Thomas Patch Paintings & Artwork for Sale | Thomas Patch Art Value Price Guide

Oct. 22, 2024
Thomas Patch
Est: €70,000 - €90,000
(Exeter 1725–1782 Florence) The Arno with the Ponte alle Grazie from the Molo di Santa Maria sopr’Arno, Florence, oil on canvas, 82 x 115 cm, framed Provenance: Collection of Edward Peter Jones; with Leger Galleries, London, 1962; with Harari and Johns, London; with Derek Jones, London, 1980s; where acquired by the present owner Exhibited: Florence, Forte di Belvedere, Firenze e la sua immagine. Cinque secoli di vedutismo, 29 June – 30 September 1994, no. 101 (as Thomas Patch) Literature: Six Centuries of Old Master Paintings, exhibition catalogue, Uxbridge 1989, s. p., no. 51 (as Thomas Patch); M. Chiarini, Thomas Patch, in: M. Chiarini, A. Marabottini (eds.), Firenze e la sua immagine. Cinque secoli di vedutismo, exhibition catalogue, Venice 1994, pp. 166–168, cat. no. 101 (as Thomas Patch); M. Gregori, S. Blasio, Firenze nella pittura e nel disegno dal Trecento al Settecento, Milan 1994, p. 237, illustrated p. 241, no. 310 (as Thomas Patch) Inspired by the principles spread by great Enlightenment intellectuals such as Denis Diderot, one of the founders of the Encyclopédie, the city views of Thomas Patch aim to engage the viewer by encouraging them to compare the artistic experience with the real one. This view of the Arno, with the Ponte alle Grazie in the background, offers a unique image of the river. The buildings and the left bank are reflected in the still water, creating a suspended and melancholic atmosphere. On the left, the loggia of the Uffizi Palace, commissioned by Cosimo I de’ Medici and designed by Giorgio Vasari in 1560, is clearly visible. The naturalistic influence of Vernet, Patch’s teacher, is evident in this painting. In two other versions of this view – one kept at Chatsworth and another that has passed through the English art market – the artist gave more prominence to the Santa Maria Soprarno landing stage, placing groups of people in the scene, observing the city from afar, another typical feature of Vernet’s works (Gregori/Blasio 1994, p. 237). While Venice had a long-standing tradition of topographical painting, and Rome was well-documented through the works of Panini and Piranesi, up to that point, Florence had mainly been depicted by Giuseppe Zocchi, whose views were highly sought after by the grand tourists visiting the city. Recognising this demand, Patch saw an opportunity to establish himself as a topographical painter. In one letter, he referred to this work as ‘abridge painting’, describing it as the most straightforward way for him to make a living. In addition to his city views, Patch also dealt in classical and Renaissance art, which helped finance his scientific pursuits in physiognomy and its humorous interpretation through caricature. By the 1770s, Patch had embarked on an ambitious project to document the works of Florentine Quattrocento artists like Giotto and Masaccio, creating detailed etchings of their works – some using soft-ground techniques – which he published in a series of folio volumes.
Dorotheum
Jun. 22, 2024
Patch, Thomas (1720 Exeter - Florenz 1782)
Est: €300 - €360
Selbstbildnis als Ochse, Nr. 13 aus der Serie "The Twenty-Five Caricatures" von ca. 1769/1770. Radierung/Bütten mit Wasserzeichen (fleckig, Randmängel), mit Text auf Latein, Griechisch sowie Italienisch wie "Qui se humiliat exaltabitur" und bez. "Se ipsum pinx". Darstellung 28,5x 34,5 cm, Blattgröße 31,4x 38,7 cm. Wvz.: Wohl Le Blanc 1 Stephens/George 3088 Watson 5713. Ein weiteres Ex. befindet sich in der National Portrait Gallery, London 6913.
