem weißen Laken liegend das nackte langgestreckt schlafende Jesuskind, nur mit einem dünnen Tuch teils verhüllt und den Kopf auf einem roten goldbestickten Kissen. Jesus hat die Augen geschlossen, einen schmalen Mund und scheint angenehm zu schlummern. Die Madonna hat vor ihrer Brust ihre schmalen Hände behutsam zusammengelegt und blickt mit ihren dunklen Augen nach unten auf das Kind. Harmonische Darstellung mit starkem Hell-Dunkel-Kontrast. Vereinzelt Retuschen. (1341521) (18)
Hampel Fine Art Auctions
Oct. 28, 2022
FRANCESCO VANNI (SIENNE 1563-1610) La Crucifixion FRANCESCO VANNI (SIENNE 1563-1610) /La Crucifixion
Est: €3,000 - €4,000
FRANCESCO VANNI (SIENNE 1563-1610) La Crucifixion FRANCESCO VANNI (SIENNE 1563-1610) /La Crucifixion/ huile sur cuivre 33 x 25,5 cm. (13 x 10 in.)
Christie's
Apr. 06, 2022
Circle of FRANCESCO VANNI (Siena, 1563 – 1610). "Virgin of Silence". Oil on copper. It has a frame in the style of Carlos IV, 20th century. It has restorations.
Est: €1,000 - €1,200
Circle of FRANCESCO VANNI (Siena, 1563 - 1610). "Madonna of Silence. Oil on copper. It has a frame in the style of Charles IV, 20th century. It has restorations. Measurements: 21 x 16 cm; 36,5 x 31 cm (frame). The iconographic theme is the contemplation of the child who is sleeping while his mother, the Virgin, adores him. It is the combination of the concepts of mother and son in a natural and tender attitude, as well as the mother of God observing the divine and transcendental character of her son. The painter offers us a scene with a very long tradition in the Christian West, worked with subtle gradations of half-tones. Since the end of the Middle Ages artists have insisted on depicting, in an increasingly intense manner, the bond of affection that united Christ with his Mother and the close relationship between them, and this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterised a large part of artistic production. This characteristic became increasingly common over the centuries. It is worth noting the symbolism of the colours of the cloth, the blue cloak representing universality, the red tunic alluding to the passion of Christ, and the white cloth showing the purity and innocence of Jesus. Thus, despite the calmness of the Virgin's facial gestures, her clothing defines her as a suffering mother, aware of her son's fate. Aesthetically the work belongs to the artistic circle of Francesco Vanni, an Italian painter, draughtsman, engraver, publisher and printer active in Rome and in his native city of Siena. Vanni came from a family of painters. When he was 16, Vanni moved to Bologna and then to Rome. He was apprenticed to Giovanni de 'Vecchi during 1579-1580, although he was also greatly influenced by other Tuscan painters of his day. In Rome he worked with Salimbeni, Bartolomeo Passerotti and Andrea Lilio. Pope Clement VIII commissioned him to paint an altarpiece for Saint Peter's, later transferred to mosaic, Simon the Magician rebuked by Saint Peter. He painted several other pictures for Roman churches, including St Michael defeating the rebellious angels for the sacristy of St Gregory's; a Pieta of St Mary in Vallicella; and the Assumption of St Lawrence in Miranda. In Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans. Vanni painted a Baptism of Constantine (1586-1587) for the church of San Agostino in Siena. He was active as an engraver and engraved three devotional engravings to his own designs. In addition, he was the publisher of a large four-plate map of Siena that he himself had designed and engraved by the Flemish engraver Pieter the Elder. In 1595 he asked Lorenzo Usimbardi for help in obtaining financial support for the publication of the map.
Setdart Auction House
Nov. 26, 2021
PITTORE SENESE DEL XVII SECOLO
Est: €500 - €800
Sant'Agnese Olio su tela, cm 66,5X53 con cornice antica coeva Il dipinto reca un'attribuzione collezionistica a Francesco Vanni (Siena, 1563 - 1610), uno dei più importanti maestri della scuola senese, che si formò con Arcangelo Salimbeni per poi soggiornare a Bologna a studiare le opere dei Carracci. Tornato in patria negli anni Novanta, dipinse opere caratterizzate dai canoni della Controriforma, come si evince osservando la pala per l'altare di Sant'Ansano nel duomo di Siena e per l'altare maggiore nella chiesa di San Niccolò in Sasso. Tra il 1600 e il 1604 Vanni lavorò per la basilica di San Pietro, modulando il suo stile guardando agli esempi della tarda maniera romana e in particolare le creazioni di Federico Barocci.
