LOT DETAILS

Materials:

each detached fresco transferred to canvas, in a trompe l'oeil frame, gold ground

Size Notes:

each approx.

Description:

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Markings:

each dated and extensively inscribed with a description of the event they portray

Condition:

unframed; the trompe l'oeil frame in the scene with Francesco Porto is an addition

Exhibited:

Stockholm, National Museum, Aldre Italiensk Konst, 1944, nos. 216-21 (as Giambattista); Leeds, Temple Newsam House, 1967-68 (as Giambattista).

Literature:

F. Vendramin Mosca, Descrizione di Vicenza, 1779, vol. II, p. 86 (as "Tiepoletto"); P. Molmenti, G.B. Tiepolo, la sua vita e le sue opere, Milan 1909, pp. 271-72, reproduced pp. 269-70 (as Giambattista); E. Sack, Giambattista und Domenico Tiepolo, Hamburg 1910, p. 183, cat. nos. 294-299 (as Giambattista); M. Friedländer, Sammlung Dr. Eduard Simon, Gemälde, Berlin 1929, pp. 42-52, reproduced plates XV-XX (as Giambattista); C. Vigni, Disegni del Tiepolo, Padua 1942, p. 65, under cat. no. 195 (as Giandomenico, datable 1755-60); G. Vigni, 'Note su Giambattista e Giandomenico Tiepolo', in Emporium, July 1943, p. 14 and note 2 (as Giandomenico, possibly on Giambattista's design, and dated 1760); A. Morassi, A complete catalogue of the paintings of G.B. Tiepolo, London 1962, pp. 48-49 (as Giambattista with collaboration from his son Giandomenico); A. Morassi, 'Giandomenico Tiepolo', in Enciclopedia Universale dell' Arte, Venice/Rome 1965, ad vocem; Exhibition of Six Tiepolo Frescoes from the Palazzo Porto, Vicenza, exhibition catalogue, London 1966 (as a collaboration between father and son, datable 1757); K. Roberts, 'Current and Forthcoming Exhibitions', in The Burlington Magazine, vol. CVIII, no. 756, February 1966, p. 102 (without specifying which Tiepolo is the author); B. Nicolson, 'Current and Forthcoming Exhibitions', in The Burlington Magazine, vol. CVIII, no. 756, March 1966, p. 155, reproduced figs. 55 & 56 (without specifying which Tiepolo is the author); A. Noach, Tiepolo Frescoes from the Palazzo Porto, Vicenza, exhibition booklet, place unknown 1967 (as Giambattista); A. Pallucchini, L'opera completa di Giambattista Tiepolo, Milan 1968, pp. 127-28, cat. no. 261B (as a collaboration between father and son); A. Mariuz, Giandomenico Tiepolo, Venice 1971, p. 122, reproduced figs. 140-145 (as Giandomenico); E. Forssman, Il Palazzo da Porto Festa di Vicenza, Corpus Palladianum XVIII, Vicenza 1973, pp. 65-66, reproduced figs 74-79; G. Knox, 'Primi Pensieri by Domenico Tiepolo and a New Painting', in Master Paintings, XVII, I, 1979, pp. 32-33, under cat. nos. I and J, only Ippolito Porto reproduced (as Giandomenico); G. Knox, Giambattista and Domenico Tiepolo, A Study and Catalogue Raisonné of the Chalk Drawings, vol. I, New York, 1980, p. 323, cat. no. P.317 (as Giandomenico); R. Menegozzo, Nobili e Tiepolo a Vicenza. L'artista e i suoi committenti, Vicenza 1990, p. 119-126, all reproduced (as Giandomenico); B.L. Brown (ed.), Giambattista Tiepolo, Master of the oil sketch, exhibition catalogue, Milan 1993, pp. 279-80, under cat. no. 44, and notes 6, 7 (as Giandomenico); M. Gemin and F. Pedrocco, Giambattista Tiepolo, I dipinti, opera completa, Venice 1993, p. 476, under cat. no. 501 (as Giandomenico); F. Pedrocco, Tiepolo, The Complete Paintings, New York 2002, p. 303, under cat. no. 269 (as Giandomenico).

Provenance:

Painted circa 1760 in Palazzo Porto, Vicenza, where they hung until circa 1900; Dr. Eduard Simon (1864-1929), Berlin, from at least 1903 until 1929; His deceased sale, Berlin, Cassirer und Helbing, 11 October 1929, lots 13-18 (as Giambattista Tiepolo); Acquired at the above sale by Axel Wenner-Gren (1881-1961), 32 Quai de Passy, Paris and later Stockholm; With the Hallsborough Gallery, London, 1966 (as a collaboration between Giambattista and Giandomenico); Acquired from the above by Dr. Gustav Rau (1922-2002); By whom bequeathed to UNICEF, the present owner.