Girolamo Gianni (Italien, 1837-1895) Malta de nuit signé et daté 'G. Gianni/88' (en bas à droite) gouache sur carton signed and dated 'G. Gianni/88' (lower right) gouache on board 18.9 x 53.1cm (7 7/16 x 20 7/8in).
Girolamo Gianni (Italien, 1837-1895) Malta au couché de soleil signé et daté 'G Gianni. 1892.' (en bas à gauche) gouache sur carton signed and dated 'G Gianni. 1892.' (lower left) gouache on board 18.9 x 49.8cm (7 7/16 x 19 5/8in).
GIROLAMO GIANNI (Italian,. 1837 - 1895). Venice Scene, Oil on canvas. Signed lower left hand corner. Unframed. - 16 x 20 inches The lifelong collection of Bernie Delia
Gianni, Girolamo Italien 1837-1895. Straßenansicht einer italienischen Stadt. Mischtechnik auf Karton. Signatur unten rechts. Hinter Glas gerahmt. Blattgröße ca. 47,5 x 31 cm, Rahmen ca. 59,5 x 42 cm. Gianni, Girolamo Italy 1837-1895. street view of an Italian town. Mixed media on cardboard. Signature lower right. Framed behind glass. Sheet size approx. 47.5 x 31 cm, frame approx. 59.5 x 42 cm.
GIANNI GIROLAMO (1837 - 1895). View of Naples from the gulf, the Vomero hill in the background. Signed and dated '1867' lower left. Provenance: Sotheby's London, 16 June 1993, lot 275; Private collection.. 105,50 x 72,50 cm.
Gianni, Girolamo Italien 1837-1895. Straßenansicht einer italienischen Stadt. Mischtechnik auf Karton. Signatur unten rechts. Hinter Glas gerahmt. Blattgröße ca. 47,5 x 31 cm, Rahmen ca. 59,5 x 42 cm. Gianni, Girolamo Italy 1837-1895. street view of an Italian town. Mixed media on cardboard. Signature lower right. Framed behind glass. Sheet size approx. 47.5 x 31 cm, frame approx. 59.5 x 42 cm.
Property from a Private Collection, United States Girolamo Gianni Italian 1837 - 1895 A pair of Maltese Views (View of Manuel Island with Valletta in the background and The Grand Harbour seen from Birgu) signed and dated lower right: G. Gianni 1878 oil on card card: 10 ½ by 18 ⅛ in.; 26.7 by 46.2 cm framed: 13 ¾ by 21 in.; 35 by 53.3 cm
Girolamo Gianni, Italian 1837-1895 View along the Grand Canal, Venice, with the Doge's Palace and Santa Maria della Salute; watercolour and bodycolour on paper, signed 'G. Gianni' (lower right), 29.5 x 48.2 cm. Provenance: Private Collection, UK. Note: Gianni was a Neapolitan artist who, after visiting Malta in 1866, settled there with his family in 1868, establishing himself as a successful artist on the island. He was known for his picturesque views of Valetta and colourful harbour scenes, largely for the British market in the country. Gianni was employed by Prince Alfred, Duke of Edinburgh (1844-1900), to paint the ships of the Mediterranean Fleet in Malta, of which Alfred was the Commander-in-Chief. Gianni also produced a number of Venetian views, with his generous application of white creating a sense of bright sunlight illuminating the buildings and the sails of the boats which bob on the canal.
Gianni, Girolamo Italien 1837-1895. Straßenansicht einer italienischen Stadt. Mischtechnik auf Karton. Signatur unten rechts. Hinter Glas gerahmt. Blattgröße ca. 47,5 x 31 cm, Rahmen ca. 59,5 x 42 cm. Gianni, Girolamo Italy 1837-1895. street view of an Italian town. Mixed media on cardboard. Signature lower right. Framed behind glass. Sheet size approx. 47.5 x 31 cm, frame approx. 59.5 x 42 cm.
Girolamo Gianni (Italian 1837-1895) Market Sellers Giza, Cairo Oil on cardboard Height 10.5 cm x Width 13.5 cm (Framed Size: Height 17.5 cm x Width 20.5 cm x Depth 1.5 cm) Provenance: Rowley Gallery Ltd, London. Private Collection London.
