Plus 18th Century Painting
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in addition to Canaletto. not including Chinese art
Except otherwise stated, all results include the premium.
in addition to Canaletto. not including Chinese art
Except otherwise stated, all results include the premium.
1718 The Molo by Carlevarijs
2011 SOLD for $ 4M by Christie's
At the time of Vermeer, Dutch artists had the fertile idea to paint realistic views of the cities. When later the British for their pleasure will tour Italy, they meet with local artists who specialize in such luxurious memories.
So it is no coincidence that the pioneer of this new art in Italy was a Dutchman, Gaspar van Wittel who Italianized hisname as Vanvitelli and worked in Rome and Naples.
In Venice, the first master of the vedute was an Italian who, unlike his colleague, used a Dutch-sounding name: Luca Carlevarijs.
Carlevarijs favorite topic was the Molo, this very prestigious wharf access to the Venetian splendor. The monumental group is a textbook case for the practice of perspective, used with utmost care for accentuating the realism.
A view of the Molo looking west, with the side of the Doge's Palace and the Church of the Salute in the distance, was sold for $ 4M from a lower estimate of $ 3.5M by Christie's on January 26, 2011. The animation is both intense (although a little stereotypical) and distant, making it particularly pleasant. This large oil on canvas, 102 x 175 cm, had been sold in 1718 to an English traveler.
So it is no coincidence that the pioneer of this new art in Italy was a Dutchman, Gaspar van Wittel who Italianized hisname as Vanvitelli and worked in Rome and Naples.
In Venice, the first master of the vedute was an Italian who, unlike his colleague, used a Dutch-sounding name: Luca Carlevarijs.
Carlevarijs favorite topic was the Molo, this very prestigious wharf access to the Venetian splendor. The monumental group is a textbook case for the practice of perspective, used with utmost care for accentuating the realism.
A view of the Molo looking west, with the side of the Doge's Palace and the Church of the Salute in the distance, was sold for $ 4M from a lower estimate of $ 3.5M by Christie's on January 26, 2011. The animation is both intense (although a little stereotypical) and distant, making it particularly pleasant. This large oil on canvas, 102 x 175 cm, had been sold in 1718 to an English traveler.
1730-1735 Still Life of Fruit by van Huysum
2003 SOLD for £ 4.9M by Sotheby's
A tightly composed Still life of grapes and peaches with flowers in a basket with plums in the foreground, all upon a marble ledge before an urn and column, oil on panel 80 x 60 cm painted by Jan van Huysum in 1730-1735, was sold for £ 4.9M by Sotheby's on December 11, 2003, lot 75. Its prestigious provenance includes the duc de Berry and the Rothschild family.
The transparency of colors of the purple and white grapes is delightful.
The transparency of colors of the purple and white grapes is delightful.
1732 Roman Pantheon by Panini
2015 SOLD for $ 5.3M by Sotheby's
The Roman Pantheon is a masterpiece and one of the most remarkable engineering feats of antiquity. This monument is also a symbol of the arts and the seat since 1542 of one of the ten pontifical academies, the Congregazione dei Virtuosi al Pantheon to which many Roman artists belonged.
Giovanni Paolo Panini was admitted into the Congregazione in 1719 at the age of 28 years. He was already an important figure in the Roman art world, being since the same year a professor at the Accademia di San Luca.
Panini had been trained in the decoration of the palaces and was familiar with trompe l'oeil techniques. In painting, he specialized in capricci of ruins and ancient monuments. Unlike the Venetian vedutisti he reconstructed the ancient sites in whimsical juxtapositions.
Panini executed several paintings showing the interior of the Pantheon. The earliest known, oil on canvas 119 x 98 cm dated 1732, was sold for $ 5.3M from a lower estimate of $ 3M by Sotheby's on January 29, 2015, lot 91.
Various characters are busy to pray, beg or chat in the great hall. They are scattered for accentuating the grandiose effect. The artist is sensitive to the geometrical feat of this place where the inner diameter of the dome and the height of the oculus have exactly the same size, 43.3 m. The figures that appear in the opening of the vestibule and in the oculus are on the same scale.
