Mose Bianchi

Lot Description Mose' Bianchi (Monza 1840-1904) Pescatore chioggioto Siglato "MB" in basso a destra olio su tavola 26x34 cm Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Literature Mostra commemorativa di Mosè Bianchi, Monza 1924, p. 68, n. 29. U. Nebbia, Mosè Bianchi, Busto Arsizio 1960, tav. XV e fig. 51 P. Biscottini, Mosè Bianchi. Catalogo ragionato, Milano 1996, p. 291, cat. 395. Exhibited Mostra commemorativa di Mosé Bianchi, Monza 1924, n. 29

Lot 18 Mose di Giosue Bianchi Italian, 1840-1904 Along the Promenade, circa 1875 Monogramed (lr); inscribed on the verso Maria Elvira Celia Mendez de Bernasconi/1977 Pencil and gouache on paper 16 1/2 x 11 3/8 inches (42 x 29 cm) C Estimate $3,000-5,000 Taped to mat at top verso edge with two small pieces of archival tape. Slight buckle to the paper at top edge. Some surface dirt. Some water spots, may have occurred during the creation of this work. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

Sale A148 Lot 3471 - 27 March 2009 14:00 BIANCHI, MOSÈ DI GIOSUÈ (1840 Monza 1904) Sketch of a fresco for the railway station of Monza. Brown pen, black chalk. Signed and inscribed in pencil on lower right: Mosé Bianchi, studi per l'affresce alle stazione di Monza. 23 x 38 cm (vis. dim.). Framed. Provenance: - Collector's monogram: SC in oval, recto, not in Lugt. CHF 1 000.- / 1 500.- € 660.- / 990.- BIANCHI, MOSÈ DI GIOSUÈ (1840 Monza 1904) Freskenentwurf für den Bahnhof von Monza. Feder in Braun, schwarze Kreide. Mit Bleistift unten rechts signiert (?) und bezeichnet: Mosé Bianchi, studi per l'affresce alle stazione di Monza. 23 x 38 cm (licht). Gerahmt. Provenienz: - Sammlermonogramm: SC im Oval, recto, nicht bei Lugt CHF 1 000.- / 1 500.- € 660.- / 990.-

Mosè Bianchi (Italian, 1840-1904) Lupo di Mare or Il Nocchiero signed twice 'Mose. Bianchi/M. Bianchi' (lower left) oil on panel 29 x 19¾ in. (74 x 50 cm.) Provenance (possibly) Ida Rava Blum, Milan. Guido Furla, Milan. Acquired from the above by Sig. Alfredo Castelli, 1936, for L14,000. with Glauco Cavaciuti, Milan. Acquired from the above by the present owner. Literature Esposizione di Belle Arti di Brera, Milan, 1885, p. 17, no. 165. G. Macchi, 'A Brera IV', in La Lombardia, 15 September 1885, p. 1. Esposizione della Società per le Belle Arti ed Esposizione Permanente, 1887, p. 35, no. 357. Catalogo della Mostra commemorativa di Mosé Bianchi, Monza, 1924, p. 60, no. 7, illustrated plate XLVII. G. Marangoni, Mosè Bianchi, Bergamo, n.d., p. 256, illustrated (other variant, see note below). P. Biscottini, Mosè Bianchi, Catalogo Ragionato, Milan, 1996, p. 290, no. 393 (photograph of other variant, with exhibition history of the present work). Exhibited Milan, Esposizione di belle Arti di Brera, 1885, no. 165. Milan, Società per le Belle Arti ed Esposizione Permanente, 1887, no. 357. Monza, Mostra Commemorativa alla Villa Reale, 1924, no. 7. Lot Notes The history of the present work has for a long time been confused with that of another variant of the same subject. Biscottini ( op. cit.), unaware of the existence of two versions, uses the photograph and early provenance of one work, and marries them to the exhibition history of this one. Both the photograph and the Ida Rava Blum provenance were first listed in Marangoni ( op. cit., which although undated, was certainly published in the late 1920s or early 1930s), to which Biscottini adds: " presumably (our italics), this is the same work that Mosè Bianchi exhibited at the Esposizione Permanente di Milano in 1887. Gustavo Macchi described 'il Nocchiero who is shielding his eyes from the sun, reproducing an already mentioned motif' further commenting on 'the subtlety of tones, the fluidity of the whole composition, which make a particularly admirable painting.'" Macchi's comments suggest that possibly two versions of the painting were already exhibted in 1887. Further, Biscottini's exhibition history lists the Marangoni painting as having been exhibited at Monza in 1924 - the label of which is in fact attached to the present work, complete with the same title as mentioned by Macchi, Il Nocchiero. Mosè Bianchi was one of the most important Italian painters of the late 19th century, whose subtle and luminous palette not only placed him at the forefront of Italian naturalism, but was also deftly able to translate the subtle harmonies of light and water, so notable in his marine paintings. A pupil of the famous Academy at Brera - which despite its conservative outlook and classical training, also produced such avant-garde artists such as Angelo Morbelli and Giovanni Segantini - Bianchi was soon caught in the cross-currents of modern European Art. Although his emphasis on light and colour places him alongside contemporary movements such as the Macchiaioli, he absorbed a more diverse number of influences, and was more cosmopolitan in outlook than many of his Tuscan peers. Bianchi quickly eschewed the linear style and historial subject matter of the Academy to produce socially realist genre scenes in the style of Domenico Induno, and public frescoes which in their colouring showed a strong indebtedness to Giambattista Tiepolo. In 1869, Bianchi travelled to Paris for three months, where he assmilated the work of the French realists - in particular Ernest Meissonier - soon afterwards gaining recognition abroad with exhibitions of his work in cities including Vienna, Paris, Munich and London. The present work is typical of Bianchi's late style. From about 1880, he concentrated on depicting daily scenes on the Venetian Lagoon, becoming almost exclusively a painter of outdoor life, which are noted for their muted atmospheric tones, pointed with strong dashes of colour that recall the bright tones of Tiepolo. Chioggia, a coastal town just a few miles to the South of Venice, was one of the artist's favourite subjects, featuring the daily lives of the fishermen, sailors and their families. In this work, "Lupo di Mare" (or "Sea dog"), or Nocchiero (Italian sailor jargon, roughly translatable as the master of a ship) is shown looking towards the horizon in windy winter weather. The artist has captured the ever-changing grey tones of the sky and sea within an original and very dramatic diagonal composition. In addition to the variant illustrated in Marangoni and Biscottini, Bianchi also reproduced this composition in a watercolour entitled "Chioggia" and an etching. We are grateful to Giorgio Cavaciuti for his assistance in establishing the provenance of the present work.

signed and inscribed MBIANCHI Chioggia l.l. and signed with initials and numbered 447 on the reverse oil on panel PROVENANCE Juan and Felix Bernasconi (purchased from the artist) Sale: Christie's, London, 27 March 1987, lot 284 Purchased by the present owner at the above sale CATALOGUE NOTEThe verso depicts a sketch of a Venetian carnival.