Lot 22 Vincenzo Dandini Italian (1607-1675) Untitled (Landscape) ink and graphite on paper initialed lower right sheet: 5 x 4 inches frame dimensions: 10 1/2 x 9 1/2 x 1 inches, wood frame with glazing Provenance: From the Estate of Margery Druss
Lot 61 Vincenzo Dandini Italian (1607-1675) Untitled Drawing (Landscape) ink and graphite on paper initialed lower right sheet: 5 x 4 inches frame dimensions: 10 1/2 x 9 1/2 x 1 inches, wood frame with glazing Provenance: From the Estate of Margery Druss
VINCENZO DANDINI (Firenze 1609 - 1675) ALLEGORIA DELLA TEMPERANZA Olio su tela di cm.72 x 58,5 PROVENIENZA Collezione privata marchigiana PUBBLICAZIONI Giuseppe Maria Pilo, in 'Arte documento', n. 35, pp. 174-176 Una giovane donna, dalla raffinata acconciatura, con orecchini pendenti a goccia, ritratta frontalmente a mezza figura, con uno scollato e sensuale corpetto azzurro ed una fascia viola annodata sulla spalla destra, reca in evidenza gli attributi iconografici che connotano la 'Temperanza, Segni distintivi di questa iconografia sono il bilanciere di un orologio nella mano sinistra e il freno di un carro nella mano destra. Il dipinto è stato ampiamente descritto dal Prof. Giancarlo Sestieri e dal Prof. Giuseppe Maria Pilo. Entrambi gli studiosi restituirono la paternità dell'opera a Vincenzo Dandini, fratello minore del caposcuola fiorentino Cesare Dandini CONDITION REPORT Rintelo novecentesco. Piccoli punti di restauro sparsi sugli incarnati, sulle vesti e sul fondo CORNICE Cornice in legno dorato ed intagliato a ghirlanda e nastro arrotolato, del XVIII secolo BIBLIOGRAFIA L. Berti, Pittori Toscani in relazione con Pietro da Cortona, Roma 1956, pp. 73-74 G. Baccini, Vincenzo Dandini e La veste del Savonarola, Ricordi di Vincenzo Dandini pittore (1660-1663), in 'Miscellanea d'Arte'. Mensile di Storia dell'Arte medievale e Moderna, Firenze 1903, pp. 47 seg. Il dipinto è accompagnato da relazioni scritte del Prof. Giuseppe Maria Pilo e del Prof. Giancarlo Sestieri, in data 2018
Property from the Collection of Cristina and Marco Grassi Vincenzo Dandini Florence 1609 - 1675 Moses Abandoned on the Banks of the Nile oil on canvas canvas: 58 ¼ by 71 ½ in.; 148.0 by 181.6 cm. framed: 72 ¾ by 86 ⅛ in.; 184.8 by 218.8 cm.
Vincenzo Dandini (1607-1675) Martyrdom of Saint Lucy (recto); Figure study (verso) Black ink over pencil on thin laid paper, inscribed 'Vita Vincenzio/ Sata Lucia, Vergine' and initialled 'V.D.V', further inscription and attribution lower left, sheet 182 x 130 mm (7 1/4 x 5 1/4 in), small losses and handling creases, surface dirt (unframed) Together with 3 other drawings: Follower of Pietro da Cortona (1596-1669), Christ before Pilate, black ink and red wash, sheet 220 x 305 mm (8 5/8 x 12 in) (unframed); and with an Italian School (18th century) black chalk drawing of two figures seated, with inscription to mount of 'Albano', possibly after Francesco Albani (unframed); and with a Venetian School black chalk drawing of a Penitent Saint Jerome with a Lion (unframed) (4)
(Firenze, 1607 - 1675) San Giovanni Battista Olio su tela, cm 62X49 Il dipinto presenta caratteri di stile che suggeriscono la sua genesi fiorentina e accenti che evocano pertinenti confronti con il pittore Vincenzo Dandini. L'artista si formì inizialmente con il fratello Cesare, frequentì il Passignano e Matteo Rosselli, risultando iscritto all'Accademia del Disegno nel 1631.Decise poi di compiere il viaggio d'istruzione a Roma, dove, tra il 1635 e il 1636 lo sappiamo partecipe della bottega di Pietro da Cortona. Attratto inizialmente dalla lezione barocca romana, dal classicismo emiliano insaporito dalle sensualità del Furini, Dandini si accosterà gradualmente agli ideali spirituali neo-savonaroliani, che nella tarda maturità lo condussero a eseguire dipinti improntati su una spiritualità scevra di patetismi devozionali. Bibliografia di riferimento: S. Bellesi, Vincenzo Dandini e la pittura a Firenze alla metà del Seicento, Pisa 2003, ad vocem S. Bellesi, Catalogo dei pittori fiorentini del '600 e '700. Biografie e opere, I, Firenze 2009, ad vocem
Studienblatt mit Köpfen und Putti, die eine Banderole halten. Rötelzeichnung. 19,5 x 25,9 cm (die Ränder unregelmäßig). Unten links monogrammiert "V.D.v.". - Provenienz: Nachlass der Familie Dandini, Florenz. Sammlung Giovanni Targioni Torzetti, Florenz (1712-1783). Carmen Gräfin Finck von Finckenstein, geb. Hertz, Hamburg/Ascona (1889-1971). Familie Finck von Finckenstein, Norddeutschland (bis 2016). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Vincenzo DANDINI Florence, 1609 - 1675 Le sacrifice à Vesta Huile sur toile The sacrifice to Vesta, oil on canvas, by V. Dandini h: 120 w: 103 cm Provenance : Galerie Terrades, Paris, en 2015 ; Acquis auprès de celle-ci par l'actuel propriétaire ; Collection particulière européenne Commentaire : Formé dans l'atelier florentin de son frère Cesare puis auprès de Passignano, Matteo Rosseli et Andrea Commodi, Vincenzo Dandini rejoint tardivement celui de Pietro da Cortona à Rome en 1635 pour un court séjour de deux ans. Il sera un collaborateur précieux pour son maître romain lorsque ce dernier obtiendra l'immense chantier de décoration du palais Pitti qui ne cesse de nous étonner aujourd'hui encore et dont l'audace constitua une source d'inspiration pour les peintres parisiens de décors au milieu du XVIIe siècle. La carrière de Vincenzo Dandini est plus sage que celle de Pietro da Cortona et se traduit par la réalisation de grandes pale d'altare pour les églises ou des commandes de la famille Médicis (décor de la villa La Petraia ou projets de tapisseries). Notre sacrifice à Vesta reflète l'influence de la grande tradition romaine sur le peintre florentin. Traitée comme pourrait l'être un relief sculpté, notre composition s'impose par son élégant format et sa construction en diagonale, guidée par le regard du jeune homme en tunique rouge en bas à droite vers le joueur de flûte en haut à gauche, direction que le mouvement des mains de la vestale accentue et dynamise. Les musiciens accompagnent le sacrifice, l'agneau attend son heure, les objets rituels en or traduisent l'importance du culte à Vesta sur l'autel de laquelle brûle le feu qui jamais ne s'éteint. Le culte de Vesta fut institué par Numa Pompilius au VIIe siècle av. J.-C., les Romains l'honoraient publiquement le 7 juin lors des fêtes appelées les Vestalia. Déesse du foyer, de la patrie, du feu sacré intérieur et de la terre elle-même, fille de Cronos et Rhéa, elle est la sœur de Jupiter. Son culte était confié à six vestales, prêtresses vierges qui entretenaient le feu qui jamais ne devait s'éteindre dans le seul temple situé sur le forum, symbolisant ainsi le cœur de Rome. Ce feu représentait la permanence de l'Empire et son culte était étroitement lié au pouvoir politique. Les vestales étaient choisies âgées de 6 et 10 ans parmi les filles d'importantes familles patriciennes. Elles officiaient sous la protection du pontifex maximus (chef religieux de Rome dont l'empereur assumera les fonctions après la République), vivant dans l'atrium vestae, à côté du temple et de la Regia, demeure du pontifex maximus. Symboles de pureté et d'exemplarité, les vestales devaient rester vierges et servir trente années avant de pouvoir rejoindre la vie civile et se marier. Vincenzo Dandini a du admirer à Rome la fresque illustrant La fondation du culte de Vesta que le cavalier d'Arpin réalisa vers 1636-1640. Notre tableau peint au début des années 1640 témoigne de l'influence de la Rome antique pour tout artiste qui séjourne dans la ville éternelle. Quelles sont néanmoins les libertés prises par l'artiste dans son tableau alors que l'ensemble des textes antiques établissent que le suffibulum (tenue des vestales pour sacrifier) était un vêtement blanc et long, à bordure, porté sur la tête et fermé par une fibule ? Initially trained in his brother Cesare's Florentine studio before studying with Matteo Rosselli and Andrea Commodi, Vincenzo Dandini then joined Pietro da Cortona's studio in Rome in 1635 for a short period of two years. Dandini proved to be a precious assistant for his Roman master when he received the huge commission to decorate the Palazzo