Gianni, Girolamo Italien 1837-1895. Straßenansicht einer italienischen Stadt. Mischtechnik auf Karton. Signatur unten rechts. Hinter Glas gerahmt. Blattgröße ca. 47,5 x 31 cm, Rahmen ca. 59,5 x 42 cm. Gianni, Girolamo Italy 1837-1895. street view of an Italian town. Mixed media on cardboard. Signature lower right. Framed behind glass. Sheet size approx. 47.5 x 31 cm, frame approx. 59.5 x 42 cm.
Girolamo Gianni (Italian, 1837-1895) A moonlit shore with Valetta beyond, Malta signed and dated 'G.Gianni/1884' (lower right) oil on board 21.6 x 53.4cm (8 1/2 x 21in).
GIROLAMO GIANNI (ITALIAN 1837-1895) THE ENTRANCE TO VALETTA HARBOUR, MALTA Signed and dated 1869, oil on canvas (37cm x 103cm (14.5in x 40.5in)) Provenance: Paxton House, Berwickshire, thence by descent to the vendor
GIROLAMO GIANNI (ITALIAN 1837-1895) Caravan, 1891 oil on canvas 36 x 62 cm (14 1/8 x 24 3/8 in.) framed dimensions: 50 x 67 cm (19 3/4 x 26 3/8 in.) signed and dated lower right PROVENANCE Private Collection, New Jersey Private Collection, Pennsylvania.
Attributed to Girolamo Gianni View of Naples oil on canvas 37.5 x 156 cm private property, Europe A comparable work by Girolamo Gianni was sold at im Kinsky on November 27th 2014 (lot 911).
Valetta Harbour by Night Unten rechts signiert. Datiert 1895. Dabei Rechnung der Färber Galerie AG Zürich von 1980 Gerahmt Ausrufdatum: 26.11.2022 Ungefähre Ausrufzeit: 19:09 MEZ
Valetta Harbour by Day Unten rechts signiert. Datiert 1895. Dabei Originalrechnung der Färber Galerie AG Zürich von 1980 Gerahmt Ausrufdatum: 26.11.2022 Ungefähre Ausrufzeit: 19:08 MEZ
GIROLAMO GIANNI (ITALIAN 1837-1895) THE ARTILLERY AND INDIAN CAVALRY CAMP AT SAN ANTONIO, ATTARD Signed and dated 1878, oil on board, and a companion a pair 'The Infantry Camp at Lazaretto, Malta' (each 23cm x 49cm (9in x 19.25in)) Qty: (2) Footnote: Note: In 1878 an eight thousand-strong host of British and Indian troops arrived on coast of Malta. Their encampment was vast, the peaks of neat white tents appearing almost to span the horizon. The British government had deployed the troops to defend the Mediterranean ports against a perceived threat from Russia, and Malta proved a strategic stopover point before the troops advanced to occupy Cyprus. The main force arrived in Malta in May 1878, and soon set about preparing the camp and making new roads. The Artillery Camp and Indian Cavalry Camp at San Antonio, Attard portrays the scale of the operation, from the distant aisles of cannons to the troops industriously preparing sandbags and drawing water. Soldiers also engaged with weapons-training and sports, and they enjoyed learning more of Maltese culture and religion. Gianni alludes to engagement with Maltese customs by representing locals sporting the distinctive faldetta in the foreground of The Infantry Camp at Lazaretto, Malta. Girolamo Gianni completed these magnificent panoramas to commemorate the arrival of the garrisons in Malta. Scenes such as these demonstrated the army’s effective operation across exotic locations, and Gianni’s scenes skilfully convey the garrison’s preparedness and anticipation for its next manoeuvre.
Girolamo Gianni zugeschrieben Panorama von Neapel Öl auf Leinwand 23,5 x 101 cm europäischer Privatbesitz Ein vergleichbares Gemälde mit dem "Panorama von Neapel" von Girolamo Gianni wurde im Kinsky am 27.11.2014 (103. Auktion, Nr. 911) verkauft.
DIE INSEL CAPRIÖl auf Weichholz. 17,5 x 40 cm. Rechts unten signiert „M. Gianni“ und datiert „1891“. Verso titelbezeichnet „Capri 1891“. Die Insel bei aufgehendem Mond, mit Schiffen auf dem Meer. (†) (12901514) (11)
Girolamo Gianni (1837-1895) Italian, 'View of Valetta', oil on board, signed and dated 1882, 16 cm x 28 cm in a gilt frame. Private collection. David Messum, Beaconsfield gallery label verso Footnote: Private collection. David Messum, Beaconsfield gallery label verso Condition report: No apparent damage, paint loss, or repair. Small indentation to top section near the edge of the picture
ITALIAN SCHOOL Late 19th Century Three Neapolitan gouaches. 1) Signed lower left "G. Gianni". (Girolamo Gianni, 1837-1895). 3.75" x 8.25" sight. Framed 9" x 13". 2) Signed illegibly lower left "V. ..". 4" x 8" sight. Framed 9.25" x 14". 3) Depicts a fisherman with a smoldering Vesuvius in the background. No apparent signature. 3" x 5" sight. Framed 8.5" x 10.5".
Oil on Canvas Painting by Girolamo Gianni (1837 - 1895). Scene of Italy's Sailboat Docks with buildings in the background, signed in the lower left. Overall: 21 x 33 in. Sight:11 x 23 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.
Girolamo Gianni (Italian, 1837-1895). Valetta harbour, Malta by night depicting boats under sail and oar with historic city in the background, oil on canvas, signed and dated 1882, pair, each 29cm x 62cm. Provenance: by family descent from the grandfather of the present vendor Both with cracking to picture surface,Canvas with moon in centre has some areas of re-touching. Some visible with the naked eye.
ARTIST: Girolamo Gianni (Italian, Malta, 1837 - 1895) NAME: View of the Bay of Naples YEAR: 1892 MEDIUM: oil on board CONDITION: Minor craquelure. Normal wear along edges. No visible inpaint under UV light. Some damages to frame. SIGHT SIZE: 8 x 14 inches / 20 x 35 cm FRAME SIZE: 11 x 17 inches / 28 x 43 cm SIGNATURE: Lower left NAME VARIANTS: Gerolamo Gianni SIMILAR ARTISTS: William Page, Franz Richard Unterberger, Frederick Goodall, Giulio Rosati, Hercules Brabazon Brabazon, Peder Mork Monsted, Antonietta Brandeis, Eugene Galien-Laloue, Otto Pilny, Victor Pierre Huguet, Eduard Hildebrandt, Henry Pilleau, Vincenzo Irolli, William James Muller, Albert Goodwin, John Jr Varley CATEGORY: antique vintage painting SKU#: 116398 WARRANTY: 7 days returns accepted if item doesn't match description US Shipping $49 + insurance. Girolamo Gianni (Italian, Malta, 1837 - 1895) Girolamo Gianni was born in Naples in 1837, the son of Luigi Gianni and Rosa de Luca. Nothing is known of his artistic education, which suggests he may have learned his trade in one of the art workshops common in Naples (and Italy generally) at the time. No early works are known that can be clearly attributable to Girolamo. Around 1862, he married a Neapolitan girl, Giovanna Alfaro, who was eleven years younger. In the following few years they had two children, Maria and Livia; and possibly a third, Giuseppe. In 1866, doubtless sensing an opportunity, he and another Neapolitan artist, Gennaro Donadio, traveled from Naples to Malta via Syracuse on board the passenger ship Napoli. They promptly set up shop at the Europa Hotel in Valletta and distributed leaflets offering their services; with the leaflets also indicating they would be in Malta for only four months. Some six months later, and after some success evidently, they left Malta for Syracuse (and Naples) on April 10, 1867. Gianni (but not Donadio) decided in short order to return to, and settle in, Malta. On July 28, 1868, Gianni and his family arrived in Malta on board the Campdoglio. Over the next twenty years, he built a very successful career painting scenes of Malta and the ships of the Royal Navy. The paintings were sold in large part to members of the Royal Navy serving with the Malta based Mediterranean fleet. His business was very much enhanced by the opening of the Suez Canal in 1869, since Malta then also became a stopover point for Royal Navy ships bound for/from the many British colonies east of Suez. In 1882/83 Gianni travelled to Egypt; a trip which resulted in a series of paintings of Egypt, including a painting of the July 1882 Royal Navy bombardment of Alexandria. A painting of Istanbul by Gianni is also known, so he may have travelled there as well. In due course, Gianni became successful to the point that in 1886, the Duke of Edinburgh, then Commander-in-Chief of the Mediterranean fleet, commissioned Gianni to paint the ships of the fleet. At some point, as his standing as an artist increased in Malta, Gianni set himself up as capo scuola, or teacher, of Maltese artists. Luigi Maria Galea and Signora Manche were among his students. While in Malta, nine more children were added to the Gianni family; Elvira (Mar. 24, 1869), Amelia (June 12, 1871), Gemma (Nov. 26, 1873), Ugo (Feb, 24, 1876), Torquato (Sept. 27, 1878), Attilio (Sept. 29, 1880), Giuseppina (Apr. 30, 1882), Luigi (July 5, 1884), and Ettore (Mar. 2,1887). Gemma, Torquato, Attilio, and Giuseppina died young. Ugo and Ettore went on to become Neapolitan artists. In 1887, not long after the birth of Ettore, the Gianni family left Malta and returned to Naples; at some point settling in Torre del Greco, a town near Naples. However, even though back in Naples, he continued to paint scenes of Malta, increasingly with the assistance of his two daughters. The paintings were sent for sale to W Watson and Sons, booksellers at 248 Strada Reale in Valletta, who advertised themselves as sole agent of Mr Gianni’s paintings. PaIntings of Maltese scenes, presumably painted by Gianni in Naples, are known dated 1888, 1890, 1891, 1893, and 1894. Girolamo Gianni died in Torre del Greco, near Naples in late 1895. When news of his death arrived in Malta, he was much praised, with one paper, The Daily Malta Chronicle, noting that “The work will now be continued by his two daughters, who for many years had been their father’s pupils, and later on assistants.” Those two daughters would have to have been Maria and Livia. Mis-attribution of works by Neapolitan artists signed “Gianni” is quite common, and that includes work by Girolamo Gianni. An analysis of the auction sales data on Girolamo Gianni indicates that to be accepted by the market as a work by Girolamo Gianni (and to achieve the four, five, and six figure prices these works achieve), three criteria must be met. First, the first initial “G” in the signature must have a spiral or swirl, which is instantly recognizable. Second, the piece must be dated, which is seemingly the case with all of Gianni’s authentic works. And third, the signature must be diagonal across a corner. Only oils are known that meet this criteria. Of course, there are rare exceptions, provided the work measures up. For example, a few works are known with horizontal signatures. It remains to be seen whether any gouaches of Malta can be validly established as the work of Gianni. In past years, and infrequently today, it was common to refer to Gianni as “Giancinto.”Ganado establishes clearly that his first name was Girolamo, although this certainly does not preclude the existence of another artist named Giancinto Gianni during the period. Late in life Luigi moved to Malta to live with the family of Girolamo. Luigi died in Malta on March 4, 1882; age 82. This assumes that the signature Gianni used in Malta would have used on his earlier works while in Naples. Most, if not all of these paintings are in the collection of the UK National Maritime Museum in Greenwich, where they are attributed to “Giancinto” Gianni. While there has been uncertainty about when the Gianni family returned to Naples, Christies, in Sept 2015, sold a painting of Naples and Vesuvius from the sea, signed by Gianni and dated 1887. This painting very much suggests that the Gianni family returned to Naples sometime in 1887. Ganado notes, “the difference in quality of some of his pictures may be attributable to the fact he had two вЂassistants’ to help him in his work.” At the baptism of Attilio in September 1880, the godparents were Giuseppe Gianni and Maria Gianni. The baptismal record refers to Maria as “fillia inupta hieronymi,”or a daughter of the immediate family. Interestingly, Giuseppe received no such designation, although my guess, and that is all it is at this point, is that he was a member of the immediate family. And at the baptism of Luigi in July 1884, Livia served as the godmother and was designated fil dini hyeronimif; again, a daughter of the immediate family. These two daughters were in fact the only daughters of sufficient age to have developed the requisite skill to assist Girolamo.
