Lazzaro Donati (Italian, b. 1926), Siena Cityscape, Woodcut on Paper, signed "Lazaro Donati / a Siena " lower left, giltwood frame. Image: 12.5" H x 17" W; frame: 19" H x 23.5" W. Provenance: From a New York City Collection. Keywords: Prints, Multiples, City landscape scene, Italy, Buildings, Rooftops, Architecture, 20th Century Art
Lazzaro Donati (Italian, 1926-1977) oil painting on canvas depicting a seated female. Signed, dated and titled 'Fanciulla Che Legge In Celeste' to verso. Viewable measures 27 1/4" x 19 1/2". Frame measures 37" x 29".
Lazzaro Donati (Italian, 1926-1977). Mid-Century Abstract Modernist Impasto Painting, signed by the artist, Donati (view photo). Framed oil on canvas. Dimensions: framed: 25 x 26 inches, canvas: 24 x 25 inches. Condition: good original framed estate condition, no repairs noted. Provenance: New York City Estate.
Lazzaro Donati, Italian, 1926 to 1977, a mixed media painting on canvas depicting a cityscape of Florence, signed by the artist lower. Additionally signed, inscribed Firenze and dated 1970 to the back. Matted and framed. Lazzaro Donati attended the Florence Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Italian Paintings And Abstract Art Collectibles.
Lazzaro Donati (Italian, b. 1926), Siena Cityscape, Woodcut on Paper, signed "Lazaro Donati / a Siena " lower left. Image: 12.5" H x 17" W; frame: 19" H x 23.5" W. Provenance: From a New York City Collection. Keywords: Prints, Multiples, City landscape, 20th Century Art
Lazzaro Donati Italian, (1926 - 1977) still life with fruit, 1959 oil on plywood Signed and dated verso. Biography from the Archives of askART: Lazzaro Donati (1926-1977) was born in Florence in 1926 and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. Mr. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d'art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. Donati was a born host with a warm welcome, an elegant man who possessed enormous charm a good nature and a keen sense of humor. Apparently shy, he preferred to speak on subjects extraneous to his art, purposely distracting you from his paintings, then leading you back to them, tactfully and without pretension. He spoke fluent French and English as well as some Spanish and German. "After all", he said, "you've got to know how to sell a painting to everyone." He had no sympathy for the "drip and splash" studios of his contemporaries, preferring to keep his studio tidy and spotless. "Painting is a matter of precision", he said, "If a painter can't put his paint where he wants it to go, I don't see how he can call himself a painter. For me it is absolutely necessary to control the paint." When asked to reveal the technique he used to achieve the enamel-like finish typical of his paintings he answered, "That is a secret between me and my butler. Actually, most of my paintings are done by him!" But in fact behind the façade, Donati was a serious craftsman who devoted to his painting as a way of life and means of expression. From the beginning of his career, his paintings revealed a striving for perfection and continual research in problems of style and technique. His early works indicated a momentary interest in surrealism and abstract art; they were predominantly two dimensional, depending on line and strong color. But by 1958, with his painting The Lady with a Fan, a work which he had hung in a place of honor on his balcony, came a dedicated change of style. There was a new interest in volume, and a particular taste for curved forms. By this time, Donati was already well on his way to evolving his own highly personal form of expression, which owed little to any of the major schools of contemporary painting. His procedure in building up the painting was unusual. Only for his earliest works did Donati use canvas. He painted almost exclusively on specially treated wood panels. With the panel laid flat on the table, he first laid in the background with the rich, translucent glazes which gave the characteristic finish to his work. This "background" may perhaps be better described as the atmosphere in which his subjects existed, or out of which they eventually emerged. He then sketched in the forms of the composition using a special crayon. A minimum of line served to evoke a sense of volume, figures and background interpenetrated. He then returned to his paints, integrating varied techniques to achieve his brilliant chromatic and textural effects. The volumes are defined and the planes of the composition established. Finally, he completed his work with what he calls "lumi", and archaic Italian word meaning "lights", feathery touches of pure color which served to accentuate