Wannenes Art Auctions
Nov. 03, 2021
FRANCESCO VANNI (Siena 1563-1610 Siena) Study of a Kneeling Figure.
Est: $3,000 - $5,000
FRANCESCO VANNI (Siena 1563-1610 Siena) Study of a Kneeling Figure. Red and black chalk with white chalk heightening on bluish gray laid paper. 365x215 mm; 14 1/4x8 1/2 inches. Provenance: Private collection, Massachusetts. This appears to be a study for a figure in adoration at the Ascension of Christ or the Virgin in Glory, note the feet drawn in the upper left corner. Vanni made similar drawings circa 1607 of kneeling figures in adoration: one for the Resurrected Christ Adored by a Female Saint and San Silvestro Gozzalini, red and black chalk with white chalk heightening, now in the Art Institute of Chicago (McCullagh and Giles 319), and another of the Kneeling Figure of St. Galgano, red chalk with white chalk on light gray paper, sold Sotheby's, London, July 4, 2018, lot 24.
Swann Auction Galleries
Sep. 14, 2021
Francesco Vanni (Siena 1563 - 1610)
Est: €8,000 - €10,000
Francesco Vanni (Siena 1563 - 1610) Madonna adora il Bambino dormiente Olio su tavola Madonna adores the Sleeping Child Oil on panel 58,5 x 48,5 cm Francesco Vanni nasce a Siena. Poco dopo essere rimasta vedova, la madre sposa il pittore Arcangelo Salimbeni, che risulta essere il primo maestro del giovane artista. Con Giovanni De’ Vecchi va prima a Roma, passando a Bologna nella bottega di Bartolomeo Passarotti. Ritorna a Siena dopo il 1580, iniziando la sua attività in proprio nell'oratorio inferiore di San Bernardino, denunciando un'ovvia influenza del Salimbeni e un influsso romano con citazioni dallo Zuccari. Intorno al 1585 la sua arte subisce una nuova linfa d’ispirazione, grazie all’attenzione di Vanni per l’arte di Federico Barocci, anche se rimangono ricordi evidenti del suo passaggio a Bologna, in quanto emergono elementi che suggeriscono un rapporto con i Carracci: una prova è data dalla figura dell’Eterno nell’Annunziazione della chiesa di Santa Maria dei Servi. Seguono quindici anni di attività senese, ove il baroccismo rimane comunque un dato esteriore, ispiratore delle composizioni e dei tratti fisionomici delle figure, piuttosto che una piena e pedissequa al Barrocci. Considerato dal Cardinale Leopoldo de’ Medici pittore di prima classe assieme a Ventura Salimbeni e Baldassare Peruzzi, egli cerca nella sua arte di allontanarsi dalle bizzarre e fredde realizzazioni del tardo Manierismo, per ricercare un’arte fedele al solco della tradizione cinquecentesca che trova la sua origine in Raffaello e prosegue nel Correggio e nei già citati Barocci e Carracci. La nostra opera ci riconduce all’arte del Vanni con sicurezza grazie alla tela quasi identica commissionata, con altre tre, nel 1591 dalla Compagnia di Santa Caterina in Fontebranda. Le quattro tele si trovano ora nella stanza attigua all’Oratorio detto “della cucina” nel Santuario della casa di Santa Caterina. Le due opere mostrano lo stesso impianto, anche se vi sono evidenti variazioni: la posizione del capo del Bambino, la mancanza del drappo e della rosa in mano a Gesù. Nel contempo se il volto della nostra Madonna richiama stilemi toscani cinquecenteschi, quello della tela di Siena è tipicamente baroccesco. Ad una analisi stilistica si può supporre che la nostra opera sia da datarsi nel primo Seicento, periodo del secondo soggiorno romano, quando compaiono i fondi scuri e indefiniti