Pitti, which is still surprising today. Its audacity would constitute a source of inspiration for Parisian decorative painters of the mid -17th century. Vincenzo Dandini's career was more settled than that of Pietro da Cortona and is characterized by the creation of large altar pieces for churches and commissions from the Medici family (such as the decoration of the villa La Petraia and creation of tapestry designs). Our 'Sacrifice to Vesta' reflects the influence of the grand Roman tradition on Florentine painting. Treated like a sculpted relief, our composition is interesting for its elegant format and construction on diagonal lines, guided by the gaze of the young man in a red tunic in the lower right, who is looking towards the flute player in the upper left, a movement emphasized by the vestal's hands. Musicians accompany the sacrifice, while the lamb patiently waits for its hour and the gold ritual objects illustrate the importance of the Vestal's worship on whose altar burned a fire that was never extinguished. The worship of Vesta was established by Numa Pompilius in the 7th century B.C., and the Romans honoured her publicly on 7 June, during festivities called the Vestalia. The goddess of the hearth, the homeland, the internal sacred fire and of the earth itself, daughter of Cronos and Rhea, she is Jupiter's sister. Her worship was led by six vestals, virgin priestesses who maintained the fire that was never allowed to go out in the only temple located in the forum, thus symbolising the heart of Rome. This fire represented the permanence of the Empire and her cult was closely connected to political power. The vestals were chosen between the ages of 6 and 10 among the daughters of important patrician families. They officiated under the protection of the pontifex maximus (the religious leader of Rome whose functions the emperor took over after the republic) and lived in the atrium vestae, beside the temple and the Regia, the residence of the pontifex maximus. Symbols of purity and exemplarity, the vestals had to remain virgins and serve for thirty years before being able to join civil life and get married. Vincenzo Dandini must have admired in Rome the fresco illustrating Numa Pompilius Instituting the Cult of the Vestals made by the Cavaliere d'Arpino around 1636-1640. Our piece, painted in the early 1640s, illustrates the influence of ancient Rome on any artist visiting the city. Nevertheless, what liberties were taken by the Dandini in our painting, since all the ancient texts state that the suffibulum (costume worn by the vestals when making a sacrifice) was a long white dress with a border, worn on the head and closed by a fibula? Estimation 50 000 - 80 000 €
ATTRIBUTED TO VINCENZO DANDINI (ITALIAN 1607-1675) Sibyl with Quill, oil on canvas 89 x 73.5 cm (35 x 29 in.) CONDITION Observed in frame, the work is in age-appropriate condition. Overall craquelure visible to the naked eye. The painting has been relined. Inspection under UV shows between 15%-20% of retouching to craquelure, as well as the figure's cheeks and head. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
VINCENZO DANDINI (1607-1675) Apollon et Urania Huile sur toile rentoilée sur châssis ovale Important encadrement en bois sculpté d'époque. Provenance : Collection privée, Monte-Carlo Œuvre publiée et illustrée dans la monographie du peintre "Vincenzo Dandini", par Sandro Bellesi, n°20 Dimensions : 81 x 69 cm Peintre italien baroque de l'Ecole Florentine, il est élève de son frère, Cesare Dandini, puis de Passignano, de Rosselli et de Commodi avant de s'installer à Rome pour travailler dans l'atelier de Pietro Cortona. Rentré à Florence en 1637, il exécute des commandes pour Laurent de Médicis à destination de la Villa La Petraia. En 1663, il sera convoqué par le tribunal d'inquisition et accusé d'être en possession d'une cape ayant appartenu à Savonarole. Appolo and Urania, oil on relined canvas on its original wooden carved ovale frame. Private collection, Monte-Carlo. Work published and illustrated in the artist monograph by Sandro Bellesi, p.20.
