Lot n° 292
Estimation :
6000 - 8000
EUR
Attribué à Claude Joseph Vernet (Avignon 1714 - 1789 Paris) - Lot 292
Attribué à Claude Joseph Vernet (Avignon 1714 - 1789 Paris)
Quinto Tower.
- The Lamintana Bridge.
Oil on panel, oval format, one pair.
16.5 x 22 cm.; 30 x 35 cm. with frames.
On the back, on each panel, handwritten annotations in ink, probably dating from the
ponte Lamintana / ovale di Vernet et tor di quinto / originale di vernet, accompanied by the words: Je garantis ce tableau original de J. Vernet - Gault de Saint-Germain.
Presented in handsome oak frames, gilded and carved, with oval views, one stamped Infroit, dating from the late 18th century.
Etienne-Louis Infroit, joiner-sculptor, frame-maker, born in 1720, died in Paris on July 29, 1794.
BIBLIOGRAPHY:
- perhaps the works mentioned in
Catalog des tableaux, dessins sous verre et en feuilles, quelques estampes, etc.: composant le cabinet et les études de feu Joseph-
Marie Vien... Paris, May 17, 1809, p. 20, no. 28.
- perhaps the works mentioned in
F. Ingersoll-Smouse. Joseph Vernet, peintre de marine. Etude critique et catalog raisonné, Paris, 1926, no. 530 bis.
Provenance:
- Possibly collection of Joseph-Marie Vien (1716-1809), Paris,
- Possibly collection of Pierre-Marie Gault de Saint-Germain (1754- 1842), Paris
- Private collection, France
Our two small views, executed nervously and in a style reminiscent of Salvatore Rosa, could correspond to the two small oval paintings. Joseph Vernet's first studies on his arrival in Italy, cited in the 1809 after-death sale of Joseph Marie Vien, catalogued by Alexandre Paillet.
Vernet arrived in Italy in November 1734, at the age of 20, and stayed for eighteen years.
According to Florence Ingersoll-Smouse: Perhaps, if Vernet had been able to enter the Académie de France, his career as an artist would have been modified, but, left to his own tastes, he went to the still-vibrant art of S[alvatore] Rosa, to his imitator B[ernardo] Fergione, to Andrea
Locatelli (1660-1741) and his pupil G. P. Pannini (1695-1768), and above all to the Frenchman Adrien Manglard, who provided him with the elements for his work.
It is interesting to note, on the back of our paintings, handwritten annotations probably in the hand of Pierre-Marie
Gault de Saint-Germain (1754-1842), first a painter, then an art historian (curator of historical monuments in the Puy-de-Dôme département between 1794 and 1796). These references suggest that the works were examined by him, probably with a view to a transaction.
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