ZONARO FAUSTO (1854 - 1929). Three sketches depicting a conversation between two characters, a male figure from behind, a canal in Venice. Dimensions of other drawings: 16x6 cm; 14.2x9.5 cm. We thank Erol Makzume for confirming the attribution on a photographic base. Provenance: Private collection, Padua.. 9 x 14,50 cm.
Fausto Zonaro (1854-1929) – taste of, paddle boat with orientals in front of the golden bay Istanbul. Oil on wood. Signed bottom right and described on the reverse. Framed under glass. 19 x 27 cm.
Olio su tavola. cm 40x20. Firmato in basso a destra. Targhetta metallica applicata all cornice recante il nome d'artista ed il titolo dell'opera. Al verso: timbro ad inchiostro nero di Galleria Cordusio di Milano con ulteriore etichetta della stessa.
ZONARO FAUSTO (1854-1929) Fausto Zonaro (Masi 1854 - Sanremo 1929) Studio per Bayram olio su tela firmato in basso a destra: F. Zonaro 27 x 21 5 cm Si ringrazia il prof. Cesare Mario Trevigne per aver confermato l'autenticità dell'opera.
Fausto Zonaro Masi (PD) 1854-Sanremo 1929 Portrait in Turkish costume Signed lower left "F. Zonaro" Having moved to Istanbul in 1891, Fausto Zonaro became the court painter of Sultan Abdülhamid II in 1896 and for twenty years described and documented the tradition and modernity of Turkey between the nineteenth and twentieth centuries. This intense portrait in costume with the traditional Turkish headdress can be attributed to this fortunate season. oil on canvas 45.5x35.5 cm - in frame 59x49
(Masi 1854–1929 San Remo) A View of Emirgan, Istanbul, signed F. Zonaro, inscribed on the reverse Pasqua 1904 F. Zonaro, oil on panel, 21.5 x 36.5 cm, framed Provenance: Private Collection, Italy. Exhibited: Piazzola sul Brenta (Padua), Villa-Simes Contarini, Modern and Contemporary Art Gallery, Fausto Zonaro retrospective, 30 September - 11 November 1979. We are grateful to Erol Makzume for kindly confirming the authenticity on the basis of high-resolution photographs.
(Masi 1854–1929 San Remo) An Odalisque Playing the Lute on the Bosporus, signed F. Zonaro, oil on canvas, 85 x 64 cm, framed Provenance: Private Collection, Italy. Catalogued and illustrated in: Erol Makzume, The Sultan’s Italian Court Painter Fausto Zonaro, Florence 2021, ill. p. 137. We are grateful to Erol Makzume for kindly confirming the authenticity on the basis of the original. Fausto Zonaro moved to Istanbul in 1891 and was appointed the official painter to the court of Sultan Abdul Hamid II in 1896. He produced of number of works depicting the everyday life of the Ottoman capital, and the daily activities and traditions of the Turkish people. Executed en plein-air, the present painting depicts a young, well-dressed Turkish woman playing the lute on a small boat on the Bosphorus in Istanbul. The city is visible in the background. She is playing the baĝlama or saz which is a stringed instrument belonging to the family of long-necked lutes used in Ottoman classical music. She plays using the fingerpicking technique known as şelpe. It is likely that the sitter is an Odalisque. The term derives from the Turkish word for chambermaid or attendant, and it is used to identify an Ottoman harem girl. Zonaro left Istanbul in 1910 when the new government of the “Young Turks” dismissed him from the post of painter to the Sultan. He eventually settled in San Remo until his death in 1929. He is considered the most important painter to introduce a western style of painting to Turkey.
(Masi 1854–1929 San Remo) A Female Nude with Flowers in her Hair, seen from behind, signed F. Zonaro, pastel on cardboard, 76 x 54 cm, framed Provenance: Private Collection, Italy. We are grateful to Erol Makzume for kindly confirming the authenticity on the basis of high-resolution photographs.
(Masi 1854–1929 San Remo) An Elegant Lady in a Yellow Dress, signed, dated F. Zonaro 1886, oil on canvas, 94.5 x 70 cm, framed Provenance: Private Collection, Italy. Exhibited: Piazzola sul Brenta (Padua), Villa Simes-Contarini, Modern and Contemporary Art Gallery, Fausto Zonaro retrospective, 30 September - 11 November 1979. Catalogued and illustrated in: R. Falchi, U. Spigno, Le tre stagioni pittoriche di Fausto Zonaro, Allemandi, Turin 1993, p. 165, no. 33. We are grateful to Erol Makzume for kindly confirming the authenticity on the basis of high-resolution photographs.
