Lot 15. BERNARDO BELLOTTO (VENICE 1721-1780 WARSAW). Venice, the Grand Canal with the Rialto Bridge seen from the South, oil on canvas, 24 x 36 in. (60.7 x 91.5 cm.). Estimate $2,500,000 – 3,500,000. Christie’s. 10/20/22. Sold $1,300,000

Provenance: (Probably) supplied to Henry Fiennes Pelham-Clinton, 2nd Duke of Newcastle-under-Lyne (1720-1794), Clumber Park, in 1741, and then by descent at Clumber House, Nottinghamshire, where first recorded in his posthumous inventory of 1794, through his third but older surviving son,
Thomas, 3rd Duke of Newcastle (1752-1795), and by descent to his son,
Henry Pelham, 4th Duke of Newcastle (1785-1851), and by descent to his son,
Henry Pelham, 5th Duke of Newcastle (1811-1864), and by descent to his son,
Henry Pelham Alexander, 6th Duke of Newcastle (1834-1879), and by descent to his son,
Henry Pelham Archibald Douglas, 7th Duke of Newcastle (1864-1928), by whom bequeathed to his nephew,
Henry Edward Hugh Earl of Lincoln, later 9th Duke of Newcastle (1864-1928); his sale, [The Property of the Honourable the Earl of Lincoln Inherited under the will of the late Henry Pelham Archibald Douglas Pelham-Clinton]; Christie’s, London, 31 March 1939, lot 7, as ‘A. Canaletto’ (285 gns. to Assher and Welcker).
with Edward Speelman, London.
J.S. Sykes.

Anonymous sale; Sotheby’s, London, 8 December 1971, lot 38, as ‘Antonio Canale, called Canaletto’ (£22,000 to T. Parkinson).
[Property of a European Gentleman]; Sotheby’s, New York, 17 January 1986, lot 125, as ‘Giovanni Antonio Canale, called Canaletto, and Studio’.
with Harari & Johns, Ltd., London, as ‘Giovanni Antonio Canal, Called Canaletto’, until 1987.
Acquired by Ann and Gordon Getty from the above.

Literature:

Catalogue of pictures being part of the Clumber Collection, 1872, no. 55, 58, 73, or 74.
A. Graves, A Century of Loan Exhibitons, 1813-1912, I, 1913, pp. 143 and 145, as ‘Canaletto’.
W.J. Hipkin, Descriptive catalogue of the Pictures, etc. at Clumber House, London, 1923, no. 36.
W.G. Constable, Canaletto: Giovanni Antonio Canal 1697-1786, II, second edition, Oxford, 1976, pp. 296-297, no. 228 b1, as ‘Studio of Canaletto’; 2nd edition, II, revised by J. Links, 1976, pp. 296-7.
‌J. Ingamells, The Wallace Collection, Catalogue of Pictures, I, British, German, Italian, Spanish, London, 1985, p. 239, under no. P511, under versions.

Exhibited:

(Possibly) London, British Institution 1853, among nos. 98, 103, 113 and 118, all lent by the Duke of Newcastle, as ‘Canaletto’.
London, British Institution, 1858, no. 77, as ‘Canaletto’.
London, British Institution, 1866, no. 77, as ‘Canaletto’.
Nottingham, Nottingham Museum and Art Gallery, 1879, nos. 98, 103, 113 and 118, all lent by the Duke of Newcastle, as ‘Canaletto’.
Nottingham, Nottingham Museum and Art Gallery, 1933, as ‘Canaletto’.

Warto popatrzeć i przyjrzeć się tym dwóm obrazom. Pierwszy z Christie’s ma światową proweniencję, o świetle i perspektywie jakiej później pomarzyć tylko. Ten drugi, z niemieckiego Hampla, który jest opisany jako atrybucja, to daleko mu do atrybucji tak jak daleko Hamplowi do handlu pracami autentycznymi. Słowo ‘atrybucja’ jest u Hampla tak rozciągliwe jak guma w portkach. A propos zakupu to co wolelibyście Państwo kupić: obraz Canaletta z Christie’s czy koło Fangora z Desy? Ceny są chyba podobne.

Lot 529. Bernardo Bellotto, 1721 Venedig – 1780 Warschau, Umkreis. Devant l’entrée du parc du château. Huile sur toile. Doublée de peinture.63 x 134 cm. Dans un cadre en bronze décoré en relief. Une clôture de parc divisée par des bustes d’hermès délimite un parc de château en partie arboré et sert de toile de fond pour la représentation des personnages représentés ici en vêtements d’époque. Derrière, un bâtiment du château s’étend largement, dans l’esprit du vénitien Bernardo Bellotto. Estimate 8,000 – 10,000 euro. Hampel. 09/22/22