18th Century Painting
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Chronology : 18th Century 1700-1719 1730-1739 1740-1749 1750-1759 1760-1769 1770-1779 1780-1789
Chronology : 18th Century 1700-1719 1730-1739 1740-1749 1750-1759 1760-1769 1770-1779 1780-1789
1718-1719 Christie's discovered a Watteau, what a Surprise!
2008 SOLD 12.3 M£ including premium
At our time, the treasures still exist, on the condition of knowing to see them.
A little more than one month ago, Christie's had announced in a press release the reappearance of a painting of Watteau presumedly destroyed for two centuries. The press had seized this information, rightly. Let us not forget it, but it is necessary to wait two more months for the sale, which will be done in London on July 8.
Entitled "la Surprise", this painting was known through a copy, and the owner was unaware of being in possession of an original. If as it is probable Christie's manages to sell it, the pockets of this happy British countryman will then have filled from at least 3 M£.
Of small size, it is an outdoor scene, elegant and dynamic, with feverish movement, with images typified according to the so specific technique of Watteau: the player of guitar, the couple of lovers, the puppy.
A masterpiece? Yes. One of the great biddings of the year? Probably not. The painting, whose exact dimensions are not revealed in the official statement, appears to be not larger than a paper sheet.
POST SALE COMMENT
The price obtained is also a surprise: £ 12.3 million charge included.
This painting had been announced well in advance by Christie's as one of the highlights of the season. It had the advantage of never being viewed before on the market and disadvantage of being small: 36x28 cm.
The market has thus confirmed the view of Christie's that this painting is a masterpiece of Watteau, and that Watteau is a major painter in the history of art. There is no doubt that we will not soon see a similar one reappear in a sale. A masterpiece that can be considered as single on the market has no price, but I think nobody could reasonably predict that it would be so high.
A little more than one month ago, Christie's had announced in a press release the reappearance of a painting of Watteau presumedly destroyed for two centuries. The press had seized this information, rightly. Let us not forget it, but it is necessary to wait two more months for the sale, which will be done in London on July 8.
Entitled "la Surprise", this painting was known through a copy, and the owner was unaware of being in possession of an original. If as it is probable Christie's manages to sell it, the pockets of this happy British countryman will then have filled from at least 3 M£.
Of small size, it is an outdoor scene, elegant and dynamic, with feverish movement, with images typified according to the so specific technique of Watteau: the player of guitar, the couple of lovers, the puppy.
A masterpiece? Yes. One of the great biddings of the year? Probably not. The painting, whose exact dimensions are not revealed in the official statement, appears to be not larger than a paper sheet.
POST SALE COMMENT
The price obtained is also a surprise: £ 12.3 million charge included.
This painting had been announced well in advance by Christie's as one of the highlights of the season. It had the advantage of never being viewed before on the market and disadvantage of being small: 36x28 cm.
The market has thus confirmed the view of Christie's that this painting is a masterpiece of Watteau, and that Watteau is a major painter in the history of art. There is no doubt that we will not soon see a similar one reappear in a sale. A masterpiece that can be considered as single on the market has no price, but I think nobody could reasonably predict that it would be so high.
Getty Museum Buys $100m Trove of Works https://t.co/bD86lPUUmX pic.twitter.com/lqH9vWiQf1
— Art Market Monitor (@artmarket) July 21, 2017
1733 The Grand Canal of Venice by Canaletto
2005 SOLD 18.6 M£ including premium by Sotheby's
Link to catalogue.
1730s Everyday Life in front of the Molo
2013 SOLD 8.5 M£ including premium
For three centuries, tourists are captivated by the view of Venice from San Marco basin. The concentration of monuments is unique, and they are magnificent.
Carlevarijs transfered to Venice the tradition of the paintings of views already appreciated in Rome by the English tourists. In Venice, the Molo is logically their favorite subject.
Canaletto learned his craft from Carlevarijs. He added very realistic details of monuments with high care brought to the relative position of the buildings and the beauty of light.
Tourists love monuments but also festivals, and precisely the feast of the Bucentaur happens on the sea. In the 1730s, the large format compositions of Bucentaur Day when the basin is covered with boats and gondolas are the masterpieces by Canaletto.
