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Bernardo Bellotto

Italy (Venezia 1721 -  Varsavia 1780 ) Wikipedia® : Bernardo Bellotto
BELLOTTO Bernardo Perspective De La Facade De La Gallerie Roiale.

Galerie Koller /Mar 22, 2016
912.49 - 1,368.74
1,722.19

Find artworks, auction results, sale prices and pictures of Bernardo Bellotto at auctions worldwide.
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Variants on Artist's name :

Bellotto Bernardo Pseudonimo Canaletto

 

Artworks in Arcadja
150

Some works of Bernardo Bellotto

Extracted between 150 works in the catalog of Arcadja
Bernardo Bellotto - The Entrance To The Grand Canal And The Grand Canal

Bernardo Bellotto - The Entrance To The Grand Canal And The Grand Canal

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Lot number: 41
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Description:
Lot Description Bernardo Bellotto (Venice 1721-1780 Warsaw) Venice: The Entrance to the Grand Canal; and The Grand Canal from the Ca' da Mosto to the Fabbriche Nuove, with the Rialto Bridge oil on canvas 24 1/8 x 36 3/8 in. (61.2 x 92.4 cm.) (2)a pair Provenance (Possibly) Stratford Canning, 1st Viscount Stratford de Redcliffe (1786-1880); Christie’’’’’’’’s, London, 29 June 1878, lots 42 (‘THE GRAND CANAL, VENICE, with the church of Sta. Maria della Salute’’’’’’’’) and 43 (‘THE RIALTO—the Companion), as ‘Canaletto’’’’’’’’ (100 and 80 gns. respectively to Baen). Acquired circa 1880 by the great-great grandfather of the present owners. Pre-Lot Text Property of a Family Trust View Lot Notes >
Bernardo Bellotto - London, A View Of The Thames

Bernardo Bellotto - London, A View Of The Thames

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Lot number: 101
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Description:
English Follower of Canaletto LONDON, A VIEW OF THE THAMES FROM THE TERRACE OF SOMERSET HOUSE, LOOKING TOWARDS SAINT PAUL'S CATHEDRAL AND WESTMINSTER BRIDGE oil on canvas 24 by 40 in; 61.1 by 102 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Or Saleroom Notice
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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Description:
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."
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