ZONARO FAUSTO (1854-1929) Fausto Zonaro (1854-1929) Ritratto di giovane donna pastello su carta riportata su cartoncino firmato in basso a sinistra: F.Zonaro cm 64x45
ZONARO FAUSTO (1854-1929) Fausto Zonaro (1854-1929) Bayram Istanbul 1898 olio su tela firmato in basso a destra: F. Zonaro. cm 75x98 Esposizioni: Le tre stagioni pittoriche di Fausto Zonaro Venezia - Costantinopoli - San Remo a cura di Rodolfo Falchi Sanremo Villa Ormond 18 dicembre 1994 - 15 gennaio 1995 Fausto Zonaro Vita e luce tra fasti ottomani e Belle Epoque a cura di Erol Makzume Bruno Baglivo Firenze Palazzo Medici Ricciardi 1 - 30 aprile 2015 Bibliografia: The Burlington Magazine December 1975 No. 873 VOL. CXVII pag. 41 (illustrato) Zonaro a cura di Rodolfo Falchi e Ubaldo Spigno Umberto Allemandi & C. 1993 pag. 54 tavola VIII (illustrato) Le tre stagioni pittoriche di Fausto Zonaro Venezia - Costantinopoli - San Remo catalogo della mostra a cura di Rodolfo Falchi (Sanremo Villa Ormond 18 dicembre 1994 - 15 gennaio 1995) 1994 pag. 85 tav. 18 (illustrato) Fausto Zonaro Ottoman Court Painter a cura di Osman Onde e Erol Makzume 2003 pag. 244 (illustrato) Fausto Zonaro Abdulhamid'in Hukumdarlnda Yirmi Yel Fausto Zonaro' nun Hateralare ve Eserleri Hazerlayanlar: Cesare Mario Trevigne Erol Makzume Cevirenler: Turan Alptekin Lotte Romano YKY Istanbul 2008 pag. 192-193 (illustrato) F. Zonaro Twenty Years Under the Reign of Abdulhamid. The Memoirs and Works of Fausto Zonaro a cura di Erol Makzume e Cesare Mario Trevigne Istanbul G Yayin Grubu 2011 pag. 107 (illustrato) Fausto Zonaro Vita e luce tra fasti ottomani e Belle Epoque catalogo della mostra a cura di Erol Makzume Bruno Baglivo (Firenze Palazzo Medici Ricciardi 1 - 30 aprile 2015) Firenze 2015 pag. 129 (illustrato)
Matita ed inchiostro bistro acquerellato su cartoncino. mm 170x120. Firmato in basso a destra. Timbro ad inchiostro blu con firma di Galleria d'Arte Gianna Mariani di Milano della quale troviamo un'ulteriore etichetta stampata al verso. (1)
Matita ed inchiostro bistro acquerellato su cartoncino. mm 170x120. Firmato in basso a destra. Timbro ad inchiostro blu con firma di Galleria d'Arte Gianna Mariani di Milano della quale troviamo un'ulteriore etichetta stampata al verso. (1)
FAUSTO ZONARO (?) (Masi 1854 - Sanremo 1929) AUTORITRATTO Olio su tela, cm. 29 x 25 Firmato 'F. Zonaro', al retro Iscrizione su etichetta, al retro Cornice dorata
(Masi 1854–1929 San Remo) Odalisque on the Bosphorus Playing the Lute, signed F. Zonaro, oil on canvas, 85 x 64 cm, framed Provenance: Private Collection, Italy. Catalogued and illustrated in: Erol Makzume, The Sultan’s Italian Court Painter Fausto Zonaro, Florence 2021, ill. p. 137. We are grateful to Erol Makzume for kindly confirming the authenticity on the basis of the original. Fausto Zonaro moved to Istanbul in 1891 and was appointed the official painter to the court of Sultan Abdül Hamid II in 1896. He produced of number of works depicting the everyday life of the Ottoman capital, and the daily activities and traditions of the Turkish people. Executed en plein-air, the present painting depicts a young, well-dressed Turkish woman playing the lute on a small boat on the Bosphorus in Istanbul. The city is visible in the background. She is playing the baĝlama or saz, which is a stringed instrument belonging to the family of long-necked lutes used in Ottoman classical music. She plays using the fingerpicking technique known as şelpe. It is likely that the sitter is an odalisque. The term derives from the Turkish word for chambermaid or attendant and it is used to identify an Ottoman Harem girl. Zonaro left Istanbul in 1910 when the new government of the “Young Turks” dismissed him from the post of painter to the Sultan. He eventually settled in San Remo until his death in 1929. He is considered the most important painter to introduce a Western style of painting to Turkey.
ZONARO FAUSTO (1854-1929) Fausto Zonaro (Masi 1854 - Sanremo 1929) 'Anziano turco' pastello su carta firmato in basso a destra F.Zonaro cm. 23x16 5 Si ringrazia il Professor Cesare Mario Trevigne per aver confermato l'autenticità dell'opera
ZONARO FAUSTO (1854-1929) Fausto Zonaro (Masi 1854 - Sanremo 1929) 'Mia moglie Elisa' matita su carta firmato in basso a sinistra F.Zonaro cm. 34x47 5 Si ringrazia il Professor Cesare Mario Trevigne per aver confermato l'autenticità dell'opera
ZONARO FAUSTO (1854-1929) Fausto Zonaro (Masi 1854 - Sanremo 1929) 'Signora al ballo' acquerello e pastello firmato in basso a destra F.Zonaro e datato sul retro 1888 cm. 48x29 Si ringrazia il Professor Cesare Mario Trevigne per aver confermato l'autenticità dell'opera
ZONARO FAUSTO (1854-1929) Fausto Zonaro (Masi 1854 - Sanremo 1929) 'Genova dalle terrazze' 1914-1918 olio su cartoncino firmato in basso a destra: F. Zonaro cm. 22x39 5 Si ringrazia il Professor Cesare Mario Trevigne per aver confermato l'autenticità dell'opera
ZONARO FAUSTO (1854-1929) Fausto Zonaro (Masi 1854 - Sanremo 1929) 'Costantinopoli (Bosforo)' olio su tavola firmato in basso a destra: F. Zonaro cm. 17 5x29 Si ringrazia il Professor Cesare Mario Trevigne per aver confermato l'autenticità dell'opera.
Watercolour/paper/cardboard. 36 x 73 cm. Lo. le. sign. F. Zonaro, framed under glass. Paper losses. - Italian Oriental and landscape painter. Z. received lessons from F. Cordenons in Lendinara and then studied in Verona. In 1891 he became court painter to Sultan Abdülhamid II in Constantinople. In 1910 he returned to Italy and settled in San Remo. Mus.: Istanbul, Milan, Padova a. others. Lit.: Thieme-Becker, Bénézit.
ZONARO, FAUSTO 1841 Masi - 1929 Sanremo Title: The Princely Palace of the Grimaldis over Monaco. Technique: Oil on canvas. Mounting: Relined. Measurement: 45.5 x 57cm. Notation: Signed and dated lower right: F. Zonaro. Frame: Framed. Certificate: Antonio Parronchi, Florence/Venice 15.10.1982. Provenance: Private ownership, Germany. Explanations to the Catalogue Estimated shipping costs for this lot: Arrangement after the auction.
FAUSTO ZONARO (1854-1929) Vase aux fleurs Huile sur toile Signée en bas à gauche 54 x 39,5 cm Oil on canvas Signed lower left 21 1/4 x 15 1/2 in. Provenance Collection particulière Nous remercions le Professeur Cesare Mario Trevigne qui nous a confirmé l'authenticité de cette œuvre sur photo. Un certificat d’authenticité pourra être délivré à la charge de l'acquéreur.
(Masi 1854–1929 San Remo) Istanbul, on the Slopes of Üsküdar, signed F. Zonaro, oil on canvas, 53 x 95 cm, framed Provenance: Sale, Christie’s, London, 12 July 2018; Lot 85; European Private Collection.. Catalogued and illustrated in: Erol Makzume, The Sultan’s Italian Court Painter Fausto Zonaro, Polistampa Ed., 2021, p. 126. The present work be included in the forthcoming catalogue raisonné edited by Erol Makzume and Cesare Trevigne. The present painting depicts the Dolmabahçe Mosque which is located on the Bosphorus, Kabataş, in the Beyoğlu district of Istanbul. Construction of the Mosque began in 1853 at the behest of Sultan Abdülmecid’s mother, Bezmiâlem Sultan. Completed in 1855 it was built along with the Dolmabahçe Palace in neo-classical and imperial style. The circular arrangement of the windows, which resembles a peacock’s tail, remains its most unusual but defining architectural feature. With two minarets and a single dome it is one of the most famous examples of the 19th century Ottoman mosques. The scene is depicted from the hills of Gümüssuyu, a vantage point looking down on the mosque. Zonaro was the painter of Modern Turkish life. He painted the daily activities of its people such as the market places, the ships along the Bosphorus and the landscapes from which he could enjoy the city. He was appointed court painter by Sultan Abdulhamid II in 1896 until 1909 when the Sultan was unseated. He settled with his family in San Remo where he stayed until his death in 1929.