Dannenberg
Apr. 24, 2024
Thomas Patch
Est: €70,000 - €100,000
(Exeter 1725–1782 Florence) The River Arno looking towards the Ponte Santa Trinitá, Florence, oil on canvas, 95.2 x 129.5 cm, framed Provenance: Aristocratic collection, Florence and Naples during the 19th century; thence by descent to the present owner We are grateful to Hugh Belsey for confirming the attribution and for his help in cataloguing this lot. Thomas Patch ‘came afoot’ from Exeter to Italy, accompanied by Richard Dalton (who was later to become the Librarian to George III of Great Britain), arriving in Rome some time in 1747. There he trained as a painter with the French artist Claude-Joseph Vernet, and his earliest work is close to the decorative style of his teacher, depicting rocky harbor scenes flanked by the occasional lighthouse or classical ruin. While he was in Rome, he recorded some of the better-known classical sites of the city and its environs. In 1755 he was given 24 hours to leave the city after being accused of homosexuality by the Inquisition and fled to Florence where he settled until his death in 1782. The city of Venice had a rich and varied tradition of topographical painting and Rome was illustrated by the paintings of Panini and prints of Piranesi. Florence had been drawn and occasionally painted by Giuseppe Zocchi whose series of twenty-four topographical engravings of the city, published in 1744 was in such demand that it was reprinted ten years later. The series included six views of the River Arno, and number of panoramas of Florentine squares and festivals. The views of the city had proven popular with the grand tourists visiting the city and Thomas Patch, who had an inquisitive intelligence, recognised an opportunity for himself as a topographical painter. He referred to it in one letter as ‘abridge painting’, and as the easiest way for him to earn a living. Through his depictions of Florence, coupled with dealing in works of art - both classical and renaissance - he financed his scientific interest in physiognomy and its comic interpretation as caricature, going on to create a series of illustrations of gatherings of British Grand Tourists. In the 1770s he started an ambitious project to record the work of Florentine quattrocento artists such as Giotto and Masaccio, which he copied in detailed etchings, some using soft ground, published in a series of folio volumes. Patch’s work as a topographical artist has become increasingly popular over in recent years. His views frequently used the same setting, but he added figure groups often laced with a hint of humour to create variety. ‘Abridge painting’ tended to feature the Ponta Santa Trinità looking upstream and the Ponte alla Carraia looking downstream as viewed from the Lungarno, scenes bustling with grandees, coaches and servants, boats with flags at their bows, weighed down with gesticulating passengers. The Duomo, invisible from this viewpoint, and the tower of the Palazzo del Gran Duca (now Palazzo Vecchio) peep over the riverside buildings and add variety and recognition for the viewer. The present painting shows quite a different view. The present painting is probably one of the earliest views of the River Arno painted by Patch. Technically, the handling of the figures is less assured than in later examples and there are technical similarities with the views of the Ponte Lucano, the Tomb of Caecilia Metella and the Tomb of Horatii and Curatii (two of which are in the collection at the Lewis Walpole Library at Farmington, Connecticut) which appear to have been transplanted into a landscape reminiscent of the Fiesole countryside on the northern outskirts of Florence. The view is probably taken from the Ponte Vecchio looking west (downstream) towards the Ponte Santa Trinita, a bridge that was originally constructed between 1567 and 1570 by Bartolomeo Ammannati in consultation with Michelangelo. In shadow, on the left-hand side of the canvas is the back of the Palazzo Frescobaldi which was formed by consolidating a number of medieval buildings in the seventeenth century. In the thirteenth century the Frescolbaldi were responsible for financing the first bridge on the site. On the opposite bank is the Lungarno Acciaioli with buildings decorated in stucco and painted in terracotta, creamy whites and delicate greys punctuated with sharp-edged shadows. Beyond the bridge is the Palazzo Corsini which is often featured in Patch’s view of the river looking in the opposite direction. There are records of at least nine canvases reproducing upstream views of the bridge, the best known of them is perhaps the painting formerly at Broughton House in North Yorkshire (no. 49 in the exhibition Masterpieces from Yorkshire Houses at York City Art Gallery in January– March 1994). The canvas is often paired with a view looking downstream towards the Ponte alla Carraia which is a view not chosen by Zocchi for inclusion in his set of engravings (the Spencer Museum of Art, University of Kansas at Lawrence, cat. no. 55.85, has the most accessible example of this view). It is not known how Patch produced his topographical views. Did he make detailed topographical drawings, perhaps with the aid of a camera obscura? This may be the case, but he seems to have used a prototype as a basis for his river views. For the present view it seems unlikely that Patch used a boat from which to make a sketch. Instead it is more likely that he stood in the middle of the Ponte Vecchio and copied what he saw as he looked downstream. Of his known views of the Arno this is the only canvas which looks directly along the river. All the others are viewed from one or other of the banks. Perhaps the patron requested this particular view and perhaps he had a special association with this stretch of the river. It seems logical to assume that there must have been some particular reason for him and Patch to make the conscious departure from Zocchi’s engraved view of the Ponte Santa Trinita from the Lungarno Guicciardini. It involved Patch making a very detailed study which must indicate a willingness to satisfy an important client, a position he may have been more easily persuaded to take during his early Florentine years.
