FOLLOWER OF FRANCESCO GUARDI, ARCHITECTURAL CAPRICCI

FOLLOWER OF FRANCESCO GUARDI ARCHITECTURAL CAPRICCI Capriccio with a Church Seen Through a Portico; Capriccio with an Ogival Arch; Capriccio with a Rustic Cottage; Capriccio with an Obelisk and Lagoon Oil on canvas each canvas 20.0 x 17.1 cm (7 ⅞ x 6 ¾ in.) the frames 26.7 x 23.2 cm (10 ½ x 9 ⅛ in.) Provenance: Lillian Rojtman Berkman (1922-2001), New York Sotheby's New York, Property from the Estate of Lillian Rojtman Berkman, incl. Property from the Rojtman Foundation, 28th January 2005, lot 552 ($12,000 incl. BP) Private Collection This delightful quartet of Venetian capricci, or imaginary views, repurposes motifs invented by members of the Guardi family, among the most celebrated artistic dynasties of vedutisti. The ruined arch with a suspended lantern in Capriccio with an Ogival Arch appears in numerous Guardi compositions, as do the architectural elements included in Capriccio with a Church Seen Through a Portico - see for instance 'A Caprice with a Ruined Arch', oil on canvas. London, National Gallery (inventory number NG2518). Capriccio with a Rustic Cottage corresponds with a painting in the Fondazione Cini Venice - see A. Morassi, Guardi, l'opera completa di Antonio e Francesco Guardi, Venice 1973, vol. I, cat. no. 846; vol. II, reproduced fig. 765. Capriccio with an Obelisk and Lagoon combines elements of two large-scale paintings, both previously in the collection of Paolo di Coloredo Mels at Colloredo di Monte Albano, near Udine; now in the Metropolitan Museum of Art, New York (object numbers 41.80 & 53.225.4). Condition Report: The canvases have been relined and present a yellowing varnish, UV light reveals scattered retouching on the picture with the horse in the foreground, most notably to the sky, as well as on the ground around the horse. The other pictures instead appear to have had very little restoration, witch is hardly noticeable under UV, although some might be masked from the yellowing varnish. Finally, there is a superficial vertical crease to the right of the picture with the man and child on the arch, such crease might have been from a previous stretcher mark. Condition Report Disclaimer, FOLLOWER OF FRANCESCO GUARDI, ARCHITECTURAL CAPRICCI, Capriccio with a Church Seen Through a Portico;, Capriccio with an Ogival Arch;, Capriccio with a Rustic Cottage;, Capriccio with an Obelisk and Lagoon, Oil on canvas, each canvas 20.0 x 17.1 cm (7 ⅞ x 6 ¾ in.), the frames 26.7 x 23.2 cm (10 ½ x 9 ⅛ in.), Provenance:, Lillian Rojtman Berkman (1922-2001), New York, Sotheby's New York, Property from the Estate of Lillian Rojtman Berkman, incl. Property from the Rojtman Foundation, , 28th January 2005, lot 552 ($12,000 incl. BP), Private Collection, This delightful quartet of Venetian capricci, or imaginary views, repurposes motifs invented by members of the Guardi family, among the most celebrated artistic dynasties of vedutisti. The ruined arch with a suspended lantern in Capriccio with an Ogival Arch appears in numerous Guardi compositions, as do the architectural elements included in Capriccio with a Church Seen Through a Portico - see for instance 'A Caprice with a Ruined Arch', oil on canvas. London, National Gallery (inventory number NG2518). Capriccio with a Rustic Cottage corresponds with a painting in the Fondazione Cini Venice - see A. Morassi, Guardi, l'opera completa di Antonio e Francesco Guardi, , Venice 1973, vol. I, cat. no. 846; vol. II, reproduced fig. 765. Capriccio with an Obelisk and Lagoon combines elements of two large-scale paintings, both previously in the collection of Paolo di Coloredo Mels at Colloredo di Monte Albano, near Udine; now in the Metropolitan Museum of Art, New York (object numbers 41.80 & 53.225.4). Condition Report:, The canvases have been relined and present a yellowing varnish, UV light reveals scattered retouching on the picture with the horse in the foreground, most notably to the sky, as well as on the ground around the horse. The other pictures instead appear to have had very little restoration, witch is hardly noticeable under UV, although some might be masked from the yellowing varnish. Finally, there is a superficial vertical crease to the right of the picture with the man and child on the arch, such crease might have been from a previous stretcher mark. Condition Report Disclaimer

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