(Masi 1854–1929 San Remo) La Coda del Diavolo, signed F. Zonaro, oil on canvas, 79.5 x 137.5 cm, framed Provenance: Private Collection Germany, for three generations. Exhibited: Esposizioni Riunite e II Esposizione Triennale di Brere, Castello Sforzesco, Mailand, 6 May - 5 October 1884; III Fine Art and Art Trade Exhibition, Palacio de Bellas Artes, Barcelona, 1896; Esposizione delle Belle Arti di Roma, 1896; Hereké Imperial Factory, Grand Rue de Péra, December 1906; Studio of Fausto Zonaro, Akaratler, Constantinople, 1908, no. 5 (room E, Paintings executed in Italy). Catalogued and illustrated in: Rodolfo Falchi, Ubaldo Spigno, Le tre stagioni pittoriche di Fausto Zonaro, Torino 1993, no. 7; Osman Öndes, Erol Makzume, Ottoman Court Painter Fausto Zonaro, Istanbul 2002, p. 69; Erol Makzume, Cesare Mario Trevigne, Fausto Zonaro, Abdülhamid’in Hükümdarliginda Yirmi Yil. Fausto Zonaro Hatiralan ve Eserleri, Istanbul 2008, p. 97; Erol Makzume, Cesare Mario Trevigne, Fausto Zonaro, Twenty years under the reign of Abdülhamid. The Memoirs and Works of Fausto Zonaro, Istanbul 2011, p. 83; Erol Makzume, The Sultan’s Italian Court Painter Fausto Zonaro, Florence 2021, p. 173. A certificate issued by Prof. Cesare Mario Trevigne, 3 June 2023, Florence, is available upon request. We are grateful to Erol Makzume for kindly confirming the authenticity on the basis of the original. We are grateful to Valerie Wadsworth-Falchi for her scholarly advice. Fausto Zonaro showed great artistic talent from a young age and, with the consent of his parents, began his training at the Technical Institute in Lendinara and later at the Cignaroli Academy in Verona. He was called up to the army just as his talents began to flourish. He went to Venice after his military service, where he earned his living selling his paintings to tourists. He moved to Naples in 1878 in the hope of boosting his artistic career and eventually studied in Rome from 1880 to 1881, where he improved and perfected his painting technique. After a somewhat restless period and a brief stay in Paris in 1888, where he became acquainted with the Impressionist avant-garde, he opened a small art school and studio in Venice. This represents the turning point in Zonaro’s career, when he met his future wife Elisa (Elisabetta) Pante, one of his students. Inspired by the orientalist travel books of Edmondo de Amicis and Théophile Gautier, the young couple decided to set off for the capital of the Ottoman Empire to try their luck. Before settling in Istanbul in 1890, Fausto Zonaro took part in national and international exhibitions, showing his works between 1883 and 1890 in Rome, Milan, Turin, Venice and Brera, as well as Vienna and Paris. The present lot is a major work from Fausto Zonaro’s early creative period in Italy and dates from the second half of the 1880s. It depicts a scene from a popular children’s game played by Italian country folk: the strongest and tallest girl joins the head of a line of girls, each holding on to the dress or apron of the playmate in front of her. The girl at the head of the chain must now defend the others from the taunts of the “devil”, another player, with outstretched arms. The latter moves quickly, freely and unexpectedly whirling from left to right to catch the last link in the chain. Thus the game proceeds amid much shouting and laughter until finally the last girl in the chain is caught. Fausto Zonaro transfers this lively and animated scene to the canvas and realistically renders the graceful yet modest girls. The figure at the head of the chain, a pretty girl with wild curls tousled by the wind, looks boldly at the “devil” who waits for a minute of her adversary’s inattention to steal from her. The other girls watch their adversary’s movements intently, waiting for the right moment to save themselves from falling into the enemy’s hands. This moment does not seem contrived or artificial, but authentic and true to life. The cheerful composition of the girls in their summer garb documents Zonaro’s skill as a draughtsman, which can be seen in the preliminary drawing that emerges from infrared reflectography. The lightness and movement of the garments as well as the individual facial expressions, especially around the eyes, were prepared by the artist with quick strokes on the canvas. If we take a closer look at this painting, it becomes clear why the artist was particularly attached to it and why it found its way from Italy to Istanbul alongside “Dopo il gioco - After the Game” (Auction, 19th Century Paintings, 20 April 2010, lot 82), which shows the girls resting in the meadow. Both were intended by the artist as a kind of diptych and now the present work has been rediscovered in a German private collection. This masterpiece, which Fausto Zonaro himself considered the most successful and representative work of his early creative period, was lost in 1910 when he returned to Italy from Istanbul with his family. “Coda del Diavolo”, last exhibited in 1908, probably remained in the artist’s possession, and would also have returned to Italy with him if his friend Prince Şehzade Mehmed Burhaneddin had not paid a visit to his studio shortly before his departure. Zonaro then sold this heartfelt piece and other paintings to the prince. The Sultan’s son wrote: “It is with great pleasure that I note that Monsieur Zonaro is today, without exception, the most important artist in the Orient. I am very happy, for I have acquired some of his finest paintings, which I consider masterpieces.” In all probability, this painting came to Europe with Prince Burhannedin, where it has now resurfaced in a German private collection. It is all the more remarkable that we can once again experience this painting in its full splendour - a true sensation!
