BERNARDO BELLOTTO AND STUDIO | VIENNA, A VIEW OF THE KARLSKIRCHE
150,000 - 250,000 GBP
Property from the Collection of Max Emden (1874–1940)
BERNARDO BELLOTTO AND STUDIO
Venice 1721 - 1780 Warsaw
VIENNA, A VIEW OF THE KARLSKIRCHE
oil on canvas
unframed: 48.3 x 79.9 cm.; 19 x 31½ in.
framed: 103.5 x 72.5 cm.; 40¾ x 28½ in.
Please note: Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
To view Shipping Calculator, please click here
The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's:
Bernardo Bellotto and Studio
View of the Karlskirche, Vienna
oil on canvas
The canvas has an old lining and an overall pattern of raised lines of drying craquelure which is most noticeable in the darker pigments. The craquelure is reasonably stable at present but it may be felt that relining would be beneficial to ensure a more even and secure surface.
The paint surface has rather uneven and certainly discoloured varnish layers. Inspection under ultraviolet light shows extensive retouchings in the sky, particularly in the upper left and upper right and around the trees and the dome, which are undoubtedly larger than is really necessary and could be reduced with more careful inpainting. There are also horizontal lines of retouching and some strengthening of details in the lower left and lower right corners and retouchings within the dark shadows of the architecture. The varnish layers are also very opaque under ultraviolet light making the accurate identification of retouchings very difficult and there are undoubtedly further retouchings beneath the varnish layers that are not visible under ultraviolet light. The fine details of the architecture appear to be well preserved with comparatively few retouchings.
The painting would therefore appear to be in stable condition and should benefit considerably from cleaning, restoration and revarnishing, and if required, relining. The nature of the opaque varnish layers should be noted.
"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."
Frans Josef Honig (1877–1930), Vienna, by 1926;
With Karl Haberstock, Berlin, by 1929;
With Galerie Caspari, Munich, 1930;
Max Emden (1874–1940), Hamburg, Germany;
With Karl Haberstock, Berlin, by whom acquired from the above on 30 June 1938 (inv. no. 1938/125);
Reichskanzlei, Berlin, acquired from the above June 1938 (Führer inventory 27);
In store, Alt Ausee, Austria (number 1210);
Munich Central Collecting Point (number 1411) January 15, 1946;
Transferred to Ministerpresident, 10 June 1949;
Property of the Federal Republic of Germany, 1966;
Restituted to the heirs of Max Emden, 2019.
H. Tietze, Alt-Wien in Wort und Bild vom Ausgang des Mittelalters bis zum Ende des XVIII Jahrhunderts, Vienna 1926, reproduced pl. 104;
H.A. Fritzsche, Bernardo Bellotto genannt Canaletto, Burg bei Magdeburg 1936, p. 115, no. VG 114 (incorrectly as the Kaunitz Palace in Vienna);
A. Trost, Canaletto's Viennese views, pp. 19 and 23, no. 9, reproduced fig. 9;
H. Aurenhammer, in Johann Bernhard Fischer von Erlach, exh. cat. Vienna, Graz and Salzburg 1956, p. 169, under no. 53, reproduced fig. 12;
H. Sedlmayer, in Johann Bernhard Fischer von Erlach, Vienna and Munich 1956, p. 134, reproduced fig. 165;
S. Kozakiewicz, 'An almost unknown painter, Lorenzo Bellotto, son of Bernardo and a series of Bellottian views of Rome', in Venice and Poland in the centuries from the XVII to the XIX, Venice and Rome 1965, p. 98, reproduced fig. 61;
G. Heinz, in Bernardo Bellotto gennant Canaletto, exh. cat. Vienna 1965, p. 59, under no. 46;
K. Haberstock, Hundert Bilder aus der Galerie Haberstock Berlin, Munich 1967, no. 67, reproduced;
S. Kozakiewicz, Bernardo Bellotto, London 1972, vol. I, pp. 114 and 127, vol. II, pp. 198, and 200–01, no. 258, reproduced fig. 258;
E. Camesasca, L’opera complete del Bellotto, Milan 1974, p. 124, no. 340A, reproduced (as largely by the Bellotto workshop);
M.J. Knofler, Das Theresianische Wien. Der Alltag in den Bildern Canalettos, Vienna, Cologne and Graz 1979, p. 22, reproduced fig. 3;
A. Rizzi, ‘Promenades bellottiane per Vienna e dintorni’, in Ateneo Veneto, vol. CLXXIX, 1992, pp. 274–75;
A. Rizzi, Bernardo Bellotto. Dresda Vienna Monaco 1747–1766, Venice 1996, p. 104, no. 86 (detail reproduced);
W. Seipel (ed.), Bernardo Bellotto gennant Canaletto. Europäische veduten, exh. cat. Vienna 2005, p. 111, under no. 17, reproduced fig. 1 (as Bellotto).
Munich, Galerie Caspari, Italian painting, Venetians of the 16th–18th century, 1930, no. 4;
Munich, Technische Hochschule, Architekturausstellung der Bayerisches Staatsgemäldesammlungen München, September–October 1954;
Dusseldorf, Kunstmuseum, on loan since 1966.