459
Italian school, circle of Giambattista Tiepolo, grey-brown wash on paper, late 18th C.: Study of a c
1/5
Beschreibung
Full title: Italian school, circle of Giambattista Tiepolo, grey-brown wash on paper, late 18th C.: Study of a cow and of four turbaned men's heads
Description:
Dim.: 15,5 x 7,5 cmÊ
On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)
On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê
Expert: Cabinet Rene Millet.Ê
Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)
- A Belgian private collection.
- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê
Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade.
During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s.
He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)
Condition reports and additional images:
The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Description:
Dim.: 15,5 x 7,5 cmÊ
On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)
On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê
Expert: Cabinet Rene Millet.Ê
Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)
- A Belgian private collection.
- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê
Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade.
During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s.
He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)
Condition reports and additional images:
The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
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Full title: Italian school, circle of Giambattista Tiepolo, grey-brown wash on paper, late 18th C.: Study of a cow and of four turbaned men's heads
Description:
Dim.: 15,5 x 7,5 cmÊ
On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)
On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê
Expert: Cabinet Rene Millet.Ê
Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)
- A Belgian private collection.
- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê
Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade.
During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s.
He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)
Condition reports and additional images:
The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Description:
Dim.: 15,5 x 7,5 cmÊ
On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)
On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê
Expert: Cabinet Rene Millet.Ê
Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)
- A Belgian private collection.
- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê
Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade.
During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s.
He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)
Condition reports and additional images:
The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Medieval arts, European ceramics and Islamic arts
Auktionsdatum
Lose: 1-223
Lose: 224-524
Ort der Versteigerung
Genthof 9
Bruges
8000
Belgium
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Transport:
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1) Mail Boxes Etc.
Blvd. du Regent 54
1000 Brussel
Phone: +32(0)22422939
E-mail: mbebrussels@mbebelgium.be
2) Jun Hao Chen
Chinese speaking international logistics.
Email: info@junhao-chen.com
Phone: +31 6 34 89 62 22
Wechat ID: jun781994
3) Eagle Shipping
International worldwide forwarding from small parcels to full container loads. Shipping via ocean - air - road.
E-mail: warehouse@eaglezeebrugge.com
Web: www.eaglezeebrugge.com
Phone: +32 (0)50558855
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Chinese speaking international logistics.
E-mail: info@eboatlogistics.com
Web: www.eboatlogistics.com
Phone: +32 (0)27212703
Wechat ID: wxid_zp74u4eisjbf12
5) Antiquetrans BV
Chinese speaking international logistics.
Manager: Zhongkuan Cao (Kuan)
Email: czhongkuan@gmail.com
Web: www.antiquetrans.eu
Phone: +32 (0) 488118568
Wechat ID: wxid_p8qjsk9tafyk22
6) Transports Expéditions Intl
Dedicated transport across Belgium, France and Southern Europe.
Manager: Julio Saavedra
E-mail: saavedra.julio@icloud.com
Web: www.emballageart.com
Phone: +33 (0)68445507
7) Gaumont Transports
Dedicated transport across Belgium and France.
Manager: Pierre Gaumont
E-mail: pierre.gaumont@free.fr
Phone: +33 (0)608491868
8) Pac4art Fine Art Service
Dedicated transport across Belgium and Germany.
E-mail: contact@pac4art.com
Website: www.pac4art.com
Tel.: +49(0)21332857818
9) New DelfineArt
Dedicated transport across Belgium and Germany.
E-mail: info@delfineart.de
Website: www.delfineart.de
Tel.: +49(0)2284228698
Wichtige Informationen
This sale covers the 525 lots in our catalogue.
We start on October 8 at 09:30, local time in Belgium.
Sale order:
09:30 - Lots 1-223 (The Larminet-Davioud collection)
14:30 - Lots 224-524
Viewing days:
October 2 to 6: 10:00-18:00
For more information please contact us by phone on +32 (0)50 343603 or by e-mail: info@rm-auctions.com.
The auctioneers buyers premium is 27.5%. An additional 5% will be added to this for successful online bids on The-Saleroom or Lot-Tissimo.
