Pietro Annigoni was born in Italy in 1910, and he first studied at the College of the Piarist Fathers in Florence. The techniques used in Pietro Annigoni's paintings show how Italian Renaissance artists and art influenced him. He later became a portrait and fresco painter, finding fame and recognition after he painted a portrait of Queen Elizabeth II in 1956.
Included among Pietro Annigoni's paintings is a portrait he did in 1962 of President John F. Kennedy for the cover of TIME magazine. It was not considered one of his best, even by the artist. He did several paintings of other well-known individuals for TIME, and Pietro Annigoni signed prints include some of these famous covers. Pietro Annigoni's artwork was a catalyst to him co-founding the group Modern Realist Painters in 1947. Find historical or cinema personalities that interest you by viewing enchanting portrait paintings for sale online at Invaluable.
PIETRO ANNIGONI (1910 - 1988) Untitled 1982 Ink on paper 28 x 30 cm Signed lower right, dated and titled lower left PROVENANCE: Private collection, Milan
ANNIGONI PIETRO (1910 - 1988). AUTORITRATTO. signature and monogram at the back: stamp L' Incontro art gallery, Chiari (BS) and stamp Leonoini gallery, Florence The work is accompanied by the artist's authentication on photography and by authentication from the Archive of Pietro Annigoni's work edited by Gilberto Grilli PROVENANCE Leonini Gallery, Florence L'Incontro art gallery, Chiari Private collection, Chiari. 40 x 60 cm.
ANNIGONI PIETRO (1910 - 1988). UNTITLED. signature at the back: signature We thank the Pietro Annigoni Archive and Dr. Gilberto Grilli for confirming the authenticity of the work. 29 x 15 cm.
Tecnica mista su carta riportata su tavola, cm. 56x38. Firma a metà del lato destro. Sul verso: etichetta esposizione livorno 2023-2024. Si tratta di un bozzetto per l'affresco del cenacolo nella basilica di sant'antonio a padova, realizzato dal pittore nel 1984.Esposizioni: 2023-2024, pietro annigoni, pittore di magnifico intelletto, 15 dicembre - 15 marzo, villa mimbelli, livorno.Bibliografia: 2010, g. Grilli, pietro annigoni oltre l'infinito, la pieve editore, p. 116 tav. 118. Autentica di benedetta annigoni su foto.
Tecnica mista su carta riportata su tavola, cm. 60x40. Firma e sigla in basso a destra. Bibliografia: 2010, g. Grilli, pietro annigoni oltre l'infinito, la pieve editore, p. 117 tav. 119.Autentica Di benedetto annigoni su foto.
Acquerello su carta, cm. 31x48. Sul verso: sul cartone di chiusura: firma e dedica; etichetta manoscritta: "landscape"; etichetta wildenstein&co, londra, con dati dell'opera; timbro dogana di parigi.
Pietro Annigoni (1910 - 1988) STUDIO PER LA TESTA DI SAN PIETRO tecnica mista su cartoncino applicato su tavola, cm 57x39 firma sul retro: timbro Casa d'Arte la Gradiva, Firenze Provenienza Casa d'Arte la Gradiva, Firenze Collezione privata, Perugia
Pietro Annigoni (1910 - 1988) STUDIO PER LA FIGURA DI GESU' sanguigna su cartoncino applicato su tavola, cm 40x29 firma sul retro: timbro Casa d'Arte la Gradiva, Firenze Provenienza Casa d'Arte la Gradiva, Firenze Collezione privata, Perugia
oil on canvas board cm 22 x 32 Signed and titled lower right: Pietro Annigoni, Ischia PROVENANCE New York, Buffalo, Anthony J. Sisti, De Sisti Galleries Collection (label on the reverse); private collection.