They are supplemented by smaller formats for ordinary days, where the animation is almost similar but more laborious than contemplative. An oil on canvas of this period in middle size format, 69 x 113 cm, is estimated £ 4M, for sale by Christie's in London on July 2.
This view is even a rare opportunity within this theme for showing an anecdotal detail. In the foreground, a boatman makes a desperate attempt to avoid a collision with another boat. Traffic accidents are not exclusive to our automotive civilization!
POST SALE COMMENT
Very good subject, reasonably large and great period for this artist : this interesting Canaletto was sold for £ 8.5 million including premium.
Carlevarijs transfered to Venice the tradition of the paintings of views already appreciated in Rome by the English tourists. In Venice, the Molo is logically their favorite subject.
Canaletto learned his craft from Carlevarijs. He added very realistic details of monuments with high care brought to the relative position of the buildings and the beauty of light.
Tourists love monuments but also festivals, and precisely the feast of the Bucentaur happens on the sea. In the 1730s, the large format compositions of Bucentaur Day when the basin is covered with boats and gondolas are the masterpieces by Canaletto.
They are supplemented by smaller formats for ordinary days, where the animation is almost similar but more laborious than contemplative. An oil on canvas of this period in middle size format, 69 x 113 cm, is estimated £ 4M, for sale by Christie's in London on July 2.
This view is even a rare opportunity within this theme for showing an anecdotal detail. In the foreground, a boatman makes a desperate attempt to avoid a collision with another boat. Traffic accidents are not exclusive to our automotive civilization!
POST SALE COMMENT
Very good subject, reasonably large and great period for this artist : this interesting Canaletto was sold for £ 8.5 million including premium.
#Canaletto was born on this day in Venice, 1697. ‘The Molo, Venice, from the Bacino di San Marco’, achieved £8,461,875 in our Old Masters sale of July 2013, London. pic.twitter.com/FlLEqkys1w
— Christie's (@ChristiesInc) October 18, 2018
1738-1739 Views and Figures of Venice
2013 SOLD 9.6 M£ including premium
With the orders carried out successively for the Dukes of Bedford and Marlborough, respectively 24 and 20 oil paintings, Canaletto enjoyed the consecration of his art.
In the late 1730s, his best works are altogether the most realistic topographic views of the monuments of Venice, a sunny atmosphere that appeals to tourists and the summary of all aspects of everyday life in the city. The great skill of this artist is to provide a perfect balance between all these topics.
A pair of canvas painted in 1738 or 1739 in his most usual format, 47 x 77 cm, displays on one of them the Piazza San Marco and for the other the Canal Grande to the Rialto. These two focal points of the Venetian activity are the best excuse to offer a picturesque scenery with unlimited entertainment.
The first customer of this pair has not been identified. The fact that they deal with the two most classic Venetian views may suggest that they were not extracted from a larger set. Their condition is pristine. This lot is estimated £ 8M, for sale by Sotheby's in London on December 4.
This period marks the greater maturity of the art of Canaletto when he teaches his craft to a gifted apprentice, his young nephew Bernardo Bellotto, causing a healthy rivalry between the two artists.
POST SALE COMMENT
This pair of views of Venice painted in one of the best periods of Canaletto was sold for £ 9.6 million including premium.
I invite you to play the video shared by Sotheby's, showing many details of these exceptional scenes:
In the late 1730s, his best works are altogether the most realistic topographic views of the monuments of Venice, a sunny atmosphere that appeals to tourists and the summary of all aspects of everyday life in the city. The great skill of this artist is to provide a perfect balance between all these topics.
A pair of canvas painted in 1738 or 1739 in his most usual format, 47 x 77 cm, displays on one of them the Piazza San Marco and for the other the Canal Grande to the Rialto. These two focal points of the Venetian activity are the best excuse to offer a picturesque scenery with unlimited entertainment.
The first customer of this pair has not been identified. The fact that they deal with the two most classic Venetian views may suggest that they were not extracted from a larger set. Their condition is pristine. This lot is estimated £ 8M, for sale by Sotheby's in London on December 4.
This period marks the greater maturity of the art of Canaletto when he teaches his craft to a gifted apprentice, his young nephew Bernardo Bellotto, causing a healthy rivalry between the two artists.
POST SALE COMMENT
This pair of views of Venice painted in one of the best periods of Canaletto was sold for £ 9.6 million including premium.
I invite you to play the video shared by Sotheby's, showing many details of these exceptional scenes:
1749 View of London by Canaletto
1992 SOLD 10 M£ including premium by Christie's
Image shared by the Tate Gallery where it is on long term loan from the Andrew Lloyd Webber Foundation.
1751 Young Skin and Old Beards
2013 SOLD 11.4 M$ including premium
The Roman painter Pompeo Batoni is a follower of Guercino and a predecessor of David. His genre scenes are inspired by Baroque stories, but his painstaking drawing and color announce the classicism.
Famous as a portraitist, he had a long and prosperous career and took advantage of the wealthy English customers who visited Italy.
Susanna and the Elders is a large oil on canvas, 99 x 136 cm, made in 1751 on order for a Viennese aristocrat. The action is violent and symbolizes the contrast of good and evil. The scene is beautifully situated in the grounds of a villa.
The young woman is at bath in a pool, but her textiles chastely cover her nakedness. Her bright and fresh skin is the strong point of the composition. The two assailants, one venal and the other despicable, are particularly unfriendly with their baroque old beards.
This painting is estimated $ 6M, for sale by Sotheby's in New York on January 31. Here is the link to the catalog.
POST SALE COMMENT
The estimate has been greatly exceeded, rewarding the quality and rarity of the artwork, and also the contrast between the young woman and the post-Baroque elders. It was sold $ 11.4 million including premium.
Famous as a portraitist, he had a long and prosperous career and took advantage of the wealthy English customers who visited Italy.
Susanna and the Elders is a large oil on canvas, 99 x 136 cm, made in 1751 on order for a Viennese aristocrat. The action is violent and symbolizes the contrast of good and evil. The scene is beautifully situated in the grounds of a villa.
The young woman is at bath in a pool, but her textiles chastely cover her nakedness. Her bright and fresh skin is the strong point of the composition. The two assailants, one venal and the other despicable, are particularly unfriendly with their baroque old beards.
This painting is estimated $ 6M, for sale by Sotheby's in New York on January 31. Here is the link to the catalog.
POST SALE COMMENT
The estimate has been greatly exceeded, rewarding the quality and rarity of the artwork, and also the contrast between the young woman and the post-Baroque elders. It was sold $ 11.4 million including premium.
1754 Bucintoro on Ascension Day by Canaletto
2005 SOLD for £ 11.4M including premium by Christie's
Link to catalogue.
1765 Portrait of a Champion by Stubbs
2011 SOLD 22.4 M£ including premium
Serving wealthy English aristocrats, George Stubbs specialized in the topic of race horses. On December 8, 2010, Sotheby's sold £ 10.1 million including premium a very elegant study of mares and foals in a meadow, painted in 1767.
Made around 1765, the oil on canvas for sale by Christie's in London on July 5 is certainly more outstanding. It is estimated £ 20M. This is the portrait of a horse named Gimcrack, who was winning most of the races where he was engaged.
This broad composition, 102 x 196 cm, simple and effective, is divided into two parts. On the left, Gimcrack shows his beautiful profile, surrounded by a coach, a stable boy and a jockey.
A race is held on the horizon, on the right. A horse is far ahead of his three followers. He is also Gimcrack, of course. He is therefore shown twice on that image that had everything to flatter the sponsor of the work, Lord Bolingbroke, owner of the champion.
Stubbs is very accurate in anatomical detail, but still shows horses galloping with their four legs flying above the ground. This feature, which can be excused one century before the studies of Muybridge, applies here only in the background and provides this work with an undeniable poetic dimension.
POST SALE COMMENT
Sold £ 22.4 million including premium, Gimcrack has once again won his race.
Made around 1765, the oil on canvas for sale by Christie's in London on July 5 is certainly more outstanding. It is estimated £ 20M. This is the portrait of a horse named Gimcrack, who was winning most of the races where he was engaged.
This broad composition, 102 x 196 cm, simple and effective, is divided into two parts. On the left, Gimcrack shows his beautiful profile, surrounded by a coach, a stable boy and a jockey.
A race is held on the horizon, on the right. A horse is far ahead of his three followers. He is also Gimcrack, of course. He is therefore shown twice on that image that had everything to flatter the sponsor of the work, Lord Bolingbroke, owner of the champion.
Stubbs is very accurate in anatomical detail, but still shows horses galloping with their four legs flying above the ground. This feature, which can be excused one century before the studies of Muybridge, applies here only in the background and provides this work with an undeniable poetic dimension.
POST SALE COMMENT
Sold £ 22.4 million including premium, Gimcrack has once again won his race.
#GeorgeStubbs was born #OTD in 1724. We sold Gimcrack on Newmarket Heath in 2011 for £22,441,250 #WorldAuctionRecord #artistbirthday pic.twitter.com/B7fCB2eivD
— Christie's (@ChristiesInc) August 25, 2017
1767 Horses for English Lords
2010 SOLD 10.1 M£ including premium
Contemporary of Gainsborough, George Stubbs chose horses in landscapes as the main subject of his art. This theme evoked both breeding and sport, and was much pleasing to the English aristocracy.
In 1767 the artist creates the best of his work with the depiction of groups of mares and foals. A large oil on canvas, 100 x 187 cm, is one of his masterpieces. The animals are elegant and finely detailed, far more real than those of De Dreux or Herring in the following century. The image, slightly truncated, is visible in the press release shared by Artdaily.
The painting was kept by the same family of Lords since the origin and had been shown to the public in 2005 in the exhibition Stubbs and the Horse at the National Gallery.
It is now for sale by Sotheby's in London on December 8. For 30 years, no similar lot had been offered at auction, and Sotheby's expects a special price: £ 10M.
POST SALE COMMENT
It was bold to present this painting at such a price level. The challenge is won: £ 10.1 million including premium. Congratulations to Sotheby's.
In 1767 the artist creates the best of his work with the depiction of groups of mares and foals. A large oil on canvas, 100 x 187 cm, is one of his masterpieces. The animals are elegant and finely detailed, far more real than those of De Dreux or Herring in the following century. The image, slightly truncated, is visible in the press release shared by Artdaily.
The painting was kept by the same family of Lords since the origin and had been shown to the public in 2005 in the exhibition Stubbs and the Horse at the National Gallery.
It is now for sale by Sotheby's in London on December 8. For 30 years, no similar lot had been offered at auction, and Sotheby's expects a special price: £ 10M.
POST SALE COMMENT
It was bold to present this painting at such a price level. The challenge is won: £ 10.1 million including premium. Congratulations to Sotheby's.
1768 A Venitian Masterpiece by Francesco Guardi
2011 SOLD 26.7 M£ including premium
The wealthy English tourists enabled the development of vedute, these realistic paintings of urban scenes of Rome and Venice.
In Venice indeed, in the late 1760s, the uncontested master of the genre, Canaletto, is aging. He died in 1768.
It is certainly no coincidence that the most achieved works of Francesco Guardi date from the same period: Canaletto's position on the market was to be taken.
In this time of greater maturity, Guardi executed very few large paintings. The view from the Rialto Bridge, an oil on canvas 120 x 204 cm, for sale by Sotheby's in London on July 6, is exceptional. It is estimated £ 15M.
As ever, the architectures are much detailed. The dense and gentle animation is typical of Guardi, but the cloudy atmosphere and contrasting sunlight are worthy of Canaletto. This work was sold in 1768 : to an Englishman, of course.
It is shown in the press release shared by Artdaily.
POST SALE COMMENT
This exceptional painting was sold £ 26.7 million including premium, in the upper range of the estimates that had been ambitious yet.
In Venice indeed, in the late 1760s, the uncontested master of the genre, Canaletto, is aging. He died in 1768.
It is certainly no coincidence that the most achieved works of Francesco Guardi date from the same period: Canaletto's position on the market was to be taken.
In this time of greater maturity, Guardi executed very few large paintings. The view from the Rialto Bridge, an oil on canvas 120 x 204 cm, for sale by Sotheby's in London on July 6, is exceptional. It is estimated £ 15M.
As ever, the architectures are much detailed. The dense and gentle animation is typical of Guardi, but the cloudy atmosphere and contrasting sunlight are worthy of Canaletto. This work was sold in 1768 : to an Englishman, of course.
It is shown in the press release shared by Artdaily.
POST SALE COMMENT
This exceptional painting was sold £ 26.7 million including premium, in the upper range of the estimates that had been ambitious yet.