Giovanni Paolo Panini was admitted into the Congregazione in 1719 at the age of 28 years. He was already an important figure in the Roman art world, being since the same year a professor at the Accademia di San Luca.
Panini had been trained in the decoration of the palaces and was familiar with trompe l'oeil techniques. In painting, he specialized in capricci of ruins and ancient monuments. Unlike the Venetian vedutisti he reconstructed the ancient sites in whimsical juxtapositions.
Panini executed several paintings showing the interior of the Pantheon. The earliest known, oil on canvas 119 x 98 cm dated 1732, was sold for $ 5.3M from a lower estimate of $ 3M by Sotheby's on January 29, 2015, lot 91.
Various characters are busy to pray, beg or chat in the great hall. They are scattered for accentuating the grandiose effect. The artist is sensitive to the geometrical feat of this place where the inner diameter of the dome and the height of the oculus have exactly the same size, 43.3 m. The figures that appear in the opening of the vestibule and in the oculus are on the same scale.
#AuctionUpdate: Panini's spectacular view of the Pantheon sells for $5.3M, setting an #ArtistRecord #MastersWeek pic.twitter.com/9D5xkDfj1y
— Sotheby's (@Sothebys) January 29, 2015
1733-1735 L'Ouvrière en Tapisserie by Chardin
2013 SOLD for $ 4M by Christie's
Son of a craftsman, Chardin became a painter by an intense vocation. His colleagues early acknowledged him as a master in his first specialty, the still life. His technique was somehow different, which already disturbed.
Now he wants to earn a living. Still life, even well made, sold poorly. The fashion of the time, in those years following the Régence, is to licentiousness. Boldly, he chose a totally opposite way.
In the early 1730s, Chardin made his first genre scenes, based like those from the old Dutch masters on peaceful household themes. But he disliked the movement and the anecdotes. His figures are frozen in a static position. For the first time probably in the history of art, the texture becomes more important than the subject.
He made a very honorable career, but nobody understood him. Diderot said that "no one he knew had ever seen Chardin paint" (quoted by Christie's). His contemporaries were unable to follow him, but we may now see in his work some roots of modern art through Cézanne and Matisse.
To demonstrate the above, l'ouvrière en tapisserie (embroiderer) is an excellent example. Although the size is very small, 19 x 17 cm, the texture of embroidery, cap, apron are remarkably fine, with a touch anticipating Monet and Van Gogh.
One of the early examples of this scene designed around 1733-1735 was sold for $ 4M from a lower estimate of $ 3M by Christie's on January 30, 2013, lot 38.
Now he wants to earn a living. Still life, even well made, sold poorly. The fashion of the time, in those years following the Régence, is to licentiousness. Boldly, he chose a totally opposite way.
In the early 1730s, Chardin made his first genre scenes, based like those from the old Dutch masters on peaceful household themes. But he disliked the movement and the anecdotes. His figures are frozen in a static position. For the first time probably in the history of art, the texture becomes more important than the subject.
He made a very honorable career, but nobody understood him. Diderot said that "no one he knew had ever seen Chardin paint" (quoted by Christie's). His contemporaries were unable to follow him, but we may now see in his work some roots of modern art through Cézanne and Matisse.
To demonstrate the above, l'ouvrière en tapisserie (embroiderer) is an excellent example. Although the size is very small, 19 x 17 cm, the texture of embroidery, cap, apron are remarkably fine, with a touch anticipating Monet and Van Gogh.
One of the early examples of this scene designed around 1733-1735 was sold for $ 4M from a lower estimate of $ 3M by Christie's on January 30, 2013, lot 38.
replica from 1733 La Fontaine by Chardin
2021 SOLD for € 7.1M by Christie's
Jean-Baptiste-Siméon Chardin was self taught. The acceptance of La Raie and Le Buffet by the Académie Royale de peinture et de sculpture in 1728 was a recognition of his skill in the balance of composition and soft light. He will be a painter of still lifes.