Pietro Annigoni (Italian, 1910 - 1988) A portrait of Joyce Gayle Pen an ink on paper Signed lower right and inscribed 'Londra-Li-' Property of a gentleman Dimensions: (Frame) 28 in. (H) x 22.5 in. (W) (Paper) 17 in. (H) x 12 in. (W)
ANNIGONI PIETRO (1910 - 1988). INTERIOR OF THE CATHEDRAL - MILAN DUOMO. at the back: signature, dedication ad personam and stamp Centro D'arte La Barcaccia, Rome The work is accompanied by a certificate from the Photographic Archive of Pietro Annigoni's works, curated by Gilberto Grilli PROVENANCE La Barcaccia Gallery, Rome F.Rossetti Collection, Rome Private collection, Rome. 51 x 64,50 cm. 1932.
ANNIGONI PIETRO (1910 - 1988). VOLTO VIRILE. signature We thank the Pietro Annigoni Archive and Dr. Gilberto Grilli for their kind collaboration.. 29 x 40 cm.
PIETRO ANNIGONI [Italy] 1910-1988 signed limited edition 9/10 etching, sheet size 35x26cms, framed. Please read the Terms & Conditions of Auction before placing a bid. These T&C's are applicable to each lot in this Auction. Any available provenance or documentation will be included with the description, if not included, assume it to be unknown or missing. Most lots are either ex estate or storage, have not been submitted for authentication, verification or expertising and for this reason, are offered UNRESERVED. It is the responsibility of intending buyers to do their own research and due diligence before submitting an offer. We do not offer returns or refunds - ALL SALES ARE FINAL.
PIETRO ANNIGONI (Milano 1910 - Firenze 1988) Volto China su carta, cm. 17 x 16 Firma in basso a destra Firma e testo di Annigoni sul retro In cornice Autentica dell'Archivio fotografico ed expertise dell'opera di Pietro Annigoni, in data 30 marzo 2009
λ PIETRO ANNIGONI (ITALIAN 1910-1988)LES FEUILLES MORTESTempera grassa on paperInscribed and dated (to the centre)13 x 17.5cm (5 x 6¾ in.)Painted in 1953.Provenance:Juanita Forbes and thence by descentLiterature:L. Pelizzari, Pietro Annigoni, Il Periodo Inglese: 1949-1971, Rome,1991, p.192, no. 166, fig. 249
λ PIETRO ANNIGONI (ITALIAN 1910-1988)IL FANTASTICO MONDO DELLA FATTUCCHIERA Tempera grassa on canvas on boardSigned, inscribed and dated LONDON XLIX (lower right)30 x 40cm (11¾ x 15½ in.)Painted in 1949.Provenance:Juanita Forbes and thence by descentLiterature:R.C. Cammell, Pietro Annigoni, London,1954, p.12R.C Cammell, Pietro Annigoni, London 1958, p.18L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971, Rome, 1991, p.154, no. 83, fig. 192
λ PIETRO ANNIGONI (ITALIAN 1910-1988)IL CANCELLO D'INGRESSO (TOSCANA)Pencil and inkSigned with monogram (lower right)28 x 34cm (11 x 13¼ in.)Executed in 1951Provenance:Shepherd Family Trust, Newcastle Upon Tyne.Sale, Sotheby's, London, 15th November 1978, lot 115Juanita Forbes and thence by descentExhibited:London, Thomas Agnew & Sons Ltd., Exhibition of Drawings and some Paintings by Pietro Annigoni, June - July 1952 Literature:L. Pelizzari, Pietro Annigoni, Il Periodo Inglese: 1949-1971, Rome,1991, p.167, no. 115, fig. 212
λ PIETRO ANNIGONI (ITALIAN 1910-1988)PAESAGGIO FANTASTICOTempera grassa on board Signed with monogram and dated LII (lower right)54 x 64cm (21¼ x 25 in.)Painted in 1952.Provenance:Juanita Forbes and thence by descentExhibited:London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969Literature:D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969L. Pelizzari, Pietro Annigoni, Il Periodo Inglese: 1949-1971, Rome, 1991, p.183, no.140, fig. 235
λ PIETRO ANNIGONI (ITALIAN 1910-1988)JUANITA FORBESPencil and inkSigned with monogram, inscribed and dated Londra/LI (lower right); further signed and dated 10-V-LIII to backboard (verso)41 x 24cm (16 x 9¼ in.)Executed in 1951.Provenance:Juanita Forbes and thence by descentExhibited:London, Thomas Agnew & Sons Ltd., Exhibition of Drawings and some Paintings by Pietro Annigoni, June - July 1952London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954, no.48Literature:M. Sorrell, Pietro Annigoni, in The Queen, London, 15 August 1951, p. 19L. Pelizzari, Pietro Annigoni, Il Periodo Inglese: 1949-1971, Italy, 1991, p. 162, no. 110, fig. 205
