Joseph Vernet

(17141789 ) - Artworks Wikipedia® - Joseph Vernet
VERNET Joseph A Harbour Scene At Sunset; And A Shipwreck On A Rocky Coast

Bonhams /Jul 9, 2014
1,875,351.32 - 2,500,468.43
Not Sold

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Variants on Artist's name :

Vernet Claude Joseph

 

Artworks in Arcadja
675

Some works of Joseph Vernet

Extracted between 675 works in the catalog of Arcadja
Joseph Vernet - Coastal Scene With Fisherman

Joseph Vernet - Coastal Scene With Fisherman

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Lot number: 736
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Lot 736: Claude-Joseph Vernet (French, 1714-1789), Coastal Scene with Fisherman Description: oil on canvas (lined), unsigned, presented in a period gilt composition frame. SS 33.75 x 45 in.; DOA 46 x 57.5 in. Vernet was greatly admired for his pairs of paintings showing opposing states of nature. This painting would likely have a pendant featuring stormy seas and shipwrecks. British collectors of the 18th century discovered Vernet's work while on the Grand Tour and he became highly sought after for commissions. Craig & Tarlton, Raleigh, NC Private Collection of a Lady, Chapel Hill, NC
Joseph Vernet - A Mediterranean Coastal Scene At Sunset With Figures Fishing In The Foreground

Joseph Vernet - A Mediterranean Coastal Scene At Sunset With Figures Fishing In The Foreground

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Lot number: 10
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Claude-Joseph Vernet AVIGNON 1714 - 1789 PARIS A MEDITERRANEAN COASTAL SCENE AT SUNSET WITH FIGURES FISHING IN THE FOREGROUND signed and dated lower centre: J. Vernet f/1765 and bears signature lower right: Vernet/1765 oil on canvas 78.1 by 115.9 cm.; 30 3/4 by 45 5/8 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Acquired in the 1820s by an ancestor of the present owner; Thence by direct family descent. Catalogue Note Painted at the apex of the artist’’s career in 1765, at the same as his famous series of the Ports of France, this Coastal landscape at sunset has not been seen on the open market for nearly two hundred years. Although this canvas has enjoyed an unbroken provenance in the same family for nearly two hundred years, its earliest history remains unknown. Despite its evident quality and the presence of both signature and date, it cannot be identified with any certainty with any untraced works recorded in Vernet's Livre de raison or Account Book from that year. The painting was one of at least two canvases by Vernet acquired in the 1820s by a forebear of the present owner. Another such, a celebrated composition entitled Les Baigneuses, signed and dated 1759, had graced the collections of both the Duc de Choiseul and the Prince de Conti, and was sold in these Rooms on the 5 July 1995, lot 83. Both canvases were in all probability bought in England, and probably London, at much the same date. Vernet's work enjoyed enormous popularity with English (and indeed all European) collectors, both Grand Tourists visiting Europe before the French Revolution, and those buying his pictures when numbers became available on the market afterwards. An example of one such work, also from 1765, is the Shipwreck commissioned by Sir Henry Hoare in October 1765 and now at Stourhead. 1 In 1765, when Vernet painted this picture, his fame and reputation was probably at its height, for he had just returned to Paris after a decade of travelling around France for his celebrated series of the Ports of France, commissioned by Louis XV in 1753. Indeed the last of these, the Vue du port de Dieppe was exhibited in the Paris Salon that same year. It is quite possible that the present painting was shown alongside it, for Vernet exhibited under no. 76 a group of paintings for which we have no descriptions. It certainly epitomises Vernet's work of this date, with the design constructed around the principal compositional elements of the man of war, the rocky bluffs, the ruined tower, and the foreground occupied by fishermen or other spectators. These were all motifs that Vernet had developed as a result of his twenty-year stay in Italy between 1734 and 1753. A good example from the same year is the Mediterranean harbour scene sold in these Rooms, 4 July 2007, lot 64. The massive rocky bluff which dominates the centre of the painting is slightly less usual, but can be found in works going back as far as the 1740s, such as that inscribed and dated Romae 1747 sold in these Rooms, 10 April 2003, lot 100. The attribution to Vernet was confirmed by the late Dr. Philip Conisbee following first-hand inspection in 1985, and has more recently kindly been confirmed by Dr. Emily Beck-Saiello on the basis of photographs. 1. Inv. no. 732117. F. Ingersoll-Smouse, Joseph Vernet. Peintre de Marine 1714–1789, Paris 1926, vol. II, p. 11, no. 831, reproduced fig. 215. See More See Less
Joseph Vernet - Les Ports De France

Joseph Vernet - Les Ports De France

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Lot number: 121
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VERNET (CLAUDE-JOSEPH) [Les ports de France], series of 15 engraved views of French ports (numbered 1-15 of 18) by Charles-Nicolas Cochin and Jacques-Philippe Le Bas after Vernet, all framed and glazed, images to view approximately 740 x 540mm., [1760-80]; with an unframed duplicate of plate 11, sold as prints not subject to return (16) Footnotes SCARCE SET OF ENGRAVINGS BY COCHIN AND LE BAS AFTER THE CELEBRATED SERIES OF PAINTINGS OF FRENCH PORTS BY CLAUDE-JOSEPH VERNET. Louis XV commissioned Vernet, in 1753, to paint views of the main ports of France, bestowing upon him the exceptional title of 'Peintre des marines de Sa Majesté'. Vernet spent twelve years travelling around the Mediterranean, Atlantic and Channel. The country was at war with England at the time, and Louis specifically requested that the artist show off the economic activities and maritime strength of France, which Vernet did to much acclaim. The majority of the paintings are now held in the Musée de la Marine in Paris. The plates comprise: Le port neuf où l'arsenal de Toulon (1); L'intérieur du port de Marseille (2); La madrague ou la pêche du thon vue du Golfe de Bandol (3); L'entrée du port de Marseille (4); Le port vieux de Toulon. Vu du coté des magasins aux vivres (5); La ville et la rade de Toulon (6); Le port d'Antibes en Provence (7); Le port de Cette en Languedoc (8); Vue de la ville et du port de Bordeaux pris de coté des salinieres (9); Vue de la ville et du port de Bordeaux (10); Vue de la ville et du port de Bayonne prise à mi-cote sure le glacis de la citadelle (11); Vue de la ville et du port de Bayonne prise de l'allée de Bourfleurs près la Porte de Mousserole (12); Le port de Rochefort (13); Le port de La Rochelle. Vue de la petite rive (14); Vue du port de Dieppe (15).
Joseph Vernet - A Harbour Scene At Sunset; And A Shipwreck On A Rocky Coast

Joseph Vernet - A Harbour Scene At Sunset; And A Shipwreck On A Rocky Coast

Original 1775
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Lot number: 62
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Claude Joseph Vernet (Avignon 1714-1789 Paris) A harbour scene at sunset; and A shipwreck on a rocky coast the former signed and dated 'J Vernet.f.1775' (lower right) a pair, oil on canvas 73.8 x 107.8cm (29 1/16 x 42 7/16in). (2) Footnotes Provenance Painted for Gabriel Courtois de Pressigny (1745-1823) M. d'Aubigny, until after 1900 (probably General Arsene d'Aubigny, died Paris 1913) Sale, Paris, Palais Galliera, 20 June, 1961, lots 85 and 86 Private Collection, England With Whitfield Fine Art, London, where purchased by the present owner Exhibited Paris, Salon, 1775, no. 32 (both paintings lent by M. de Pressigny) Literature The description of one of the pair is in the MS list, the artist's Livre de raison , in the Bibliothèque d'Avignon (see Lagrange, Joseph Vernet, sa vie et son oeuvre , 1858, under No. L. 182: 14 mars 1775: deux mille quatre cents livres 'pour prix d'un tableau de trois pieds que je lui ai fait, et quatre vingt-six livres pour la bordure.') Described in the Livret du Salon , 1775: '32, Deux Tableaux, l'un un mer calme au coucher du soleil, l'autre le commencement d'une tempête, avec le naufrage d'un vaisseau. Chacun de 3 pieds 3 pouces de large, sur 2 pieds 2 pouces de haut; ils appartiennent a M. de Pressigny' (Diderot, Salons , ed. Jean Seznec, Oxford, 1967, Vol. IV, p. 27, nos. 997 and 998). When the second of the present pair of paintings was described in detail in the critique of the Salon of 1775, it was obvious to what extent it appealed to the Romantic sensibilities of pre-Revolutionary France: 'Peint-il une tempête, le jour est obscuri par les nuages les plus afreux. La foudre et les éclairs se croiset de'un bout à l'autre de l'horizon et le font paraître tout en feu. Les vagues en courroux semblent menacer le ciel et blanchissent la mer de leur écume. Les vaisseuax sont pres d'être submergés. On aperçoit à la lueur pale des éclairs, toutes les horreurs de la mort sur les figures de tout leurs habitans et la spectateur sensible ne peut de défendre d'un saisissement pareil à celui qu'il l'éprouverait s'il était sur le rivage témoin de tant d'horreurs.' (Bibliothèque Nationale, Estampes YD 219). Vernet's intention in conceiving the present paintings as a pair - juxtaposing the serene and tranquil atmosphere of the harbour sunset alongside the tumultuous and dramatic shipwreck - perfectly suited his artistic ambition to create an idealized view of Nature's majesty. That the artist was far more at home with this genre can be gleaned from some of the acrimoniouis exchanges he had over the series of the Ports de France which he painted between 1753 and 1765, in which he found it at times difficult to reconcile the topographical requirements of his patrons with his own desire to create satisfying works of art. He finally gave up the task, leaving the series incomplete and returning once more to his preferred depictions of Italianate seascapes, such as the present pair. In this he was highly successful: to his Italian and French clients he came to add British collectors, German princes and Russian nobles. From the 1760s to the 1780s no collection was deemed complete without examples of Vernet's art. The original owner, Gabriel Courtois de Pressigny, was born in Dijon. He was appointed archbishop of Saint Malo and took part in the Assemblées of 1780 and 1788 where he represented his Order in the debate on the constitutional role of the clergy. He emigrated in 1792, but returned after the 18 brumaire (November 1799) and lived in retirment until the Restoration of the Bourbon monarchy. He was then nominated to be Ambassador to the court in Rome. Ennobled in 1818, he was appointed Archbishop of Besançon in 1819. The paintings were seen by the late D. Philip Conisbee of the National Gallery of Art, Washington in 1999, when he confirmed them as autograph.
Joseph Vernet - Schiffbruch An Felsiger Küste

Joseph Vernet - Schiffbruch An Felsiger Küste

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Lot number: 469
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Description: VERNET, CLAUDE JOSEPH 1714 Avignon - 1789 Paris - Umkreis Schiffbruch an felsiger Küste. Öl auf Leinwand. Doubliert. 53,5 x 44,5cm. Rahmen. VERNET, CLAUDE JOSEPH 1714 Avignon - 1789 Paris - circle Shipwreck by a Rocky Coast. Oil on canvas. Relined. 53,5 x 44,5cm. Framed.
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