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Francesco Zanin

(1835 -  1893 )
ZANIN Francesco The Scuola Grande Di San Marco And The Campo Santi Giovanni E Paolo, Venice

Ewbank Auctions /Sep 25, 2013
11,843.99 - 17,765.99
14,212.80

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Artworks in Arcadja
64

Some works of Francesco Zanin

Extracted between 64 works in the catalog of Arcadja
Francesco Zanin -  The Bucintoro With San Nicolò Al Lido In The Background

Francesco Zanin - The Bucintoro With San Nicolò Al Lido In The Background

Original
Estimate:

Price:

Gross Price
Lot number: 1228
Other WORKS AT AUCTION
Description:
Francesco Zanin (Nove 1824–1884 Venice) The Bucintoro with San Nicolò al Lido in the background, signed Zanin Fran:co, oil on canvas, 32 x 43 cm, framed, (GG) The present work will be included and illustrated in Prof Fabrizio Magani\’s forthcoming publication \“La Venezia dei Grubacs\”. The Bucintoro is the Doge\’s ceremonial barge, which was used every year on Ascension Day to perform the \“Marriage to the sea\”, a ceremony that wedded the city of Venice to the sea. Specialist: Gautier Gendebien
Francesco Zanin - The Piazza San Marco

Francesco Zanin - The Piazza San Marco

Original 1865
Estimate:

Price:

Lot number: 25
Other WORKS AT AUCTION
Description:
Francesco Zanin (Italian, 1824-1884)

The Piazza San Marco, Venice, in the early hours of the last evening of carnival, 1865

Signed and dated 'Zanin Fran:co 1865' (lower right) and with remains of extensive inscription 'co... / .e de la N.tt. 20. Febbr.io 18.. / .... .... .... Vene.ia' (lower left)

oil on canvas

76 x 122in. (193 x 309.9 cm.)

Footnotes

Provenance

Edward Jurak, Vienna, c. 1930.

According to family tradition brought to the USA from Vienna after the Second World War.

Exhibited

Venice,

Accademia di Belle Arti

, 1865, as

Piazza di S. Marco nelle prime ore dell'ultima notte di carnevale nel 1865.

Literature

S. Manfrini, 'Pubblica mostra dell'I.R. Accademia',

Gazzetta ufficiale di Venezia,

no. 208, 12 settembre 1865.

L. Moretti, 'Francesco Zanin (1824-1884), vedutista veneziano',

Arte Veneta,

68 (2011), 2012, p. 289.

This view of the Piazza San Marco, untraced since its exhibition in Venice in 1865, is surely by far the most ambitious work by Francesco Zanin, who is known above all for his leading role in feeding the demand for Canalettesque views of Venice well into the last quarter of the nineteenth century. An artist of considerable ability, interest in his work has increased significantly in recent years. He was the subject of a monographic exhibition in 2008 (

Francesco Zanin: Un "Canaletto" nell'Ottocento

, Caiati & Salamon, Milan, 2008; catalogue by Fabrizio Magani), following which the correct dates of his birth and death were first published in 2010, and even more recently Professor Lino Moretti has provided a detailed analysis of current knowledge of his life and career (L. Moretti,

op. cit.

, pp. 284-91). The only contemporary account of Zanin is a memorial oration given by Domenico Fadiga, the secretary of the Venetian

Accademia di Belle Arti

shortly after the painter's death. Fadiga says that Zanin was by nature 'timid, closed and reserved', and that this was reflected in his work, which was notable for its scrupulous attention to detail. 'He had begun with some copies after Canaletto; then he gathered courage and moved on to imitations'. Fadiga tells us that 'twenty years ago' [i.e. around 1865 when this painting was executed] Zanin's paintings 'not only featured in all the art exhibitions, but, and this is far more telling, almost always one saw underneath the annotation: sold'. [Purchasers of paintings by Zanin in 1865 included the local grandees Countess Faustina Albrizzi Marcello and Prince Giuseppe Giovanelli]. Fashion had changed dramatically, however, in the twenty years since. The painter was a 'man of regulated life, simple dress, and modest desires, and I think that selling two paintings a year, even if for low prices, would have given him enough for twelve months, but as time passed even this help little by little fell away ...'. Zanin fell into decline and, refusing charity, he died effectively of starvation on Christmas Day in 1884 at the age of sixty.

Many of Zanin's paintings are copies of eighteenth century Venetian views, above all of the view of

The Rio dei Mendicanti and the Scuola di San Marco

, which entered the Gallerie dell'Accademia, Venice in 1856 and was considered the work of Canaletto until 1958, when it was prevalently recognised as an early work by Bernardo Bellotto. Several examples of Zanin's copies of this have been on the London art market in recent years (see, for instance, Magani,

op. cit.

, colour figs. 1 and 10). Zanin, surprisingly, numbered them, which indicates that he executed no fewer than thirty-five examples. He also made at least five copies of the

Capriccio of a Portico

which was Canaletto's reception piece for the

Accademia

, the only work by him readily accessible in Venice until recent decades (see, for instance,

ibid.

, colour fig. 9). A view of

The Piazza San Marco from the Campo di San Basso

after a Canaletto composition was sold at Christie's South Kensington, London, 12 December 2003, lot 282 (for these copies see Moretti,

op. cit.

, p. 287).

