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拍品 29 PROPERTY FROM THE COLLECTION OF DR HERMANN RÖCHLING (1929-2020) SOLD TO BENEFIT THE ACQUISITION FUND OF THE STAATLICHE KUNSTHALLE KARLSRUHE (LOTS 26, 27, 28, 29, 30 & 31)
These paintings are being sold to benefit the Staatliche Kunsthalle in Karlsruhe, Germany, selected from the collection bequeathed to the museum by the late Dr. Hermann Röchling (1929-2020) of Baden Baden. Dr. Röchling, who began collecting art in the early 1990s, was recognised as a major benefactor and art donor to the museum. Dr. Hermann Röchling was a committed proponent of the Washington Principles, financially supporting provenance research undertaken by the museum and, on an ad hoc basis, providing funds to enable the institution to re-acquire works of art that were successfully restituted. The late Dr. Hermann Röchling was a well-respected economist and academic and promoted music and the arts through his Fontana Stiftung.
All proceeds from this sale will benefit the museum.
These paintings are being sold to benefit the Staatliche Kunsthalle in Karlsruhe, Germany, selected from the collection bequeathed to the museum by the late Dr. Hermann Röchling (1929-2020) of Baden Baden. Dr. Röchling, who began collecting art in the early 1990s, was recognised as a major benefactor and art donor to the museum. Dr. Hermann Röchling was a committed proponent of the Washington Principles, financially supporting provenance research undertaken by the museum and, on an ad hoc basis, providing funds to enable the institution to re-acquire works of art that were successfully restituted. The late Dr. Hermann Röchling was a well-respected economist and academic and promoted music and the arts through his Fontana Stiftung.
All proceeds from this sale will benefit the museum.
FRANCESCO GUARDI (VENICE 1712-1793)
The Holy Family
已結束2023年12月7日
成交價
GBP 52,920
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專家說明
This charming and spirited canvas, intimate in its scale and design, showcases Francesco Guardi’s talent as a figural painter. His storied career as one of the most important vedutisti of the eighteenth century, capturing the essence of Venice like few others, meant his work as a history painter was largely overshadowed until the nineteenth century. Yet he produced numerous altarpieces and religious compositions, as well as still lifes, characterised by the same sensitivity and vibrancy that runs through his view paintings.
This composition is based on an etching by Bartolomeo Biscaino (fig. 1), a Genoese artist working in the mid-seventeenth century; Guardi subtly adapted Biscaino’s invention, omitting the Infant Saint John the Baptist and the classical column, allowing the focus instead to fall more directly on the Madonna and Child. The practice of using and reinterpreting extant compositions in this manner was quite typical of Francesco Guardi and his brother Gian Antonio – indeed, they were commissioned by Field Marshall Johann Matthias von Schulenburg to make copies of works by Titian and Tintoretto, and for The Continence of Scipio (sold in these Rooms, 4 July 2019, lot 43) Francesco based himself on a picture by Giovanni Antonio Pellegrini. This Holy Family, for which a corresponding drawing exists in the Kupferstichkabinett in Berlin, dates to the latter part of Guardi’s career, when he favoured such cool tones and pale hues as evidenced here.
This composition is based on an etching by Bartolomeo Biscaino (fig. 1), a Genoese artist working in the mid-seventeenth century; Guardi subtly adapted Biscaino’s invention, omitting the Infant Saint John the Baptist and the classical column, allowing the focus instead to fall more directly on the Madonna and Child. The practice of using and reinterpreting extant compositions in this manner was quite typical of Francesco Guardi and his brother Gian Antonio – indeed, they were commissioned by Field Marshall Johann Matthias von Schulenburg to make copies of works by Titian and Tintoretto, and for The Continence of Scipio (sold in these Rooms, 4 July 2019, lot 43) Francesco based himself on a picture by Giovanni Antonio Pellegrini. This Holy Family, for which a corresponding drawing exists in the Kupferstichkabinett in Berlin, dates to the latter part of Guardi’s career, when he favoured such cool tones and pale hues as evidenced here.