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Giovanni Domenico Tiepolo

Italy (17271804 ) - Artworks Wikipedia® - Giovanni Domenico Tiepolo
TIEPOLO Giovanni Domenico A Crowd Watching A Charlatan

Christie's /Jan 29, 2015
13,352.13 - 16,319.26
14,836.00

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Variants on Artist's name :

Tiepolo Giandomenico

 

Artworks in Arcadja
553

Some works of Giovanni Domenico Tiepolo

Extracted between 553 works in the catalog of Arcadja
Giovanni Domenico Tiepolo - The Tiepolo Family

Giovanni Domenico Tiepolo - The Tiepolo Family

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Lot number: 22
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Giovanni Domenico Tiepolo VENICE 1727 - 1804 THE TIEPOLO FAMILY inscribed on the dog's collar: B.T. oil on canvas 67 by 96 cm.; 26 3/8 by 37 3/4 in. Provenance Possibly Giovanni Battista Tiepolo’’s wife, Cecilia Tiepolo; Edward Cheney, 4 Audley Square, London, and Badger Hall, Shropshire; His (deceased) sale, London, Christie’’s, 29ff April 1885, lot 139, for 31 Guineas, to Davis (as P. Longhi); Archibald Philip (1847–1929), 5 th Earl of Rosebery, Mentmore, Bedfordshire; By descent to Eva (1892–1987), Countess of Rosebery, widow of the 6 th Earl; By whom sold, London, Sotheby's, 24 March 1976, lot 11 (here and henceforth as by Giovanni Domenico Tiepolo); Thence acquired by the British Rail Pension Fund; By whom sold, London, Sotheby's, 5 July 1995, lot 52; Private collection, USA. Exhibited London, Whitechapel Art Gallery, Eighteenth Century Venice, 3 January – 14 March 1951, and Birmingham Museum and Art Gallery, 21 March – 18 April, no. 57 (as by Pietro Longhi); Venice, Ca' Rezzonico, Mostra del Tiepolo, 16 June – 7 October 1951, no. 127 (as Lorenzo Tiepolo); London, Royal Academy, European Masters of the Eighteenth Century, 27 November 1954 – 27 February 1955, no. 319 (here and henceforth as by Giovanni Domenico Tiepolo); On loan, Doncaster Museum, 1977–1993; Paris, Musée du Petit Palais, Le portrait en Italie au siècle de Tiepolo, 7 May – 5 September 1982, no. 49; London, Thos. Agnew & Son Ltd., Thirty-five paintings from the Collection of the British Rail Pension Fund, November – December 1984, no. 32. Literature Possibly G.F. Waagen, Galleries and Cabinets of Art in Great Britain, supplementary vol. IV, London 1857, p. 171 (as by Pietro Longhi); J. Byam Shaw in The Burlington Magazine, no. 575, vol. XCIII, February 1951, pp. 61–62, reproduced p. 60, fig. 27 (as by Giovanni Domenico Tiepolo); F.J.B. Watson in The Burlington Magazine, no. 579, vol. XCIII, June 1951, p. 204 (as by Giovanni Domenico Tiepolo); F.J.B. Watson in The Burlington Magazine, no. 587, vol. XCIV, February 1952, p. 44, note 10 (as by Giovanni Domenico); T. Pignatti in L’’Arte, 1951, vol. 2, no. 4 (as by Lorenzo Tiepolo); A. Morassi, G.B. Tiepolo, London 1955, p. 13 (as by Lorenzo); C. Donzelli, I Pittori veneti del ’’700, Florence 1957, p. 314 (as Lorenzo); J. Byam Shaw, The Drawings of Domenico Tiepolo, 1962, p. 83 under no. 54, and p. 85, no. 56 (as Giovanni Domenico); M. Precerutti-Garberi, ‘Segnalazioni Tiepolesche’’, in Commentari, vol. XV, 1964, pp. 10–12 (as by Giovanni Domenico); G. Piovene & A. Pallucchini, L’’Opera completa di Giambattista Tiepolo, Milan 1968, reproduced p. 83 (mentioning the various attributions); M. Muraro in Atti del Congresso Internazionale di Studi sul Tiepolo, Udine 1970, p. 72, reproduced fig. 8 (as by Lorenzo); A. Rizzi, Giambattista Tiepolo, exhibition catalogue, Udine 1971, pp. 183 and 185, reproduced fig. 113 (mentions the attributions to Lorenzo and Giovanni Domenico Tiepolo); G. Knox, Giambattista and Domenico Tiepolo, A Study and Catalogue Raisonné of the Chalk Drawings, Oxford 1980, vol. I, pp. 235, 303, cat. no. P.104 (as by Giovanni Domenico); M. Levey, G.B. Tiepolo, 1986, pp. 251–52, reproduced plate 216 (as by Giovanni Domenico); F. C. Thiem, ‘Lorenzo Tiepolos Position innerhalb der künstlerfamilie Tiepolo’’, in Pantheon, 1993, vol. LI, pp. 141– 42, reproduced plate 8, (as by Lorenzo); R. Pallucchini, La pittura nel Veneto, Il Settecento, Milan 1996, vol. II, p. 199, reproduced fig. 291 (as probably by Lorenzo); F. Pedrocco