Lucas Aste
Sep. 11, 2021
FRANCESCO VANNI (ATTR.), DER HEILIGE HIERONYMUS
Est: €4,000 - €8,000
FRANCESCO VANNI (ATTR.) 1563 Siena - 16 October 1610 Ibid SAINT HIERONYMUS Oil on canvas. 47 x 36 cm. Probably monogrammed at the bottom of the book: 'F'. Verso: Inscribed and dated on the original canvas: ' PETRO DA CORTONA 1626'. Part. damaged, colour losses, soiled canvas. The painting shows a partly altered composition of the well-known copper engraving of Saint Jerome by Francesco Vanni. In Vanni's graphic work, Jerome is shown pyramidal compositionally and leaning slightly to the right, in front of a vast background landscape. In the work offered here, the saint leaning slightly to the left on his right hand. To his left, the lion becomes visible as an attribute, which is completely missing in the print. The cross is turned towards the viewer, the skull has moved to the outer left edge of the picture and the landscape view is completely abandoned. vollkommen aufgegeben. Provenance: European Private Collection. Zu der grafischen Arbeit Vannis vgl.: Bohlin 1979, S. 331, 205. Bartsch 1802-1821, S. For Vanni's graphic work see: Bohlin 1979, pp. 331, 205.Bartsch 1802-1821, pp. XVIII, 75, 74.TIB. , PP. 39, 116, 74-II. Vasel 1903, p. 900. Le Blanc 1854-1890, p. I, 600, 67. Provenienz: Europäische Privatsammlung. FRANCESCO VANNI (ATTR.) 1563 Siena - 16. Oktober 1610 Ebenda DER HEILIGE HIERONYMUS Öl auf Leinwand. 47 x 36 cm. Möglicherweise unten im Buch monogrammiert: 'F'. Verso: Auf der Originalleinwand bezeichnet und datiert: ' PETRO DA CORTONA 1626'. Part. besch., Farbverluste, verschmutzte Leinwand. Das Gemälde zeigt eine in Teilen veränderte Komposition des bekannten Kupferstichs des Heiligen Hieronymus von Francesco Vanni. In Vannis grafischem Werk wird Hieronymus pyramidal kompositorisch und leicht nach rechts geneigt, vor einer weiten Hintergrundlandschaft, gezeigt. In dem hier angebotenen Werk stützt sich der leicht nach links geneigte Heilige auf seine rechte Hand. Links von ihm wird als Attribut der Löwe sichtbar, der in der Grafik gänzlich fehlt. Das Kreuz ist dem Betrachter zugewendet, der Schädel an den linken äußeren Bildrand gewandert und der Landschaftsausblick wird vollkommen aufgegeben. Zu der grafischen Arbeit Vannis vgl.: Bohlin 1979, S. 331, 205. Bartsch 1802-1821, S. XVIII, 75, 74. TIB. , S. 39, 116, 74-II. Vasel 1903, S. 900. Le Blanc 1854-1890, S. I, 600, 67. Provenienz: Europäische Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Apr. 19, 2021
Francesco Vanni (Siena 1563 - 1610)
Est: €5,000 - €8,000
Francesco Vanni (Siena 1563 - 1610) "Cristo benedicente" Olio su tela "Blessing Christ" Oil on canvas 67 x 56 cm Francesco Vanni frequenta, in gioventù, prima l’ambiente tardo manierista senese. Passa poi a Bologna, presso la bottega di Bartolomeo Passarotti, finendo il suo ciclo formativo quale aiuto di Giovanni de Vecchi, a Roma. La sua indole, comunque, lo porta verso i toni e le forme baroccesche. La sua pittura è rosea e sfumata, i chiaroscuri sono avulsi da qualsiasi eccesso. La sua arte ricercava delicatezza e armonia e, grazie al suo candore mistico, ispirava una percezione di purezza celestiale
Lucas Aste
Dec. 03, 2020
FRANCESCO VANNI (Siena, 1563 - 1610). Virgin adoring the Child.