the sense of volume. Donati summed up his artistic intentions in this manner: "I am trying to use the experience of abstract art, superimposing a drawing in the round, and then adding to it points of light to give added volume. What I try to do is to use the system of the Renaissance with modern touches." This is the interesting point: that Donati imposed his subjects on and out of abstractionism. Perhaps Donati's most remarkable ability is his mastery of color. In his studio he had four palettes. Two were in use on his working table, one for earth colors and one for the high tones. Hanging behind the easel were two more, each with a kaleidoscope of colors. When asked the reason, Donati replied, "I keep those palettes above the easel as a record of colors, otherwise I forget them. Color is too important to depend on trial and error. I see a color on one of those palettes, put in on the picture in my mind's eye, and this prevents me from making mistakes." It is thus with meticulous care that Donati achieved the purity and vivacity of color, the apparent spontaneity which distinguish his paintings. Donati's painting cannot be classified as belonging to a particular school of painting. Speaking of his artistic inspiration, he said, "I am not conscious of having imitated or been influenced by any one particular painter, but every painting contains the experiences of many previous painters. No artist can paint without being influenced by masters like Raphael, Michelangelo, Titian, and outside Italy by artists like Rembrandt and Renoir." In fact, in certain of his larger paintings with their Madonna-like figures and extensive landscape backgrounds, you can see the influence of Italian Renaissance painting, both in particular motifs and in the monumentality of conception. But in each case the original inspiration served only as the starting point for a wholly new and creative work of art. The subjects Donati preferred to paint reflect this personal style. Over the years he had worked on the same themes, transforming them with his own poetic vision. His most frequently recurring subjects, the nude, the still-life and the cityscape in part reflect his stylistic preference for rounded forms. "I paint the female form" he said, "not only because it is beautiful, but because it is basically round." Another favorite subject is the cityscape, and again his taste for curved forms appeared in his choice of two domed churches, the Salute in Venice and Santo Spirito in Florence, both which he painted in innumerable versions in brilliant, vibrating colors. The still-life was his third major theme. Time and again he drew his inspiration from a bowl of fruit, recreating it anew as his own style constantly developed and changed. With Donati, these few themes, which have recurred in the works of great masters in the history of painting, became in each case a new source of pleasure, a fresh way of seeing, and an insight into the creative vision of the artist. Donati lived in the tradition of the great Florentine painters of the past who thought of painting as a profession like any other in which success depended on whether their work was liked by other people. So Lazzaro Donati himself worked in his studio creating, experimenting, changing, destroying the mistakes and hoping to sell the successes. Away from his studio he enjoyed an active social life. Warm-hearted and charming, he was equally at home at the ambassador's dinner table or at the trattoria in the square. His talents were not limited to painting. He was also a sculptor and an excellent photographer who published two books of his photographs in the Famous Cities of the World Series on Venice and Florence. He also held a doctor's degree in economics from the University of Florence. Although his painting was nourished by European culture and by the great traditions of the country in which he lives, Lazzaro Donati attained a distinct and coherent artistic personality. His paintings are essentially enjoyable. Some are poignant, some wistful, most are happy and all shimmer with light and color like some kind of translucent jewel. Source: "Lazzaro Donati", Wikipedia, http://en.wikipedia.org/wiki/Lazzaro_Donati (Accessed 11/20/2014)
Lazzaro Donati (Italian, 1926-1977), Untitled, oil on canvas, signed. A Lady dress up with an ornate hat, on board, oil on canvas, Italian modernist painting, signed Lazzaro Donati at front and back.27"h x 19"w (68.58 x 48.26 cm)Condition: Frame not guarantee for condition. Provenance: Property from an Estate in Connecticut. Note: Frame not guarantee for condition; This item is located at our offsite warehouse in CT where can be shipped from.