in Lorenzo Tiepolo e il suo tempo, exhibition catalogue, Milan 1997, p. 18, reproduced p. 19 (as by Lorenzo). Catalogue Note This beautiful and spirited group portrait by Giovanni Domenico Tiepolo depicts the artist's family seated in an interior. It was probably painted shortly before he left for Spain in 1762 with his father, the celebrated Giovannni Battista Tiepolo, whose style and working technique he extended into the very first years of the nineteenth century. The unfinished nature of the work gives us a privileged insight into the artist's working technique, from the dark red ground used to prepare the canvas, to the different stages in which the figures and their costumes are completed. The resultant immediacy and directness strike a particularly resonant chord with the contemporary viewer. Moreover, the intimate character of the portrait allows us to appreciate the different role each member fills within the family unit and presents us with a snapshot of the clothing worn and furnishings used by affluent though by no means patrician Venetians. To the left we see Giovanni Domenico's brother, Lorenzo (1736– 76), seated at a table working on a pastel portrait of his elegantly dressed mother, Cecilia Tiepolo, who was the sister of two other great Venetian artists, Gian Antonio and Francesco Guardi. Behind the mother stands Giuseppe Maria, who became a priest in 1748. To the far right, the three Tiepolo sisters, Orsola, Angelica and Elena gaze out to the viewer in their fashionable attire. The middle sister holds a greyhound whose collar is inscribed 'B.T.', possibly in honour of Battista Tiepolo, the pater familias, who for unexplained reasons is absent from the family gathering. The painting has in the past been attributed to Pietro Longhi. This surprising and untenable attribution was a result of an old inscription on the reverse of the canvas which is no longer visible but which was quoted in the 1951 exhibitions in London and Birmingham. A more plausible but equally incorrect attribution to Lorenzo Tiepolo, seen in the picture here sketching his mother, has also been proposed several times (see Literature). Though Lorenzo specialised in portraits, most often executed in pastel, his style has very little in common with that of the present work, whose animated brushwork is firmly rooted in the style of Giovanni Domenico. indeed Lorenzo's portrait of his mother from 1757, in the Ca' Rezzonico in Venice, shows just how far removed his approach to portraiture is to the present family portrait and to what extent his interpretation of his sitters' personality differed. 1 Further evidence for Giovanni Domenico's authorship can be found in an energetic drawing of the artist seated at the far left (fig. 1) in the Museo Correr in Venice which is unquestionably by Giovanni Domenico. The drawing is incomplete, with the figure's physiognomy and hands left vague, all strong suggestions that this would have acted as an initial, preparatory sketch for the present painting. Thiem (see Literature), however, proposes a somewhat unlikely scenario in which Giovanni Domenico executed the drawing as a ricordo after the present painting, which the scholar ascribes to Lorenzo. Quite apart from the general unlikelihood of such a series of events, the artist depicted in the painting is clearly working in pastel, a medium favoured by Lorenzo and entirely unfamiliar to his older brother, Giovanni Domenico. While acknowledging these inconsistencies, Thiem nevertheless does not confront the question of how Giovanni Domenico would have been able to depict himself in profile. All evidence thus points to this being an exceptional group portrait by Giovanni Domenico Tiepolo. 1 See J. Martineau and A. Robinson (eds), The Glory of Venice, exhibition catalogue, London 1994, p. 344, cat. no. 238, reproduced in colour. Fig. 1 Domenico Tiepolo, Man drawing (portrait of Lorenzo Tiepolo?) © Museo Correr, Venice, Italy
Giovanni Domenico Tiepolo - Allegorical Figure Of Venice And Another Allegorical Figure Flanking A Bust Of A Roman Emperor

Giovanni Domenico Tiepolo - Allegorical Figure Of Venice And Another Allegorical Figure Flanking A Bust Of A Roman Emperor

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Lot number: 24
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Lot Description Giovanni Domenico Tiepolo (Venice 1727-1804) Allegorical figure of Venice and another allegorical figure flanking a bust of a Roman emperor signed ‘Dom Tiepolo’’’’ (recto) black chalk, pen and brown ink, two shades of brown wash 10 3/8 x 15 ¼ in. (26.3 x 38.7 cm.) Provenance Giovanni Domenico Bossi, with associated price code ‘F.4.C.M.’’’’ and ‘No 3331. f.1’’’’ (verso), and by descent to Maria Theresa Karoline Bossi. Karl Christian Friedrich Beyerlen; H.G. Gutekunst, Stuttgart, 27-8 March 1882. Pre-Lot Text THE PROPERTY OF THE LATE ANTHONY HOBSON View Lot Notes >
Giovanni Domenico Tiepolo - The Virgin Mary

Giovanni Domenico Tiepolo - The Virgin Mary

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Lot number: 1140
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Lot 1140: Giovanni Domenico Tiepolo, The Virgin Mary Description: Certificate Prof. Dr. George Knox, Vancouver 1.4.2009. - Prof. Egidio Martini, Venice 21.5.2010. Giovanni Domenico was the eldest son of Giovanni Battista Tiepolo and apprenticed in his father's workshop like his younger brother Lorenzo. A commission to create 14 works on canvas for the aisles of the Church of San Paolo in Venice provided Giovanni Domenico with his debut as an independent painter in 1747. However, Giovanni continued to assist his father occasionally, such as for the decoration of the Würzburg residence 1751/52. He painted the overdoors with scenes from the lives of Roman emperors. Giovanni also cooperated with his father once more for the painting of the Villa Valmara in Vicenza, another highly significant commission. Following his father's death in Madrid, Giovanni returned to Venice in late 1770, where he continued to paint mainly religious subjects for the next 30 years. Giovanni Domenico Tiepolo is also well-known for his superb drawings and engravings. George Knox compares the present work to several similar small scale paintings by Giovanni Domenico kept in Budapest, New York and the Museo Civico in Padua. The shapely and expressive depiction of the veil also displays clear stylistic parallels to that of the Virgin in Domenico's large format “Adoration of the Magi” (1753) in the Alte Pinakothek in Munich. Giovanni Domenico Tiepolo Dimensions: 49 x 39.5 cm Medium: Oil on canvas
Giovanni Domenico Tiepolo - A Crowd Watching A Charlatan

Giovanni Domenico Tiepolo - A Crowd Watching A Charlatan

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Lot number: 17
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Giovanni Domenico Tiepolo (Venice 1727-1804) A crowd watching a charlatan (recto); A flying angel (verso) with inscription 'Domenico Tiepolo' black chalk, pen and brown ink (recto), pen and brown ink (verso) 8 3/8 x 10 7/8 in. (21.4 x 27.6 cm.) Hélie de Talleyrand-Perigord, duc de Sagan. Anonymous sale; Sotheby's, New York, 21 January 2004, lot 96, where acquired by the present owner. ITALIAN DRAWINGS FROM AN IMPORTANT PRIVATE COLLECTION A. Morassi, Dessins Vénitiens du Dix-huitième Siècle de la collection du Duc de Talleyrand, Milan, 1958, no. 39. A.M. Gealt and G. Knox, Domenico Tiepolo, master draftsman, exh. cat., Bloomington, Indiana University, 1996, pp. 44-45.
Giovanni Domenico Tiepolo - Triumph Of Virtue

Giovanni Domenico Tiepolo - Triumph Of Virtue

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Lot number: 72
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Giovanni Domenico Tiepolo VENICE 1727 - 1804 TRIUMPH OF VIRTUE oil on canvas 21 by 15 3/4 in.; 53.3 by 40 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Georges Hoentschel, Paris; From whom acquired by J.Pierpont Morgan, 1906; By whom given to The Metropolitan Museum of Art in 1907 (Inv. no. 07.225.297). Exhibited New York, The Metropolitan Museum of Art, Oil Sketches by 18th Century Italian Artists from New York Collections, 30 January 30 - 21 March 1971, cat. no. 36 (as "Virtue and Wisdom," by Giovanni Domenico Tiepolo); New York, The Metropolitan Museum of Art, Venetian Paintings in the Metropolitan Museum, 1 May - 2 September 1974 (no catalogue); Queens, NY, The Queens Museum, Flights of Fantasy, 14 August - 7 November 1982, cat. no. 50; New York, The Metropolitan Museum of Art, Domenico Tiepolo: Drawings, Prints, and Paintings in The Metropolitan Museum of Art, 23 January - 27 April 1997 (no catalogue). Literature J. Breck, "Paintings and Drawings by Tiepolo in the Metropolitan Museum," Art in America 1 (January 1913), pp. 8, 12, 14, reproduced fig. 6 (as attributed to Giovanni Battista Tiepolo); M. Goering in Allgemeines Lexikon der bildenden Künstler, 33, Leipzig 1939, p. 160 (listed among works by Giovanni Domenico Tiepolo; titled "Adel u. Weisheit" [Nobility and Wisdom]); H. B. Wehle, The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings, New York 1940, pp. 286– 87, reproduced (as Workshop of Giovanni Battista Tiepolo, titled "Virtue and Wisdom"); A. Morassi, A Complete Catalogue of the Paintings of G. B. Tiepolo, London 1962, p. 33 (as Giovanni Domenico Tiepolo, titled "Virtue and Wisdom"); B. B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge 1972, pp. 198, 543, 605 (where identified as an unknown allegory); F. Zeri with E. E. Gardner, Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School, New York 1973, pp. 66–67, reproduced plate 81, (as Giovanni Domenico Tiepolo, titled "Virtue and Wisdom"); K. Baetjer, European Paintings in The Metropolitan Museum of Art by artists born before 1865, A Summary Catalogue, New York 1980, vol. I, p. 185, reproduced vol. II, p. 142 (as Giovanni Domenico Tiepolo); K. Baetjer, European Paintings in The Metropolitan Museum of Art by artists born before 1865, A Summary Catalogue, New York 1995, p. 97, reproduced (as Giovanni Domenico Tiepolo); L. Wolk-Simon, "Domenico Tiepolo: Drawings, Prints, and Paintings in The Metropolitan Museum of Art," The Metropolitan Museum of Art Bulletin 54 (Winter 1996/97), pp. 38, 40-41, reproduced in color fig. 59 (as Giovanni Domenico Tiepolo); G. Pavanello, “Affreschi veneziani del tardo Settecento,” in Arte Veneta, vol. 63, 2006, p. 123, reproduced p. 126. This oil sketch is a modello for Giovanni Domenico’’s grand ceiling fresco, the Triumph of Virtue, in Palazzo Vignola-Balbi, Venice (fig. 1). Although the sketch has been dated as a late work in the past on stylistic grounds, Giuseppe Pavanello (see Literature) has proposed a possible earlier dating of this decorative scheme to between 1660-70, based on documentation of a major renovation of the palazzo undertaken by Cesare Vignola in 1759. The Vignola, a wealthy merchant family originally from Bergamo and well-connected in the city government of Venice, had acquired the building in the late 16 th century. Cesare’’s renovations are documented by the existence of two certificates of payment dated to December 1759 “per causa della reffabrica del stabile posto in questa città in contra di S. Giuliano in campo della Guerra” (for the sake of the restructuring of the building located in this city in the quarter S. Giuliano in Campo della Guerra). 1 It is possible that Giovanni Domenico’’s fresco project was undertaken around the time of this renovation. Other artists involved in the interior decorations of Palazzo Vignola-Balbi included Francesco Zugno and Giovanni Scajario. The composition of the fresco closely follows that of the modello. The figure of Virtue is seen holding a lance and wreath, her breast emblazoned with a sun. Above and to the right is Nobility (sometimes identified as Wisdom) holding a statuette of Minerva, while at the bottom can be seen the figure of Ignorance, shielding her eyes from a lighted torch held by a putto, with the male figure of Fortitude to her right. In the fresco, the drapery and black cloud under the figure of Ignorance spill out over the framework of the fresco, creating a bravura trompe l'oeil effect. The design shows the artist’’s close adherence to the style and subject matter of his father, Giovanni Battista, to whom this oil sketch has sometimes been attributed in the past. Giovanni Battista produced a number of variations on the same theme in the 1740s, such as in his depiction of Fortitude and Wisdom for the ceiling of the Palazzo Manin, Venice (now in the Contini-Bonacossi Collection, Florence). Giovanni Domenico later (circa 1749-50) made an etching after that composition by his father, renaming it Triumph of Virtue and Nobility. We are grateful to Dott. Lino Moretti for informing us that this sketch is the modello for the Palazzo Vignola-Balbi fresco and for bringing to our attention the article by Giuseppe Pavanello. 1. See G. Pavanello, op.cit., p. 123. Fig. 1 untitled
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