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Filippo Baratti

Italy (1868 -  1901 )
BARATTI Filippo Waterloo Place

Apr 20, 2005
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Artworks in Arcadja

Some works of Filippo Baratti

Extracted between 22 works in the catalog of Arcadja
Filippo Baratti - In The Harem

Filippo Baratti - In The Harem

Original 1882


Gross Price
Lot number: 166
LOT 166
ITALIAN, 1868-1901
10,000—15,000 GBP
41 by 32cm., 16¼ by 12½in.
signed, inscribed and dated F. Baratti / Paris / 1882 lowerright; signed, inscribed, dated and titled F. Baratti / Paris /1882 / Vie Orientale on the reverse
oil on panel
Sale: Sotheby's, London, 13 June 2006, lot 211Purchased at the above sale by the present owner
Filippo Baratti - Life Guards Passing Hyde Park Corner

Filippo Baratti - Life Guards Passing Hyde Park Corner



Net Price
Lot number: 115
christie's london, 26 june 1987, lot 28;
although there is little more biographical information on the artist, we can trace his movements through europe by his dated works. his earliest orientalist works are painted at the alhambra palace, granada, in the 1870s, and he appears to be working in paris in 1883, before moving to london, where he produced a number of impressive city scenes between 1884 and 1886, including a view of whitehall in 1884, 'st. paul's cathedral from aldgate' (1885), and 'waterloo place' (1886, sold in these rooms, 18 march 2003, lot 82). baratti then appears to have returned to france, where there are a number of works dated from the early 1900s.
born in trieste, filippo baratti participated in the 1868 esposizione di belle arti, held in the brera gallery in milan. for the next four years he regularly exhibited works at the società promotrice di belle arti of turin. while the majority of his paintings were of an orientalist flavour, painted in the highly polished and naturalistic style of his french contemporary, jean-léon gérôme, baratti also ventured into historical painting, as well as producing a number of highly detailed scenes of city life which date from the mid 1880s.
signed and dated 'ph. baratti/london 1885' (lower right)
Filippo Baratti - Waterloo Place

Filippo Baratti - Waterloo Place

Original 1886


Gross Price
Lot number: 121

F. Baratti
and dated

oil on canvas



Corporate Collection, United Kingdom


The present painting,
Waterloo Place
, together with

St. Paul's Cathedral from Aldgate, Fleet Street, looking
, is dated 1886. These two paintings appear to be the last
works recorded by Filippo Baratti during his stay in London. The
architect John Nash's magisterial scheme to provide a grand
thoroughfare connecting Marylebone Park (now Regent's Park) to the
Prince Regent's palatial London home at Carlton House, was the
capital's largest civic project since the rebuilding of the city
after the great fire of 1666. A monumental undertaking of immense
cost, work began in 1813 but gathered pace in 1815 when the Battle
of Waterloo finally ended a generation of war against Revolutionary
France. The Duke of Wellington's decisive defeat of Napolean's army
outside Brussels was hailed throughout Europe as the greatest
victory in military history, yet, in London, only two tangible
reminders of Wellington's triumph commemorated its name; one was
Waterloo Bridge, opened on the second anniversary of the battle on
June 19, 1817, and the other was Waterloo Place, begun the previous
year to mark the final phase of Nash's plans by linking Regent
Street to the gates of Carlton House.

Nash conceived Waterloo Place as far more than a mere street,
however, it was designed as much to frame a suitably impressive
vista down Lower Regent Street, as to provide a means of access.
Almost completed in 1820, in 1821 it was even suggested that
'Cleopatra's Needle' - presented to Britain by the Turkish Viceroy
of Egypt in 1819- be sited in Waterloo Place as its central
feature. The idea floundered when the obelisk itself proved
impossible to move from the ancient landscape outside Alexandria.
At about the same time, the Prince Regent had succeeded to the
throne as King George IV and taken up residence in Buckingham
Palace, leaving Carlton House empty and stripped of its

Despite the money lavished upon it during the Regency, the house
itself was demolished in 1826 and Carlton House Terrace, in fact
consisting of two splendid terraces, was erected on the site
between 1827 and 1832. This resulted in the unexpected extension of
Waterloo Place so as to link it with the Carlton House terraces and
The Mall beyond. The Athenaeum and the United Services Club, both
recently established, then acquired the flanking sites on Pall Mall
while the construction of Carlton House Terrace was in progess. In
1833, when the Duke of York's column was erected above the steps at
the southern end, the development of Waterloo Place was finally
completed. The Crown Commissioners, owners of the entire area, had
begun by insisting that the Pall Mall facades of the two Clubs
should be identical, but after a lengthy wrangle between the
various parties, including Nash himself as architect to the United
Services Club, the buildings, when erected, boasted only similar
elevation. Broadly speaking however, Nash's dream of an
architecturally harmonious route across the heart of the capital
had been achieved and the scheme in its entirety was to remain
essentially unchanged until the beginning of the twentieth

Baratti, though mainly known for his Orientalist compositions,
captures the energy of this impressive square. When the artist set
up his easel in 1886, he saw Waterloo Place much as John Nash had
left it fifty or so years before. From Baratti's vantage point on
the south side of Pall Mall, the modest cupola of the National
Gallery to the east rises above Trafalgar Square, although the
spire of St. Martin-in-the-Field's Church intrudes with an impudent
touch of artistic license when, in truth, it would be just out of
sight. North of Pall Mall, the solid block of dwellings and
commercial premises on the eastern side of Waterloo Place appears
just as Nash had completed it and, in fact, the only element which
John Nash would not have recognized instantly is the Guard's
Memorial, or Crimean Monument, erected to the memory of the 2,162
officers and men of the Guard's Division who were slain in the
Russian War of 1854-6. Designed by John Bell, this imposing granite
pedestal, topped by a figure of Victory and fronted by three
guardsmen, was unveiled in 1859.

