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Joseph Vernet

(1714 -  1789 ) Wikipedia® : Joseph Vernet
VERNET Joseph Southern Coast With Fishermen

Stahl /Nov 26, 2016
Not disclosed
Not disclosed

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Variants on Artist's name :

Vernet Claude Joseph

 

Artworks in Arcadja
831

Some works of Joseph Vernet

Extracted between 831 works in the catalog of Arcadja
Joseph Vernet - Marine Landscape

Joseph Vernet - Marine Landscape

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Lot number: 128
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Description: Claude-Joseph Vernet Paris 1714 - Avignon 1789 manner of Shipwreck 2nd half 18th cent., oil/wood, 47 x 58 cm. Notes: Marine a. landscape painter, a master fo the 'sublime'. V. was taught painting in the studio of his father Horace. With a scholarship he could move to Italy in 1743 where he stayed for a long time. Commissioned by the French royal house he began painting the country's important harbours in 1753.
Joseph Vernet - View Of Posillipo, Naples

Joseph Vernet - View Of Posillipo, Naples

Original 1848
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Lot number: 65
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Claude-Joseph Vernet VIEW OF POSILLIPO, NAPLES AVIGNON 1714 - 1789 PARIS Pen and black and gray ink and light brown and gray wash over black chalk; inscribed in pen and black ink with the location, lower left: Vedute Posillipo and bears black chalk signature lower right: Joseph Vernet and numbering in brown ink, verso: 1848 350 by 515 mm; 13 3/4 by 20 14 in Provenance From an album probably complied in the early 19th Century; Baron Raynouard, his sale, Paris, 20 November 1854, lot 628 to Poitier, antiquarian bookseller, quai Malaquais; Prof. Dr. Adam Politzer, Vienna (variant of L.2037, verso); sale, Versailles, 13 March 1966; Private collection Catalogue Note This attractive sheet probably comes from an album of drawings by Vernet, assembled at the beginning of the 19th Century in Vienna. The album was dispersed at the sale in Versailles in 1966 and many drawings are now in public and private collections in Europe and America. The majority of the album consisted of views of Rome and Naples. It is clear that the coastline and city of Naples made an impact on Vernet as he frequently depicted its rugged beauty in his drawings. Another view of Posillipo by Vernet was sold, New York, Sotheby's, 25 January 2012, lot 127.
Joseph Vernet - View Of The Caelian Hill, Rome, With The Church Of Santi Giovanni E Paolo, Seen From The Aventine, Rome

Joseph Vernet - View Of The Caelian Hill, Rome, With The Church Of Santi Giovanni E Paolo, Seen From The Aventine, Rome

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Lot number: 101
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CLAUDE-JOSEPH VERNET (AVIGNON 1714-1789 PARIS) View of the Caelian Hill, Rome, with the church of Santi Giovanni e Paolo, seen from the Aventine, Rome black chalk, pen and black ink, brown and grey wash, watermark crowned coat of arms with fleur-de-lys and 'ICV' 11 7/8 x 17 ¼ in. (30.1 x 44 cm.) The present drawing was part of an album of Italian views by Vernet, thought to have been assembled in Vienna in the early 19th century, and dismembered at auction in Versailles on 13 March 1966. Probably from the same source is a group of Italian landscape drawings at the Albertina, Vienna, given to that institution by Emperor Ferdinand I of Austria. Provenance From an album probably compiled in Vienna in the early 19th Century. Antoine-Augustin Renouard, Paris, 20 November 1854, part of lot 628 (to Pottier, antiquarian bookseller). Anonymous sale; Blache, Versailles, 13 March 1966, probably lot 169 (as 'Vue de Sainte-Lucie, prise des hauteurs'). with Knoedler Gallery, New York, where acquired by the Ford Foundation in November 1966. Pre-Lot Text Property from the Holdings of the Ford Foundation Literature P. Conisbee, Claude-Joseph Vernet 1714-1789, exhib. cat., Kenwood, The Fondation The Iveagh Bequest, 1976-77, Fig. 4.
Joseph Vernet - Southern Coast With Fishermen

