Jul 4, 2018
Artworks in Arcadja998
Some works of Joseph Claude VernetExtracted between 998 works in the catalog of Arcadja
Joseph Claude Vernet - A Mediterranean Port At Sunset, With A Fisherman In The Foreground And A Couple At Left Walking Along The Rocky Coast
Auction: Sotheby's -Jan 30, 2019 - New YorkLot number: 69
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A MEDITERRANEAN PORT AT SUNSET, WITH A FISHERMAN IN THE FOREGROUND AND A COUPLE AT LEFT WALKING ALONG THE ROCKY COAST Claude-Joseph Vernet AVIGNON 1714 - 1789 PARIS signed and dated lower right:J.Vernet / 1778 oil on copper 15 3/8 by 21 5/8 in.; 39 by 54.9 cm. Provenance Anonymous sale, Paris, Piasa, 28 June 2000, lot 21; With Richard Green, London; There acquired by the present collector in October 2000. This remarkably preserved view of a port at sunsetis a mature work by Claude-Joseph Vernet,arguably the most famous view painter of the second half of the eighteenthcentury. Both its pristine condition and smooth copper surface make the soft and subtle light of the setting sun glistening in the soft Meditteranean waves as moving today as it would have been the day Vernet painted it. InA Mediterranean Port at Sunset,Vernet's marvelous ability to capture the nuances of light and atmosphereand his use of the smooth surface of a copper support create an evocative and impressive portrait of an unknown yet familiar port, probably somewhere in southern Italy. Surprisingly, it isone of only a few paintings on copper by the artist, for it would seem that the even, nonabsorbent surface would be perfectly suited tohis refined technique, butthe vast majority of his paintings are on canvas.The choice of support may have had more to do with monetary rather than aesthetic considerations, formost of Vernet's paintings were commissions and copper was far more expensive than canvas.A Mediterranean Harboris, in fact, quite large for a copper and would have been verycostly indeed. Signed and dated 1778,the painting dates from Vernet's maturity,whenthe artist had been the foremost painter of marine subjects in France for more thanthree decades. He had learned his trade in Italy and it was probably through an association withAdrian Manglard in Rome, where he arrived in 1734, that Vernet first turned to marine painting. He remained and worked in Rome until 1753, when he was summoned back to France on the initiative of the Marquis de Marigny, in order to fulfill one of the most important commissions of the reign of Louis XV: the representation of the Ports de France, a project he continued to work on until 1765 and included expansive views of all of France's major commercial and miliary seaports. Vernet's style changed little throughout his career and some of his finest works date from his late maturity; see, for example, the enormous canvas (160 by 261 cm) commissioned by William Petty, 2nd Earl Shelburne and executed in 1776 at the age of 62.1 1. Sold at Sotheby's New York,27 January 2011, lot 183, forover $7,000,000.
Joseph Claude Vernet - Three Studies Representing Figures: Woman With A Basket, Two Figures And A Reclining Man Seen From The Back
Auction: Christie's -Dec 6, 2018 - LondonLot number: 122
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CLAUDE-JOSEPH VERNET (1714-1789) Three studies representing figures: woman with a basket, two figures and a reclining man seen from the back numbered '160', '194', '274' black chalk 4⅜ x 2⅞ in. (11.1 x 7.4 cm.) (i), 3⅝ x 2¾ in. (9.2 x 7 cm.) (ii), 3 x 4⅜ in. (7.6 x 11 cm.) (iii); and Carl Ernst Rudolf Heinrich Salem Lehmann (1814-1882), A drapery study, graphite, red chalk; and Jean Pillement (1728-1808), A mother and child, black chalk
Auction: Christie's -Jul 5, 2018 - LondonLot number: 52
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Claude Joseph Vernet (Paris 1714-1789) A harbour at sunrise signed, inscribed and dated 'Joseph·Vernet·f· / Roma·1747' (lower left) oil on canvas 39 ½ x 54 ¼ in. (100.4 x 137.8 cm.) Provenance Commissioned in February 1745 by William Drake (1723-1796), later M.P., and by descent at Shardeloes, Buckinghamshire to the following, Captain Thomas Tyrwhitt-Drake (1783-1852); The Tyrwhitt-Drake Settlement; Christie\’s, London, 25 July 1952, lot 158, as a pair with A Rocky River Scene (800 gns. to Agnews, with lot 157, a second pair of Vernets). with Thomas Agnew & Sons, London, where acquired by the following, Sir Brian Mc Grath (1925-2016), and by inheritance to the present owner.
Auction: Bonhams -Jul 4, 2018 - LondonLot number: 76
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Claude Joseph Vernet (Avignon 1714-1789 Paris) A cove on a rocky Mediterranean coast, with small vessels and fishermen signed and dated 'Joseph Vernet/f. Romae/ 1747' (lower right) oil on canvas 32 x 49.5cm (12 5/8 x 19 1/2in). Footnotes Provenance The Earls of Bessborough, Stanstead Park, Sussex (according to a label on the reverse) Sale, Sotheby's, London, 10 April 2003, lot 100 The attribution to Vernet was endorsed by Dr. Philip Conisbee at the time of the last sale. The architecture in the present work bears a resemblance to the Villa Costaguti (now Borghese) in Anzio.
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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