AGB
Sale Terms
- The sale is conducted by:
Rob Michiels Auctions
AARM bv
Address: Genthof 9, 8000 Brugge, Belgium
VAT: BE 0568.546.989
Tel.: +32(0)50 343603
E-mail: info@rm-auctions.com - Sales are conducted by auction according to the Belgian law.
- All sales are final and irrevocable. Cancellations and/or refunds are impossible.
- Payments for lots purchased are expected within 5 working days after the last day of auction. Invoices remaining unpaid or only partly paid, 30 calendar days after the auction, will be subject to the following late payment interest fees:
On day 31: Administrative fee of 25 Euro per lot and a late payment fee of 1.5% of the total invoice amount.
Per additional 14 calendar days: an additional late payment fee of 1.5% of the total invoice amount.
These fees do not cover storage fees, which are explained further in this document. - According to Belgian anti-money laundering laws, amounts from €3.000 can not be settled by cash payments.
- Bidding increments are:
0-100 Euro: + 10 Euro
100-1000 Euro: + 50 Euro
1000-2000 Euro: + 100 Euro
2000-5000 Euro: + 200 Euro
5000-20000 Euro: + 500 Euro
20000-50000 Euro: + 2000 Euro
50000-200000 Euro: + 5000 Euro
+ 100000 Euro: + 10000 Euro
Alterations of the bidding increments are possible at the auctioneer’s discretion. Commission bids or absentee bids which don’t comply with these increments will be rounded up or down to the nearest bid amount following these increments. This means that, for example, a bid of 1240 Euro will be rounded down to 1200 Euro and a bid of 1250 Euro will be rounded up tot 1300 Euro. - Sales commission is 27,5%, all taxes included. This means that the final price to be paid will be the hammer price plus 27.5% of the hammer price.
External partners allowing their clients to bid with us, may charge a fee for this, which will then be added to our sales commission. These fees vary per partner and are subject to change at the partner’s discretion. We have no influence on this and payments not including this fee will be seen as incomplete. - Goods are sold "as is" at the moment of adjudication.
- All statements made by the auctioneer, be it in writing, digitally or orally, are not to be relied on as statements of fact. They are only an opinion, given to the best of our knowledge and are for guidance only. The buyer is due to verify the condition of the goods by personal inspection. On request every opportunity will be provided to conduct additional expertise as long as the goods are not damaged. As a result, after the adjudication no complaint will be accepted.
- Anyone damaging goods during viewing days or at any other moment, is obliged to inform us. Failure to do so may result in legal action. Should the auctioneer deem compensation necessary, the amount will be set at the high estimate multiplied by 1.275.
- After adjudication the buyer is responsible for his/her purchases. The auctioneer will guard and store the items(s) to the best of his ability but can not be held liable for any damage occurred after adjudication. During the auction goods can not be collected.
- Every buyer needs to provide identification. A bidding number can be acquired during the viewing days and before the auction. During the auction this is also possible through the front desk. However, we strongly advise acquisition of said number before the auction to allow a smooth auction process. Identification measures include but are not necessarily limited to: requesting a copy of your passport or identity document, a transcription of your personal contact details. Your personal details will not be shared with third parties, can be consulted at your request and may be removed from our database on simple request.
- Each person is assumed to bid on his own account. Bids are binding contracts. In default of payment, liability to another person will not be accepted.
- Any dispute occurring during the auction can only be resolved by the acting bailiff/notary. His or her decision is definite and irrevocable. He may decide to recall any lot, cancel any adjudication, during or even after the sale, for whichever reason. His word is final.
- The international rules on copyright law (droit de suite) oblige us to require an extra premium on the hammer price of original works of art made by still living artists, or within seventy years after his or her decease. The premium is required only on hammer prices from €2.000. The amounts required are:
4% on the total sum up to € 50.000
3% on the amount from € 50000,01 up to € 200000
1% on the amount from € 200000,01 up to € 350000
0.5% on the amount from € 350.000,01 up to € 500000
0.25% on the amount from € 500000
The maximum amount of the right should not exceed € 12500.