Dorotheum
May. 31, 2023
THOMAS PATCH (1725-1782) Vue portuaire d'Italie avec pêcheurs et élégantes
Est: €15,000 - €30,000
THOMAS PATCH (1725-1782) Vue portuaire d'Italie avec pêcheurs et élégantes Importante huile sur toile signée "Patch dans l'ancre" en bas à gauche. Provenance : Collection Hortsen Monte-Carlo Dimensions : 89 x 127 cm
Accademia Fine Art
Jul. 12, 2021
ATTRIBUTED TO THOMAS PATCH (EXETER 1725-1782 FLORENCE) A capriccio of a Mediterranean port
Est: £5,000 - £8,000
ATTRIBUTED TO THOMAS PATCH (EXETER 1725-1782 FLORENCE) A capriccio of a Mediterranean port ATTRIBUTED TO THOMAS PATCH (EXETER 1725-1782 FLORENCE) A capriccio of a Mediterranean port oil on canvas 26 x 48¹⁄₄ in. (66 x 122.5 cm.)
Christie's
Apr. 23, 2021
THOMAS PATCH (EXETER 1725-1782 FLORENCE) A Mediterranean seaport with fishe
Est: $15,000 - $20,000
THOMAS PATCH (EXETER 1725-1782 FLORENCE) A Mediterranean seaport with fisherfolk in the foreground oil on canvas 39 ½ x 52 3/8 in. (100.3 x 133 cm.)
Christie's
Dec. 17, 2020
THOMAS PATCH (EXETER 1725-1782 FLORENCE) - A Mediterranean seaport with fishermen unloading cargo, a lighthouse beyond
Est: £18,000 - £25,000
THOMAS PATCH (EXETER 1725-1782 FLORENCE) A Mediterranean seaport with fishermen unloading cargo, a lighthouse beyond signed 'TPatch. 1760' (lower centre, on the boat) oil on canvas 38 1/8 x 56 in. (97 x 142.3 cm.)
Christie's
Nov. 24, 2020
THOMAS PATCH (EXETER 1725 - 1782 FLORENCE)
Est: €6,000 - €8,000
THOMAS PATCH (EXETER 1725 - 1782 FLORENCE) Pêcheurs dans un paysage méditerranéen huile sur toile d'origine, châssis d'origine 25,5 x 32,5 cm. (10 x 12 ¾ in.)
Christie's
Jul. 06, 2017
THOMAS PATCH | Mediterranean Harbour Scene
Est: £12,000 - £18,000
oil on canvas
Sotheby's
Dec. 09, 2015
Thomas Patch (Exeter 1725-1782 Florence) A view of the Arno, Florence, fro
Est: -
Thomas Patch (Exeter 1725-1782 Florence) A view of the Arno, Florence, from the Cascine Gardens, with figures fishing and resting on t...
Christie's
Oct. 28, 2015
Circle of Thomas Patch (Devon circa 1720-1782 Florence) Figures dancing in
Est: -
Circle of Thomas Patch (Devon circa 1720-1782 Florence) Figures dancing in an interior
Bonhams
Jul. 10, 2015
Thomas Patch (Exeter 1725-1782 Florence)
Est: £100,000 - £150,000
Thomas Patch (Exeter 1725-1782 Florence) A view of the Arno, Florence, from the Cascine Gardens, with the Ponte alla Carità, the Ponte Vecchio beyond oil on canvas 35 ¼ x 49 in. (89.5 x 124.5 cm.)
Christie's
May. 29, 2014
Patch, Thomas: Das Grabrelief Giottos
Est: €300 - €400
Das Grabrelief Giottos. Radierung nach einem Relief Benedetto di Maianos. 44,5 x 34 cm. (1772). Le Blanc, aus 79 - 90, Nagler 2, Abteilung III. Der englische Maler und Kupferstecher Thomas Patch war ein Freund des Joshua Reynolds und begleitete den Künstler 1747 nach Italien. Patch ließ sich zuerst in Rom nieder, bevor er 1755 nach Florenz übersiedelte, wo er bis zu seinem Tode wohnhaft blieb. Er legte ein außergewöhnliches kunsthistorisches Interesse an den Tag, indem er die Werke der bedeutendsten florentinischen Meister des 14. und 15. Jahrhunderts in Stichen reproduzierte. Als einer der Ersten und zu einem bemerkenswert frühen Zeitpunkt hat Patch durch seine gestochenen Nachzeichnungen nach Giotto, Ghiberti, Masaccio und Fra Bartolomeo die Aufmerksamkeit für das Schaffen dieser Künstler geweckt. Aus "Die Werke der Florentiner Maler Masaccio, Fra Bartolomeo und Giotto ... in drei Abteilungen". Ausgezeichneter Druck mit schmalem, teils mit sehr feinem Rändchen. Geglättete Mittelfalte, kleiner geschlossener Einriss im rechten, sowie etwas längerer hinterlegter Einriss im oberen Rand. Sehr selten.
