View full screen - View 1 of Lot 165. Shipping in stormy waters.
165

Attributed to Francesco Guardi

Shipping in stormy waters

Reserves

Estimate:

15,000 - 25,000 EUR

Attributed to Francesco Guardi

Attributed to Francesco Guardi

Shipping in stormy waters

Shipping in stormy waters

Estimate:

15,000 - 25,000 EUR

Lot sold:

10,710

EUR

Attributed to Francesco Guardi

Venice 1712 - 1793 Cannaregio

Shipping in stormy waters


Oil on canvas

51 x 59,5 cm ; 20 x 23½ in.

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Attribué à Francesco Guardi

Venise 1712 - 1793 Cannaregio

Marine par gros temps


Huile sur toile 

51 x 59,5 cm ; 20 x 23½ in.

To request a Condition Report, please contact clemence.enriquez@sothebys.com


Please note: Condition XVI of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. (Veuillez noter que l’Article XVI des Conditions Générales de Vente applicables aux Acheteurs (Ventes Effectuées Exclusivement en Ligne) n’est pas applicable pour ce lot.)


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Sale Voyage à Rome, Collection particulière italienne, IIe partie, Paris, Sotheby's, 4 May 2016, lot 44 (as In the manner of Matthieu van Plattenberg);
Anonymous sale, London, Christie's, 2 November 2016, lot 180 (as Attributed to Francesco Guardi);
Where acquired by the present owner. 
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Vente Voyage à Rome, Collection particulière italienne, IIe partie, Paris, Sotheby's, 4 mai 2016, lot 44 (comme Dans le goût de Matthieu van Plattenberg) ;
Vente anonyme, Londres, Christie's, 2 novembre 2016, lot 180 (comme Attribué à Francesco Guardi) ;
Où acquis par l'actuel propriétaire. 

A. Bonfand, Francesco Guardi, una burrasca, étude inédite, 2017, cat. 15 as by Francesco Guardi, fig. 1.

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A. Bonfand, Francesco Guardi, una burrasca, étude inédite, 2017, cat. 15 comme de Francesco Guardi, fig. 1.

The vigorous brushstroke, the swiftly sketched forms and the height of the waves magnificently convey the force of nature, which is further emphasised by the bulging sails testifying to the wind’s strength.

Renowned for his classical views of Venice inspired by Canaletto (1697–1768), Francesco Guardi’s corpus also includes around ten stormy seascapes, which are closer to the works of the Flemish painters Willem van de Velde and Ludolf Backhuysen. This explains the former attribution of this work to Matthieu van Plattenberg.

There are many known versions of this composition, with variations; the most comparable are probably in the Gnecchi collection, Milan, and in the Musée des Beaux-Arts in Montreal (inv. 1945.957). Like them, the present painting has tiny figures battling with the sails, while the sky, partly blue and partly cloudy, creates a play of chiaroscuro on the waves. The balanced composition reflects the artist’s search for chromatic effects, with shades of grey, green and blue accentuated by touches of impasto, creating a dramatic effect which is also typical of Guardi’s manner.

Byam Shaw mentions a preparatory study for this composition which is particularly close to the painting in Montreal – and consequently also to the present version (see J. Byam Shaw, The Drawings of Francesco Guardi, London, 1951, p. 78, no. 73, ill.).
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La touche vigoureuse, les formes presque esquissées, la hauteur des vagues traduisent à merveille l’impression de force, encore accentuée par les voiles bombées rendant la puissance du vent.


Renommé pour ses classiques vues de Venise inspirées de Canaletto (1697-1768), le corpus d’œuvres réalisées par Francesco Guardi compte également une dizaine de tempêtes maritimes, se rapprochant plutôt des œuvres des flamands Willem van de Velde ou encore Ludolf Backhuysen, et expliquant l’ancienne attribution de cette œuvre à Matthieu van Plattenberg (1607/08-1660).

Plusieurs versions de cette composition, avec variantes, sont connues ; les plus proches sont probablement celle de la collection Gnecchi à Milan, et celle du musée des Beaux-Arts de Montréal (inv. 1945.957). On retrouve dans notre tableau ces minuscules figures se débattant avec les voiles, ce ciel partagé entre azur et nuages formant des jeux de clair-obscur sur les vagues. Enfin la composition équilibrée, fruit d’une recherche d’effets chromatiques et de nuances de gris, de verts et de bleus, soulignés par quelques empâtements, donnant cet effet dramatique, est également typique de la manière de Guardi.

Byam Shaw mentionne également une étude préparatoire à cette composition, particulièrement proche du tableau conservé à Montréal… et par conséquent, de notre version (voir J. Byam Shaw, The Drawings of Francesco Guardi, Londres, 1951, p. 78, n°73, repr.).