- 10
Federico del Campo
bidding is closed
Description
- Federico del Campo
- Gondolas by the Doge's Palace, Venice
- signed F del Campo lower right
- oil on canvas
- 48.5 by 74cm., 19 by 29in.
Provenance
Sale: Sotheby's, London, 18 November 2003, lot 306
Purchased by the present owner at the above sale
Purchased by the present owner at the above sale
Condition
The canvas has not been lined. Ultraviolet light reveals some minor signs of retouching at the extreme edges addressing frame rubbing, and some small scattered spots in the sky. There is a light stretcher mark relating to the horizontal upper stretcher, and some minor scattered spots of surface dirt visible under close inspection which could be easily removed by a conservator. The painting is in good condition.
Held in an elaborate gold-painted wood and plaster frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The present sweeping panorama, painted from the promenade overlooking the lagoon and encompassing the Doge's Palace, the entrance to St Mark's Square, and the Church of Santa Maria della Salute, is striking in its technical precision, lively brushwork and luminous palette. The elegance of the subject and its technique are telling of their times, reflective of sophisticated belle époque taste during the 1880s and 1890s, and of the increased demand for souvenir views by a newly mobile bourgeoisie. Indeed, so much were Del Campo's views in demand, that he painted the present view several times, it becoming his signature composition.
Born in Lima, Peru, the young del Campo was lured to Italy not only by its picturesqueness but by the hope of launching a successful and lucrative career. In moving to Venice, he joined an already large community of emigré artists, among them Antoinetta Brandeis and the Spanish colony of painters who included Rafael Senet, Mariano Fortuny, and Martin Rico, all of whom found a ready international market for their views of the city. Many, del Campo included, made such big names for themselves through this genre that they painted nothing but Italian views.
Born in Lima, Peru, the young del Campo was lured to Italy not only by its picturesqueness but by the hope of launching a successful and lucrative career. In moving to Venice, he joined an already large community of emigré artists, among them Antoinetta Brandeis and the Spanish colony of painters who included Rafael Senet, Mariano Fortuny, and Martin Rico, all of whom found a ready international market for their views of the city. Many, del Campo included, made such big names for themselves through this genre that they painted nothing but Italian views.