Description

Michele Marieschi, 1710 Venedig – 1744, Nachfolge des

Pair of paintingsRIALTOBRÜCKE WITH RIVA DEL VIN andCANALE GRANDE AT THE ENTRANCE OF THE RIO CANAREGGIO Oil on canvas. 60.5 x 96 cm. Accompanied by an expertise by Dario Succi, Gorizia, in copy. Both of these wide-format Venice vedute depict imposing views of the Serenissima. As mementos of trips to Venice by prominent patrons, these paintings mostly passed into foreign collections. The depictions of everyday life in these vedutas are also particularly attractive, as shown in the "Rialto" picture, for example, where a brawl is taking place on the bank to the right in front of the wine canteen, while gondolas are loaded with large labeled wine barrels. The bridge and the row of houses on the right are in warm late light, while the left side of the picture is already shaded. The counterpart shows the same lighting mood. The church of San Geremia stands where the two canals meet. Built in the 11th century and renovated in 1753, the façade was only completed in 1861, long before the painting was painted. The campanile is one of the oldest in Venice. The left-hand side of the picture depicts the hustle and bustle of workers in the large barges moored at the pier, traders in the square, including one with bird cages, and two oriental merchants. Venice's importance as an international trading metropolis was ultimately also the pride of the Serenissima, which is reflected in the vedutas. The depiction is analogous to one of the paintings in a series that came to Naples from the Farnese collection in the Galleria Nazionali di Capodimonte around 1882. They ended up in the Palazzo Reale and the Museum Reale Borbonico. In 1932, eight of the paintings were transferred to Rome to furnish the office of the President of the Corte dei Conti. On the occasion of an exhibition curated by Prof. Succi, the paintings were attributed to the painter Francesco Albotto (ca. 1723-1758). The influence of the great Venetian vedutists is also evident in Marieschi's work. As is so often the case, the model can be seen in the engravings of Antonio Visentini (1688-1782), albeit with many modifications. The accompanying expertise points out that a connection with the painter Francesco Zanin (around 1824-1884) cannot be ruled out. The painter was only granted a short life and creative period. We know that he stayed in Germany around 1720 or even after 1731 to work as a stage painter, returned to Venice in 1735 and soon became a member of the Venetian painters' guild Fraglia de' Pittori. The engraver and painter Gaspare Diziani and the collector Baron Mathias von der Schulenburg, who was then a field marshal in the service of Venice, supported the painter. The latter acquired two vedute in 1738. Marriage to Angela Fontana, a daughter of the city's well-known art dealer, is also likely to have contributed to Marieschi's success, especially as his Venice motifs were coveted by collectors on the Grand Tour. From 1743 onwards, Marieschi increasingly left the commissions to his pupil Francesco Albotto. In 1741, three years before his death, Marieschi published a set of 21 etchings of Venice under the title "Magnificentiores Selectioresque Urbis Venetiarum Prospectus", with Angelo Trevisani creating Marieschi's portrait as the cover image. Several paintings by his hand can be found in public museums in Stockholm, Prague and Warsaw as well as in the Lower Saxony State Museum in Hanover. A.R. Provenance: Private collection. (1390203) (11) Michele Marieschi, 1710 Venice - 1744, follower of Pair of paintings THE RIALTO BRIDGE WITH THE RIVA DEL VIN and THE GRAND CANAL AT ENTRANCE TO THE RIO CANNAREGIO Oil on canvas. 60.5 x 96 cm. Accompanied by an expert's report by Dario Succi, Gorizia, in copy. The two Venice vedutas in elongated landscape format show impressive views of the Serenissima. Purchased as memories of trips to Venice by prominent clients, most of these paintings are held in foreign collections. In these vedutas, depictions of everyday life are also particularly attractive, as can be seen in the "Rialto" painting, where a fight takes place on the bank to the right in front of a wine tavern, while gondolas are loaded with large, labelled wine barrels. The enclosed expert's report points out that a connection with the painter Francesco Zanin (ca. 1824 - 1884) cannot be ruled out.

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Michele Marieschi, 1710 Venedig – 1744, Nachfolge des

Estimate 40 000 - 60 000 EUR

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For sale on Thursday 27 Jun : 10:00 (CEST)
munich, Germany
Hampel
+4989.288.041.70
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