Lazzaro Donati (Italian, 1926-1977) San Spirito dalle case grigie, 1968 oil on panel signed upper right: DONATI, also signed, dated, and titled on verso
Lazzaro Donati (Italian, 1926-1977) oil painting on canvas depicting a seated female. Signed, dated and titled 'Fanciulla Che Legge In Celeste' to verso. Viewable measures 27 1/4" x 19 1/2". Frame measures 37" x 29".
DONATI, Lazzaro (Italian, 1926-1977). Untitled Abstract Portrait of a Woman. [Not dated]. Acrylic on board. Signed by the artist at the lower left corner. Sight: 27 x 19 ¼”. Frame: 35 x 27”. Minor wear to frame. Excellent. Not examined out of frame.
Lazzaro Donati (1926-1977) Italian, Oil on Panel. View of Florence and Santo Spirito. Signed lower left. Lazzaro Donati is known for Abstract female figure and cityscape painting, lithography and sculpture. Lazzaro Donati (1926-1977) was born in Florence in 1926 and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. Mr. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Overall Size: 29 x 37 1/4 in. Sight Size: 19 1/4 x 27 in. #2200
Lazzaro Donati (Italian, b. 1926) woodcut of a view of Siena, signed "Lazaro Donati / a Siena " to lower left. Image: 12.5" H x 17" W Frame: 19" H x 23.5" W
Italy 1926-1977 Depicts the figure of an androgynous figure in a coat against mottled blue with splashes of orange and green. Donati studied at the Academy of Fine Arts in Florence with major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo.
Lazzaro Donati (Italy 1926-1977), Oil painting on masonite of a woman, titled "Signora in Celeste", dated 1969 with labeling on verso. Excellent Condition. Art measures 20" x 28". Frame measures 30" x 38".
Lazzaro Donati (Italian 1926-1977). A wood / linocut print of a nude woman in profile. The work is signed, dated (in pencil), and bears the artist's blindstamp. Framed, under glass. Measures: 28 1/4" x 20 1/2" exterior frame
Signed Lazzaro Donati Gallery Book & The Art of Charles Frace Book. Please carefully read our terms of sale, shipping information, and request any condition reports or photos prior to placing a bid. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. RBFineArts CFL INC. shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Please email for a condition report and photos, if desired. Emails should be received at least 48 hours in advance of the date of the auction. Please make sure you have read the Terms and Conditions* before you bid. ALL ITEMS ARE SOLD AS IS!. Any registration and/or bid placed by you guaranteed RBFineArts CFL Inc. you have read and will abide by the following Terms and Conditions of the sale. Transportation of buyer's items: For a charge of 15.00 per invoice, RBFineArts Shipping Inc. will pick up and transport your item's from the offices of RBFineArts CFL Inc. All OTHER transport to any other third party shipper there will be a 25.00 transport fee, there will be no exceptions for this condition. The buyer is responsible for paying for shipping, packing, and transport, etc. RBFineArts CFL Inc. is not responsible for packing, shipping, or transport of any items from buyer's invoice. *Please see terms and conditions for additional information on payment and shipping options. Please note shipping is NOT included in the sale, you will have to pay for shipping. If you are not satisfied with our shipping options, please arrange shipping for your item and contact us about the shipping details. SHIPPING AND PACKING & INSURANCE: RBFineArts uses a 3rd Party Preferred shipping and packing company. Arrangements and costs are the sole responsibility of the buyer. YOU MUST EMAIL INFO@RBFINEARTS.NET TO ADVISE OUR OFFICES OF THE COMPANY YOU WOULD PREFER TO PACK AND SHIP YOUR ITEM/S. No property