Fellow artists laugh at him : he is a painter of cakes and sausages. In reaction, Chardin begins in 1733 a genre theme of kitchen maids in everyday life in the manner of Teniers. La Blanchisseuse, 38 x 48 cm, is his masterpiece in this new style. This oil on canvas is kept at the Hermitage Museum.
Femme tirant de l'Eau à la Fontaine is the pendant to La Blanchisseuse. Two pairs are known, one at the Stockholm National Museum and the other at the Toledo Museum of Art.
The Fontaine from Stockholm is the original version. This oil on oak panel 38 x 42 cm has an obscured date that can be 1733.
Another autograph replica of La Fontaine, oil on canvas 40 x 43 cm signed by Chardin, is using the same exquisite palette of colors as the original. It was later made vertical by adding a 10 cm canvas stripe at the top. Beautifully preserved, it was sold for € 7.1M from a lower estimate of € 5M by Christie's on November 22, 2021, lot 7.
Fellow artists laugh at him : he is a painter of cakes and sausages. In reaction, Chardin begins in 1733 a genre theme of kitchen maids in everyday life in the manner of Teniers. La Blanchisseuse, 38 x 48 cm, is his masterpiece in this new style. This oil on canvas is kept at the Hermitage Museum.
Femme tirant de l'Eau à la Fontaine is the pendant to La Blanchisseuse. Two pairs are known, one at the Stockholm National Museum and the other at the Toledo Museum of Art.
The Fontaine from Stockholm is the original version. This oil on oak panel 38 x 42 cm has an obscured date that can be 1733.
Another autograph replica of La Fontaine, oil on canvas 40 x 43 cm signed by Chardin, is using the same exquisite palette of colors as the original. It was later made vertical by adding a 10 cm canvas stripe at the top. Beautifully preserved, it was sold for € 7.1M from a lower estimate of € 5M by Christie's on November 22, 2021, lot 7.
1739 Grand Canal by Bellotto
2012 SOLD for £ 3.3M by Sotheby's
Son of a sister of Canaletto, Bernardo Bellotto, born in 1722, learned his art from his uncle and was registered at 17 into the corporation of painters of Venice.
For a long time, his views of Venice were confused with the productions of the workshop of his uncle. Bernardo at the beginning of his career is however appreciated today as one of the most original vedutisti.
A pair of his early oils on canvas made around 1739 were among the first to be reassigned to Bellotto. They have been separated. One of them, 60 x 92 cm, was sold for £ 3.3M from a lower estimate of £ 1.2M by Sotheby's on December 5, 2012, lot 47.
It is a general view of the Grand Canal taken from the Rialto bridge. The animation is intense on water and banks. The flat boats of daily life dominate the gondolas.
The main feature of this work is the use of the contrasting light from the extreme hours of the day. We now consider that the bold style of the very young painter had a deep influence on his uncle, so contributing to Canaletto's considerable commercial success in the next two decades.
Shortly afterwards, the path of the two artists separated. Bellotto left Venice in 1742 to export the vedutism in the major cities of Europe.
For a long time, his views of Venice were confused with the productions of the workshop of his uncle. Bernardo at the beginning of his career is however appreciated today as one of the most original vedutisti.
A pair of his early oils on canvas made around 1739 were among the first to be reassigned to Bellotto. They have been separated. One of them, 60 x 92 cm, was sold for £ 3.3M from a lower estimate of £ 1.2M by Sotheby's on December 5, 2012, lot 47.
It is a general view of the Grand Canal taken from the Rialto bridge. The animation is intense on water and banks. The flat boats of daily life dominate the gondolas.
The main feature of this work is the use of the contrasting light from the extreme hours of the day. We now consider that the bold style of the very young painter had a deep influence on his uncle, so contributing to Canaletto's considerable commercial success in the next two decades.
Shortly afterwards, the path of the two artists separated. Bellotto left Venice in 1742 to export the vedutism in the major cities of Europe.
1744 Henri III at the Villa Contarini by Giambattista Tiepolo
2012 SOLD for $ 5.9M by Christie's
In 1744, a young man 21 years old named Vincenzo Pisani inherited the Villa Contarini. He began to renovate the palace, in memory of its former glory.
