- 237
Eugen von Blaas
估價
60,000 - 80,000 GBP
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招標截止
描述
- Eugen von Blaas
- Young Girl before the Lagoon, Venice
- signed Eug de Blaas lower right
- oil on panel
- 79.5 by 43.5cm., 31¼ by 17¼in.
來源
Acquired by the grandparents of the present owner circa 1900-10
Condition
The panel is flat and even and appears to be ensuring a stable structural support. As visible in the catalogue illustration, there are some areas of light grey pigments (e.g. in the column to the right, in her neck, and to the left of her feet) which appear to correspond to retouchings applied in oil paint, which have oxidised and discoloured over time. These do not fluoresce under ultraviolet light, and UV light does not reveal any further signs of retouching. This painting is in good condition, and would benefit from a light surface clean to address the yellowed varnish and reapplying of these retouchings.
Held in an elaborate rococo-style gilt frame, with a black outer edge.
The colours in the original are overall warmer and more yellowed than in the catalogue illustration.
"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."
拍品資料及來源
Eugen von Blaas was famed for depicting beautiful Italian women at work or in the company of admiring suitors. Here, he deftly captures the exchange of glances between a beautiful and flirtatious girl and the viewer, her unseen admirer. The precise technique and bright palette of his Venetian genre scenes were in tune with the Venetian tradition of painting.
Famed for his depictions of everyday life in Venice, Blaas' very commercial subjects and finely painted, vividly coloured canvases found a ready market among the wealthy travellers and tourists visiting the city. Above all he strove to capture the inherent beauty of the Italian women with vignettes of their conversations in the street or courting with lovers. The present work amply demonstrates Eugen von Blaas's ability to capture the beauty of a female sitter, from the parallel strokes of her hair, with its vigorous shine, to her delicately modelled cheek and dress.
Von Blaas' marriage into a wealthy Italian family would give him the exposure and means that would earn him the sobriquet 'painter of Venetian beauties.' This magical city of water and light had enchanted countless artists throughout the centuries, however Blaas' chosen subjects were not the floating city's architectural landmarks or sweeping vistas. Rather, he captured the day-to-day lives of Venice's citizens amid the ancient masonry of intimate courtyards and unassuming back streets.
According to Thomas Wassibauer, Blaas often 'contrasted the decaying grandeur of old Venetian stone with...young people...his young people live their lives within the old walls of a still important city, and become links in an apparently endless chain of generations who carry the Venetian traditions and way of life' (Thomas Wassibauer, Eugen von Blaas, Das Werk, Hildesheim, 2005, p. 19).
Famed for his depictions of everyday life in Venice, Blaas' very commercial subjects and finely painted, vividly coloured canvases found a ready market among the wealthy travellers and tourists visiting the city. Above all he strove to capture the inherent beauty of the Italian women with vignettes of their conversations in the street or courting with lovers. The present work amply demonstrates Eugen von Blaas's ability to capture the beauty of a female sitter, from the parallel strokes of her hair, with its vigorous shine, to her delicately modelled cheek and dress.
Von Blaas' marriage into a wealthy Italian family would give him the exposure and means that would earn him the sobriquet 'painter of Venetian beauties.' This magical city of water and light had enchanted countless artists throughout the centuries, however Blaas' chosen subjects were not the floating city's architectural landmarks or sweeping vistas. Rather, he captured the day-to-day lives of Venice's citizens amid the ancient masonry of intimate courtyards and unassuming back streets.
According to Thomas Wassibauer, Blaas often 'contrasted the decaying grandeur of old Venetian stone with...young people...his young people live their lives within the old walls of a still important city, and become links in an apparently endless chain of generations who carry the Venetian traditions and way of life' (Thomas Wassibauer, Eugen von Blaas, Das Werk, Hildesheim, 2005, p. 19).