Joseph Vernet - Southern Coast With Fishermen

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Price: Not disclosed
Lot number: 19
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Claude-Joseph Vernet Paris 1714 - Avignon 1789 manner of Southern Coast with Fishermen Around 1800, Oil/canvas, 44 x 63 cm, rest. relined. Notes: Marine a. landscape painter, a master fo the 'sublime'. V. was taught painting in the studio of his father Horace. With a scholarship he could move to Italy in 1743 where he stayed for a long time. Commissioned by the French royal house he began painting the country's important harbours in 1753.
Joseph Vernet -  A Rocky Coast With A Lighthouse And A Shipwreck

Joseph Vernet - A Rocky Coast With A Lighthouse And A Shipwreck

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Lot number: 126
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Description:
Claude-Joseph Vernet and Studio (Avignon 1714–1789 Paris) A rocky coast with a lighthouse and a shipwreck, signed, inscribed and dated lower right: J. Vernet f Rome 1745, oil on canvas, 123.5 x 156 cm, framed Provenance: Joseph-Marie Vien, the artist, given directly from Vernet, in Rome; auction of his deceased estate, 17th May 1809, Olivier Paillet, Paris, lot 25, bought by ‘Gateau’’’’’’’’ for 1700 Frs.; John Mulholland, 1st Baron Dunleath of Ballywalter (1819–1895), Ireland; by descent, his daughter The Hon. Alice Elizabeth Mulholland (Alice Elizabeth Massy-Beresford), Ireland; her sale, Christie’’’’’’’’s, London, 9th January 1920, lot 10, bought by J. Leger & Son, London for £25. 4s; Private collection, England; W. E. Duits, London & Amsterdam, the Netherlands, November 1931; bought from the above by Allen P. Good, Wymeswold Hall, Loughborough, April 1932 Exhibited: Le Pavillon D’’’’’’’’Art ‘Zveta Susorits’’’’’’’’, Belgrade, Exposition de Cent Tableaux Maitres Anciens de Cinq Siècles, 16th December 1931 – 5th January 1932, no. 114 Literature: F. Ingersoll-Smouse, Joseph Vernet, peintre de marine, 1714-1789: étude critique suivie d’’’’’’’’un catalogue raisonné de son œuvre peint, Paris 1926, vol. I, p. 48, no. 158, also vol. II, no. 2004 The present painting is one of the largest seascapes Vernet produced during the early part of his career. At some time after its sale in 1932, the lighthouse was over painted over, presumably to conform to an owner’’’’’’’’s taste. Careful cleaning has brought this seascape back to its original state as it had been previously known to Ingersoll-Smouse, when she completed her catalogue raisonné in 1926. The present painting illustrates Vernet’’’’’’’’s first experimentations with differing styles and large format production and, therefore, is a rare example of such an early work on a grand scale. Vernet probably received his first lessons in painting from his father, Antoine, who then encouraged him to move to the studio of Philippe Sauvan (1697–1792), the leading master in Avignon. Afterwards, Vernet worked in Aix-en-Provence with the painter Jacques Viali (fl 1681–1745), who also painted landscapes and marine pictures. In 1734 Vernet left for Rome to complete his artistic education. There he found himself at home in the French artistic community and made his reputation as a marine and landscape painter. Vernet’’’’’’’’s earliest known Italian works are reminiscent of Dughet and show his response to the wilder aspects of the Roman Campagna. His paintings are distinguished by their sharp observation, precise handling, and by the lively interest in figures. The marine paintings are set on an Italianate coast and fall into two contrasting types of calm and storm. The storm pictures vary, depicting ships, either in danger or actually wrecked, as shown in the present painting. His seaports recall those of Claude Lorrain, although Vernet’’’’’’’’s own pictorial world is less idealized than that of Claude, and there is a sharper sense of particularized observation that the spectator can more readily explore. Vernet lived in Rome for twenty years, becoming especially popular with the English aristocracy, many of whom were on the Grand Tour. In 1753 he was recalled to Paris by royal command, to execute the series of large topographical paintings of major French commercial and military seaports for which he is best known. The Ports of France was one of the most important royal commissions of Louis XV’’’’’’’’s reign and can be considered as propaganda for the French merchant and royal navies. Vernet’’’’’’’’s international reputation followed him from Rome to France, and to his British and French clients he added German princes and Russian nobles.
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