ARTIST: Girolamo Gianni (Italian, Malta, 1837 - 1895) NAME: View of the Bay of Naples YEAR: 1892 MEDIUM: oil on board CONDITION: Minor craquelure. Normal wear along edges. No visible inpaint under UV light. Some damages to frame. SIGHT SIZE: 8 x 14 inches / 20 x 35 cm FRAME SIZE: 11 x 17 inches / 28 x 43 cm SIGNATURE: Lower left NAME VARIANTS: Gerolamo Gianni SIMILAR ARTISTS: William Page, Franz Richard Unterberger, Frederick Goodall, Giulio Rosati, Hercules Brabazon Brabazon, Peder Mork Monsted, Antonietta Brandeis, Eugene Galien-Laloue, Otto Pilny, Victor Pierre Huguet, Eduard Hildebrandt, Henry Pilleau, Vincenzo Irolli, William James Muller, Albert Goodwin, John Jr Varley CATEGORY: antique vintage painting SKU#: 116398 WARRANTY: 7 days returns accepted if item doesn't match description US Shipping $49 + insurance. Girolamo Gianni (Italian, Malta, 1837 - 1895) Girolamo Gianni was born in Naples in 1837, the son of Luigi Gianni and Rosa de Luca. Nothing is known of his artistic education, which suggests he may have learned his trade in one of the art workshops common in Naples (and Italy generally) at the time. No early works are known that can be clearly attributable to Girolamo. Around 1862, he married a Neapolitan girl, Giovanna Alfaro, who was eleven years younger. In the following few years they had two children, Maria and Livia; and possibly a third, Giuseppe. In 1866, doubtless sensing an opportunity, he and another Neapolitan artist, Gennaro Donadio, traveled from Naples to Malta via Syracuse on board the passenger ship Napoli. They promptly set up shop at the Europa Hotel in Valletta and distributed leaflets offering their services; with the leaflets also indicating they would be in Malta for only four months. Some six months later, and after some success evidently, they left Malta for Syracuse (and Naples) on April 10, 1867. Gianni (but not Donadio) decided in short order to return to, and settle in, Malta. On July 28, 1868, Gianni and his family arrived in Malta on board the Campdoglio. Over the next twenty years, he built a very successful career painting scenes of Malta and the ships of the Royal Navy. The paintings were sold in large part to members of the Royal Navy serving with the Malta based Mediterranean fleet. His business was very much enhanced by the opening of the Suez Canal in 1869, since Malta then also became a stopover point for Royal Navy ships bound for/from the many British colonies east of Suez. In 1882/83 Gianni travelled to Egypt; a trip which resulted in a series of paintings of Egypt, including a painting of the July 1882 Royal Navy bombardment of Alexandria. A painting of Istanbul by Gianni is also known, so he may have travelled there as well. In due course, Gianni became successful to the point that in 1886, the Duke of Edinburgh, then Commander-in-Chief of the Mediterranean fleet, commissioned Gianni to paint the ships of the fleet. At some point, as his standing as an artist increased in Malta, Gianni set himself up as capo scuola, or teacher, of Maltese artists. Luigi Maria Galea and Signora Manche were among his students. While in Malta, nine more children were added to the Gianni family; Elvira (Mar. 24, 1869), Amelia (June 12, 1871), Gemma (Nov. 26, 1873), Ugo (Feb, 24, 1876), Torquato (Sept. 27, 1878), Attilio (Sept. 29, 1880), Giuseppina (Apr. 30, 1882), Luigi (July 5, 1884), and Ettore (Mar. 2,1887). Gemma, Torquato, Attilio, and Giuseppina died young. Ugo and Ettore went on to become Neapolitan artists. In 1887, not long after the birth of Ettore, the Gianni family left Malta and returned to Naples; at some point settling in Torre del Greco, a town near Naples. However, even though back in Naples, he continued to paint scenes of Malta, increasingly with the assistance of his two daughters. The paintings were sent for sale to W Watson and Sons, booksellers at 248 Strada Reale in Valletta, who advertised themselves as sole agent of Mr Gianni’s paintings. PaIntings of Maltese scenes, presumably painted by Gianni in Naples, are known dated 1888, 1890, 1891, 1893, and 1894. Girolamo Gianni died in Torre del Greco, near Naples in late 1895. When news of his death arrived in Malta, he