Est: €14,000 - €16,000
FRANCESCO VANNI (Siena, 1563 - 1610). "Virgin adoring the Child". Oil on panel. Expertized work by the Caylus Gallery. Measures: 34 x 25.5 cm; 56 x 46.5 cm (frame). Devotional oil in which the author has represented the Virgin adoring the Child, which follows the models of an engraving by Francesco Vanni, owned by the collection of the Portland Museum, Orgeon. The work presents a neutral background that monumentalizes the figures and focuses the viewer's attention on the scene that is unfolding. Mary, dressed in a red tunic and blue cloak, is clasping her hands on her chest, while looking at the Child. Jesus has been represented asleep resting his back on a white cloth. The painter offers us a scene with a very long tradition in the Christian West, worked with subtle gradations of halftones. From the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between them, this was encouraged in the Renaissance and, naturally, in the Baroque period. , when the exacerbation of emotions characterized a good part of artistic production. This characteristic was becoming more and more common throughout the centuries. It is worth highlighting the symbolism of the colors of the fabrics, the blue cloak that represents universality, the red tunic in allusion to the passion of Christ, and the white cloth that shows the purity and innocence of Jesus. Therefore, despite the calm that the Virgin's facial gestures denote in her clothing, she defines her as a suffering mother, aware of her son's destiny. Francesco Vanni was an Italian painter of the Renaissance period, a follower of Federico Barocci. His pictorial style is situated in the transition from Mannerism to Baroque and stands out for the use of bright, iridescent colors and delicate features. Son of a modest painter from Siena, with whom he began his artistic training, Arcangelo Salimbeni, Francesco continued his painting studies, while still very young, with Bartolomeo Passerotti in Bologna and later, from 1577 to 1579, with Giovanni de 'Vecchi in Rome. Back in Siena, in 1587 he painted a Baptism of Constantine for the church of Sant'Agostino, which fundamentally accuses that Roman counter-reformist formation. His clear style, attentive to the demands of the Counter-Reformation
Setdart Auction House
Nov. 19, 2020
Vanni, Giovan Battista: Prince Waldemar Christian of Denmark as the Archangle Michael
Est: €8,000 - €10,000
Vanni, Giovan Battista 1599 Pisa - 1660 Florenz Oil on canvas. 88 x 69cm. Framed. Provenance: Private ownership, Italy. In the present depiction of the Archangel Michael with his cheerful expression and his balanced pose, the portrait of the Prince of Denmark can be recognized. Erratum (16.11.2020) The artist of the present painting is Giovan Battista Vanni (not Francesco Vanni). Explanations to the Catalogue Mannerism 16th C. Old Masters Portrait Painting Estimated Shippingcost for this lot: Arrangement after the auction.
Van Ham Kunstauktionen
Oct. 21, 2020
After Francesco Vanni, 17th Century The Madonna della Pappa
Est: £5,000 - £7,000
After Francesco Vanni, 17th Century The Madonna della Pappa oil on canvas 72.5 x 56.2cm (28 9/16 x 22 1/8in). For further information on this lot please visit the Bonhams website
Bonhams
Sep. 24, 2020
Francesco Vanni (1563/64 Siena - 1610 ibid., Nachfolge), follower of - Rest on the Flight into Egypt
Est: €2,000 - €3,000
Oil on canvas. 67,5 x 52 cm. Doubled, restored. Damage to frame. Reverse and varying copy after Francesco Vanni's painting, also called \Madonna della Pappa\", in the Yale University Art Gallery, New Haven, Connecticut Christ, Saints, Religious scene"
Neumeister
Jul. 07, 2020
FRANCESCO VANNI workshop of
Est: €700 - €900
FRANCESCO VANNI, workshop of (Siena 1563 - 1610) LA MADONNA DELLA PAPPA Oil on canvas, cm. 45 x 36.5 CONDITIONS OF THE PAINTING Nineteenth century re-lining. Fading colors on the cloth of St Joseph, color lacks in the lower area FRAME Molded frame in gilded wood, 19th century FRANCESCO VANNI, bottega di (Siena 1563 - 1610) LA MADONNA DELLA PAPPA Olio su tela, cm. 45 x 36,5 CONDOZIONI DEL DIPINTO Rintelo ottocentesco. Svelature sul drappo di San Giuseppe, cadute di colore nella zona inferiore CORNICE Cornice modanata in legno dorato, del XIX secolo
Casa d'Aste Babuino
Jul. 02, 2019
Francesco Vanni (Siena 1563-1610) Saint Ansanus (recto); Figure studies (verso) black chalk (recto), pen and brown and grey ink (verso), circular illegible watermark 12 1/8 x 7 in. (30.7 x 17.7 cm)
Est: £15,000 - £20,000
Francesco Vanni (Siena 1563-1610) Saint Ansanus (recto); Figure studies (verso) with inscription 'Pita/ Giovan/ Girolam/ [...] (verso) black chalk (recto), pen and brown and grey ink (verso), circular illegible watermark 12 1/8 x 7 in. (30.7 x 17.7 cm)
Christie's
May. 15, 2019
FRANCESCO VANNI (Siena 1563-1610) attr.