will be released until payment is made in full and we have been advised of your preferred shipper. Please note that a shipping charge is not included in the sale price. Any costs associated with the shipping, packing, and transport of an item are the responsibility of the buyer. RBFineArts CFL Inc. is not responsible for packing, shipping, or transport of any items from buyer’s invoice. Items must be shipped within fourteen (14) days of payment. Items remaining at RBFineArts CFL Inc.'s offices at the expiration of fourteen (14) days past payment will be subject to storage fees of $10 per day per item. All storage fees must be paid before item/s will be released to a shipper. Any items remaining forty-five (45) calendar days following the date when the buyer completed payment on an invoice will be considered Abandoned Property of items on that invoice and will be subject to resale or disposal with no refund. Transportation of buyer's items: For a charge of 15.00 per invoice, RBFineArts Shipping Inc. will pick up and transport your items from the offices of RBFineArts CFL Inc. ALL OTHER transport to any other third-party shipper there will be a 25.00 transport fee, there will be no exceptions for this condition. Your item/s will be transported one time per week only. RBFineArts CFL Inc. is not responsible for any denied claims or damages from the shipping offices the buyer chooses. Any issues with shipping or insurance are between the shipping company and the buyer. Please note local packers and shippers in our area, RBFineArts CFL Inc. is not making any warranty, guarantee, or promise as to the performance of any shipper selected from the list.US Pak N Ship 252 W. Ardice Ave. Eustis, FL 32726 352-483-0405 or sales@uspaknship.com ($25.00 fee charge for the delivery)RBFineArts Shipping 375 E Burleigh Blvd., Tavares, Fl 32778 shipping@rbfinearts.net or 877-660-3243. ($15.00 fee charge for pick up).If you are not satisfied with our shipping options, please make other arrangements to ship your item and contact us about those shipping details. RBFineArts CFL Inc. (online auction) and RBFineArts Shipping Inc. (packing and shipping) are two separate companies and should NOT be assumed to be the same business. This item cannot be purchased or shipped by bidders residing outside of the United States or California, Hawaii, Nevada, New Jersey, New York, Washington, Oregon, or District of Columbia.
LAZZARO DONATI, (Italian, 1926-1977) Fanciulla Che Legge In Celeste, 1963, signed, dated, titled on the reverse, with paper tags numbered 411 and 1175, Florence Art Gallery, oil on canvas, 27.5 by 19.5 in., overall, 37 by 29 in. Cond. mat and frame with imperfections.
Olio su compensato, cm. 10x15. Firma e data in alto a destra. Bibliografia: 2006, i 10x15 di Gianfranco Pancani, Una collezione particolare di arte italiana del Novecento, C. Caneva, Edifir, p. 82, n. 94.
Lazzaro Donati (Italian 1926-1977). A wood / linocut print of a nude woman in profile. The work is signed, dated (in pencil), and bears the artist's blindstamp. Framed, under glass. Measures: 28 1/4" x 20 1/2" exterior frame
Oil on board. Colorful woman. Signed upper right. Signed, titled on back of panel. Dimensions: (Frame) H 37" x W 28.5", (Panel) H 27.5" x W 18.5" Condition: Good unvarnished condition. Couple marks to the frame.
Oil on board. Colorful woman. Signed upper right. Signed, titled "La Regina" on back of panel. Dimensions: (Frame) H 37.5" x W 29.5", (Panel) H 27.5" x W 19.5" Condition: Good unvarnished condition. Couple marks to the frame.
Lazzaro Donati (Italy, 1926 - 1977), S.Spirito De Primavera Cityscape, oil on panel, signed and dated on verso "Lazzaro Donati Firenze 19E", 19" x 26 3/4".
