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Bernardo Bellotto

Italy (Venezia 1721 -  Varsavia 1780 ) Wikipedia® : Bernardo Bellotto
BELLOTTO Bernardo Venice, A View Of The Grand Canal Looking East From The Campo Di San Vio, To The Left The Palazzo Correr

Sotheby's /Jan 27, 2016
1,381,088.30 - 1,841,451.06
2,764,384.00

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Variants on Artist's name :

Bellotto Bernardo Pseudonimo Canaletto

 

Artworks in Arcadja
148

Some works of Bernardo Bellotto

Extracted between 148 works in the catalog of Arcadja
Bernardo Bellotto - Vue De La Place De La Ville-neuve De Dresden

Bernardo Bellotto - Vue De La Place De La Ville-neuve De Dresden

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Lot number: 67
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Bernardo Bellotto (Venice 1720 - 1780 Warsaw) Vue de la place de la Ville-Neuve de Dresden, de la grande Allée qui aboutit à la Porte noire et des deux grandes Rues... (The Neumarkt Square at Dresden), 1750, etching on laid paper, titled, signed "Peint et gravé par Bernard Bellotto dit Canaletto Peintre Roial" in the plate, 53,8 x 84,6 cm, with margins along platemarks, De Vesme 14 I, Succi 1999 14 II (of II), framed, (Sch)
Bernardo Bellotto - Perspective De La Facade De La Gallerie Roiale.

Bernardo Bellotto - Perspective De La Facade De La Gallerie Roiale.

Original
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Lot number: 3440
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BELLOTTO, BERNARDO (Venice 1721 - 1780 Warsaw), CIRCLE OF Perspective de la Facade de la Gallerie Roiale. Pen and brown ink on laid paper with watermark: crescent. 47 x 70 cm (sheet size). BELLOTTO, BERNARDO (Venedig 1721 - 1780 Warschau), UMKREIS Feder in Braun auf Bütten mit WZ. Halbmond. 47 x 70 cm (Bogengrösse).
Bernardo Bellotto - A Capriccio River Landscape With A Church To The Left