was much praised, with one paper, The Daily Malta Chronicle, noting that “The work will now be continued by his two daughters, who for many years had been their father’s pupils, and later on assistants.” Those two daughters would have to have been Maria and Livia. Mis-attribution of works by Neapolitan artists signed “Gianni” is quite common, and that includes work by Girolamo Gianni. An analysis of the auction sales data on Girolamo Gianni indicates that to be accepted by the market as a work by Girolamo Gianni (and to achieve the four, five, and six figure prices these works achieve), three criteria must be met. First, the first initial “G” in the signature must have a spiral or swirl, which is instantly recognizable. Second, the piece must be dated, which is seemingly the case with all of Gianni’s authentic works. And third, the signature must be diagonal across a corner. Only oils are known that meet this criteria. Of course, there are rare exceptions, provided the work measures up. For example, a few works are known with horizontal signatures. It remains to be seen whether any gouaches of Malta can be validly established as the work of Gianni. In past years, and infrequently today, it was common to refer to Gianni as “Giancinto.”Ganado establishes clearly that his first name was Girolamo, although this certainly does not preclude the existence of another artist named Giancinto Gianni during the period. Late in life Luigi moved to Malta to live with the family of Girolamo. Luigi died in Malta on March 4, 1882; age 82. This assumes that the signature Gianni used in Malta would have used on his earlier works while in Naples. Most, if not all of these paintings are in the collection of the UK National Maritime Museum in Greenwich, where they are attributed to “Giancinto” Gianni. While there has been uncertainty about when the Gianni family returned to Naples, Christies, in Sept 2015, sold a painting of Naples and Vesuvius from the sea, signed by Gianni and dated 1887. This painting very much suggests that the Gianni family returned to Naples sometime in 1887. Ganado notes, “the difference in quality of some of his pictures may be attributable to the fact he had two вЂassistants’ to help him in his work.” At the baptism of Attilio in September 1880, the godparents were Giuseppe Gianni and Maria Gianni. The baptismal record refers to Maria as “fillia inupta hieronymi,”or a daughter of the immediate family. Interestingly, Giuseppe received no such designation, although my guess, and that is all it is at this point, is that he was a member of the immediate family. And at the baptism of Luigi in July 1884, Livia served as the godmother and was designated fil dini hyeronimif; again, a daughter of the immediate family. These two daughters were in fact the only daughters of sufficient age to have developed the requisite skill to assist Girolamo.
Girolamo Gianni (Italian, 1837-1895) Valletta by moonlight signed and dated 'G.Gianni.1878.' (lower left) oil on canvas 31.5 x 63.5cm (12 3/8 x 25in). For further information on this lot please visit the Bonhams website
Girolamo Gianni (1837-1895) Maltese. 'The Three Harbour's, Valetta', with a Steam and Sail, and Figures in the foreground by a Boat, Oil on Board, 7" x 14.5".
GEROLAMO GIANNI (Naples 1837 - Malta 1896) Capri Capri A pair of watercolours on paper, cm. 31 x 22 Signed bottom right and left Mirror frames GEROLAMO GIANNI (Napoli 1837 - Malta 1896) Capri Capri Coppia di acquerelli su carta, cm. 31 x 22 Firmati in basso a destra e sinistra Cornici a specchi
Girolamo Gianni (Italian, 1837-1895) HMS Alexandra in the Grand Harbour, Maltasigned and dated 'G. Gianni 1880' (lower right) oil on canvas 45.7 x 77.5cm (18 x 30 1/2in). HMS Alexandra, commissioned at Chatham on 2 January 1877 as flagship of the Mediterranean Fleet, is seen here in 1880 under the command of Sir Geoffrey Phipps Hornby, Commander-in-Chief of the Mediterranean Fleet since 1877. In 1878, Hornby led HMS Alexandra through the Dardanelles in an attempt to deter Russia from advancing on Constantinople during the Russo-Turkish War (1877-1878) and she would later take part in the bombardment of Alexandria in 1882.