Est: €1,200 - €1,500
"Salator Mundi"Olio su tela cm 59x71
Lucas Aste
Feb. 04, 2019
Francesco Vanni, Figura stante di angelo.
Est: €380 - €760
Matita nera, pennello e acquerello bruno su carta color sabbia. mm 180x95. Applicato a pieno su vecchio cartoncino.
Gonnelli Casa d'Aste
Nov. 13, 2018
FRANCESCO VANNI (maniera di)
Est: €500 - €700
(Siena, 1563 - 1610) Madonna con il Bambino e San Giovannino Olio su tela, cm 33,5X26,5
Wannenes Art Auctions
Jul. 04, 2018
FRANCESCO VANNI | Recto: Study for the kneeling figure of St. Galgano and a separate study of his right hand holding a sword Verso: A young Agostinian monk
Est: £6,000 - £8,000
Red chalk ( recto and verso), heightened with white chalk ( recto), on light blue paper; bear old attributions in pen and ink, recto: Franceso Va and verso: Frans.co Vanni
Sotheby's
Jul. 04, 2018
FRANCESCO VANNI | Three studies of two kneeling women, one repeated in a slightly different pose
Est: £7,000 - £9,000
Black chalk heightened with white chalk on blue paper
Sotheby's
May. 30, 2018
Francesco Vanni (Siena 1563 - 1610), attribuito a, Giovane donna con un gallo
Est: €2,500 - €3,000
olio su tela, cm 90x67, Expertise Prof. Gregori
Cambi Casa d'Aste
Mar. 21, 2018
Francesco Vanni Sienne, 1563 - 1610 La Vierge couronnée par le Christ Huile sur cuivre
Est: €6,000 - €8,000
Francesco Vanni Sienne, 1563 - 1610 La Vierge couronnée par le Christ Huile sur cuivre The Virgin crowned by the Christ, oil on copper, by F. Vanni h: 26,50 w: 19,50 cm Provenance : Collection particulière, Ile-de-France
Artcurial
Sep. 22, 2017
VANNI, FRANCESCO
Est: CHF1,000 - CHF1,500
VANNI, FRANCESCO (1563/65 Siena 1610) Judith with the head of Holofernes. Pen and brown ink. Old inscription in black pencil verso: Palma. 5.2 x 3.4 cm. --------------- VANNI, FRANCESCO (1563/65 Siena 1610) Judith mit dem Haupt des Holofernes. Feder in Braun. Verso mit schwarzem Stift alt bezeichnet: Palma. 5,2 x 3,4 cm.
Koller Auctions
Mar. 29, 2017
VANNI, FRANCESCO (FOLLOWER)
Est: CHF1,000 - CHF1,500
VANNI, FRANCESCO (FOLLOWER) (1563 Siena 1610) Saint Francis of Assisi receiving the Stigmata. Oil on canvas. 74 x 56 cm. Provenance: - Swiss private collection. This painting refers to an engraving by Agostino Carraci from 1595 after a composition by Francesco Vanni. --------------- VANNI, FRANCESCO (NACHFOLGER) (1563 Siena 1610) Die Stigmatisierung des Heiligen Franziskus von Assisi. Öl auf Leinwand. 74 x 56 cm. Provenienz: Schweizer Privatsammlung. Das Gemälde greift einen Stich von Agostino Carraci von 1595 nach einer Komposition von Francesco Vanni auf.
Koller Auctions
Oct. 26, 2016
Attributed to Francesco Vanni (Siena Two studies of a kneeling p
Est: $600 - $800
Attributed to Francesco Vanni (Siena Two studies of a kneeling prelate (i); Three elegantly dressed man (ii) black chalk on blue paper, with extensive losses (i); black and white chalk on three sheets of buff paper (ii) 7 7/8 x 10 3/8 in. (20 x 26.4 cm.) (i); 7 ½ x 10 in. (19.1 x 25.4 cm.) (ii) (2)
Christie's
Nov. 27, 2015
Vanni, Francesco: Studienblatt mit der hl. Cäcilie und Putti
Est: €800 - €1,200
Studienblatt mit der hl. Cäcilie und Putti. Feder in Braun. 11,9 x 7 cm. - Provenienz: Aus der Sammlung Stefan von Licht (Lugt 789b).
