Ottavio Vannini Sold at Auction Prices

OTTAVIO VANNINI (Florence, 1585 - 1643)

Saint Mary of Egypt taken to heaven by angels in the presence of the monk Zosimus Oil on canvas, cm. 175,5x88. Framed.. The present work is accompanied by the expertise of Claudio Pizzorusso. PROVENANCE: Private collection, central-Italy. LITERATURE: G. Contini, Bernini, Vannini, Martinelli e Vanni. Congiunture tosco-romane del Seicento, in "Antichità viva", 34, 4, 1995 (1996), p. 41; S. Bellesi, in Luce e ombra. Caravaggismo e naturalismo nella pittura toscana del Seicento, edited by P. Carofani, exhibition catalogue, Pontedera, 18 March - 12 June 2005, Pisa 2005, p. 40, fig. 2.

Carlo Lasinio Engraving Ottavio Vannini Portrait

Carlo Lasinio Engraving Ottavio Vannini Portrait Hand colored engraving on paper attributed from the works realized by Italian engraver Carlo Lasinio. Portrait of Ottavio Vannini (b.1585 ? d.1643), an Italian artist of the Baroque period, active mainly in Florence. Lovely technique and detail. Measures: Frame: 12-1/2" x 17-1/4" Site: 7" x 10-1/2"

OTTAVIO VANNINI (attr. a)

(Firenze 1585 - 1643) San Sebastiano Olio su tela, cm 116X85,5 L'opera reca una tradizionale attribuzione a Ottavio Vannini (Firenze, 1585 - 1643), allievo e collaboratore di Domenico Passignano. Attivissimo quale pittore di tele a soggetto religioso per le chiese toscane, fu anche un importante frescante, partecipando alla decorazione della sala degli Argenti in Palazzo Pitti, unitamente al Furini e a Cecco Bravo, dopo la morte di Giovanni da San Giovanni. In precedenza, Vannini aveva decorato il Casino Mediceo del Poggio Imperiale, 1622, insieme a Matteo Rosselli, e gli affreschi della prima Cappella destra in San Gaetano a Firenze. Bibliografia di riferimento: G. Cantelli, Repertorio della pittura Fiorentina del Seicento, Firenze, 1983, pp. 138 ; 139 F. Baldassari, Ottavio Vannini, in La Pittura del Seicento a Firenze. Indice degli Artisti e delle loro Opere, Milano 2009, pp. 696 ; 698

Ottavio Vannini (Firenze 1585-1643), Madonna con Bambino e San Giovannino

matita nera e rossa su carta, mm 180x140

Ottavio Vannini (Florence 1585-c. 1643/44) Saint Luke; and Saint John the Evangelist

Ottavio Vannini (Florence 1585-c. 1643/44) Saint Luke; and Saint John the Evangelistoil on canvas, the corners made up291⁄4 x 24 in. (74.3 x 61 cm.) a pair

PITTORE FIORENTINO DEL XVII SECOLO

Studio di testa Olio su tela, cm 38X30 L'opera reca una tradizionale attribuzione a Ottavio Vannini (Firenze, 1585 - 1643), allievo e collaboratore di Domenico Passignano. Attivissimo quale pittore di tele a soggetto religioso per le chiese toscane, fu anche un importante frescante, partecipando alla decorazione della sala degli Argenti in Palazzo Pitti, unitamente al Furini e a Cecco Bravo, dopo la morte di Giovanni da San Giovanni. In precedenza, Vannini aveva decorato il Casino Mediceo del Poggio Imperiale, 1622, insieme a Matteo Rosselli, e gli affreschi della prima Cappella destra in San Gaetano a Firenze. Bibliografia di riferimento: G. Cantelli, Repertorio della pittura Fiorentina del Seicento, Firenze, 1983, pp. 138-139 F. Baldassari, Ottavio Vannini, in La Pittura del Seicento a Firenze. Indice degli Artisti e delle loro Opere, Milano 2009, pp. 696-698

Ottavio Vannini (Florence 1585-c. 1643/44) - Saint John the Evangelist; and Saint Luke

Ottavio Vannini (Florence 1585-c. 1643/44) Saint John the Evangelist; and Saint Luke oil on canvas, the corners made up 29 ¼ x 24 in. (74.3 x 61 cm.) (2)

Ottavio Vannini (Florence 1585-c. 1643/44) David with the head of Goliath oil on canvas 52 5/8 x 40 ½ in. (132.8 x 102.9 cm.)

Ottavio Vannini (Florence 1585-c. 1643/44) David with the head of Goliath oil on canvas 52 5/8 x 40 ½ in. (132.8 x 102.9 cm.)

PITTORE FIORENTINO DEL XVII SECOLO

Crocifissione Olio su tela, cm 79X97 L'opera reca una tradizionale attribuzione a Ottavio Vannini (Firenze, 1585 - 1643), allievo e collaboratore di Domenico Passignano. Attivissimo quale pittore di tele a soggetto religioso per le chiese toscane, fu anche un importante frescante, partecipando alla decorazione della sala degli Argenti in Palazzo Pitti, unitamente al Furini e a Cecco Bravo, dopo la morte di Giovanni da San Giovanni. In precedenza, Vannini aveva decorato il Casino Mediceo del Poggio Imperiale, 1622, insieme a Matteo Rosselli, e gli affreschi della prima Cappella destra in San Gaetano a Firenze. Bibliografia di riferimento: G. Cantelli, 'Repertorio della pittura Fiorentina del Seicento', Firenze, 1983, pp. 138 - 139 F. Baldassari, 'Ottavio Vannini', in 'La Pittura del Seicento a Firenze. Indice degli Artisti e delle loro Opere', Milano 2009, pp. 696 - 698

Ottavio Vannini

Ottavio Vannini (Firenze 1585 - 1643) MARIA MADDALENA olio su tela, cm 64x50,5 circa L'attribuzione a ottavio Vannini e confermata da parere orale di Filippo Gheri. Ottavio Vannini (Firenze 1585 - 1643) MARY MAGDALENE oil on canvas, cm 64x50,5 circa L'attribuzione a ottavio Vannini è confermata da parere orale di Filippo Gheri.

CIRCLE OF OTTAVIO VANNINI, (ITALIAN 1585-1643), CHRIST HEALING THE BLIND

CIRCLE OF OTTAVIO VANNINI (italian 1585-1643)/span CHRIST HEALING THE BLIND Oil on canvas 68 x 88 1/2 in. (172.7 x 224.8cm) provenance: /spanPrivate Collection, New Jersey.

OTTAVIO VANNINI

OTTAVIO VANNINI FLORENCE 1585 - 1644 SUSANNA AT THE WELL oil on canvas 212.5 by 187 cm.; 83 3/4 by 73 3/4 in.

Italienischer Maler in der Stilnachfolge des

Italienischer Maler in der Stilnachfolge des Ottavio Vannini,1585 -1643 HALBBILDNIS EINER JUNGEN FRAU MIT ROTEM KLEID Öl auf ...

OTTAVIO VANNINI

OTTAVIO VANNINI FLORENCE 1585 - 1644 JOSEPH AND HIS BROTHERS oil on canvas 82 by 125 cm.; 32 1/4 by 49 1/4 in.

Ottavio Vannini , Florence 1585 - 1644 recto : a study of a young architect holding a scroll and a separate study of another head; verso : a three quarter length study for the same figure Red chalk ( recto and verso ); bears old attribution in brown

Red chalk ( recto and verso ); bears old attribution in brown ink on the mount: Di Ottavio Vannini

Ottavio Vannini (Florence 1585-1644)

The Last Communion of Saint Peter oil on canvas 82 x 57 7/8 in. (208.3 x 147 cm.)

Ottavio Vannini (Firenze 1585-1644)

La comunione di San Pietro olio su tela 208.5 x 147 cm.

Ottavio Vannini (Florence 1585-1644)

The Last Communion of Saint Peter oil on canvas 82 x 57 7/8 in. (208.3 x 147 cm.)

Ottavio Vannini Florentine, 1585-1643 TOBIT RISING FROM HIS CHAIR Red chalk on paper 6 7/8 x 5 1/2 inches (17.5 x 14.5 cm.) Unframed

OTTAVIO VANNINI (Florence 1585-1643)

The Madonna and Child with Saints James and Stephen oil on paper laid down on canvas, a modello en grisaille 203/4 x 12 in. (35 x 30.5 cm.) PROVENANCE Marie-Th‚rŠse, Comtesse de la B‚raudiŠre, Paris (according to a label on the reverse). William Fox, New York. Anon. Sale, Christie's, New York, 15 June 1977, lot 30. with Roy Fisher, New York. NOTES The present painting is a modello for an altarpiece in a private collection (fig. 1; exhibited in Il Seicento Fiorentino. Arte a Firenze da Ferdinando I a Cosimo III, Pittura, Florence, 1986-1987, p. 232, no. 1.107; catalogue entry by Claudio Pizzorusso). There are some differences between the two works, most notably in the figure of Saint James, who in the finished altarpiece looks directly at the viewer and points with right arm outstretched to Saint Stephen. In addition, a second angel is included in the upper left section of the modello. Both the present work and the altarpiece reveal Vanini's great interest in such masters of the cinquecento as Raphael and del Sarto, seen here in the highly symmetrical composition and the somewhat awkward posture of the Christ Child. Pizzorusso ( loc. cit. ) dates the finished altarpiece to the 1620s, shortly after Vannini's return to Florence from Rome, where he was able to study the works of Raphael.