As Fadiga indicated, Zanin moved on from copying Canaletto to executing original compositions in an eighteenth century manner with figures in period costume, such as

The Punta di Dogana, Venice, with the Regatta in Honour of Edward, Duke of York, 4 June 1764

of 1865 (Art Market, 2003-4 and 2015), and

The Bucintoro returning to the Molo on Ascension Day,

dated 1888 (Christie's, London, 14 June 1996, lot 132). A variant of that painting is in the Art Gallery of Greater Victoria attributed to Canaletto, but would seem to be also the work of Zanin (exhibited Vancouver Art Gallery, Musée du Québec, and Agnes Etherington Art Centre,

18th Century Venetian Art in Canadian Collections

, 1989-90, no. 21, illustrated in colour). Like his copies, these are (or were) usually prominently signed in red, and in exhibitions they were often described as 'Imitation of Canaletto' to distinguish them from those listed as 'Copy after Canaletto'.

The present painting belongs to the third, and the most interesting, category of Zanin's work, consisting also of Venetian views but in a more contemporary style and with figures in contemporary dress. Also notable among these is

The Piazza and Piazzetta San Marco, looking South, with a Firework Display

, signed and dated 1877 and showing the gaslights around the Piazza and Piazzetta which were inaugurated in 1873 (Christie's, New York, 17 October 2006, lot 63). They are relatively scarce, and, from what S. Manfrini tells us in his review of the 1865 exhibition at the

Accademia di Belle Arti

(quoted in full by Moretti,

loc. cit.

) the present painting was the only example among Zanin's twelve exhibits that year. Zanin's paintings are mostly quite small, and the enormous size of this canvas makes it exceptional in the artist's

œuvre

. His capture of the atmosphere of a wintry evening in the Piazza makes it one of his greatest masterpieces, and reinforces his status as one of the most gifted and interesting of the Venetian view painters active in the nineteenth century.

We are grateful to Charles Beddington for providing this catalogue note.
Francesco Zanin - The Scuola Grande Di San Marco And The Campo Santi Giovanni E Paolo

Francesco Zanin - The Scuola Grande Di San Marco And The Campo Santi Giovanni E Paolo

Original
Estimate:

Price:

Lot number: 14
Other WORKS AT AUCTION
Description:
Francesco Zanin (active Venice, 19th Century)

The Scuola Grande di San Marco and the Campo Santi Giovanni e Paolo

signed 'Zanin Fran: co 9.'(lower left)

oil on canvas

43.5 x 63.8cm (17 1/8 x 25 1/8in).

Footnotes

A version of this composition by Francesco Zanin, signed '14.Zanin.Fran.co', (on canvas, 43 x 64 cm.), was offered in these rooms, 5 December, 2012, lot 1.

Although compositions by Zanin are known that are dated as late as the 1870s, his attention to architectural detail, marked by strong contrasts of light and shade, together with his choice of subject matter, remained heavily influenced by the tradition set by Canaletto a century earlier. Nonetheless, in the precision of his handling and in his greater attention to topographical accuracy he can be regarded as having added his own innovative stamp to the tradition of the 18th century

vedute

. His depictions of the grand Venetian

palazzi

are valued for the breathtaking detail and faultless perspective of their drawing.
Francesco Zanin - The Scuola Grande Di San Marco And The Campo Santi Giovanni E Paolo, Venice

Francesco Zanin - The Scuola Grande Di San Marco And The Campo Santi Giovanni E Paolo, Venice

Original
Estimate:

Price:

Net Price
Lot number: 1210
Other WORKS AT AUCTION
Description:
Francesco Zanin (1843-1890). The Scuola Grande di San Marco and the Campo Santi Giovanni e Paolo, Venice. Oil on canvas, signed.

Carnival masked figures with gondolas on a Venetian canal. In fine carved giltwood 18th or early 19th Century frame. Label purchased from Riddetts of Bournemouth. Re-lined.

Acquired from Riddetts Auctions Bournemouth

Executor sale; From the collection of a Bournemouth connoisseur collected by him and his father over the last 50 years h:17.50 w:25 in.

Re lined

crazing to canvas

needs cleaning

losses to frame but pieces appear to be there

possible areas overpainting
Francesco Zanin - The Scuola Grande Di San Marco And The Campo Santi Giovanni E Paolo, Venice

Francesco Zanin - The Scuola Grande Di San Marco And The Campo Santi Giovanni E Paolo, Venice

Original
Estimate:

Price:

Lot number: 59
Other WORKS AT AUCTION
Description:
Francesco Zanin (active Venice, 19th Century)

The Scuola Grande di San Marco and the Campo Santi Giovanni e Paolo, Venice

signed '14. Zanin. Fran.co' (lower left)

oil on canvas

43 x 64cm (16 15/16 x 25 3/16in).

PROVENANCE:

With Frost and Reed, London

With Stacy-Marks, Eastbourne

Private Collection, UK

Although compositions by Zanin are known that are dated as late as the 1870s, his attention to architectural detail, marked by strong contrasts of light and shade, together with his choice of subject matter, remained heavily influenced by the tradition set by Canaletto a century earlier. Nonetheless, in the precision of his handling and in his greater attention to topographical accuracy he can be regarded as having added his own innovative stamp to the tradition of the 18th century

vedute

. His depictions of the grand Venetian

palazzi

are valued for the breathtaking detail and faultless perspective of their drawing.
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