(Firenze, 1607 - 1675) Maddalena Olio su tela, cm 99X74 Vincenzo Dandini si formì inizialmente presso il fratello Cesare e poi con il Passignano e Matteo Rosselli prima di completare i suoi studi a Roma, dove, tra il 1635 e il 1636, fu allievo di Pietro da Cortona. Tornato a Firenze riscosse un veloce successo, esprimendo nelle sue opere la verve barocca romana con commistioni reniane e del Furini ma gradualmente si fece portatore di sentimenti neo-savonaroliani, creando immagini devozionali dal forte carattere pietistico. Bibliografia di riferimento: S. Bellesi, Vincenzo Dandini e la pittura a Firenze alla metà del Seicento, Ospedaletto 2003, ad vocem
ATTRIBUTED TO VINCENZO DANDINI (ITALIAN 1607-1675) Sibyl with Quill, oil on canvas 89 x 73.5 cm (35 x 29 in.) CONDITION Observed in frame. The work is in age appropriate condition. Overall craquelure visible to the naked eye. The painting has been relined. Inspection under UV shows between 15%-20% of retouching to craquelure, as well as the figure's cheeks and head. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
VINCENZO DANDINI (1607-1675) Apollon et Urania Huile sur toile rentoilée sur châssis ovale Important encadrement en bois sculpté d'époque. Provenance : Collection privée, Monte-Carlo Œuvre publiée et illustrée dans la monographie du peintre "Vincenzo Dandini", par Sandro Bellesi, n°20 Dimensions : 81 x 69 cm Peintre italien baroque de l'Ecole Florentine, il est élève de son frère, Cesare Dandini, puis de Passignano, de Rosselli et de Commodi avant de s'installer à Rome pour travailler dans l'atelier de Pietro Cortona. Rentré à Florence en 1637, il exécute des commandes pour Laurent de Médicis à destination de la Villa La Petraia. En 1663, il sera convoqué par le tribunal d'inquisition et accusé d'être en possession d'une cape ayant appartenu à Savonarole. Appolo and Urania, oil on relined canvas on its original wooden carved ovale frame. Private collection, Monte-Carlo. Work published and illustrated in the artist monograph by Sandro Bellesi, p.20.
VINCENZO DANDINI (1607-1675) Apollon et Urania Huile sur toile rentoilée sur châssis ovale Important encadrement en bois sculpté d'époque. Provenance : Collection privée, Monte-Carlo Œuvre publiée et illustrée dans la monographie du peintre "Vincenzo Dandini", par Sandro Bellesi, n°20 Dimensions : 81 x 69 cm Peintre italien baroque de l'Ecole Florentine, il est élève de son frère, Cesare Dandini, puis de Passignano, de Rosselli et de Commodi avant de s'installer à Rome pour travailler dans l'atelier de Pietro Cortona. Rentré à Florence en 1637, il exécute des commandes pour Laurent de Médicis à destination de la Villa La Petraia. En 1663, il sera convoqué par le tribunal d'inquisition et accusé d'être en possession d'une cape ayant appartenu à Savonarole.
