View full screen - View 1 of Lot 164. MASTER OF THE LANGMATT FOUNDATION VIEWS, OFTEN IDENTIFIED AS APOLLONIO DOMENICHINI | VENICE, A VIEW OF THE PIAZZA SAN MARCO LOOKING EAST TOWARDS THE BASILICA AND THE CAMPANILE; AND VENICE, A VIEW OF THE BACINO DI SAN MARCO ON ASCENSION DAY.
164

MASTER OF THE LANGMATT FOUNDATION VIEWS, OFTEN IDENTIFIED AS APOLLONIO DOMENICHINI | VENICE, A VIEW OF THE PIAZZA SAN MARCO LOOKING EAST TOWARDS THE BASILICA AND THE CAMPANILE; AND VENICE, A VIEW OF THE BACINO DI SAN MARCO ON ASCENSION DAY

Estimate:

50,000 - 70,000 GBP

MASTER OF THE LANGMATT FOUNDATION VIEWS, OFTEN IDENTIFIED AS APOLLONIO DOMENICHINI | VENICE, A VIEW OF THE PIAZZA SAN MARCO LOOKING EAST TOWARDS THE BASILICA AND THE CAMPANILE; AND VENICE, A VIEW OF THE BACINO DI SAN MARCO ON ASCENSION DAY

MASTER OF THE LANGMATT FOUNDATION VIEWS, OFTEN IDENTIFIED AS APOLLONIO DOMENICHINI | VENICE, A VIEW OF THE PIAZZA SAN MARCO LOOKING EAST TOWARDS THE BASILICA AND THE CAMPANILE; AND VENICE, A VIEW OF THE BACINO DI SAN MARCO ON ASCENSION DAY

Estimate:

50,000 - 70,000 GBP

Lot sold:

62,500

GBP

MASTER OF THE LANGMATT FOUNDATION VIEWS, OFTEN IDENTIFIED AS APOLLONIO DOMENICHINI

active Venice circa 1740-1770

VENICE, A VIEW OF THE PIAZZA SAN MARCO LOOKING EAST TOWARDS THE BASILICA AND THE CAMPANILE; AND VENICE, A VIEW OF THE BACINO DI SAN MARCO ON ASCENSION DAY


a pair, both oil on canvas

unframed: each 34.2 x 55.9 cm.; 13½ x 22 in.

framed: each 46.5 x 68.1 cm.; 18¼ x 26⅞ in.

(2)


To view Shipping Calculator, please click here

Both canvases are strip lined. Both have well preserved detail and texture; the surface of the latter is cleaner than the former. There are no major damages visible to the naked eye. Inspection under ultraviolet light reveals minor retouchings.


The former: one repaired damage along the roofline of the building just beyond the Torre dell'Orologio (3 cm.), patched on the reverse; minor scattered retouchings principally in the sky along the top frame edge (left) and top left corner; some wear lower left.


The latter: small paint loss in the sky, upper right (1.5 mm.); minor retouching scattered in the sky, largest top left (1.5 x 1 cm.); along left margin; lower left corner; and lower edge; some wear lower corners.

In good overall condition.

"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."

This pair of Venetian vedute by the painter sometimes identified as Apollonio Domenichini but more commonly known as the Master of the Langmatt Foundation Views, depicts some of the city's most famous landmarks. Piazza San Marco, with the Basilica di San Marco and the famous Campanile, offers a quintessential view of the city, enlivened in the foreground by the inclusion of masked figures. The pendant records the Bacino on the occasion of Venice’s principal annual ceremony, the Wedding of the Sea (Sposalizio del Mar), held on Ascension Day. The Bucintoro, the ceremonial vessel used for the festival, is visible on the right, and moored beside it, oars raised, is the fusta, the Doge’s single-masted galleon. The marquee erected in the Piazzetta for the Ascension Day market conveys the bustle of the scene. A larger version of this pair was sold London, Christie’s, 7 July 2000, lot 82 (73 x 97.5 cm.).