1768 From Both Sides of the Rialto
2017 SOLD for £ 26M including premium
A pair of oils on canvases is unique in the history of the vedutas by the conjunction of their monumental dimension, 120 x 204 cm each, with the maturity of one of the greatest artists of Venice, Francesco Guardi. The canvases are wider than the looms in use at that time and a nearly invisible join had been needed in the lower part of the image.
They show the commercial district of Venice, the Rialto, on the Grand Canal on both sides of its spectacular single arched covered bridge which housed shops. Through his picturesque animation and his luminosity, Guardi appears as a worthy continuator of Canaletto.
The sequence of monuments is correct but these panoramas are too wide to respect a unique perspective. The large format brings an abundance of details and an exceptional vision of the Venetian atmosphere.
Guardi worked from the collection of his autograph drawings and the modifications made to the monuments do not allow to date his paintings with accuracy. We will consider 1768 for this pair for two reasons. The death of Canaletto in April certainly generate great ambitions to Guardi suddenly becoming the best supplier of the tourists. The first owner was a young British aristocrat who had his tour in 1768, arriving in August in Venice.
The pair was separated in 2011. The view taken northward was sold by Sotheby's for £ 26.7M including premium on July 6, 2011. The view in the reverse direction is for sale on July 6, 2017 in London by Christie's, lot 25. The press release of 5 April announces that it is expected to exceed £ 25M. Please watch the video shared by the auction house.
They show the commercial district of Venice, the Rialto, on the Grand Canal on both sides of its spectacular single arched covered bridge which housed shops. Through his picturesque animation and his luminosity, Guardi appears as a worthy continuator of Canaletto.
The sequence of monuments is correct but these panoramas are too wide to respect a unique perspective. The large format brings an abundance of details and an exceptional vision of the Venetian atmosphere.
Guardi worked from the collection of his autograph drawings and the modifications made to the monuments do not allow to date his paintings with accuracy. We will consider 1768 for this pair for two reasons. The death of Canaletto in April certainly generate great ambitions to Guardi suddenly becoming the best supplier of the tourists. The first owner was a young British aristocrat who had his tour in 1768, arriving in August in Venice.
The pair was separated in 2011. The view taken northward was sold by Sotheby's for £ 26.7M including premium on July 6, 2011. The view in the reverse direction is for sale on July 6, 2017 in London by Christie's, lot 25. The press release of 5 April announces that it is expected to exceed £ 25M. Please watch the video shared by the auction house.
Une toile monumentale (122x200cm) de Francesco Guardi fait partie de la vente Old Master à Londres le 6/07 https://t.co/99ODYfvEzn pic.twitter.com/hHqqm8dzHo
— Christie's Paris (@christiesparis) June 12, 2017
1769 Fragonard out of his Time
2013 SOLD 17 M£ including premium
Like all painters of his time excepted Chardin, Fragonard varied his styles to find customers. Influenced by Boucher, he early found fame in the theme of very young frivolous women with their games and passions.
Fragonard made a small series of oils on canvas known under the generic title of Portraits de fantaisie. Only one of these artworks is dated : 1769, the year of his marriage. It is not by chance.
Close to the aristocracy, Fragonard endeavours at that time to demonstrate that he may revolutionize the art of portrait. These paintings are comparable to the tronies made by Rembrandt. The likeness to the sitter is not the most important.
The movement of shoulders and head brings energy and even violence. Strong colors evoke passion. Fancy costumes "à l'Espagnole" provide a theatrical dimension that also positions the work out of its time.
Influenced by Chardin, Fragonard understood the importance of color. This series of fantasy portraits is an essential link in the history of art between Rembrandt and Manet. He will be the great-granduncle of Berthe Morisot.
Few models have been identified with certainty. Brilliant intellectual, François-Henri d' Harcourt enjoyed his portrait to the point that his family kept it until 1971.
This oil on canvas 81 x 65 cm was then purchased at auction by Dr. Rau. Coming now from this prestigious collection, it is for sale to the benefit of UNICEF by Bonhams in London on December 5.
POST SALE COMMENT
This painting has some exceptional qualities reinforced by the fact that it was one of the top masterpieces of the Rau collection and was sold for the benefit of UNICEF. It was sold for £ 17M including premium.
I invite you to play the video shared by Bonhams on YouTube. The image is shared on Wikimedia.
