Auction Old Master Paintings - Part I

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Francesco Albotto, 1721/22 Venedig – 1757 ebenda

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Francesco Albotto, 1721/22 Venedig – 1757 ebenda
Detailabbildung: Francesco Albotto, 1721/22 Venedig – 1757 ebenda
Detailabbildung: Francesco Albotto, 1721/22 Venedig – 1757 ebenda
Detailabbildung: Francesco Albotto, 1721/22 Venedig – 1757 ebenda
Detailabbildung: Francesco Albotto, 1721/22 Venedig – 1757 ebenda
Detailabbildung: Francesco Albotto, 1721/22 Venedig – 1757 ebenda
Detailabbildung: Francesco Albotto, 1721/22 Venedig – 1757 ebenda
Detailabbildung: Francesco Albotto, 1721/22 Venedig – 1757 ebenda
Detailabbildung: Francesco Albotto, 1721/22 Venedig – 1757 ebenda
Francesco Albotto, 1721/22 Venedig – 1757 ebenda

346
Francesco Albotto,
1721/22 Venedig – 1757 ebenda

PIAZZA SAN MARCO MIT BLICK AUF DIE BASILIKA Öl auf Leinwand.
87 x 135 cm.
In vergoldetem Rahmen.

Catalogue price € 100.000 - 120.000 Catalogue price€ 100.000 - 120.000  $ 108,000 - 129,600
£ 90,000 - 108,000
元 782,000 - 938,400
₽ 9,949,000 - 11,938,800

Beigegeben ein Gutachten von Dario Succi, Gorizia, ohne Datum, in Kopie.

Albotto, von dem bekannt ist, dass er der erste Schüler Marieschis war, übernahm nach dessen Tod nicht nur die Werkstatt, sondern heiratete auch dessen Witwe. Seine Gemälde folgten dem Stil seines Lehrers und waren nur schwer von dessen Werken zu unterscheiden; erst ein 1972 im New Yorker Kunsthandel aufgetauchtes Gemälde bot die Basis zu weiteren Händescheidungen, sodass Dario Succi auch das hier angebotene Meisterwerk in musealem Format sicher Albotto zuschreiben kann.
Succi zeigt in seinem Werkverzeichnis Michele Marieschi, Opera completa, Treviso 2016, Nr. 2-3 ein Gemäldepaar, von dem das eine Gemälde das gleiche Motiv zeigt. Das Gemäldepaar wurde am 6. Dezember 1962 als Lot 9 bei Sotheby‘s, London, verkauft und entstammte der Sammlung M. Milburn-Foster. Das Paar wurde von Richard Green, London, erworben und war zuletzt am 16. Dezember 1999 als Lot 92 auf einer Auktion; die Maße sind mit 54,6 x 82,5 cm jedoch deutlich geringer als das hier angebotene Einzelwerk, das Succi auf ca. 1738 datiert.
Albotto‘s Malstil zeigt sich im Gegensatz zu den Vorgängern weit glatter in der Peinture, was dem Anspruch einer exakteren Wiedergabe gewidmet ist. Werke seiner Hand befinden sich in privaten wie öffentlichen Sammlungen, darunter in Berlin, Gemäldegalerie, Neapel, Museo e Gallerie Nazionali di Capodimonte, Vicenza, Gallerie di Palazzo Leoni Montanari etc.

Literatur:
Vgl. Gregorio (Rosolino) Gattinoni, Storia del Campanile di San Marco in Venezia, Venedig 1912.
Vgl. Pierre-Jean Mariette, Abe´ce´dario de P. J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes (ante 1774), in: Archives de l'Art Français, Paris 1854.
Vgl. William G. Constable, Canaletto. Giovanni Antonio Canal. 1697-1768, Oxford 1962.
Vgl. R. Pallucchini, Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, Nr. XXVI, 1972.
Vgl. Mario Manzelli, Ulteriori notizie su Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, Nr. XXXVIII, 1984.
Vgl. Mario Manzelli, Proposta per l'identificazione
di Michele Marieschi e del suo alter-ego Francesco Albotto, in: Arte veneta, Nr. 41, 1987(1988).
Vgl. Dario Succi, Marieschi. Tra Canaletto e Guardi, Ausst.Kat., Turin 1989, S. 26ff. und 1165ff.
Vgl. Ralph Toledano, Michele Marieschi. Catalogo ragionato, Mailand 1995.
Vgl. Filippo Pedrocco, Michele Marieschi. La vita, l‘ambiente, l‘opera, Mailand 1999.
Vgl. Mario Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, Venedig 2002. (1320361) (13)



Francesco Albotto,
1721/22 Venice – 1757 ibid.
PIAZZA SAN MARCO WITH VIEW OF THE BASILICA Oil on canvas.
87 x 135 cm.

Accompanied by a copy of the expert‘s report by Dario Succi, Gorizia, n.d.

Albotto, who is known to have been Marieschi‘s first student, not only took over the workshop after his death, but also married his widow. His paintings followed the style of his teacher and were difficult to distinguish between; a painting that appeared in the New York art trade in 1972 at last provided the basis to distinguish between the two, so that Dario Succi can now identify the present masterpiece dimensions fit for a museum with certainty to Albotto.
In his catalogue raisonné (Michele Marieschi, opera completa, 2016) Succi shows a pair of paintings (nos. 2 and 3), one of which depicts the same motif. The pair of paintings were sold on 6 December 1962 as lot 9 at Sotheby‘s, London and came from the M. Milburn-Foster Collection. The pair was acquired by Richard Green, London, and was last at auction on 16 December 1999, lot 92; However, the dimensions of 54.6 x 82.5 cm are significantly smaller than the single work offered here, which Succi dates to ca. 1738.

Literature:
cf. Gregorio (Rosolino) Gattinoni, Storia del Campanile di San Marco in Venezia, Venice 1912.
cf. Pierre-Jean Mariette, Abe´ce´dario de P. J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes (ante 1774), in: Archives de l‘Art Français, Paris 1854.
cf. William G. Constable, Canaletto. Giovanni Antonio Canal. 1697-1768, Oxford 1962.
cf. R. Pallucchini, Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, no. XXVI, 1972.
cf. Mario Manzelli, Ulteriori notizie su Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, no. XXXVIII, 1984.
cf. Mario Manzelli, Proposta per l‘identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto, in: Arte veneta, no. 41, 1987(1988).
cf. Dario Succi, Marieschi. Tra Canaletto e Guardi, exhibition catalogue, Turin 1989, pp. 26 and pp. 1165.
cf. Ralph Toledano, Michele Marieschi. Catalogo ragionato, Milan 1995.
cf. Filippo Pedrocco, Michele Marieschi. La vita, l‘ambiente, l‘opera, Milan 1999.
cf. Mario Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, Venice 2002.

This object has been individually compared to the information in the Art Loss Register data bank and is not registered there as stolen or missing.

Works of this artist in our
Spring Auctions 2024, Thursday, 21 March 2024

Francesco Albotto,  1721/22 Venedig – 1757 ebenda,  zug./ Kreis des

442 / Francesco Albotto,
1721/22 Venedig – 1757 ebenda,
zug./ Kreis des

Francesco Albotto,  1721/22 Venedig – 1757 ebenda

453 / Francesco Albotto,
1721/22 Venedig – 1757 ebenda

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