λ PIETRO ANNIGONI (ITALIAN 1910-1988)JUANITAPencilSigned with monogram, inscribed and dated LONDRA/LI (lower right)32 x 25cm (12½ x 9¾ in.)Executed in 1951.Provenance:Juanita Forbes and thence by descentExhibited:London, Thomas Agnew & Sons Ltd., Exhibition of Drawings and some Paintings by Pietro Annigoni, June - July 1952London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954, no.47New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969Cardiff, National Museum of Wales, Pietro Annigoni, 1 - 30 September 1977Literature:R.C. Cammell, Pietro Annigoni, London, 1954, p. 5P. Annigoni, Pietro Annigoni, in The Pheasantry Studios Ltd, London, 1965, p. 3P. Annigoni, Pietro Annigoni, in The Pheasantry Studios Ltd, London, 1968, p. 4D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971, Rome, 1991, p.162, no. 109, fig 204
λ PIETRO ANNIGONI (ITALIAN 1910-1988)PORTRAIT OF JUANITA FORBES Tempera grassa on panelSigned with monogram, dated and inscribed Paris LIII/To J (verso)68 x 48cm (26¾ x 18¾ in.)Painted in 1953. Provenance:Juanita Forbes and thence by descentExhibited:Paris, Galerie de Beaux Arts, Peintures et Dessins de Pietro Annigoni, 3-23 December 1953.London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954, no.11Florence, Galleria d'Arte Internazionale, Pietro Annigoni, 19-23 January 1963Milan, Galleria Cortina, Antologica di Pietro Annigoni, 25 October - 25 November 1968New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969Cardiff, National Museum of Wales, Pietro Annigoni, 1 - 30 September 1977Literature:R.C. Cammell, Pietro Annigoni, London,1954.G. Solari Bozzi, Con il preziozo manto turchino della Giarrettiera la Regina Elisabettaposa per Pietro Annigoni, in Il Giornale d'Italia, Rome, 28 November 1954.H. Kanis, This is Annigoni, in News Page, London, July 1955, p.42.D. Wynne-Morgan, Annigoni...and a Duchess he refused to paint. In Daily Express, 8 May 1956, p.10.R.C. Cammell, Memoirs of Annigoni, London, 1956, p.80.M. Garland, The Changing Face of Beauty. Four thousand years of beautiful Women, London, 1957, p.206.N. Rasmo, Pietro Annigoni, Florence, 1961, p.69U. Longo, Pieta e amore nell'arte di Pietro Annigoni, Milan, 1968, p.88D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969A.D.F. Jenkins, Pietro Annigoni, Cardiff, 1977L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971, Rome, 1991, pp.140, 188, no.153, fig.179 (detail), fig. 242 Born in Milan on 7 June 1910, Pietro Annigoni was the son of Ricciardo Annigoni, a mechanical engineer. In 1925 the family moved to Florence and Pietro attended life drawing classes at the Circolo degli Artisti and at the Accademia di Belle Arti. In 1927, he entered the Accademia as a full-time student, taking courses in painting, sculpture, and engraving. Annigoni was heavily influenced by the Accademia's classical teaching, finding inspiration in the subject matter and techniques of the great Italian old masters. During the 1930s he found critical acclaim in Italy, exhibiting widely and receiving numerous commissions, the most notable being a series of frescoes in the Convent of San Marco, Florence. However, his open opposition to Mussolini led to his ostracism from the Italian artistic establishment and he struggled as an artist until the collapse of Mussolini's fascist dictatorship and the ending of World War II in 1945.Looking for new audiences for his work he entered three paintings, including Portrait of the Artist, into the Summer Exhibition at the Royal Academy in London in 1949. These were duly accepted into the show and as Annigoni had hoped, were discovered by collectors and dealers alike. This recognition and acclaim lead to subsequent exhibitions at the Wildenstein Gallery and Agnews in London.Building on this new audience Annigoni started to live in London for six months a year, undertaking an increasing number of commissions, particularly for portraits. This includes the present work, painted in 1953, just a year before he famously painted the portrait of the young Queen Elizabeth II. Commissioned by the Worshipful Company of Fishmongers in 1954, the work was unveiled at the Royal Academy in 1955. Crowds flocked to view the painting and attendance was recorded at almost 