At one time long ago, Contarini welcomed a king. In 1574, Henri de Valois was King of Poland, when the death of his brother Charles IX made him heir to the kingdom of France. The haste with which he came back to Paris to become Henri III was criticized and was prejudicial to his reputation.
In that time, travels, even in a hurry, were long and not direct! This prince between two thrones spent ten days in Venice, which received him with luxurious ceremonies.
Pisani remembered that story, and ordered a fresco to Giambattista Tiepolo, then the best specialist in great decorative works in Venice, on the theme of the arrival of Henri III at the Villa Contarini. This work is now in Paris at the Musée Jacquemart-André.
An oil on canvas, 72 x 107 cm , is a preparatory work and probably a modello for the mural, but its detail and quality make it an outstanding piece by this artist. It was sold for $ 5.9M from a lower estimate of $ 4M by Christie's on January 25, 2012.
Henri was there with his retinue, in an architected surrounding. On both sides, the colorful and lively crowd takes advantage of this opportunity to display luxurious clothes of satin and silk. This painting must also be interpreted as a tribute by Tiepolo to his predecessors of Henri's time, the architect Palladio and the painter Veronese.
At one time long ago, Contarini welcomed a king. In 1574, Henri de Valois was King of Poland, when the death of his brother Charles IX made him heir to the kingdom of France. The haste with which he came back to Paris to become Henri III was criticized and was prejudicial to his reputation.
In that time, travels, even in a hurry, were long and not direct! This prince between two thrones spent ten days in Venice, which received him with luxurious ceremonies.
Pisani remembered that story, and ordered a fresco to Giambattista Tiepolo, then the best specialist in great decorative works in Venice, on the theme of the arrival of Henri III at the Villa Contarini. This work is now in Paris at the Musée Jacquemart-André.
An oil on canvas, 72 x 107 cm , is a preparatory work and probably a modello for the mural, but its detail and quality make it an outstanding piece by this artist. It was sold for $ 5.9M from a lower estimate of $ 4M by Christie's on January 25, 2012.
Henri was there with his retinue, in an architected surrounding. On both sides, the colorful and lively crowd takes advantage of this opportunity to display luxurious clothes of satin and silk. This painting must also be interpreted as a tribute by Tiepolo to his predecessors of Henri's time, the architect Palladio and the painter Veronese.
1757 Avignon by Vernet
2013 SOLD for £ 5.4M by Sotheby's
In 1753, the marquis de Marigny acting as Directeur des Bâtiments of King Louis XV orders to Joseph Vernet a series of monumental paintings of the Ports de France. The project will last ten years and will not be completed, but its fifteen masterpiece paintings are unique of their kind.
The port is seen as a very elongated panorama with great care given to the truth of the details. The foreground is animated by characters in their local daily activities, adding the study of manners to the topographic realism.
Vernet does not crush the view in a narrow format and leaves a large place to sky, treated with abundant clouds in a beautiful sunset light. Only Francesco Guardi in his best period has reached such a balance between topographic realism and artistic imagination.
In 1757, Vernet gets permission from the marquis to spend a few months in his hometown of Avignon where he executes an ancient commission for a local dignitary.
Completed in 1757 as a 99 x 183 cm oil on canvas, the view of Avignon from the right bank of the Rhône is smaller than the royal paintings but has otherwise identical characteristics, with a similar topographic detail. Of course, private works made by Vernet during the period of the Ports of France are very rare.
The Avignon view was sold for £ 5.4M from a lower estimate of £ 3M by Sotheby's in London on July 3, 2013. The image is shared on Wikimedia.
The port is seen as a very elongated panorama with great care given to the truth of the details. The foreground is animated by characters in their local daily activities, adding the study of manners to the topographic realism.
Vernet does not crush the view in a narrow format and leaves a large place to sky, treated with abundant clouds in a beautiful sunset light. Only Francesco Guardi in his best period has reached such a balance between topographic realism and artistic imagination.
In 1757, Vernet gets permission from the marquis to spend a few months in his hometown of Avignon where he executes an ancient commission for a local dignitary.
Completed in 1757 as a 99 x 183 cm oil on canvas, the view of Avignon from the right bank of the Rhône is smaller than the royal paintings but has otherwise identical characteristics, with a similar topographic detail. Of course, private works made by Vernet during the period of the Ports of France are very rare.
The Avignon view was sold for £ 5.4M from a lower estimate of £ 3M by Sotheby's in London on July 3, 2013. The image is shared on Wikimedia.
1760s Still Life by Melendez
2012 SOLD for £ 3.5M by Christie's
Between 1759 and 1774 Luis Melendez produces a series of 44 paintings for the natural history cabinet of the Prince of Asturias, later King Carlos IV, on the unique theme of the glorification of fruit and vegetables produced by Spanish soil, accompanied by local utensils. 39 of them are kept in the Prado Museum.
These elements are arranged harmoniously on a table in front of a dark background, with great care applied to drawing, texture and light. In the same time range he also painted variants for his own business.
An oil on canvas 37 x 50 cm with a panoramic orientation featuring oranges, nuts, spices, boxes of sweetmeats, a jug and a cask on a table was sold for £ 3.5M from a lower estimate of £ 2M by Christie's on February 9, 2012, lot 642.
These elements are arranged harmoniously on a table in front of a dark background, with great care applied to drawing, texture and light. In the same time range he also painted variants for his own business.
An oil on canvas 37 x 50 cm with a panoramic orientation featuring oranges, nuts, spices, boxes of sweetmeats, a jug and a cask on a table was sold for £ 3.5M from a lower estimate of £ 2M by Christie's on February 9, 2012, lot 642.
1765 Sacrifice au Minotaure by Fragonard
2023 SOLD for € 5.7M by Artcurial
Fragonard was back in Paris in 1761 after five years in Italy. He was influenced by Rubens and by Giambattista Tiepolo.
In 1765 at 33 years old, his piece of reception at the Académie Royale was a mythological Coresus et Callirrhoé, of which King Louis XV ordered a Gobelins tapestry.
In the same year the artist conceived another Baroque theme of exacerbated passions. A group of young Athenian people and their parents are attending the sorting of who among them will be devoured by the Minotaur. A young woman in white dress is fainting after being attributed the bad ticket. Her mother in the foreground is desperate like Mary during the Crucifixion and the non elected attendants are relieved from their anguish without compassion for the designated victim. In the stormy sky, an allegory of the fate holds a trident.
A modello was sketched, certainly for being submitted to the King. Titled Un Sacrifice antique, dit Le sacrifice au Minotaure, this oil on canvas 72 x 91 cm was sold for € 5.7M from a lower estimate of € 4M by Artcurial on November 22, 2023, lot 77. Please watch the video shared by the auction house. The surrounding in a park and the vivid attitudes and colors remind Watteau.
No finished work was started, possibly because Fragonard long waited to be paid for the Coresus et Callirrhoé. That mood for antique passions follows by three years the Orpheus and Eurydice opera released in Vienna by Gluck.
In 1765 at 33 years old, his piece of reception at the Académie Royale was a mythological Coresus et Callirrhoé, of which King Louis XV ordered a Gobelins tapestry.
In the same year the artist conceived another Baroque theme of exacerbated passions. A group of young Athenian people and their parents are attending the sorting of who among them will be devoured by the Minotaur. A young woman in white dress is fainting after being attributed the bad ticket. Her mother in the foreground is desperate like Mary during the Crucifixion and the non elected attendants are relieved from their anguish without compassion for the designated victim. In the stormy sky, an allegory of the fate holds a trident.
A modello was sketched, certainly for being submitted to the King. Titled Un Sacrifice antique, dit Le sacrifice au Minotaure, this oil on canvas 72 x 91 cm was sold for € 5.7M from a lower estimate of € 4M by Artcurial on November 22, 2023, lot 77. Please watch the video shared by the auction house. The surrounding in a park and the vivid attitudes and colors remind Watteau.
No finished work was started, possibly because Fragonard long waited to be paid for the Coresus et Callirrhoé. That mood for antique passions follows by three years the Orpheus and Eurydice opera released in Vienna by Gluck.