Bernardo Bellotto - A Capriccio River Landscape With A Church To The Left

Original
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Lot number: 333
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Bernardo Bellotto VENICE 1722 - 1780 WARSAW A CAPRICCIO RIVER LANDSCAPE WITH A CHURCH TO THE LEFT oil on canvas 48.4 by 78.2 cm.; 19 by 30 3/4 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Private collection, Florence; Private collection, New York; With Moretti Fine Art, London; From whom acquired in 2011. Exhibited Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek, Canaletto, Bernardo Bellotto paints Europe, 17 October 2014 - 19 January 2015, no. 64. Literature S. Kozakiewicz, Bernardo Bellotto, London 1972, vol. I, p. 138, vol. II, p. 283, cat. no. 356, reproduced p. 282; E. Camesasca, L'opera completa del Bellotto, Milan 1974, p. 110, cat. no. 201, reproduced; A. Rizzi, Bernardo Bellotto: Dresda, Vienna, Monaco (1747-1766), Venice 1996, p. 161, cat. no. 140, reproduced; E.P. Bowron in The Burlington Magazine, 140, 1998, review of Bernardo Bellotto: Dresda, Vienna, Monaco (1747-1766), p. 48; W. Schmidt, Bernardo Bellotto genannt Canaletto in Pirna und auf der Festung Königstein, Pirna 2000, p. 166, reproduced p. 167; A. Schumacher (ed.), Canaletto, Bernardo Bellotto paints Europe, exhibition catalogue, Munich 2014, p. 278, cat. no. 64, reproduced in color. This arresting capriccio was painted by the Venetian Bernardo Bellotto, who with his uncle Antonio Canaletto set new standards in view painting. The peripatetic Bellotto travelled through much of Italy and Europe, and was feted in many of the courts of northern Europe. Training in his uncle's studio, and assisting with many of his great works from the 1740s, Bellotto was recognized as a rare talent even in his teenage years. By the time of his trip to Florence and Rome in 1742, Bellotto had already developed his own style, which, while much indebted to Canaletto's idiom, stands out for its increased precision in the description of architecture, its greater emphasis on atmosphere, and its cooler palette. By the time the present work was painted in around 1765, Bellotto had left his native Venice and his uncle's studio, and had already spent some eleven years in Dresden (1747-58), where he was the highest paid artist at the Saxon court and eventually appointed court painter. Between 1758 and 1766 Bellotto moved between the cities of Vienna, Munich and was once again in Dresden. Though Bellotto had painted capricci earlier in his career, such as the Architectural Capricci with Roman Motifs in the Galleria Nazionale in Parma, in which he made use of drawings from his trip to Rome in the mid-1740s, imaginary landscapes are relatively rare in his extensive oeuvre. 1 We can assume that the present capriccio is also based on drawings from different cities he had visited: the church to the left is reminiscent both of the Frauenkirche in Dresden and the Karlskirche in Vienna - as well as the basilica of the Salute in Venice. The church in the distance to the right resembles the Marienkirche in Pirna, while the tall edifice in the center recalls Sonnenstein Castle. Recent cleaning and conservation has restored the painting to its original size and shape, removing the clumsy additions along all four edges (fig. 1), which extended the canvas to 65 by 82 cm. The quality and the freshness of the paint surface, previously obscured by dirt and a discolored varnish, are now discernible once more, as are the rich contrasts between the pinks and blues. The figure of the fisherman, which had previously been painted over, also emerged. Bellotto used a similar format in his capriccio formerly with the Galerie Sanct Lucas, Vienna (49.5 by 80.5 cm.), as well as the work in the Terruzzi collection (46.5 by 78 cm.). 2 The capriccio in the Museo de Arte in Bilbao (fig. 2) also compresses the buildings and the narrative in much the same way as the present work. Another painting of comparable dimensions in the Fine Arts Gallery, San Diego, uses the same device of a partially-described tree to the left of the design. 3 The attribution has been endorsed by Dottoressa Bozena Anna Kowalczyk. 1. See Kozakiewicz, under Literature, pp. 95-99, cat. nos 126-129. 2. Ibid., p. 284, cat. no. 358, reproduced p. 285; A. Scarpa (ed.), Da Canaletto a Tiepolo, Milan 2008, p. 256, reproduced in color plate 19. 3. Kozakiewicz, op. cit., pp. 284-85, cat. no. 359, reproduced p. 285. Fig. 1 The present lot before extensions were removed Fig. 2 Bernardo Bellotto, Architectural Caprice with a Palace. Museo de Bellas Artes de Bilbao The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This canvas is unlined, and the reverse of the original canvas has been treated with an adhesive to address any immediate weakness. The paint layer is in lovely condition. The surface is clean and shows almost no restorations to the naked eye or under ultraviolet light, except in the lower sky on the right side where a few spots have been added. The legs of the male figure in the foreground show darkly under ultraviolet light, suggesting that this part of the figure has received retouches possibly as it had been previously over-painted (see catalog note). The remainder of the picture is clearly in remarkable condition. The work should be hung as is. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
Bernardo Bellotto - Venice, A View Of The Grand Canal Looking East From The Campo Di San Vio, To The Left The Palazzo Correr

Bernardo Bellotto - Venice, A View Of The Grand Canal Looking East From The Campo Di San Vio, To The Left The Palazzo Correr

Original
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Lot number: 50
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Bernardo Bellotto VENICE 1722 - 1780 WARSAW VENICE, A VIEW OF THE GRAND CANAL LOOKING EAST FROM THE CAMPO DI SAN VIO, TO THE LEFT THE PALAZZO CORRER Oil on canvas 24 by 38 3/8 in.; 61 by 97.5 cm. Provenance De Ville, Inc., Los Angeles, 1981 Anonymous sale ("Private Collection, Los Angeles"), New York, Christie's, 18 June 1982, lot 87 (as by Canaletto) Anonymous sale, London, Sotheby's, 11 December 1985, lot 24 (as Attributed to Canaletto) Acquired from the above sale by A. Alfred Taubman. Literature J.G. Links in W.G. Constable, Canaletto: Giovanni Antonio Canal 1697–1768, 2 nd edition revised by J.G. Links reissued with Supplement and Additional Plates, Oxford, 1989, II, p. 731, no. 187(b). M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, 2 nd ed., Cambridge, 1991, p. 27, under no. 387. M. Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, Venice, 1991, p. 86, no. A.36.1, as by Francesco Albotto. J.G. Links, Venice for Pleasure, 6 th ed., London, 1998, p. 72, colour pls. 12-13, as by Canaletto. M. Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, Venice, 2 nd ed., Venice, 2002, p. 127, no. A.36.1, illustrated, as by Francesco Albotto. This beautiful view of the Grand Canal from the Campo di San Vio is an exciting rediscovery from Bellotto's youthful period, circa 1742, painted while he was still in the studio of his uncle, Canaletto. There are no fewer than twelve variants by Canaletto of this composition, which evidently must have held a particular appeal for him, since it is of more subtle charm than the majority of the subjects which were most popular with his clientele. Versions are in the National Gallery of Scotland, Edinburgh; the Gemäldegalerie, Dresden; the Museo Thyssen-Bornemisza, Madrid; the Kress Collection at the Memphis Brooks Museum of Art, Tennessee; the Royal Collection at Windsor Castle; and the Pinacoteca di Brera, Milan, as well as in the collection of the Earl of Leicester at Holkham Hall and in other private collections (W.G. Constable, Canaletto: Giovanni Antonio Canal 1697–1768, II, London, 1962 [and editions of 1976 and 1989 revised by J.G. Links], nos. 182-192 and 191(b)). This painting was clearly accepted by J.G. Links as the work of Canaletto. He published it in the ‘Supplementary Index’’’’ at the end of his 1989 edition of W.G. Constable’’’’s catalogue of the artist’’’’s work, and selected it for illustration in the sixth edition of his popular Venetian guidebook Venice for Pleasure. That was published posthumously in 1998, and it was clearly due to an oversight that the description from the 1989 ‘Supplementary Index’’’’ was not repeated in his Supplement to W.G. Constable’’’’s Canaletto: Giovanni Antonio Canal 1697-1768, also published posthumously in the same year. It is surely due to this omission, and its inaccessibility in the Taubman Collection for more than thirty years, that the painting has evaded scholarly discussion. The last fifteen years have seen dramatic advances in our knowledge of the early, Venetian, period of Canaletto’’’’s nephew Bernardo Bellotto and a consequent expansion of his œuvre (see, for instance, C. Beddington, ‘Bernardo Bellotto and his circle in Italy, Part I: Not Canaletto but Bellotto’’’’, The Burlington Magazine, CXLVI, No. 1219, October 2004, pp. 665-74, and B.A. Kowalczyk, Catalogue of the exhibition Canaletto e Bellotto: L’’’’ arte della veduta, Palazzo Bricherasio, Turin, 2008). In the light of these, the painting can be seen as characteristic of the re-workings of Canaletto’’’’s compositions which were produced by his no less talented, and indeed extraordinarily precocious, nephew Bernardo Bellotto, during the years of his formation in his uncle’’’’ s studio. In composition the painting is closest to Canaletto’’’’s version in the Royal Collection, which is datable to around 1729, and it is, indeed, in many respects based upon it (Constable, op. cit., I, pl. 39; II, no. 184). That painting remained in Venice in the home of its first owner, Joseph Smith, later British Consul, until 1762. The entirely different colouring of the clothing here strongly suggests, however, that the source was the engraving after the Royal Collection version by Antonio Visentini, plate IV of the first edition of his celebrated set of prints after Canaletto, the Prospectus Magni Canalis Venetiarum published in 1735 (fig. 1). This painting is far from a slavish copy. The large sailing boat which dominates the central section of Canaletto’’’’s composition is here omitted; consequently the central