300,000, making it the most popular Summer Exhibition for over 50 years. The Times produced a limited edition print which instantly sold out and Sir Alfred Munnings, former President of the Royal Academy proclaimed Annigoni to be The Greatest Painter of the age.The publicity and popularity that this portrait received led to many other commissions including a second portrait of Queen Elizabeth II for the National Portrait Gallery, the Duke of Edinburgh and Princess Margaret. He continued to be in demand throughout his life, with requests coming from all walks of life, and he completed portraits of Pope John XIII, John F. Kennedy, the Shah and Empress of Iran, Julie Andrews, Margot Fontane, Rudolph Nureyev and Salvatore Ferragamo to name but a few.His work is represented in numerous public collections, including the National Portrait Gallery, London, Metropolitan Museum of Art, New York, The Uffizi Gallery, Florence, The Vatican, Rome, Indianapolis Museum of Art, and the Fine Arts Museum, San Francisco.Juanita Forbes:Born on 25th January 1929 to Lt-Col James Stewart Forbes and the sculptor Feridah Taylor, Juanita grew up in an artistic household frequented by artists and stars of the silver screen. In 1949 she married the actor, Anthony Steel, famous for his roles in films such as The Wooden Horse and Where No Vultures Fly. They divorced 5 years later and on her 32nd Birthday she married Richard Stickney.Dreweatts was privileged to meet Mrs Stickney, still living in West London, and was given a very rare and personal insight into how this beautiful portrait came to be painted some 75 years ago.Will Porter - Your Mother, Feridah Forbes, was an accomplished sculptor and so I can imagine you growing up in a house full of art and artists Juanita Stickney - I grew up in the Chelsea Studios, 412-416 Fulham Road surrounded by aspiring artists and lots of art of all descriptions.WP - Am I right in thinking that you became a muse for Jacob EpsteinJS - My mother Feridah Forbes met Jacob Epstein, who became a friend, at the same Art Bronze Foundry she used next door to the studios and commissioned him to do the nude and the head of me, so I was not really a muse but probably a favourite, maybe that is a muse...WP - How did you meet Pietro AnnigoniJS - My mother was a friend of the artist Timothy Whidborne who was a student of Annigoni and also lived in the Chelsea Studios. He introduced her to Annigoni, and she commissioned the painting.WP - What was it like sitting for himJS - It took 4-6 months sitting for two hours at a time. I used to see him in the evenings after work and was usually very tired, so he had to ply me with coffee to stop me from falling asleep!WP - In the painting you are holding an hourglass. Is this a symbol of the passing of time or maybe there is a more personal significanceJS - Annigoni's favourite saying was tout passe, tout casse, tout lasse (et tout ce remplace) and the hourglass was his depiction of this.WP - And is the landscape behind anywhere specificJS - I think it was Venice. The portrait was painted in London of course so it was done from his imagination.WP - You married the actor, Anthony Steele in 1949. How did you meetJS - At a drinks party with Bill Travers (Born Free & Ring of Bright Water) who became our best man. Tony was famed for his White African Hunter FilmsWP - That must have been an exciting time in your lifeJS - Yes very, I was a catwalk model for The House of Worth, Maggie Rouff and various department stores and did some extras work in films like Kind Hearts and Coronets, I was the lady in the MG who Sir Alec Guiness wolf whistled at!WP - Annigoni painted one of the most celebrated paintings of Queen Elizabeth II just a couple of years after your portrait and became a much sort after portraitist. Did you remain friends JS - Very much so, my mother sadly passed away before the painting was completed but he and I remained firm friends for many years thereafter, he also tried to paint my young son, but he would not sit still for long enough!WP - What are your abiding memories of Pietro AnnigoniJS - A kind, generous, funny, raconteur always with his favourite Gauloise in hand!
ANNIGONI PIETRO (1910 - 1988). INTERIOR OF THE CATHEDRAL - MILAN DUOMO, 1932. at the back: signature, dedication ad personam and stamp Centro D'arte La Barcaccia, Rome The work is accompanied by a certificate from the Photographic Archive of Pietro Annigoni's works, curated by Gilberto Grilli PROVENANCE La Barcaccia Gallery, Rome F.Rossetti Collection, Rome Private collection, Rome. 51,00 x 64,50 cm.
Pietro Annigoni 1910 Mailand - 1988 Florenz -"IL GERMOGLIO"- 925er Silber. Plexiglas. No. 1696. 17 x 22,8 cm. (Rahmen 38 x 33 cm). Gew.: 250 g (ohne Rahmen). In der Platte sign.: Pietro Annigoni. Auf der Rückseite Zertifikat.
PIETRO ANNIGONI [Italy] 1910-1988 signed limited edition 9/10 etching, sheet size 35x26cms, framed. Please read the Terms & Conditions of Auction before placing a bid. These T&C's are applicable to each lot in this Auction. Any available provenance or documentation will be included with the description, if not included, assume it to be unknown or missing. Most lots are either ex estate or storage, have not been submitted for authentication, verification or expertising and for this reason, are offered UNRESERVED. It is the responsibility of intending buyers to do their own research and due diligence before submitting an offer. We do not offer returns or refunds - ALL SALES ARE FINAL.
Antique Italian color lithograph. Signed. Framed. Measuring 21 by 28 inches overall and 14 by 22 print alone. Please see all images for condition. Size is measured and written on the back of the painting. The first size is the overall size, the second size is the image size. For detailed condition questions please text 617-835-2496
Pietro Annigoni - Framed Print Annigoni would be on the top shelf for Italian 20th Century Artists, and this is a beautiful decor print. The original is done by him and this is signed to the bottom right corner. It is gallery framed and ready to hang. The frame measures 63cm by 47cm Vendor Code: Stanfell
Annigoni (Pietro, 1910-1988). Wethersfield, Amenia (New York), 1965 AR * Annigoni (Pietro, 1910-1988). Wethersfield, Amenia (New York), 1965, pen, wash and china ink on wove paper, 51.5 x 67.5 cm (20 1/2 x 26 1/2 ins), window mounted, framed and glazed (54.5 x 71 cm) QTY: (1) NOTE: Provenance: Margaret Rawlings, Lady Barlow (1906-1996), English stage actress and Jane Sacchi, née Barlow (1943-).
PIETRO ANNIGONI (Milano 1910 - Firenze 1988) Nudo sdraiato Litografia, ex. nd. Misure del foglio, cm. 43 x 62 Monogramma in basso a destra nella lastra Firma in basso a destra In cornice
PIETRO ANNIGONI [Italy] 1910-1988 signed limited edition 9/10 etching, sheet size 35x26cms, framed. Please read the Terms & Conditions of Auction before placing a bid. These T&C's are applicable to each lot in this Auction. Any available provenance or documentation will be included with the description, if not included, assume it to be unknown or missing. Most lots are either ex estate or storage, have not been submitted for authentication, vefifivation or expertising and for this reason, are offered UNRESERVED. It is the responsibility of intending buyers to do their own research and due diligence before submitting an offer. We do not offer returns or refunds - ALL SALES ARE FINAL.
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