Bassenge Auctions
Mar. 23, 2012
Thomas Patch, 1720 Exeter - 1782 Florenz Der Künstler wirkte in Italien, 1747 nach Rom gekommen, wo er auch dem Engländer Joshua Reynolds begegnete und im Atelier von Joseph Vernet wirkte. In Florenz ab 1755 stand er in freundschaftlicher Beziehung
Est: €35,000 - €45,000
GROSSFORMATIGES, WANDFÜLLENDES GEMÄLDE MIT ANSICHT EINER HAFENSTADT Öl auf Leinwand. 177 x 220 cm. Mit Türmen und einem Leuchtturm sowie Segelschiffen zu beiden Seiten der Ufermole, im Vordergrund, auf weitem Platz, links adelige Gesellschaft im Gespräch sowie rechts Fischer und Fischerfrauen mit Netzen und Fischkörben. Im Zentrum, auf dem ruhigen Wasser, ein voll besetzter Kahn mit Anglern, zur Belebung des Staffage-Sujets hat der Maler zwei Hunde in Gegenposition zueinander, im unteren Teil ins Bild gebracht. Hoher, gebauschter Wolkenhimmel mit auffliegenden Vögeln, bei der Stadt im Hintergrund mit Kathedrale und oktogonalem Turm handelt es sich wohl um eine idealisierte, nordeuropäische Stadt, in Art der holländischen Städte. Die höfische Gesellschaft links sehr lebendig wiedergegeben, möglicherweise mit portraithaften Zügen. In ähnlicher Weise hat Patch das Gemälde "Piazza della Signoria" aufgeführt, das bei Christie's London, November 1999, Lot 4 verauktioniert wurde, mit der Ansicht des Arnoflusses mit der Brücke Santa Trinita. (8514067) Thomas Patch, 1720 Exeter - 1782 Florence Oil on Canvas. 177 x 220 cm.
Hampel Fine Art Auctions
Dec. 08, 2011
THOMAS PATCH
Est: £10,000 - £15,000
EXETER 1725 - 1782 FLORENCE AN ITALIANATE LANDSCAPE, WITH THE TOMB OF THE PLAUTII oil on canvas 54 by 105.5 cm.; 21¼ by 41½ in.
Sotheby's
Jul. 07, 2010
Thomas Patch (Exeter 1725-1782 Florence)
Est: £60,000 - £80,000
Thomas Patch (Exeter 1725-1782 Florence) An Italianate landscape with elegant figures by a waterfall; and An Italianate river landscape with fishermen, a church and a bridge beyond the former signed 'Patch' (lower left) oil on canvas 21½ x 42¼ in. (54.6 x 107.3 cm.) a pair (2)
Christie's
Mar. 27, 2009
PATCH, THOMAS (Exeter 1725 - 1782 Florenz),
Est: CHF20,000 - CHF30,000
PATCH, THOMAS (Exeter 1725 - 1782 Florenz), zugeschrieben Mediterrane Hafenansicht. Öl auf Leinwand. 66 x 123 cm.
Koller Auctions
Feb. 04, 2009
Patch, Thomas
Est: £800 - £1,200
Patch, Thomas [The life of Masaccio. La vita di Masaccio] Florence, 1770. Folio, 25 engraved plates [plate 25 cut and pasted onto leaf], text in English and Italian [bound with] [Ibid.] The life of Fra Bartolommeo della Porta... Florence, 1772. Folio, 24 plates, plate I at end cut and pasted onto leaf, plate XIX incorrectly numbered XXI, text in English and Italian, some dampstaining and foxing to plates. Sold not subject to return.
Lyon & Turnbull
Jun. 06, 2008
Thomas Patch Exeter 1725 - 1782 Florence , View of a Mediterranean harbor with fishermen oil on canvas
Est: $1,725 - $1,782
signed Patch center right oil on canvas
Sotheby's
Jan. 24, 2008
Thomas Patch , Exeter 1725 - 1782 Florence A View of the River Arno with the Ponte alle Grazie, Florence oil on canvas
Est: $40,000 - $60,000
oil on canvas
Sotheby's
Jun. 08, 2006
Thomas Patch (1725-1782)
Est: £150,000 - £250,000
View of the Piazza della Signoria, Florence oil on canvas 34 1/2 x 47 3/4 in. (87.6 x 121.3 cm.)
Christie's
Jun. 07, 2006
PATCH, Thomas (1725-1782). The Life of Frá Bartolommeo della Porta... with his Works, Engraved
Est: £7,000 - £10,000
PATCH, Thomas (1725-1782). The Life of Frá Bartolommeo della Porta... with his Works, Engraved from Original Pictures [drop-head title]. Florence: [T. Patch], 1772. Engraved title-panel and text in English and Italian. 24 engraved plates by Patch after Fra Bartolommeo printed in black, red, and other colours. ONE OF 40 COPIES. Le Blanc Manuel III, p.153, 'Patch' 55-78; F.J.B. Watson 'Thomas Patch... Notes on his Life, Together with a Catalogue of his Known Works', in: The Annual Volume of the Walpole Society, vol. XXVIII, Oxford: 1940, no. 59. [Bound with:] T. PATCH. Il quadro originale, depointo in tavola a chiaro oscuro da Frà Bartolommeo della Porta, è presentemente nella galleria di S.A.R. [titled thus below first plate]. Florence: [T. Patch], 1773. Double-page engraved title-plate and 22 engraved plates by Patch after Fra Bartolomeo printed in ochre and other colours. VERY RARE. [and:] T. PATCH. [The Life of Giotto]. Florence: [T. Patch], 1772. Engraved dedication-panel in English and Italian, text in English and Italian. 12 engraved plates by Patch after Benedetto da Maiano and [?]Aretino Spinello printed in black and other colours. ONE OF 40 COPIES. Le Blanc 'Patch' 79-90; Watson 61. 3 works in one volume, 2° (464 x 368mm). (Occasional, very light spotting or marking.) Contemporary Italian half speckled calf over speckled boards, spine gilt in compartments, gilt morocco lettering-piece in one (a little rubbed and scuffed, lettering-piece slightly chipped); modern cloth box with gilt vellum spine-label by James Brockman, Oxford. Provenance: S.T., Florence, 1 May 1787 (English inscription on upper pastedown) -- [sale, Christie's London, 25 November 1992] -- Charles Sebag-Montefiore (bookplate). A FINE COLLECTION OF THREE RARE SUITES OF ENGRAVINGS BY PATCH RECORDING THE NOW LOST FRESCOES IN THE MANETTI CHAPEL, FLORENCE AND OTHER ART WORKS. Following his early studies of medicine (in part under Richard Mead), Patch left London for Italy and worked in the studio of Claude-Joseph Vernet in Rome, where he also undertook commissions for the Earl of Charlemont. In 1753 he became a member of the British Academy (whose end was accelerated by his quarrels with the director), but in 1755 he was expelled from Rome for what is thought to have been a homosexual incident. Patch settled in Florence, where he remained for the rest of his life, painting and producing caricature groups, dealing in pictures, and undertaking physiognomical studies. In 1770 Patch published The Life of Massaccio, the first of a projected series of engravings after 'every celebrated author', and these three works form part of the series. The first work in this volume depicts paintings by Fra Bartolommeo in the Convent of San Marco, Florence; eight plates are of complete paintings and the remainder show details from these paintings. The second work appears to be of great rarity, and was unknown to Watson when he compiled his catalogue raisonné of Patch's work (and, equally, to Le Blanc); it reproduces the same artist's unfinished 'Pala della Signoria', which was originally commissioned for the Capella del Consiglio of the Palazzo Vecchio, and was held by the Uffizi at the time of the work's publication. The third work records frescoes depicting the Life of St John the Baptist in the Manetti Chapel of S. Maria del Carmine in Florence (and is dedicated to Bernardo Manetti, a descendent of the chapel's patrons); attributed to Giotto by Vasari (an attribution credited by Patch), they have since been re-attributed to Spinello Aretino. The frescoes were destroyed (save a few fragments) by a fire on 28-29 January 1771 -- as Patch notes in his introduction, which states that they 'are no more to be seen, accepting [sic] in the following prints' -- and Patch retained some of the remaining fragments, which he used to prepare his prints, and also marked the underdrawing which was revealed after the fire. The prints contained in the three works are executed with a number of techniques, including etching, soft-ground etching, and engraving, and many are printed in manière de lavis, giving the effect of a light brown wash.
Christie's
Nov. 23, 2004
Thomas Patch (1723-1782)
Est: £25,000 - £35,000
A capriccio view on the Neapolitan coast, with an elegant party and other figures in the foreground, a ruined tower and a mansion beyond oil on canvas 30 7/8 x 45 3/4 in. (78.3 x 116.2 cm.)
Christie's
Apr. 12, 1995
THOMAS PATCH (1725-1782) ITALIANATE LANDSCAPE
Est: $15,885 - $23,827
Bears signature l.r., oil on canvas 89 by 118 cm.; 35 by 46 1/2 in.
Sotheby's