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Pietro Bellotti

Italy (Roè Vociano 1627 -  1700 ) Wikipedia® : Pietro Bellotti
BELLOTTI Pietro Study Of A Peasant

Christie's
Dec 5, 2012
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Artworks in Arcadja
54

Some works of Pietro Bellotti

Extracted between 54 works in the catalog of Arcadja
Pietro Bellotti -  Dolo, On The Brenta; And Padua Seen From The Outskirts, With The Torre D\’ezzelino And The Basilica Di Sant\’antonio

Pietro Bellotti - Dolo, On The Brenta; And Padua Seen From The Outskirts, With The Torre D\’ezzelino And The Basilica Di Sant\’antonio

Original 1725
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Gross Price
Lot number: 219
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Description:
Pietro Bellotti (Venice 1725-before 1818 ?Toulouse) Dolo, on the Brenta; and Padua seen from the outskirts, with the Torre d\\\’Ezzelino and the Basilica di Sant\\\’Antonio the first signed 'Bellotti Dit Canalletti' (lower right) oil on canvas 19 3/4 x 12 5/8 in. (50cm x 32cm) (2)a pair Pietro Bellotti was the younger brother of Bernardo Bellotto, and like him used the name by which their maternal uncle, Antonio Canal, Canaletto was known. The researches of Charles Beddington and Domenico Crivellari, published in the exhibition catalogue Pietro Bellotti, un altro Canaletto, Venice, Ca\\\’ Rezzonico, 2013-4, have clarified a sustained, if at times itinerant, career that evidently began in the uncle\\\’s workshop and took the artist by way of Genoa, Nantes, Paris and London to Toulouse. Many of Bellotti\\\’s pictures were based on compositions by Canaletto, and of this pair one follows the latter\\\’s etching, Le porte del Dolo (W.G. Constable, Canaletto, Oxford, 1962, etchings, no. 3), while the other was taken from the second of a set of six engravings by Fabio Berardi, Sei Villaggi Campestri (Constable, I, p. 619, no. 52.2), showing the outskirts of Padua with the Torre d\\\’Ezzelino and the Basilica di Sant\\\’Antonio in the distance, which was based in reverse on a drawing by Canaletto (Constable, no. 685). The view of Dolo is of particular interest as one of the few pictures Bellotti is known to have signed. Four signed capricci were published by Beddington in the 2013-4 exhibition catalogue (nos. 40-3). Saleroom Notice Please note each painting measures 19. 3/4 x 12. 5/8 in. (50cm x 32cm) Pre-Lot Text PROPERTY OF A PRIVATE EUROPEAN COLLECTOR
Pietro Bellotti - An Old Philosopher At Her Desk, With A Vanitas Skull And An Hourglass

Pietro Bellotti - An Old Philosopher At Her Desk, With A Vanitas Skull And An Hourglass

Original 1670
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Lot number: 48
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Pietro Bellotti

VOLCIANO 1625 - 1700 GARGNANO

AN OLD PHILOSOPHER AT HER DESK, WITH A VANITAS SKULL AND AN HOURGLASS

oil on canvas

31 1/8 by 26 9/8 in.; 79 68.2 cm.

Provenance

Possibly Farsetti collection, Venice;

Anonymous sale ("Property of a Private Collector"), New York, Christie's, 31 May 1990, lot 80.

Literature

L. Anelli, Pietro Bellotti: 1625–1700, Brescia 1996, p. 303, reproduced p. 307, fig. 264.

Catalogue Note
Luciano Anelli dates this picture to circa 1665-70 and considers it to pre-date the Old Philosopher with a Manuscript and a Seedling, which is dated 1670.
1. L. Anelli, Pietro Bellotti: 1625–1700, Brescia 1996, p. 306, reproduced p. 308, fig. 265.
Pietro Bellotti - Study Of A Peasant

Pietro Bellotti - Study Of A Peasant

Original -
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Lot number: 240
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Lot Description

Pietro Bellotti (Volzano 1627-1700 Gargnano) Study of a peasant oil on canvas 26 1/8 x 20 in. (66.3 x 50.8 cm.)

