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      • Nicolò Guardi
        Apr. 24, 2024

        Nicolò Guardi

        Est: €40,000 - €60,000

        (Venice 1715–1786) Two Hungarian hussars, a battle beyond; and Two Hungarian hussars, one with a scimitar, a battle beyond, oil on canvas, 73.4 x 55.5 cm and 73 x 55.8, framed, a pair (2) Provenance: acquired by the father of the present owner, Perugia, 1985 We are grateful to Dario Succi for suggesting the attribution of the present painting on the basis of a photograph. Each of the two paintings depicts a pair of soldiers on horseback with a battle scene in the background. Judging by the peculiar type of headgear and the fur-trimmed jackets, they are identified as Hungarian hussars, wearing their typical attire around the middle of the 18th century. In particular, in this case it is about the generals’ style gala uniforms, composed by the characteristic tight-fitting dolman jacket, with a pendant pelisse jacket on top, and busby. One of the generals pulls out the typical hussar scimitar. The crisp and snappy manner of painting clearly refers to the vedutism of the brothers Francesco, Gianantonio and Nicolò Guardi, in particular the younger, Nicolò, whose hand is recognisable in the way he treats the skies, which can be seen in several of his works in private collections. The attribution of the two paintings, previously thought to be works by his middle brother Francesco, reflects the complication of the battle theme, historically little analysed in the vast critical literature dedicated to the Guardi production (see G. Sestieri, I Battaglisti. La pittura di battaglia dal XVI al XVIII secolo, exhibition catalogue, Rome 2011, p. 98). Rediscovered by Giuseppe Fiocco in the early 1990s, Nicolò Guardi was resolved and brought to greater attention by Dario Succi (Nicolò Guardi, le orme di un enigma, in: Francesco Guardi: itinerary of the artistic adventure, Cinisello Balsamo 1993, pp. 191–208; Nicolò Guardi, 1715-1786, the enigma solved, in: Francesco Guardi: Artistic Itinerary, vol. I, Milan 2021, pp. 396–425). The latter’s most recent studies reveal a new idea of Nicolò: no longer a pale imitator of his older brothers Francesco and Gianantonio, but the family’s most financially successful artist at the height of his career in the 1740s. An alternative attribution to Francesco Simonini (Parma 1686 – after 1753 Venice or Florence) has been suggested for the present paintings.

        Dorotheum
      • NICCOLÒ GUARDI
        Mar. 05, 2024

        NICCOLÒ GUARDI

        Est: €800 - €1,200

        (Venezia, 1715 - 1785) Veduta della laguna con barche Olio su tela, cm 36X25 Provenienza: Collezione privata Il dipinto per il gusto illustrativo e la resa libera e vibrante delle stesure, riflette gli stilemi di Francesco Guardi. Sia pur rari gli esempi in tal senso, ossia di paesaggi puri che escludano vedute reali, il catalogo del pittore non manca di simili opere interpretate con le medesime suggestioni atmosferiche e fantastiche. Tuttavia, le tonalità e il ductus pittorico suggeriscono l'attribuzione al fratello Niccolò, anch'esso allievo di Gianantonio e definito da don Giovanni Vianelli di Chioggia, estimatore di Francesco: paesaggista di nome. Sicuramente egli lavorò all'ombra dei due fratelli e a lui vengono attribuite le tele del 1745 e 1753 appartenenti al Museum of Art di Baltimora, raffiguranti la Chiesa della Salute e il Canal Grande a San Geremia. Ringraziamo Dario Succi per l'attribuzione espressa sulla base di una foto ad alta risoluzione. Bibliografia di riferimento: A. Morassi, Guardi. I dipinti, Milano 1973, ad vocem D. Succi, Guardi, Itinerario artistico e catalogo dei dipinti e disegni inediti, vol. II, Pordenone 2021, ad vocem

        Wannenes Art Auctions
      • * GUARDI, NICOLÒ: Il Ponte di Rialto con il Palazzo dei Camerlenghi.
        Nov. 10, 2023

        * GUARDI, NICOLÒ: Il Ponte di Rialto con il Palazzo dei Camerlenghi.

        Est: CHF26,000 - CHF40,000

        GUARDI, NICOLÒ (1715 Venedig 1785) * : Il Ponte di Rialto con il Palazzo dei Camerlenghi; Öl auf Leinwand, doubliert; 36x55,5 cm

        Dobiaschofsky Auktionen AG
      • Niccolò Guardi, 1715 Venedig – 1786, zugeschrieben
        Dec. 09, 2021

        Niccolò Guardi, 1715 Venedig – 1786, zugeschrieben

        Est: €60,000 - €80,000

        DIE RIALTO-BRÜCKE VON NORDEN AUS GESEHEN Öl auf Leinwand. 114,7 x 74,9 cm. Die kontrastreich wiedergegebene Ansicht stimmt mit der linken Hälfte des Gemäldes von Canaletto weitestgehend überein, das sich früher in der Sommerresidenz von Elwood B. Hosmer in Montreal befand und 1725 von dem Sammler Stefano Conti aus Lucca in Auftrag gegeben wurde. Links ist die Ecke des Palazzo Civran zu sehen, an dessen Fuß sich der Fondaco dei Germani entlang des Ufers schlängelt; in der Mitte die Rialto-Brücke, rechts flankiert vom Palazzo dei Camerlenghi. Das Werk zeigt in seiner Substanz das typisch Guardische in dem bräunlichen Ton der Palette und den schnellen Pinselstrichen auf grobem Fond, in dem von kontrastierenden Wolken bewegten Himmel und in der präzisen Definition der architektonischen Details. Obwohl die grundlegenden biografischen Informationen über Nicolò bekannt sind, blieb seine malerische Persönlichkeit sehr lange im Dunkeln, bis Succi eine Gruppe stilistisch ähnlicher Ansichten unter seinem Namen zusammenstellte. Nicolò wird 1790 als „Landschaftsmaler mit Namen“ und 1853 als „exquisiter Kammermaler“ erwähnt. Außerdem wissen wir, dass er in den 1850er-Jahren bereits ein sehr erfolgreicher Künstler gewesen sein muss, der ebenso bekannt war wie seine berühmteren Brüder, denn er war Anfang 30 und finanziell so gut gestellt, dass er es sich leisten konnte, ein Haus zu einem ziemlich hohen Preis zu mieten. Da es keine Zeichnungen, signierten oder dokumentierten Werke des Malers gibt, hat Succi die Figur des Nicolò vedutista geschaffen, indem er ihm einige Gemälde im Stil der Guardis zuschrieb, die nicht der Hand des berühmteren Francesco zugeschrieben werden können – wie es Morassi vorgeschlagen hatte, der sie auf die jugendliche Aktivität des letzteren verwies, als er in der Werkstatt von Antonio war. Wir nehmen also an, dass es sich bei dem Maler um einen Vedutisten handelte, der in den 1740er-Jahren in der Werkstatt Guardis tätig war und die Grafiken von Canaletto und Marieschi studierte. (†) (1291411) (13) Niccolò Guardi, 1715 Venice – 1786, attributed THE RIALTO BRIDGE FROM THE NORTH Oil on canvas. 114.7 x 74.9 cm. The high-contrast view largely coincides with the left half of a painting by Canaletto, which was formerly held at the summer residence of Elwood B. Hosmer in Montreal and was commissioned by the collector Stefano Conti from Lucca in 1725. The present work is essentially typical for Guardi with its brownish colour palette, swift brushstrokes on a coarse background, the sky moved by contrasting clouds and precisely rendered architectural details. It can therefore be assumed that the artist was a veduta painter who was active in Guardi's workshop in the 1740s and studied the graphics of Canaletto and Marieschi. (†)

        Hampel Fine Art Auctions
      • Attributed to Nicolò Guardi (Venice 1715-1786) The Riva degli Schiavoni, V
        Dec. 09, 2015

        Attributed to Nicolò Guardi (Venice 1715-1786) The Riva degli Schiavoni, V

        Est: -

        Attributed to Nicolò Guardi (Venice 1715-1786) The Riva degli Schiavoni, Venice, seen from the Bacino di San Marco

        Christie's
      • Nicolò Guardi (Venezia 1715 - 1786) Die Kirche
        Oct. 15, 2008

        Nicolò Guardi (Venezia 1715 - 1786) Die Kirche

        Est: €18,000 - €24,000

        Nicolò Guardi (Venezia 1715 - 1786) Die Kirche Santa Maria della Salute in Venedig; la chiesa di Santa Maria della Salute a Venezia, Öl auf Leinwand auf Holz, 31,5 x 42 cm, gerahmt, (Wo)

        Dorotheum
      • Nicolò Guardi (Venice 1715-1786)
        May. 25, 2005

        Nicolò Guardi (Venice 1715-1786)

        Est: $15,000 - $20,000

        The Church of San Giovanni and Paolo with the equestrian statue of Colleone, Venice oil on canvas 27 1/4 x 38 3/4 in. (69.2 x 98.5 cm.)

        Christie's
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