gondola is moved higher up the picture plane, and is accompanied by a sandalo seen from the stern in sharp foreshortening. The sandalo to the immediate left of those replaces an entirely different one heading in the opposite direction in Canaletto’’’’s painting. The cloud formations vary considerably. Here the figure types are entirely different, and a gentleman in a cape and tricorn shown in profile at lower right replaces a much more humble figure facing away from the viewer in Canaletto’’’’s painting. The sailing boats next to the Dogana are different, and here there is a large ship moored in the Bacino di San Marco. The very distinctive areas on the wall of the Palazzo Barbarigo on the right where the stucco has decayed to reveal the brickwork below, and the staining of the stucco where rainwater has dripped lower down this wall and below the chimneys of the Palazzo Correr to the left are freshly introduced and exquisitely observed details. Such ‘improvements’’’’ are characteristic of the young Bellotto’’’’s versions of his uncle’’’’s works. As is almost invariably the case, Bellotto’’’’s version is significantly larger than the prototype, which measures 18 ½ x 31 ⅛ in. Also characteristic of Bellotto’’’’s style rather than his uncle’’’’ s are the application of the sky in diagonal strokes from upper right to lower left, the formula for the ripples in the water, and the widespread use of incising to establish the main lines of buildings and to run straight down for the reflections thereof. This last is not as evident as it is often in Bellotto’’’’s work of this period due to the unusually good condition of this painting. The reflections themselves are executed in small horizontal strokes. The colouring is distinctive, with a copious use of black and a fairly cold light. The pale blue of the shirt of the man in the sailing boat on the left and the mauve of the shirt of the man seated on the steps on the right are characteristic Bellotto colours. The faces of the figures have tiny pink dots for noses and black dots for eyes and mouths. The young painter’’’’s able hand is already able to render the contrasting textures of stucco, stone and sailcloth, and roof tiles are covered in tan dotting throughout. Bellotto aimed, during his formative years, to cover all of his uncle’’’’s more successful compositions, and it is perhaps surprising that this is the only painting of the subject by him known to survive. One other version is, however, recorded, that painted for Henry Howard, 4 th Earl of Carlisle, who was in Venice on the Grand Tour from November 1738 for several months, for Castle Howard, where it was destroyed by fire in 1940 (fig. 2). Slightly smaller than this painting, it measured approximately 23 ¼ x 35 ¼ in. and its appearance is known from a photograph of the wall on which it hung in the ‘Canaletto Room’’’’ at Castle Howard (see, for instance, D. Succi, Catalogue of the exhibition Bernardo Bellotto detto il Canaletto, Barchessa di Villa Morosini, Mirano, 1999, p. 53, fig. 34). From that it appears to follow Visentini’’’’s engraving quite closely, although with a quay shown on the near side of the Campo di San Vio at bottom right, and with some variation in the cloud patterns. That painting may be presumed to have dated from 1739. In this painting traces of youthful uncertainty are confined to a hesitancy in the drawing of domes, and a residual tendency for boats to sit on rather than in water. Its confident handling and its extensive subtle deviations from the prototype suggest that it dates from a couple of years later, when Bellotto was already around twenty years old. Sotheby’’’’s would like to thank Charles Beddington for writing the catalogue essay for the present lot. Fig. 1 Antonio visentini, engraving after canaletto Fig. 2 The Canaletto Room at castle howard, circa 1928
Bernardo Bellotto - Vue Intérieur Des Pavillons Et Des Galleries Du Zwinger

Bernardo Bellotto - Vue Intérieur Des Pavillons Et Des Galleries Du Zwinger

Original 1758
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Lot number: 13
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Bernardo Bellotto gen. Canaletto 1720 Venedig - 1780 WarschauVue intérieur des Pavillons et des Galleries du Zwinger. 1758.Etching. De Vesme 22. Kozakiewicz 166. Signed, dated and inscribed in plate. Excellent and strong impression on laid paper, with broad margin. 54 x 83.3 cm (21.2 x 32.7 in). Sheet: 65,8 x 94,3 cm (25,9 x 37,1 in).Very rare sheet, as the plate, etched in 1758, was destroyed in the artist's house during a Prussian raid on Dresden in 1760. [CB]
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