1967; oil and wax crayon on wood panel; signed lower right, further signed, dated and inscribed verso "Lazzaro Donati Firenze 1967" (twice), and titled verso; 45 x 59 inches; 46 1/4 x 60 inches frame
Artist: Lazzaro Donati (1926-1977) Medium: Oil on wood board Title: "Venere Dalle Pere Verdi" (Abstract female nude) on back Size: 27 1/" x 19 5/8" (panel); 37 3/8" x 29 1/8" (frame) Signature: "Lazzaro Donati, Firenze, 1963" on back Condition: Good
Lazzaro Donati (Italian, 1926-1977) oil painting on board, La Fruttiera Della Liberta (The Fruit Bowl Of Liberty), 1959. Signed, titled and dated on the back. Framed. Lazzaro Donati is known for Abstract female figures and cityscape painting, lithography and sculpture.
§ Lazzaro Donati (Italian 1926-1977) Fruttiera in verde bluastro signed 'Donati' (lower right) oil on board 29 x 39cm Provenance: Purchased from the Bellini Gallery, Florence, 1959
§ Lazzaro Donati (Italian 1926-1977) Il Porto delle Nebbie signed and dated '59 / Donati' (upper right) oil on board 68 x 48cm Provenance: Purchased from the Ohana Gallery, Lazzaro Donati Exhibition, London, 1960
Lazzaro Donati (Italian 1926-1977). A wood / linocut print of a nude woman in profile. The work is signed, dated (in pencil), and bears the artist's blindstamp. Framed, under glass. Measures: 28 1/4" x 20 1/2" exterior frame 15
LAZZARO DONATI (ITALIAN 1926-1977) Dama Figura , 1970 drawing and oil on canvas 28 x 38 cm (11 x 15 in.) [sight] signed lower right CONDITION Observed in frame, the work appears in very good condition. No apparent issues visible to the naked eye. Inspection under UV shows no apparent signs of restoration or repairs. 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.
Lazzaro Donati (Italian, 1926-1977) "Still Life with Bowl of Fruit," signed lower right: "Donati," inscribed on reverse: "Lazzaro Donati fir eni 19 e La Frottiera in Grandore." Image: 13.25" H x 15" W; frame: 23" H x 25" W x 1.125" D. Craquelure.
Oil on board painting of a reclining female nude, signed upper right and on verso, by Lazzaro Donati (1926-1977). [Art: 19" H x 27" W; Frame: 29" H x 37" W].
Lazzaro Donati, Italian, 1926-1977. Oil on wood panel depicting a rooftop view of Florence, predominately in shades of greenish-blue, with the dome of the Basilica de Santo Spirito in the distance. Signed at the upper left. Verso reads "Lazzaro Donati Firenze 1969 S. Spirito". Overall condition is good. Painting is 15 3/4 x 13 3/4" h, in a gilt and gesso wood frame with some damage, 24 1/2 x 22 1/2" high overall. ESTIMATE $600-800
Lazzaro Donati (Italian, 1926-1977) "Still Life with Bowl of Fruit," signed lower right: "Donati," inscribed on reverse: "Lazzaro Donati fir eni 19 e La Frottiera in Grandore." Image: 13.25" H x 15" W; frame: 23" H x 25" W x 1.125" D. Craquelure.
Lazzaro Donati (Italian, 1926-1977) oil on board depicting stylized view of Florence, Italy, signed "Donati" in lower right, handwritten information on the reverse with date "1966." Image: 19.25" H x 27.25" W; frame: 29.5" H x 37.25" W x 2.5" D.
Lazzaro Donati (Italian, 1926-1977) "Still Life with Bowl of Fruit," signed lower right: "Donati," inscribed on reverse: "Lazzaro Donati fir eni 19 e La Frottiera in Grandore." Image: 13.25" H x 15" W; frame: 23" H x 25" W x 1.125" D. Craquelure.
Original framed Italian abstract drawing on manuscript paper, signed and dated by the artist, Donati 1967 (view photo). Colored crayon and ink on manuscript paper. Framed under glass. Dimensions: framed: 18 1/4 in. x14 1/4 in., site: 11 in. X 7 3/4 in. Condition: good original framed estate condition. Provenance: private estate, originally Galleria Tornabuoni.