OTTAVIO VANNINI (Florence 1585-1644)

David with the Head of Goliath oil on canvas 513/4 x 39 7/8 in. (131.4 x 101.2 cm.) NOTES Born in 1585, Ottavio Vannini was apprenticed to Domenico Passignano (1559-1638) in his native city of Florence. With his master's departure for Rome in 1602, he remained in his workshop, now under the direction of Pietro Sorri (1556-1621/2), and in 1605 executed one of his first commissions by completing the decoration of the Brunaccini Chapel in the church of the Santissima Annunziata, Florence. Shortly thereafter Vannini probably moved to Rome himself to work as Passignano's assistant. Although this makes it difficult to distinguish the younger artist's own works from those of his master, he nonetheless gradually developed a personal style based on his study there of such sixteenth-century masters of classicism as Raphael and Michelangelo. Returning to Florence in 1616, he matriculated at the Accademia del Disegno two years later, whereafter he was involved in a number of major decorative cycles in his native city for the Medici family. In 1622-23 he worked alongside Matteo Rosselli at the Villa di Poggio Imperiale, where he decorated the vaults of the Sala di Cosimo II and the Sala di Francesco I in the Casino Mediceo. His most famous commission, however, was the completion of the decoration of the Salone degli Argenti in the Palazzo Pitti, which had been left unfinished by Giovanni di San Giovanni: between 1638 and 1644, he painted a number of frescoes there, the most famous being Lorenzo the Magnificent among the Florentine artists. Here the clarity of composition, purity of color and strong draughtmanship reveal his preference for the classical over the Baroque and recall such cinquecento masters as Andrea del Sarto. Although Vannini worked extensively for the Medici family, his most important patron was the Florentine Andrea del Rosso (1570-1644), for whom he frescoed the private chapel (now destroyed) at his palace in the Via Chiara and executed at least 14 paintings, among which may be counted some of his finest works, such as The Gathering of the Manna and Moses Drawing water from the Rock (both in private collections, Florence). Vannini depicted the subject of David on a number of occasions, including a small David with the Head of Goliath (211/4 x 17 in., Galleria degli Uffizi, Florence) and a Triumph of David (483/4 x 65 in., Hermitage, Saint Petersburg). A larger version of the Hermitage picture was sold at Tajan, Paris, 30 June 2000, lot 9 (673/4 x 83 in.), and the head of the Goliath in both works is identical to that in the present composition. Another David is listed in an inventory dated 2 May 1705 of the possessions of Carlo Lorenzo Ughi (1634-1705), resident in Palazzo Ughi on via Larga, Florence: 'Un quadro di braccia 11/2, con cornice nera e di oro, rapresentante David, opera del Vannino.' (see G. Corti, 'La collezione Ughi in Firenze nel 1705', Paragone, September 1980, p. 73). The dimensions of the Ughi painting (11/2 bracci is the equivalent of about 34 inches) suggest, however, that it should not be identified with the present composition, which measures 513/4 x 39 7/8 inches. The present David may be dated to the end of Vannini's life, in the early 1640s. The facial features of the young hero can also be found in many of the young men in the large fresco of Lorenzo the Magnificent among the Florentine artists (see above), which was executed between 1638-1644. Stylistically it is also close to the powerful Jael and Sisera in the Seminario Maggiore, Florence, which has been dated to the 1640s (see Chiara d'Afflitto, in the exhibition catalogue, Il Seicento Fiorentino, Florence, 1986-1987, Pittura, pp. 236-237, no. 1.110, illustrated). In both works, the protagonists are set dramatically against a dark background, with sleeves rolled-up and tightly bunched around the elbows to suggest their physical efforts. Yet for all the drama implied by the events depicted, there is a sense of restraint evident in the calm, abstracted gazes of the figures and the static, sculptural quality of their poses. Arguably it is the high quality of the draughtmanship that is the most striking and impressive aspect of all three works. This confers on the figures a certain majesty and monumentality, which, in the case of the present work, thoroughly befits the heroic status of David as the young king of Israel. We are grateful to Dr. Francesca Baldassari for confirming the attribution to Vannini on the basis of a transparency and a black and white photograph (private communication, 23 June 2001).