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Joseph Vernet

(1714 -  1789 ) Wikipedia® : Joseph Vernet
VERNET Joseph View Of Posillipo, Naples

Sotheby's /Jan 25, 2017
18,759.97 - 28,139.95
Not Sold

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Variants on Artist's name :

Vernet Claude Joseph

 

Artworks in Arcadja
861

Some works of Joseph Vernet

Extracted between 861 works in the catalog of Arcadja
Joseph Vernet - Villa Ludovisi

Joseph Vernet - Villa Ludovisi

Original 8th
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Price:

Lot number: 107
Other WORKS AT AUCTION
Description:
Joseph Vernet (Avignon 1714–1789 Paris) Villa Ludovisi, oil on canvas, 75 x 104 cm, framed Provenance: sale, Christie\’s, Paris, 15 November 2006, lot 342 (as Follower of Giovanni Paolo Panini); sale, Hampel Fine Art Auctions, Munich, 18 September 2009, lot 259 (as Attributed to Jean Baptiste Lallemand); Private European collection The present work relates to, and may be the first version of a painting that is today conserved in the Hermitage Museum in Saint Petersburg (inv. no. ГЭ-3684, with measurements 74.5 x 99.5 cm). The history of the Hermitage painting is well documented. On 24 May 1746 Vernet received a commission for eight paintings, which he recorded in his so-called Livre de Raison: \‘For Mr. de Vilette, eight paintings on canvas, of four palmi [100 cm] that are to represent marine and landscape subjects of my choice. Ordered in the month of May of 1746 and to be delivered two per year, from the time of their being ordered, at five hundred libre per pair.\’ Later Vernet accounted for their subjects more precisely: \‘Two [paintings], moments of pleasure on the sea shore in pleasant places with fashionably dressed figures; two more, in the manner of Salvator Rosa with rocks, waterfalls, tree trunks and some soldiers in armour; and two more, one a marine view representing a blaze by moon light, the other a tempest\’ (see Avignon, Bibliothèque municipale Livrée ceccano, Livres de comtes de Joseph Vernet, Ms. 2321, f. 7, 8. Published in Léon Lagrange, Joseph Vernet et la peinture français au XVIIIe siècle, Paris, Didier, 1864, pp. 326-7). Therefore, four pairs of paintings were concerned. Marquis Pierre-Charles de Villette who commissioned the series of paintings, including the Heritage picture, was a councillor to Louis XV, a commander of the Order of Saint Louis and treasurer of the special fund for wars, and he was one of the first and most faithful clients of the painter, whom he recommended to his elder brother (director of the Post at Lyons), as well as some of his friends. Indeed, he had esteemed the artist\’s talent since 1741, when the painter was beginning his career in Rome. At the Marquis\’ death in 1765 his paintings were offered for sale. Two of the paintings described above are number 38 in the sale catalogue of 8th April 1765: \‘The Vigna Pamphilj: twenty-seven figures are present, of which six in the foreground, each four and a half inches high [12.2 cm]. The Vigna Ludovis [is] represented during water games; some ladies have been embarrassed while others mock them. In the foreground we note the author\’s portrait, Mr. Vernet holding a folder and a crayon. One of his friends looks at what he has drawn. These two paintings are on canvas (and measure 27.5 inches high and 36 inches wide, that is to say 74.4 x 97.5 cm). This pair was sold at the price of 1302 libre, that is, at two and a half times their purchase price, confirming the fame achieved by the artist in a little less than twenty years. At present these two paintings are in Russia: they were purchased by Catherine II before 1768, and were offered by the Empress to the Academy of Fine Arts, Saint Petersburg. The View of Vigna Ludovisi (oil on canvas, 74.5 x 99.5 cm) entered the collections of the Hermitage Museum in 1922 (inv. 3684), together with its pendent representing Villa Pamphilj (oil on canvas, 76 x 101).I In 1930 the latter was transferred to the Pushkin Museum, Moscow (inv. 2796). The Hermitage painting represents Villa Ludovisi, built on the Pincio by Cardinal Ludovico during the years 1621-1623 (only the Casino dell\’Aurora survives today): it was close to the artist\’s residence in Rome. The Villa\’s park was famous for its collection of ancient statues, which are highlighted by the artist. In conformity with the patron\’s request to illustrate agreeable places with fashionably dressed figures, Vernet painted a youth playing with the water of a fountain, splashing the ladies\’ dresses, who in turn attempt to escape. In the foreground the artist can be recognised holding a folder on which we find his signature and the date: \‘Joseph Vernet f. Roma 1749.\’ At the centre, the artist\’s wife Virginia Parker is portrayed elegantly dressed, with their son Livio, born in 1747. The present painting is similar to the one in the Hermitage, with the exception of some significant changes of detail: the position of the birds and the features of the woman in white in the foreground. The delicacy of the atmospheric effects and the quality of the figures (their elegant canon, the naturalness of their poses, the fineness of their portraits, the precision and refinement with which their costumes are described) all distinguish the master\’s paintings from those of his followers, and make the present work one of notable value from the painter\’s Roman period (1734-1753). The pentimenti (for example the inclination of the statue at the centre or the position of the balcony) and likewise the cut of the composition, which (differing from the Russian painting) includes all the branches of the pine to the left, suggest that the present painting may have been painted before the one in the Hermitage. It is therefore possible to propose that the present painting was made for another client (perhaps the owner of Villa Ludovisi, identified as the lady at the centre of our composition) during the years when Vernet received the commission from the Marquis de Villette. Between the date of the commission of the Russian painting (May 1746) and its completion (1749), the present painting was likely in the artist\’s studio, and became the subject of a replica, wherein he altered the female figure at the centre. Specialist: Mark Mac Donnell
Joseph Vernet - Le Soir: A Mediterranean Harbour At Sunset With Fisherfolk And Merchants On A Quay Clair De Lune: A Mediterranean Harbour By Moonlight With Fisherfolk By A Fire On The Shore, A Natural Arch Beyond

Joseph Vernet - Le Soir: A Mediterranean Harbour At Sunset With Fisherfolk And Merchants On A Quay Clair De Lune: A Mediterranean Harbour By Moonlight With Fisherfolk By A Fire On The Shore, A Natural Arch Beyond

Original
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Gross Price
Lot number: 24
Other WORKS AT AUCTION
Description:
PROPERTY FROM THE COLLECTION OF J.E. SAFRA Claude-Joseph Vernet LE SOIR: A MEDITERRANEAN HARBOUR AT SUNSET WITH FISHERFOLK AND MERCHANTS ON A QUAY CLAIR DE LUNE: A MEDITERRANEAN HARBOUR BY MOONLIGHT WITH FISHERFOLK BY A FIRE ON THE SHORE, A NATURAL ARCH BEYOND AVIGNON 1714 - 1789 PARIS Quantity: 2 a pair, the former signed, located and dated lower left: Joseph / Vernet f / Romae 1752 and inscribed lower right: WF37 the latter signed, located and dated lower left: Joseph Vernet / f Romae 1752 both oil on canvas each: 71.6 x 98.7 cm.; 28 1/4 x 38 7/8 in. Commissioned from the artist in 1751 by Ernest Guido, Graf von Harrach, for Schloss Rohrau (inventory numbers WF37 and WF41); Thence by descent until sold ('From the Gräflich Harrach'sche Gemäldesammlung Schloss Rohrau, Austria'), London, Christie's, 17 December 1999, lot 75; Where acquired by the present collector. A. Gruss, Verzeichniss der Gräflich Harrach'schen Gemälde-Galerie zu Wien, Vienna 1856, p. 6, no. 37 (Le Soir), and p. 7, no. 41 (Clair de lune; date given incorrectly as 1750); E. Gerisch and K. Specek, Catalog der Erlaucht Gräflich Harrach'schen Bildergalerie, Wien, Vienna 1897, p. 48, no. 121 (Clair de lune; date given incorrectly as 1759), and p. 77, no. 210 (Le soir; date given incorrectly as 1755); L. Lagrange, Joseph Vernet et la peinture au XVIIIème siècle avec le Texte des Livres de Raison et un grand nombre de documents inédits, Paris 1864, 2nd ed., pp. 49 and 361; H. Ritschle, Katalog der Erlaucht Gräflich Harrachschen Gemälde-Galerie in Wien, Vienna 1926, p. 49, no. 121, and p. 71, no. 210; F. Ingersoll-Smouse, Joseph Vernet (1714–1789), peintre de Marine: étude critique suivie d\\\\’un catalogue raisonné de son œuvre peint, avec trois cent cinquante-sept reproductions, Paris 1926, vol. I, p. 62, nos 353 and 353bis (with incorrect measurements).
Joseph Vernet - Marine Landscape

Joseph Vernet - Marine Landscape

Original
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Starting price:

Price: Not disclosed
Lot number: 128
Other WORKS AT AUCTION
Description:
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
Other WORKS AT AUCTION
Description:
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

Original
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Gross Price
Lot number: 101
Other WORKS AT AUCTION
Description:
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.
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