ATTR. FAUSTO ZONARO (Masi, 1854 - Sanremo, 1929) Arabic landscape Oil on board, 24 x 18 cm Signed lower right: F. Zonaro Excellent conditions, framed without glass
FAUSTO ZONARO (1854-1929) A Harbour and Sailing Boats, Constantinople Signed ‘F.Zonaro’ (lower right) Oil on cardboard, depicting a scene of a harbour and sailing boats from the sea
(Masi 1854–1929 San Remo) A Dervish, signed twice F. Zonaro, oil on canvas laid down on panel, 64 x 45 cm, framed Provenance: Private Collection, Italy. We are grateful to Erol Makzume for kindly confirming the authenticity on the basis of a high-resolution photograph. It will be included in the forthcoming catalogue raisonné edited by Erol Makzume and Cesare Trevigne. Zonaro and his wife Elisa moved to Istanbul in 1891. There, he became fascinated by the city and its people, painting street barbers, fishermen and public letter-writers, for instance. He also painted the religious ceremonies which dominated the public life of the city. Zonaro was allowed to paint anywhere in Istanbul, which meant he was able to hear and paint the Rufai dervishes. The present lot depicts a dervish from the Rufai order. Known as “howling dervishes”, they took a vow of poverty and abstinence. Abdülhamid II, Sultan of the Ottoman Empire from 1876-1909, appointed him painter to the court. He became a teacher at the School of Fine Art, founded by Osman Hamdy Bey. He left Istanbul in 1910 when the new government of the “Young Turks” dismissed him from the post of painter to the Sultan and eventually settled in San Remo.
(Masi 1854–1929 San Remo) Sunday Promenade in Göksu, signed F. Zonaro, oil on canvas, 42 x 70.5 cm, framed Provenance: Private Collection, Italy. Catalogued and illustrated in: Erol Makzume, The Sultan’s Italian Court Painter Fausto Zonaro, Polistampa ed., 2021, p. 136. We are grateful to Erol Makzume for kindly confirming the authenticity on the basis of a high-resolution photograph. It will be included in the forthcoming catalogue raisonné edited by Erol Makzume and Cesare Trevigne. Zonaro painted various features of Istanbul. He was particularly fascinated by the city’s sites, with his landscapes including views of fountains, graveyards and many different districts of the city. Thanks to the last Ottoman Sultan Abdülhamid II, who appointed him painter to his court, Zonaro was able to paint in the city undisturbed. The present lot depicts the freshwater stream of Göksu on the Asian shores of the Bosphorus. It was a popular resort where the people of Istanbul came to relax and socialize. In the foreground, ferrymen have disembarked their passengers on the river’s edge. The Asian freshwater stream gave Western visitors an excellent opportunity to observe Ottoman life. Zonaro shows a peaceful vision of Ottoman life, away from the turmoil of the capital. The Gösku river is among Zonaro’s most exhibited and published subjects. A work depicting a similar subject, "Wedding on the Sweet Waters of Asia on the Göksu River", was sold at this auction house in 2017.
Fausto Zonaro (Italian, 1854-1929) La spiaggia a Foce, Genova signed 'FZonaro' (lower left); further signed and inscribed 'A Foce spiaggia/Genova/F. Zonaro' (on the reverse) oil on panel 23.5 x 40.7cm (9 1/4 x 16in).
Zonaro, Fausto - Zonaro, Fausto. Lettera autografa firmata, due pagine in 8°, da ‘Venezia 21 luglio 87’, indirizzata ad un ‘Gentilissimo signor Conte’ cui scrive di aver sentito ‘che Lei avrebbe desiderio le facessi il ritratto a penna di Daniele Manin cavandolo da una stampa esistente nel Museo Correr’.