Lot Condition Report
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Literature

L. Anelli, Pietro Bellotti 1625-1700, Brescia, 1996, pp. 256-7, 287, and 372, note 124, no. R15.

Exhibited

Anonymous sale; Finarte, Rome, 11 November 1980, lot 101. with Gianfranco Schreiber, Brescia. Private collection, Brescia.

View Lot Notes ›
This Study of a peasant was identified as a work by Pietro Bellotti at the time of the Finarte sale in 1980, and was subsequently included in Professor Luciano Anelli's catalogue raisonné on the artist (op. cit.). The attribution has been further endorsed by Federico Zeri and Eduard A. Safarik (ibid.). Professor Anelli links this picture with other works that he dates to the period between 1674 and 1681, when Bellotti was working in Venice, notably the Portrait of an old woman with a skull, in the Musée d'Art et d'Histoire, Nîmes. Pictures by Bellotti have often erroneously been attributed to Ribera and Langetti. An alternative attribution to The Master of the Annunciation of the Shepherds has been proposed for this painting.
Pietro Bellotti - A Family Of Beggars

Pietro Bellotti - A Family Of Beggars

Original
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Lot number: 450
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Description:
Pietro Bellotti (Salò 1627 – 1700 Gargnano)
A family of beggars,
oil on canvas, 137 x 101 cm, framed

The present painting is an example of a body of works assigned to the \“peintres de la réalité\”, a movement, or rather, a view of the world that spread in Europe following the Caravaggesque artistic revolution in Italy together with a profound influence from Spanish painting. It is evident that the painter of the present composition was perfectly familiar with this genre. According to Marco Boschini, it is the detailed rendering of the physiognomies that points to Pietro Bellotti. The artist, who was born in Garda, adopted both Lombard and Venetian influences. He worked for Cardinal Mazarin and the Bavarian prince elector and was thus at home in diverse developments of realism. The great sensitivity and the immediacy of experience conveyed to the spectator are particularly suggestive of Bellotti. The artist himself died impoverished at an old age in his native country. The present painting is primarily striking because of the dignity of the old man, his expression of wisdom being equal to that of Ribera\’\’ \’\’s philosophers. The work thus seems to date from the artist\’\’\’\’s maturity and fits in well with the tradition of realism in painting in Brescia (comp. Anelli Luciano, Pietro Bellotti, 1625–1700, Brescia, Grafo Edizioni, Brescia 1996, Pietro Bellotti tra realtà e genere. Pittura in Lombardia e Veneto alla fine del Seicento, Brixiantiquaria, Brescia 2007).
We are grateful to Dr. Andrea G. De Marchi for suggesting this attribution after examining the painting in the original.
We are also grateful to Dr. Filippo Ferro for confirming the attribution on the basis of a photograph.
Pietro Bellotti - Self-portrait Of The Artist As Laughter

Pietro Bellotti - Self-portrait Of The Artist As Laughter

Original
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Lot number: 51
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Pietro Bellotti (Bolzano 1625-1700Warsaw)Self-portrait of the artist as LaughterOil on canvas54.5 x45.7 cm (21 7/16 x 18 in)Literature: Luciano Anelli, PietroBellotti 1625-1700, Grafo 1996, pg. 133 (for an illustration of theversion in the Pinacoteca de Brera, Milan) Engraved: A versionengraved by Antonio Pazzi, preliminary drawning by GiovanniDomenico Campiglia The present painting is one of a number ofautograph versions of Pietro Bellotti's Self-portrait as Laughter,each with slight variations. The first of 1658 is in the Pinacotecade Brera, Milan. A second version is in the Galleria degli Uffizi,Florence, signed and dated March 1658, and a third, dated 1664 wasformerly known as being part of the Scheufelen Collection,Stuttgart, this version is the closet in composition to the presentpainting.The artists depicts himself with a wry smile, holding aglass of wine and a gold chain with a medallion, this gave him theopportunity to display his talents at depicting such objects, italso enables him to portray his success and rewards as anartist.
condition report
Relined, craqueleure, scatteredretouching/infilling thoughout visible under UV light
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