Even in the unlikely event where this resale right was not charged to the buyer, he will still be obliged to pay this premium up to 5 years after the sale.
All info on Resale rights in Belgium can be found on www.resaleright.be - Collection of purchases is only possible after the auctioneer has received full payment. Collection dates will be announced individually per auction and are also available on request. It is the buyer's duty to inquire about collection options. Goods not collected within 14 calendar days, counted from and including the first day after the sale day on which the item was sold, will be subject to a storage fee of 1,5 Euro per item per day, even if the payment is completed in full, unless other arrangements have been made to our satisfaction.
- We accept payments by means of:
Cash (under €3.000)
Bank transfer of the full amount, indicating the invoice number in the commentary section. Any and all fees should be handled by the sender, on this bank account:
Beneficiary: AARM bv
Beneficiary address: Genthof 9, 8000 Bruges, Belgium
Bank: BNP Paribas Fortis
Bank address: Vlamingstraat 78, 8000 Bruges, Belgium
IBAN: BE48001746875727
BIC: GEBABEBBCredit and debit card payments, as well as Unionpay payments, can be accepted with the cardholder present in our rooms.
Most credit and debit cards can also be accepted online, on our payment page.
Credit card payments with cards issued outside the EU are subject to a 2.5% surcharge.
Bidders using a third-party platform to submit their bids and have registered cards with the platform, may be charged through this third-party platform within 4 working days after the auction. -
We can also assist you in obtaining shipping quotes for most purchases. There is a list of recommended shippers available and we will do what we can to facilitate their work. Weights and sizes will be made available where necessary. On rare occasions, we can offer to ship goods ourselves.
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Both foreign and national buyers who can’t be present during the auction, can bid by telephone or bid live online on our website or through one of our third party partners. As we can not guarantee the proper functioning of available communication channels, we strongly suggest to also send in a back-up absentee bid, or book a telephone line and arrange for online bidding simultaneously.
Foreign buyers will need to identify themselves in full at least 24 hours before the auction. If necessary, a bank guarantee or deposit will be requested which will serve as a guarantee in case of non-payment. Failure to provide requested bank guarantees or deposits may result in the non-acceptance of any bids.
The auctioneer can not be held responsible in case of disfunctioning of the available communication channels and any consequences related to this, nor from unavailability on the bidders’ side. -
Professionals are required to identify themselves as such and disclose their business details when bidding or requesting a bid number.
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In case of non-payment the lots may be put up for sale in a later sale. The non-paying bidder will be obliged to reimburse the difference in case of a lower hammer price, according to Belgian law. He will not have any claims over the possible difference above the original hammer price. He will also need to cover all costs related to the re-offering.
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Every buyer is supposed to know and comply with the import regulations of his or her country of destination. The auction house can not be held responsable for any problems arising with the export of certain goods, be they legal or illegal in any country.
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Every buyer and seller is supposed to know the current regulations regarding the sale or exposition of animals or wildlife species, such as, but not limited to, ivory, minerals, gems, rhino horn, bone, taxidermy, ... but also for works of art partially consisting of such material. The auction house denies any responsability in regard to possible seizure, destruction or penalties imposed by Belgian or foreign governments. The full 100% responsability for any issue arising lies with the consignor-seller and/or bidder-buyer.
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By taking part in our sales any person agrees to these condition, be it directly through us or through one of our partners which allow bidders to bid with us.
- The auction house reserves the right to refuse bidders or to request a deposit from certain bidders. Deposits will be deducted from payable invoices for winning bidders or completely refunded within 10 working days following the auction, in case of a non-winning bidder.
- VAT on commission is refundable only from a minimal amount of 250 Euro (for invoices of 5300 Euro hammer price and more). Special paperwork is required and may take up to 5 working days to establish. The fee for this service is 200 Euro per invoice. A VAT-refund is possible exclusively for non-EU buyers.
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Every participant to our sales is supposed to be aware of and comply with these conditions.
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Any arising dispute shall only be governed by the Belgian law and only the justice court in Bruges, Belgium, can deal with these disputes.