Bassenge Auctions
Nov. 13, 2015
Recto: Studien zur heiligen Katharina von Siena - Verso:
Est: €2,000 - €2,400
Beinstudie. Rötel, z.T. braun laviert, auf Bütten. (Um 1596/1597). 20.8 : 21 cm. Bezeichnet "Francesco Vanni" unten mittig.
Karl & Faber
Jun. 30, 2015
FRANCESCO VANNI (attr.) Sainted Bishop
Est: £2,200 - £3,000
FRANCESCO VANNI (attr.) Sainted Bishop Brown ink and watercolour on black pencil base This drawing, of outstanding quality, is of both difficult attribution and complex stylistic analysis because it belongs to the turn of the 16th century, which was one of the most productive periods in the history of drawing in Tuscany, at a time when Mannerism was veering towards the early Baroque and producing some extremely interesting examples of cultural syncretism, such as this sainted archbishop being accompanied to heaven by two angels and a cloud of cherubs. The town with its towers and walls beneath him is difficult to identify. The draughtsmanship is clear and meticulous, showing no hesitation in the depiction of faces, drapery or even minute details. In our view, it closely echoes the style of Francesco Vanni, several of whose surviving preparatory drawings for altarpieces – this is also undoubtedly such a work – are finished to a similarly high degree. One might mention, for purposes of comparison, a Mystic Marriage of St. Catherine and a Madonna and Child both in the Uffizi's Gabinetto Disegni e Stampe (inv. 1693E and 1292F), in which the draughtsmanship shares a number of features with our study. The same style, however, may also be found in the work of other artists of outstanding quality who were contemporary with Vanni, such as Pietro Sorri, Aurelio Lomi, Agostino Ciampelli and Andrea Commodi. 270 x 219 mm
Bertolami Fine Art s.r.l.
Jun. 30, 2015
FRANCESCO VANNI Christ at the column
Est: £1,500 - £1,800
FRANCESCO VANNI Christ at the column Dark ink on paper The drawing we are examining has the free and experienced line of the Sienes master comparable to an artwort as a study for a holy communion of the Mary Magdalene (overleaf a study with a man throwing a stone) residing at the Town Library of Siena (on the topic: M. Ciampolini, Drwings of the Sienese Renaissence and Baroque, Siena, 2002, pages 110-114). 153 x 127 mm
Bertolami Fine Art s.r.l.
Jun. 30, 2015
FRANCESCO VANNI (ATTRIBUTED)
Est: -
(Siena, 1563-1610). "Cristo", óleo sobre lienzo, 65x50 cm.
Sala de Ventas
Mar. 27, 2015
VANNI, FRANCESCO (1563 Siena 1609) Boy kneeling. Black
Est: CHF2,000 - CHF3,000
VANNI, FRANCESCO (1563 Siena 1609) Boy kneeling. Black chalk. Summary sketches verso. Inscribed verso by unknown hand: Fr. Vanni. 21.6 x 15.6 cm. Provenance: - Collection of Adolf Glünstein, 1849 Hamburg, Lugt 123 VANNI, FRANCESCO (1563 Siena 1609) Kniender Jüngling. Schwarze Kreide. Verso summarische Skizzen. Dort von fremder Hand bezeichnet: Fr. Vanni. 21,6 x 15,6 cm. Provenienz: - Sammlung Adolf Glünstein, 1849 Hamburg, Lugt 123 VANNI, FRANCESCO (1563 Siena 1609) Knieender Jüngling. Verso weitere Skizzen. Schwarze Kreide. Verso von fremder Hand bezeichnet: Fr. Vanni. 21,6 x 15,6 cm.
Koller Auctions
Mar. 26, 2014
Francesco Vanni Sienne, 1563 - 1610 Saint François recevant les stigmates Crayon noir, estompe
Est: €4,000 - €6,000
Francesco Vanni Sienne, 1563 - 1610 Saint François recevant les stigmates Crayon noir, estompe Une étude d'homme au crayon noir au verso 'SAINT FRANCIS RECEIVING THE STIGMATA', BLACK CHALK, BY F. VANNI h: 23 w: 12 cm Provenance : Ancienne collection Jonathan Richardson Sr., son inscription (L.2992) au recto et au verso ; Ancienne collection Giuseppe Vallardi, son cachet (L.1223) en bas à gauche ; Vente anonyme ; New-York, Sotheby's, 27 janvier 1999, n°54 ; Collection particulière, Paris
Artcurial