BERNARDO BELLOTTO  |  DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER
BERNARDO BELLOTTO  |  DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER
BERNARDO BELLOTTO  |  DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER
BERNARDO BELLOTTO  |  DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER
BERNARDO BELLOTTO  |  DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER
33

PROPERTY FROM THE COLLECTION FORMED BY MAX EMDEN (1874–1940)

BERNARDO BELLOTTO | DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER

Estimate: 3,000,000 - 4,000,000 GBP

PROPERTY FROM THE COLLECTION FORMED BY MAX EMDEN (1874–1940)

BERNARDO BELLOTTO | DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER

Estimate: 3,000,000 - 4,000,000 GBP
Lot sold:5,437,400GBP

Description

Property from the Collection formed by Max Emden (1874–1940)

BERNARDO BELLOTTO

Venice 1722 - 1780 Warsaw

DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER


oil on canvas

48.3 by 80.4 cm.; 19 by 31⅝ in.

Condition Report

The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's:


Bernardo Bellotto

View of Zwinger Canal, Dresden

oil on canvas


Structural Condition

The canvas has been lined and has successfully secured the overall pattern of fine lines of drying craquelure. The structural condition would appear to be sound and secure. There is an upper horizontal stretcher-bar line which is entirely stable.


Paint surface

The paint surface has an even varnish layer. Inspection under ultraviolet light shows a few, small scattered retouchings including some on the lower left vertical framing edge and around the other framing edges, an area in the water in the lower left of the composition which measures approximately 1 x 0.5 cm and other minimal spots and lines of inpainting. There may be further retouchings that I could not identify under ultraviolet light. It is very encouraging to note that the fine detail of the composition appears to be very well preserved.


Summary

The painting would therefore appear to be in very good and stable condition and no further work is required


"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."

Saleroom Notice

Please note that this lot is subject to an irrevocable bid. Please refer to the printed catalogue for information on irrevocable bids.

Provenance

Private collection of the Duke of Saxe-Anhalt until 1925

With Galerie Bachstitz, Berlin, 1928

With Arthur Tooth, London

Max Emden, Hamburg, Germany

With Karl Haberstock, Berlin, acquired 30 June 1938 (inventory no. 1938/125)

Reichskanzlei, Berlin, acquired June 1938 (Führer inventory 115)

In store, Alt Ausee, Austria (number 1447)

Munich Central Collecting Point (number 1648), 15 January 1946

Treuhandverwaltung für Kulturgut, Munich

Office of the Federal President, Bonn, on loan since 1961

Restituted to the heirs of Max Emden, 2019

Literature

Der Cicerone, XX, 12, June 1928, p. 417, reproduced p. 415

H. Voss, ‘Painter of Dresden’, International Studio, XCI, 379, December 1928, p. 38, reproduced (incorrectly captioned as in the Dresden Gallery)

H.A. Fritzsche, Bernardo Bellotto genannt Canaletto, Burg b. Magdeburg 1936, no. VG 58, pp. 53 and 110, reproduced fig. 61

K. Haberstock, Hundert Bilder aus der Galerie Haberstock Berlin, Munich 1967, no. 65, reproduced

S. Kozakiewicz, Bernardo Bellotto, Greenwich 1972, vol. II, p. 128, no. 159, reproduced p. 126

Kunst in Venedig 16.– 18. Jahrhundert: Gemälde und Zeichnungen, F. Lachenal (ed.), exh. cat., Museum Altes Rathaus, Ingelheim am Rhein, 1987, no. 110

A. Rizzi, Bernardo Bellotto: Dresda, Vienna, Monaco, Venice 1996, p. 42, no. 17

E. Camesasca, L’opera completa del Bellotto, Milan 1974, p. 100, no. 106 and under no. 104, reproduced p. 99

G. Marini in The Glory of Venice, Art in the Eighteenth Century, exh. cat., Royal Academy of Arts, London, and National Gallery of Art, Washington, New Haven and London 1994, p. 429, under no. 255


ETCHED

Bernardo Bellotto, View of the Zwinger Canal, 1758; from a series of etched views of Dresden, Plate 53.1 x 83.8 cm. First state, caption in the lower margin: Vüe laterale des Galleries du Zwinger, – avec le Pont, qui degage vers l’Allée – /d’Ostra et vers la Porte de Wilsdruff, – prise d’une des Serres de l’Orangerie Roïale. /Peint et gravé par Berd: Bellotto dit Canaletto Peiñ. R. – 1758

Exhibited

Dresden, Albertinum, Bernardo Bellotto genannt Canaletto in Dresden und Warschau, 6 December 1963 – 31 August 1964, under no. 9, 5d

Warsaw, Muzeum narodowe w Warszawie, Drezno i Warszawa w twórczości Bernarda Bellotta Canaletta, September–October 1964, no. 9d

Vienna, Kunsthistorisches Museum, Bernardo Bellotto, genannt Canaletto, 29 April – 25 July 1965, under no. 14, 12d

Ingelheim am Rhein, Museum Altes Rathaus, Kunst in Venedig 16.– 18. Jahrhundert: Gemälde und Zeichnungen, 26 April – 8 June 1987, no. 110

Dresden, Militär Historisches Museum, on long term loan until 2019

BERNARDO BELLOTTO  |  DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER
PROPERTY FROM THE COLLECTION FORMED BY MAX EMDEN (1874–1940)
BERNARDO BELLOTTO | DRESDEN, A VIEW OF THE MOAT OF THE ZWINGER
Lot Closed