Filippo Baratti

Italy (18681901 ) - Artworks
BARATTI Filippo La Sultane, Patio De Los Arrayanes (court Of Myrtles), The Alhambra Palace

Sotheby's /Nov 2, 2004
57,836.91 - 86,755.37
57,487.79

Find artworks, auction results, sale prices and pictures of Filippo Baratti at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert
Artworks in Arcadja
19

Some works of Filippo Baratti

Extracted between 19 works in the catalog of Arcadja
Filippo Baratti - In The Harem

Filippo Baratti - In The Harem

Original 1882
Estimate:

Price:

Gross Price
Lot number: 166
Other WORKS AT AUCTION
Description:
LOT 166 PROPERTY FROM A PRIVATE COLLECTION - FILIPPO BARATTI ITALIAN, 1868-1901 IN THE HAREM 10,000—15,000 GBP measurements 41 by 32cm., 16¼ by 12½in. Description 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 PROVENANCE 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

Original
Estimate:

Price:

Net Price
Lot number: 115
Other WORKS AT AUCTION
Description:
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
Estimate:

Price:

Gross Price
Lot number: 121
Other WORKS AT AUCTION
Description:
DESCRIPTION signed F. Baratti and dated 1886 (lower right) oil on canvas signed PROVENANCE Corporate Collection, United Kingdom CATALOGUE NOTE The present painting, Waterloo Place , together with St. Paul's Cathedral from Aldgate, Fleet Street, looking East , 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 treasures. 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 century. 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 Baratti.
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

Original
Estimate:

Price:

Net Price
Lot number: 89
Other WORKS AT AUCTION
Description:
, 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, footnote: 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
Estimate:

Price:

Gross Price
Lot number: 10
Other WORKS AT AUCTION
Description:
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 THE PROPERTY OF A PRIVATE COLLECTOR Provenance 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. Literature 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 ($129,000).
Arcadja LogoProducts
Subscriptions
Advertising
Sponsored Auctions
Subscriptions

Who we are
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr