Giovanni Domenico Tiepolo

Italy (17271804 ) - Artworks Wikipedia® - Giovanni Domenico Tiepolo
TIEPOLO Giovanni Domenico A Woman

Bonhams /Oct 29, 2014
5,060.09 - 7,590.13
20,556.25

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Variants on Artist's name :

Tiepolo Giandomenico

 

Artworks in Arcadja
537

Some works of Giovanni Domenico Tiepolo

Extracted between 537 works in the catalog of Arcadja
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
Giovanni Domenico Tiepolo - Christ Warns St. Peter In The Upper Room

Giovanni Domenico Tiepolo - Christ Warns St. Peter In The Upper Room

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Lot number: 46
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Giovanni Domenico Tiepolo VENICE 1727 - 1804 CHRIST WARNS ST. PETER IN THE UPPER ROOM Pen and brown ink and wash over black chalk within pen and brown ink framing lines 484 by 374 mm; 19 by 14 3/4 in Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Probably purchased in Venice in 1833 by Monsieur Fayet; Victor Luzarche, Tours; Roger Cormier, Tours, his sale, Paris, Galerie Georges Petit, 30 April 1921, lot 62; Private collection, until 1973; Paris, private collection Exhibited New York, The Frick Collection, Domenico Tiepolo (1727-1804): A New Testament, 2006-2007, no catalogue Literature H. Guerlain, Giovanni Domenico Tiepolo: au temps du Christ, Tours 1921, pp. 85-86, reproduced p. 87; C. Conrad, 'Die grossformatigen religiösen Zeichnungen Giovanni Domenico Tiepolos,' (unpublished Ph.D. dissertation, Heidelberg University) 1996, no. 188; A.M. Gealt and G. Knox, Domenico Tiepolo: A New Testament, Bloomington and Indianapolis, 2006, p. 41, pp. 51-52, p. 444, no. 182, reproduced in color p. 445 Gealt and Knox (loc. cit.) have suggested that the subject of this handsome night scene, skilfully and dramatically lit by just a single oil lamp, is Jesus warning Peter of his denial, before leading his disciples to the Mount of Olives. The kneeling figure in the right foreground is Peter, while the table visible behind the standing Christ is the one just used for the Last Supper. The scene follows the Gospel of St. Luke in locating this event in an upper room. Giandomenico here makes masterly use of the space of his sheet, its empty upper part animated only by a hanging lamp, the position of which he altered to very successful effect, moving it further to the right and lowering it closer to the main group of Apostles. The light cast by this lamp falls on the figure of Christ and on the apostles Simon and Peter, the main protagonists. The paved floor balances the wooden coffered ceiling, and the attention to detail throughout is both subtle and creative. Adelheid Gealt and George Knox's authoritative publication on the remarkable series of similarly conceived drawings to which this sheet belongs, the so-called Large Biblical Series, has illuminated a fascinating exploration of the Christian story, from the parentage of the Virgin Mary to the martyrdom of Peter and Paul, which is of considerable intellectual and theological complexity, as well as incredible artistic skill. As they have pointed out, it is extraordinary how Giandomenico does not simply illustrate a text, but each time uses all the visual resources of Venetian art in his repertoire to create a uniquely original and inventive series of images. 1 Nothing is known of the original purpose or extent of the series, but some 313 drawings are currently known, scattered in public and private collections throughout the world. Given that some very familiar biblical scenes are missing, it seems likely that the series was originally even more extensive. It is generally assumed that it was created not as a result of any commission, but as a work of personal piety, begun after 1785 when the artist retired to the Tiepolo family villa at Zianigo. The strong emphasis throughout the series on the figure of Saint Peter has, however, led Gealt and Knox to suggest that if any patron were in some way influential in the creation of the series, it may have been Pope Pius VI (1717-1799), to whom Giandomenico dedicated a suite of prints. 2 The drawings began to emerge onto the market via various French collectors in the nineteenth century. As Gealt and Knox suggest, it seems plausible that although the series seems never to have been bound into volumes, the drawings remained together as loose sheets until they were bought in Venice in 1833 by a Monsieur Fayet, who made a selection for himself and passed the rest of the drawings to Monsieur Luzarche, a former owner of the present sheet. An album of 138 drawings from the series, originating from the Fayet collection, is now in the Louvre. 3 1 A.M. Gealt and G. Knox, op. cit., pp. 3-4 2 Idem, p. 66 and note 71 3 Idem, pp. 6-7
Giovanni Domenico Tiepolo - A Woman

Giovanni Domenico Tiepolo - A Woman

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Lot number: 290
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Giovanni Domenico Tiepolo (Venice 1727-1804) A woman, full-length, standing, facing left pen and brown ink and wash on paper 18.2 x 9cm (7 3/16 x 3 9/16in). Footnotes Provenance Horace Walpole The Collection of The Rt. Hon. The Earl of Beauchamp His sale, Christie's, London, 15 June 1965, lot 159, where purchased by the present owner
Giovanni Domenico Tiepolo - Ninfa Con Piccolo Satiro E Due Capre

Giovanni Domenico Tiepolo - Ninfa Con Piccolo Satiro E Due Capre

Original 1749
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Lot number: 191
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GIOVANNI B. TIEPOLO Ninfa con piccolo satiro e due capre. Etching, before 1749. 140x174 mm; 5 5/8x6 7/8 inches, full margins. From Vari Capricci. A superb, dark impression with strong contrasts, crisp, partially inky plate edges and stray touches of drypoin in the sky upper center. DeVesme 7; Rizzi 33.
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