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Gherardo Poli

Italy (1680 -  1740 )
POLI Gherardo A Mediterranean Harbour With Stevedores And Other Figures On The Quay, Men'o-war And Other Shipping Beyond

Christie's
Jul 6, 2007
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Artworks in Arcadja
51

Some works of Gherardo Poli

Extracted between 51 works in the catalog of Arcadja
Gherardo Poli - Représentation Théatrale Dans Un Paysage De Fantaisie Architecturale

Gherardo Poli - Représentation Théatrale Dans Un Paysage De Fantaisie Architecturale

Original
Estimate:

Price:

Lot number: 26
Other WORKS AT AUCTION
Description:
LOT 26
GHERARDO ET GUISEPPE-ANTONIO POLI

FLORENCE 1674 - APRÈS 1739 PISE / VENISE 1700 - 1767 ?
REPRÉSENTATION THÉÂTRALE DANS UN PAYSAGE DE FANTAISIE ARCHITECTURALE

GHERARDO AND GUISEPPE-ANTONIO POLI ; THEATRICAL PERFORMANCE IN A FANTASY LANDSCAPE ; OIL ON CANVAS

Huile sur toile
81 x 140 cm ; 32 by 55 in
Gherardo Poli - A Capriccio Of A Town With Elegant Figures Arriving On Horsebackand In Carriages

Gherardo Poli - A Capriccio Of A Town With Elegant Figures Arriving On Horsebackand In Carriages

Original
Estimate:

Price:

Gross Price
Lot number: 80
Other WORKS AT AUCTION
Description:
LOT 80
PROPERTY FROM A PRIVATE COLLECTION
GHERARDO POLI
FLORENCE 1674 - PISA AFTER 1739
A CAPRICCIO OF A TOWN WITH ELEGANT FIGURES ARRIVING ON HORSEBACKAND IN CARRIAGES, A COUPLE DANCING IN THE CENTRE OF THESQUARE;
A CAPRICCIO OF A TOWN WITH FIGURES ON HORSEBACK RESTING FORREFRESCHMENTS, A MAN BEING DRAWN IN A CART IN THE FOREGROUND
40,000—60,000 GBP
measurements
measurements note
each: 57 by 82.4 cm.; 22 1/2 by 32 1/2 in.
Description
a pair, both oil on canvas
Quantity:
2
CATALOGUE NOTE
Both this and the following lot are fine unpublished examples ofthe genre of painting in which Gherardo and his son Giuseppespecialised. Their fantastical cityscapes or capricci arepopulated with hundreds of bustling figures, their compositionsheavily inspired by the engravings of Jacques Callot and Stefanodella Bella. Although Gherardo was born in Florence, both artistswere active for most of their lives in Pisa and a number of theircapricci are inspired by real views of the squares in eitherPisa or Florence, thus appealing to both local and foreign patronsalike. The theatrical nature of their scenes is heightened by theirstage-like setting: fantastical buildings, loosely inspired by realarchitecture, act as a backdrop to the weaving lines ofprotagonists, whose colourful costumes not only increase theirdecorative quality but also characterise the work of bothartists.
Gherardo Poli - A Mediterranean Harbour With Stevedores And Other Figures On The Quay; And A Mediterranean Harbour With Figures On The Quay

Gherardo Poli - A Mediterranean Harbour With Stevedores And Other Figures On The Quay; And A Mediterranean Harbour With Figures On The Quay

Original
Estimate:

Price:

Gross Price
Lot number: 257
Other WORKS AT AUCTION
Description:
Gherardo Poli (Florence 1676-1746 Pisa) and Giuseppe Poli (Florence 1704-1748 Pisa)
A Mediterranean harbour with stevedores and other figures on the quay; and A Mediterranean harbour with figures on the quay
oil on canvas
23¼ x 42¼ in. (59 x 107.4 cm.)
a pair (2)
Provenance
Anonymous sale; Christie's, London, 22 April 1994, lot 242, where acquired by the present owner.
Literature
F. Canepa, Gherardo e Giuseppe Poli. La pittura di capriccio nella Toscana di primo Settecento, Pisa, 2002, p. 155.
F. Canepa and F. Paliaga, Fantastiche vedute. La pittura di capriccio in Toscana dal Ciafferi ai Poli, ed. P. Carofano, Pisa, 2006, nos. 145-6.
Lot Notes
We are grateful to Dr. Franco Canepa for commenting that these paintings can be dated to after 1725/30, when father and son where collaborating and the resulting works were generally clearer and cooler in tone.
Gherardo Poli - A Mediterranean Harbour With Stevedores And Other Figures On The Quay, Men'o-war And Other Shipping Beyond

Gherardo Poli - A Mediterranean Harbour With Stevedores And Other Figures On The Quay, Men'o-war And Other Shipping Beyond

Original 1748
Estimate:

Price: Not disclosed
Lot number: 206
Other WORKS AT AUCTION
Description:
Gherardo Poli (Florence c. 1680-1739 Pisa)
A Mediterranean harbour with stevedores and other figures on the quay, men'o-war and other shipping beyond
Add. Notes: A Mediterranean harbour with stevedores and other figures on the quay, men'o-war and other shipping beyond
oil on canvas
22 1/8 x 42¾ in. (56 x 108.5 cm.)

Literature
Notes: William Baillie (1723-1810), who was born and brought up in Dublin, initially pursued a career in the army but later became a well known amateur artist and engraver, art connoisseur, adviser and dealer. He studied at Trinity College, Dublin, leaving Ireland for London in 1742, with the intention of training as a lawyer. However, on coming of age in 1744, he changed course and joined the army, in which he was to serve for seventeen years, reaching the rank of Captain. Baillie's first drawings and prints date from the period between the end of the War of Austrian Succession in 1748 and the beginning of the Seven Years War in 1756, and it seems likely that he had received some initial training in topography and cartography at the Royal Military College at Woolwich. The fact that he was stationed for much of his army career in Holland and Germany seems to have given him the opportunity to acquaint himself with the art of those countries which was to influence profoundly the direction of his own work. By the late 1750s Baillie's interest in printmaking had led him to reproduce works by Rembrandt, and he came to be regarded as an expert on the artist, also acting as a dealer in works then attributed to the artist and collecting Rembrandt's engravings. Baillie also gained a considerable reputation as a connoisseur and advised several important collectors. Among the collections that he was instrumental in forming was that of Dutch and Flemish masters acquired by the 3rd Earl of Bute.

Nathaniel Hone was the best known Irish portrait painter of his generation. Born in Dublin, he trained under Robert West. However, by 1742 he left Ireland for England, where he spent most of his career in London. Baillie and Hone, who were near contemporaries, were friends in London and had certainly met by 1752 when Hone etched Robert Pine's portrait of Baillie (Butler, op. cit., fig. 2), and they may well have known each other from childhood in Dublin. Hone may have taught Baillie the rudiments of printmaking; Baillie and Hone also shared a deep interest in pictures by the Old Masters and for collecting prints, a passion which they indulged in the London salerooms. In this portrait William Baillie is shown in a Rembrandtesque manner with, and as Nesta Butler notes 'His hat and banyan, or gown, are almost direct quotes from Rembrandt's portrait etching of Cornelius Anglo' (N. Butler, op. cit., p. 188).

For a detailed account of William Baillie's life see Nesta Butler (op. cit.).
Literature: F. Canepa, P. Carofano and F. Paliaga, Fantastiche vedute. Dal Ciafferi al Poli. La pittura di capriccio in Toscana, Pisa, 2006, p. 186, fig. 158.
Gherardo Poli - A Capriccio Of A Town With Elegant Figures Arriving On Horseback And In Carriages, A Couple Dancing In The Centre Of The Square

Gherardo Poli - A Capriccio Of A Town With Elegant Figures Arriving On Horseback And In Carriages, A Couple Dancing In The Centre Of The Square

Original 1739
Estimate:

Price:

Lot number: 47
Other WORKS AT AUCTION
Description:
catalogue note both this and the following lot are fine unpublished examples of the genre of painting in which gherardo and his son giuseppe specialised. their fantastical cityscapes or capricci are populated with hundreds of bustling figures, their compositions heavily inspired by the engravings of jacques callot and stefano della bella. although gherardo was born in florence, both artists were active for most of their lives in pisa and a number of their capricci are inspired by real views of the squares in either pisa or florence, thus appealing to both local and foreign patrons alike.1 the theatrical nature of their scenes is heightened by their stage-like setting: fantastical buildings, loosely inspired by real architecture, act as a backdrop to the weaving lines of protagonists, whose colourful costumes not only increase their decorative quality but also characterise the work of both artists. father and son began collaborating around 1730 and although a number of their works may have been produced together, each artist has quite a distinct style (particularly in painting figures). gherardo, who painted the present pair, obviously knew 17th-century flemish painting as well as the engravings of callot and della bella. his figures tend to be more substantial than giuseppe\\’\\’s and are placed on different planes within the picture space. by contrast, giuseppe\\’\\’s figures appear more sketchy or nervous in handling (schizzate), giving them a greater sense of movement and playfulness. giuseppe\\’\\’s colour palette is extremely similar to that adopted by his father, but on the whole his scenes appear to be slightly lighter and brighter in tone. gherardo was almost certainly active as a painter already in the last decade of the 17th century and in 1706 he is registered as a member of the accademia fiorentina del disegno, prima compagnia dei pittori, where he is described as a painter of animals, landscapes and narratives.2 although no still lifes have yet been attributed to him and the only animals in his work are those painted in the context of his pastoral landscapes, his output must have been more varied than that which we know of today. both he and his son giuseppe were best known for their singular fantastical views of imaginary towns which had nothing to do with the vedute being produced in cities such as florence, rome, or venice. rather like alessandro magnasco, the nervous energy of their figures and the unique style of their scenes made their paintings immediately recognisable and appealed to a varied clientele. it is impossible to establish a chronology in their œuvre because their style changed very little, but it has generally been assumed that their collaboration began around 1730 and that most of their output probably dates from the following decade (until gherardo\\’\\’s death in 1739). this pair were clearly conceived as part of a set of four (with the following lot), and although the figures here are more typical of gherardo it is quite possible that giuseppe may have had a hand in painting the architectural background in the present pair as well.3 1 see, for example, the pair of paintings depicting capriccio view of the piazza del duomo, pisa and capriccio view of the piazza della signoria, florence in the musée des beaux-arts, nancy (inv. 32 & 33), probably the fruit of a collaboration between the two artists: f. canepa, gherardo e giuseppe poli. la pittura di capriccio nella toscana di primo settecento, pisa 2002, pp. 136-7, cat. nos. 103 & 104, reproduced in colour. 2 gherardo poli is described as \\“pittore di animali, pesci, paesi ed istoria di cimatori\\”, as cited by canepa, op. cit., pp. 31 and 43, footnote 1. 3 another collaborative example in which the figures have been ascribed to gherardo and the background to giuseppe is the pair of capricci sold, paris, flegel-pape, 14 june 1924; canepa, ibid., pp. 107-8, cat. nos. 68 & 69, both reproduced.
description
a pair, both oil on canvas
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