Fragonard made a small series of oils on canvas known under the generic title of Portraits de fantaisie. Only one of these artworks is dated : 1769, the year of his marriage. It is not by chance.
Close to the aristocracy, Fragonard endeavours at that time to demonstrate that he may revolutionize the art of portrait. These paintings are comparable to the tronies made by Rembrandt. The likeness to the sitter is not the most important.
The movement of shoulders and head brings energy and even violence. Strong colors evoke passion. Fancy costumes "à l'Espagnole" provide a theatrical dimension that also positions the work out of its time.
Influenced by Chardin, Fragonard understood the importance of color. This series of fantasy portraits is an essential link in the history of art between Rembrandt and Manet. He will be the great-granduncle of Berthe Morisot.
Few models have been identified with certainty. Brilliant intellectual, François-Henri d' Harcourt enjoyed his portrait to the point that his family kept it until 1971.
This oil on canvas 81 x 65 cm was then purchased at auction by Dr. Rau. Coming now from this prestigious collection, it is for sale to the benefit of UNICEF by Bonhams in London on December 5.
POST SALE COMMENT
This painting has some exceptional qualities reinforced by the fact that it was one of the top masterpieces of the Rau collection and was sold for the benefit of UNICEF. It was sold for £ 17M including premium.
I invite you to play the video shared by Bonhams on YouTube. The image is shared on Wikimedia.
1776 Portrait of Omai by Joshua Reynolds
2001 SOLD 10.3 M£ including premium by Sotheby's
Shared by Wikimedia :
1779 George Washington at Princeton by Charles Willson Peale
2006 SOLD 21.3 M$ including premium by Christie's
Link to catalogue.
Please watch the 2015 'Game changer' featured post by Christie's, including video.
Please watch the 2015 'Game changer' featured post by Christie's, including video.
1782 Venetian Impressions
2014 SOLD 9.9 M£ including premium
Pupil and imitator of Canaletto, Francesco Guardi appears on the vedutist market during the last decade of his master. He innovates with very large formats.
Canaletto dies in 1768. Guardi's art gets more freedom. He now waives the strict topographic truth while maintaining an extreme detail in the monuments and an intense and picturesque animation.
Around 1780 Guardi loves to show Venice in its greatest splendor when the bright sun of late morning reveals all the warm shades of the color of the stone. The term 'Impressionism' sometimes used to describe the style of his later period is not a reference to the future French school but to his desire to restore the atmosphere of the place, anticipating the art of Constable.
The view of Venice for sale by Christie's in London on July 8 has all these qualities. The magnificent panorama from the Bacino di San Marco includes the Piazzetta and is centered on the Doge's Palace. This oil on canvas 70 x 102 cm is estimated £ 8M.
The paintings by Canaletto and Guardi are not dated, but fortunately for the chronologist the grand tours of their wealthy English clients provide some accurate information. This one was purchased between 1782 and 1784 by the 5th Earl of Shaftesbury.
POST SALE COMMENT
This view of Venice from one of the best periods of Francesco Guardi was sold for £ 9.9 million including premium.
I invite you to play the video shared by Christie's, including an interesting comparison in the treatment of the surface of water between this painting and a view of Venice by Monet.
Canaletto dies in 1768. Guardi's art gets more freedom. He now waives the strict topographic truth while maintaining an extreme detail in the monuments and an intense and picturesque animation.
Around 1780 Guardi loves to show Venice in its greatest splendor when the bright sun of late morning reveals all the warm shades of the color of the stone. The term 'Impressionism' sometimes used to describe the style of his later period is not a reference to the future French school but to his desire to restore the atmosphere of the place, anticipating the art of Constable.
The view of Venice for sale by Christie's in London on July 8 has all these qualities. The magnificent panorama from the Bacino di San Marco includes the Piazzetta and is centered on the Doge's Palace. This oil on canvas 70 x 102 cm is estimated £ 8M.
The paintings by Canaletto and Guardi are not dated, but fortunately for the chronologist the grand tours of their wealthy English clients provide some accurate information. This one was purchased between 1782 and 1784 by the 5th Earl of Shaftesbury.
POST SALE COMMENT
This view of Venice from one of the best periods of Francesco Guardi was sold for £ 9.9 million including premium.
I invite you to play the video shared by Christie's, including an interesting comparison in the treatment of the surface of water between this painting and a view of Venice by Monet.