Vincenzo Dandini, 1607 Florenz – 1675, zug. ALLEGORIE DER KÜNSTE Öl auf Leinwand. 125 x 85 cm. Vincenzo Dandini, sein Bruder Cesare und ihr Neffe Pietro gehörten zwischen 1650 und 1710 zu den einflussreichsten Malern der toskanischen Kunstszene. Nach seinen Lehrjahren im Umfeld von Passignano und Matteo Rosselli ging Vincenzo nach Rom und wurde dort von 1635 bis 1636 Schüler von Pietro da Cortona. Der Aufenthalt in Rom war sehr wichtig für seine maltechnische Entwicklung, einem Mix aus Einflüssen, neben denen seines Lehrers, von Malern seines Umfelds wie Giacinto Gimignani und Giovanni Francesco Romanelli, aber auch Poussin und Guido Reni. Zurück in Florenz beschäftigte er sich mit den Werken seines älteren Bruders Cesare, denen von Furini, Curradi und Lorenzo Lippi und schuf so eine interessante Mischung aus römischen, bologneser und florentinischen Stilelementen. An diesem hochwertigen Gemälde erkennt man deutlich die Originalität von Vincenzo Dandini, der hier eine seiner seltenen Allegorie schuf, was eigentlich eher das Genre seines Bruders Cesare war. Im Mittelpunkt des Gemäldes steht eine Frauengestalt, die typisch für die Ikonografie der florentinischen Kunst Mitte des 17. Jahrhunderts war: sie ist stolz, mysteriös, leicht melancholisch und etwas kühl distanziert. In dieser plastischen Figur mit dem Lorbeerkranz vereinen sich die drei dargestellten zeichnerischen Künste Malerei, Bildhauerei und Architektur ganz nach den Vorstellungen Vasaris. Die Figur ist dynamisch, der Faltenwurf und die Stoffe sind trefflich dargestellt und die Hell-Dunkel-Kontraste werden durch die Abendstimmung noch verstärkt. Das Gemälde lässt sich gut mit anderen Werken von Vincenzo Dandini vergleichen, wie zum Beispiel der "Juno" in der Sammlung Mark Fehrs Haukohl (S. Bellesi, Vincenzo Dandini, Pisa 2003, Nr. 9, S. 83-84) und dem "Ganymed" in der Galleria di Palazzo degli Alberti in Prato (ebenda, Nr. 25, S. 102-103). (10216411) (21) Vincenzo Dandini, 1607 Florence – 1675, attributed ALLEGORY OF THE ARTS Oil on canvas. 125 x 85 cm. Vincenzo Dandini, his brother Cesare and their nephew Pietro were among the most influential painters of the Tuscan art scene between 1650 and 1710. After his apprenticeship in the circle of Passignano and Matteo Rosselli, Vincenzo relocated to Rome where he became a student of Pietro da Cortona between 1635 and 1636. His stay in Rome was very important for the further development of his painting technique. This high quality painting speaks with great clarity of Vincenzo Dandini’s originality, creating, on this occasion, one of his rare allegories, a genre usually associated with his brother Cesare. The centre of the painting depicts a female figure, typical of 17th century Florentine iconography: she is proud, mysterious, slightly melancholy and a little reserved. This sculptural figure with laurel wreath combines the three Visual Arts – painting, sculpture and architecture – entirely in accordance with Vasari’s ideas. The figure is dynamic, the falling of the folds and the fabrics is depicted with virtuosity and the evening atmosphere intensifies the chiaroscuro. The painting easily lends itself to comparison with other works by Vincenzo Dandini such as “Juno” held at the Mark Fehrs Haukohl Collection (S. Bellesi, Vincenzo Dandini, Pisa 2003, no. 9. pp. 83–84) and the “Ganymede” held at the Galleria di Palazzo degli Alberti in Prato (ibid, no. 25, pp. 102–103).
Männlicher Akt, sitzend. Schwarze Kreide auf braunem Bütten. 38,5 x 30,7 cm. Wz. Anker im Kreis. Die Autorschaft Dandinis wurde von Roberto Spinelli bestätigt, wobei sich das Blatt gut mit Zeichnungen im Gabinetto Nazionale delle Stampe in Rom (Inv. F.C. 125418), im Louvre (Inv. L 1886) und den Uffizien (Inv. 1191F, 15240F und 1543 F) vergleichen läßt. Vermutlich handelt es sich auch bei unserer Darstellung um die Vorstudie zu einer Gemäldefigur.
Vincenzo DANDINI (Florence 1607 - 1675) Recto : couple et amour Verso : étude de drapé Plume et encre brune, lavis gris, sanguine 18,5 x 16 cm Annoté : " V.D " au verso Insolé, petites taches et petit trou
Dandini, Vincenzo: Männlicher Akt, sitzend Männlicher Akt, sitzend. Schwarze Kreide auf braunem Bütten. 38,5 x 30,7 cm. Wz. Anker im Kreis. Die Autorschaft Dandinis wurde von Roberto Spinelli bestätigt. Das Blatt läßt sich gut mit Zeichnungen im Gabinetto Nazionale delle Stampe in Rom (Inv. F.C. 125418), im Louvre (Inv. L 1886) und den Uffizien (Inv. 1191F, 15240F und 1543 F) vergleichen. Vermutlich handelt es sich bei unserer Zeichnung um die Vorstudie zu einer Figur in einem Gemälde.
Dandini, Vincenzo: Männlicher Akt, sitzend Männlicher Akt, sitzend. Schwarze Kreide auf braunem Bütten. 38,5 x 30,7 cm. Wz. Anker im Kreis. Die Autorschaft Dandinis wurde von Roberto Spinelli bestätigt, wobei sich das Blatt gut mit Zeichnungen im Gabinetto Nazionale delle Stampe in Rom (Inv. F.C. 125418), im Louvre (Inv. L 1886) und den Uffizien (Inv. 1191F, 15240F und 1543 F) vergleichen läßt. Vermutlich handelt es sich auch bei unserer Darstellung um die Vorstudie zu einer Gemäldefigur.
Attributed to Vincenzo Dandini (Florence 1609-1675) Copies after reliefs on the Arch of Constantine: Departure for the Hunt (1), and Sacrifice to Diana (2) each signed with initials 'v.D.v.' traces of black chalk, pen and brown ink, brown wash, watermark encircled anchor (1) 7 7/8 x 10¾ in. (200 x 273 mm.) (2)
Vincenzo Dandini (Florence 1607-1675) Two putti with trumpets, a river god, a mute swan and a sleeping dog (recto), A nymph scattering petals (verso) with inscription 'Vincenzo Dandini' on the mount red chalk, watermark bird inscribed in a circle surmounted by a star 7¼ x 10¼ in. (184 x 260 mm.)
recano iscrizioni del secolo XIX: The Baptism of Christ ; The Angel & Elijah. ; St Thelea ciascuno penna e inchiostro marrone su matita nera Quantity: 3
THE PROPERTY OF ROBILANT + VOENA DIANA DIANA measurements note 29 7/8 by 24 1/4 in.; 76 by 61.5 cm. oil on canvas PROVENANCE Private collection, U.S.A., from whom purchased by Robilant + Voena. LITERATURE S. Bellesi, Tendenze e Orientamenti Naturalistici nella Pittura Fiorentina del Prima Metà del Seicento "Luce e Ombra. Caravaggismo e Naturalismo nella pittura Toscana del Seicento," Pontedera - Pisa 2005, pp. 41-73, p. 58 ff., under no. 32, reproduced. NOTE This recently rediscovered picture is a quarter-length portrait of the goddess Diana by Vincenzo Dandini, the brother of the painter Cesare Dandini. Bellesi dates it to circa 1630-1635 (see Literature), and compares it to Dandini's Portrait of Bettona (see S. Bellesi, Vincenzo Dandini, Pisa 2003, p. 78, cat. no. 5, reproduced p. 79). Dandini worked on a large number of Medici commissions for mythological themes in various media, such as the fresco depicting the Adoration of Niobe, and Venus, Mercury and Cupid, now in the Uffizi, Florence. These commissions may have sparked the artist's interest in such depiction of ancient deities.
Une étude pour une draperie autour de la tête de la Vierge avec inscriptions 'V.D.V.' et 'Virgin Mary Vincenzo Dandini' craie rouge, filigrane tête couronnée, le coin inferieur gauche restauré 272 x 167 mm.
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