Despite the grandeur of the architecture, Baratti's real
achievement here is to have captured the prosperous bustle of late
Victorian London at a time when the city was the richest in the
world. Pall Mall, teeming with cabs and carriages, and the Circus
filled with people from every stratum of society, was simply a
microcosm of a nation, charmingly recorded for posterity by
Filippo Baratti - La Sultane, Patio De Los Arrayanes (court Of Myrtles), The Alhambra Palace

Filippo Baratti - La Sultane, Patio De Los Arrayanes (court Of Myrtles), The Alhambra Palace



Net Price
Lot number: 89
, p. 355.
a dictionary of european genre painters
born in trieste, filippo baratti participated in the 1868 esposizione di belle arti held at the brera gallery in milan and for the next four years he exhibited work at the società promotrice di bella arti of turin. the majority of baratti's work does depict orientalist subjects, executed in a highly polished and naturalistic style, a number were also set in the alhambra palace, granada. illustrated: p. hook & m. poltimore,
signed 'f baratti' and dated '1901', signed and inscribed on the reverse
oil on canvas
Filippo Baratti - An Oath Of Allegiance In The Hall Of The Abencerrajes, Alhambra, Granada

Filippo Baratti - An Oath Of Allegiance In The Hall Of The Abencerrajes, Alhambra, Granada

Original 1879


Gross Price
Lot number: 10
Filippo Baratti (Italian, fl. 1868-1901)
An oath of allegiance in the Hall of the Abencerrajes, Alhambra, Granada
signed and dated 'F.Baratti 1879' (lower left); and signed, inscribed and dated 'Sommersgione Sala degli Abenceraggi nel Palazzo dell'Alhambra Granada Spagna. Dipinto da Filippo Baratti per Il Signor James Webb Londra 1879' (on the reverse)
oil on canvas
23 1/8 x 33 in. (58.8 x 83.8 cm.)
Painted in 1879
Pre-Lot Text
James Webb, London, acquired directly from the artist in 1879 (according to an inscription on the reverse). Anon. sale, Sotheby's London, 22 November 1983, lot 10 (as The surrender). Mathaf Gallery, London. Acquired from the above by the present owner.
C. Juler, Le Orientalistes de l'école Italienne, Paris, 1992, p. 29 (as La Reddition, illustrated).
Lot Notes
Painted in 1879, for 'Signor James Webb' (possibly the Victorian painter), The oath of allegiance is one of the earliest paintings by Baratti with an Oriental subject. The scene depicts an act of fealty to one of the Nasrid rulers of Granada (1230-1492), possibly recounting an episode from one of the romantic fables of chivalric deeds depicted in the painted vaults of the Hall of Kings in the Alhambra palace. Although the Alhambra was the inspiration for a number of Orientalist painters, such a specific choice by Baratti in this case is unusual. It is not a coincidence, however, that an illustrated guide to Moorish Andalusia, L'Espagne, written by Baron Jean-Charles Davillier (1823-83), was published by Hachette in Paris in 1874 and in other European countries shortly after. It is more than likely that either Baratti's patron, James Webb, or the artist himself, were not only aware of L'Espagne, but that it influenced them in their choice of subject. Baron Davillier reproduced details of the rooms, courts and objects of both the Alhambra and the Alcazar in Seville using illustrations by Gustave Doré. With Davillier's descriptions and Doré's illustrations as a guide, Baratti has set the scene in the Hall of the Abencerrajes, with its superbly decorated tile and carved plaster walls, which he has captured magnificently in the present work. This splendid architectural setting was embellished with the finest products of local workshops. To the left of the entrance Baratti has included one of the famous 'Alhambra' vases. The glazed, wing-handled vases were made in Malaga in the 14th/15th century, and one of which is illustrated in Davillier's book. Baratti may also have seen another, albeit less complete vase, in the collection of the Italian painter, Mariano Fortuny y Marsal (1841-74), a close friend of Davillier. Fortuny's vase (fig. 1), now in the Smithsonian Institution, Freer Gallery of Art, Washington D.C. (no. 03.206), has an opaque white glaze, overglaze-painted in blue and golden lustre, and might possibly have provided Baratti with the colour details for the vase in the present painting. Even the vase stand, designed by Fortuny, with its four lions, based on the Lion Court Fountain, has been included in Baratti's painting. Baratti's attention to such details, as well as his lavish depictions of Moorish architecture and costume, made his Alhambra paintings among his most sought after. A depiction of an unidentified room in the Alhambra by Baratti, painted in 1878, was sold at Christie's New York, 1 November 1995 .
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