Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Antonio Mancini

Italy (Albano Laziale 1852 -  Roma 1930 ) Wikipedia® : Antonio Mancini
MANCINI Antonio  Suonatrice Di Liuto; The Lute Player

Christie's
Jul 13, 2017
Find artworks, auction results, sale prices and pictures of Antonio Mancini at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert

 

Variants on Artist's name :

Antoniomancini

 

Artworks in Arcadja
403

Some works of Antonio Mancini

Extracted between 403 works in the catalog of Arcadja
Antonio Mancini -  Couple In A Boat

Antonio Mancini - Couple In A Boat

Original
Estimate:
Starting price:

Price:

Net Price
Lot number: 69068
Other WORKS AT AUCTION
Description:
Antonio Mancini (Italian, 1852-1930) Couple in a boat(?), man leaning over edge Black chalk on heavyweight light grey wove paper 11-3/8 x 8-7/8 inches (29.1 x 22.7 cm) Signed with initials lower right: AM PROPERTY FROM THE ESTATE OF NEAL GLASS AND KERRY BETENSKY PROVENANCE: Giovanni Piancastelli (1845-1926), painter, collector and Director of the Galleria Borghese, Rome (likely the compiler of the albums in which this sheet was contained); Estate of Reverend Father Francis Agius (1891-1958) of Our Lady of Counsel, Inwood, Long Island, New York; Sale, New York, by heirs of the above; Harry Glass, Long Island, New York, circa 1950s, acquired from the above; Estate of the above; Neal Glass and Kerry Betensky Long Island, New York by descent; Estate of the above. EXHIBITED: "Italian 19th Century Drawings and Watercolors," Shepherd Gallery, New York, April 1976. LITERATURE: R. Olson, Italian 19th Century Drawings and Watercolors: An Album. Camuccini & Minardi to Mancini & Balla, Shepherd Gallery, New York, April 1976, cat. no. 58, plate 50. The cataloguing of the present lot follows the extensive research and connoisseurship undertaken by the Shepherd Gallery, New York, as published in the catalogue to its 1976 exhibition Italian 19th Century Drawings and Watercolors: An Album. Camuccini & Minardi to Mancini & Balla. HID01801242017
Antonio Mancini - Italian Woman In A Straw Hat

Antonio Mancini - Italian Woman In A Straw Hat

Original
Estimate:

Price:

Lot number: 39
Other WORKS AT AUCTION
Description:
Antonio Mancini ITALIAN WOMAN IN A STRAW HAT +1 212 606 7140 ROME 1852 - 1930 Read Condition Report Register or Log-in to view condition report Or This work will be included in the forthcoming catalogue raisonné of the painter by Cinzia Virno, De Luca Editori d'Arte Roma. Provenance Barone Berlingieri; Papocchia; Tullio Giosi Naples, or Galleria Giosi, Rome; Anonymous sale, Rome, Minerva Auctions, 26 May 2016, lot 189 (for €136,800); There acquired. Exhibited Rome, Prima Quadriennale d\’Arte Nazionale, January - June 1931, no. 24; Naples, Castelnuovo, Mostra Della Pittura Napoletana del \‘600- \‘700- \‘800, March - June 1938. Literature N.G. Fiumi, \“Ritratti di Antonio Mancini,\” in The Studio, vol. 95, no. 419, February 1928, p. 89; A. Lancellotti, Antonio Mancini, Istituto Nazionale \“Luce,\” Bergamo 1931, cat. no. 4; A. Lancellotti, La prima quadriennale d\’arte nazionale, exhibition catalogue, Rome 1931, p. 21, reproduced; C. Lorenzetti, \“La giovinezze di Antonio Mancini e il Reale Istituto di Belle arti di Napoli,\” in Rassegna dell\’Istruzione Artistica, II, May 1931, no. 3, p. 156; Prima quadriennale d\’Arte nazionale- Mostra retrospettiva di Antonio Mancini 1852-1930, exhibition catalogue, Rome 1931, cat. no. 24, reproduced (inside cover); P. Scarpa, \“Capolavori di Antonio Mancini- alla 'Quadriennale' Romana d\’Arte,\” in Il Messaggero, 6 May 1931, p. 3; A.M. Comanducci, I pittori italiani dell\’Ottocento, Milan 1934, p. 389; Piccola guida della mostra della pittura napoletana del \’600-\‘700-\‘800, exhibition catalogue, Naples 1938, p. 110; M. Borghi, \“Galleria d\’artisti italiani. Antonio Mancini,\” in Rivista delle Province, Rome, a. LII, no. 1, January 1960, p. 47; A. Schettini, La pittura napoletana dell\’800, Naples 1967, vol. II, p. 172. Catalogue Note Antonio Mancini was a precocious child, admitted to the institute of fine arts in Naples by the age of twelve and by the 1870s travelled to Paris to establish himself in the center of the art world. He soon exhibited at the Salon, met Edgar Dégas and Edouard Manet, and befriended Ernst Meissonier and John Singer Sargent, who famously declared Mancini the greatest living painter. Dated 1880, the present work was painted two years after the artist\’s final return to Naples from Paris. The bright colors and outdoor setting indicate that Mancini executed the painting with the French market still in mind, where he was represented by Adolphe Goupil alongside his fellow Italian artists, Giovanni Boldini and Vittorio Corcos. Like Boldini, Mancini is best known for the bravura brushwork that balances painterly abstraction with realism, but Mancini\’s glistening and thick impasto is particularly daring and innovative. The visionary artist occasionally enhanced his paintings\’ surfaces by adding pieces of metal foil, glass and other materials to his medium. In the present work, a young brunette, who appears in other paintings from the period, gazes demurely at the viewer from under her straw hat adorned with flowers. He conveys the sitter\’sinner thoughtsin the finely painted nuances of her active expression. She is framed by a dense and sketchy array of leaves, and her visage appears in soft focus behind the pronounced ivy leaves and grasses in the foreground. With his assured and fluid brushwork, Mancini boldly applies thick impasto to highlight the right side of his subject\’s face, adding a brilliant passage of red to the underside of the woman\’s hat, which reflects on her rosy cheeks and mirrors her coral colored lips. This well-documented painting was first exhibited in Rome just a year after Mancini\’s death in 1930.
Antonio Mancini - Donna In Costume Del Settecento

Antonio Mancini - Donna In Costume Del Settecento

Original
Estimate:

Price:

Gross Price
Lot number: 56
Other WORKS AT AUCTION
Description:
Antonio Mancini (Italian, 1852-1930) Donna in Costume del Settecento signed 'AMancini' (lower right) oil on canvas 25 ½ x 21 5/8 in. (64.8 x 55 cm.) We are grateful to Dott.ssa Cinzia Virno for her assistance in cataloguing the present lot which will be included in the catalogue raisonné on the artist, currently in preparation, and edited by Cinzia Virno, De Luca Editori d'Arte, Rome. The present lot will be sold with a photo-certificate from Dott.ssa Cinzia Virno, dated 7 July 2016.
Antonio Mancini -  Portrait Of Don Paolo

Antonio Mancini - Portrait Of Don Paolo

Original 1953
Estimate:

Price:

Lot number: 1235
Other WORKS AT AUCTION
Description:
Antonio Mancini (Rome 1852–1930) Portrait of Don Paolo, father of the artist, signed (in ligature), inscribed A. Mancini Roma, oil on canvas, 100 x 60 cm, framed, (GG) Provenance: European Private Collection. Catalogued and illustrated in: Alfredo Schettini, Mancini, stiped Ed., 1953, p. 166, ill. LVIII. We are grateful to Prof Domenico Di Giacomo who confirmed the authenticity on the basis of a photograph. Specialist: Gautier Gendebien
Antonio Mancini -  Suonatrice Di Liuto; The Lute Player

Antonio Mancini - Suonatrice Di Liuto; The Lute Player

Original 1909
Estimate:

Price:

Lot number: 103
Other WORKS AT AUCTION
Description:
Antonio Mancini (Italian, 1852-1930) Suonatrice di Liuto; The lute player signed, inscribed and dated 'A. Mancini. Roma 1909\\\’ (upper right) oil on canvas 53 ½ x 53 in. (135.9 x 134.6 cm.) Antonio Mancini\\\’s career can be characterised by two distinct artistic phases distinguishable by the artist\\\’s use of colour and his technical approach. In the early years of his career, Mancini was grounded by a distinct Neapolitan artistry; he used a muted palette and produced works striking for their use of chiaroscuro. In the later phase of his career, of which this picture is highly typical, Mancini\\\’s painting matured into the highly original and inventive style for which he acquired international acclaim. The artist became increasingly bold, with dramatic use of colour and the creation of striking impasto with deep swirling brush strokes. Mancini was obsessed by the effects of light. His knowledge of Impressionism, which he became acquainted with during his stay in Paris in the 1870's, helped him to push boundaries and try new colouristic techniques on the canvas. By the late 1890s, Mancini\\\’s experimentations with texture and attempts to capture light in his canvasses had led him to incorporate materials such as glass, mirror fragments, sand, buttons and metal foil into his thickly painted surfaces. The artist\\\’s exploitation of unusual materials reached its exuberant climax in works such as the present one. Painted in 1909 for one of his most important patrons, the German dealer Otto Messinger, this dreamlike painting depicts Mrs Sangiorgi, wife of the famous Roman antique dealer, holding a lute while sitting in a charming and rich interior. The blocks of colour and almost indistinct forms of the objects which surround the sitter create a sense of confused perspective and suggest the scene is more apparition than reality. The vivid red and gold used by the artist well contrast with the face of the sitter and her candid white dress, enabling him to show his virtuoso and sometimes hallucinogenic techniques. The density of the composition is underscored by the materiality of the picture\\\’s thick paint surface, and the obvious patchwork of grid lines embedded within it, both characteristic features of the artist\\\’s technique, which he developed in the early 1880s. The lines result from the artist\\\’s use of a device which Mancini referred to as a \\\“graticola\\\” (gridiron), and which shows that this work was painted from life. As Ulrich Hiesinger writes: \\\“It [the graticola] consisted of a wooden frame with strings stretched across it in vertical, horizontal, even diagonal directions. One such frame was placed in front of the subject, while a second identical one was placed against the canvas in use…Mancini\\\’s device had a purpose, which he described variously as a means to obtain the exact size and perspective of his painted objects or to capture the important elements of tone. Mancini explained the device in a long letter addressed to Daniel Curtis in October 1890, and elsewhere provided a few sketches. Despite these clues, however, the workings of the graticola remained inscrutable to everyone but Mancini. However, he relied absolutely on its mysterious workings and would never paint without it. Very often the marks of the graticola strings were allowed to show in the finished painting [as here], sometimes as mere suggestion, but at other times quite aggressively. In extreme cases these grid marks impart a texture, and almost quilted decorative quality to the painted surface. This unexpected effect, having little to do with the genesis of the painting, was clearly chosen and promoted by the artist, becoming a distinctive personal mannerism that delighted some viewers while puzzling others.\\\” (exh. cat., Antonio Mancini, Philadelphia Museum of Art, 2007, p. 67). Mancini's artistic sensibility, while rooted in a distinct Neapolitan artistic vocabulary evolved and matured into a truly innovative style of painting which catapulted him to a level of international acclaim. John Singer Sargent considered him the best contemporary painter Italy ever produced. Yet, it is important to note that his early training and observations of people and life in Naples remained instinctively ingrained in him and thus continued on many levels to permeate his art. One critic noted that the genius behind Mancini was his ability to create a distinctive and uniquely individual art taking into account Caravaggio inspired chiaroscuro, the more intense and exuberant flourishes of the Baroque style and the sensuality of Venetian colour, while at the same time finding an enthusiastic market for buyers. The present work was exhibited in Rome in 1911 (fig. 1) together with other seven canvases all executed for Messinger. The artist was highly praised for this group and thanks to this success he was able to receive an offer for an exclusive contract from Fernand di Chêne de Vère, a rich French industrialist living in Italy. We are grateful to Dott.ssa Cinzia Virno for confirming the authenticity of the present lot which will be included in the catalogue raisonné on the artist, currently in preparation, and edited by Cinzia Virno, De Luca Editori d'Arte, Rome.
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr