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Giambattista Tiepolo (Venice 1696-1770 Madrid) and Studio
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Giambattista Tiepolo (Venice 1696-1770 Madrid) and Studio

An allegorical female figure; and An Allegory of Victory - en grisaille

Details
Giambattista Tiepolo (Venice 1696-1770 Madrid) and Studio
An allegorical female figure; and An Allegory of Victory - en grisaille
detached fresco, transferred to canvas, oval
26 x 38 in. (66 x 96.5 cm.)
(2)two (2)
Provenance
Brass collection, Venice, until 1925.
Dr. Adrien Fauchier-Magnan, Paris.
Comte de Boisvouvray, Paris.
Anonymous sale; Christie's, New York, 22 May 1998, lot 105, as 'Giovanni Battista Tiepolo and workshop' ($96,000).
Literature
Antonio Morassi, A Complete Catalogue of the Paintings of G.B. Tiepolo, London, 1962, p. 40, as ‘in the main by Domenico [Tiepolo] and collaborators’.
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Abbie Barker
Abbie Barker

Lot Essay

These splendid frescoes must once have decorated the walls of a Venetian villa, but as yet can not be linked to a known commission. They formed part of a group of oval frescoes of varying sizes depicting different allegories and muses, which can be dated to the early 1740s (Morassi, op. cit.; also see Christie’s New York, 22 May 1998, lots 104-106), when Tiepolo had just completed his first great ecclesiastical fresco cycle for I Gesuiti in Venice and was executing his magnificent ceiling fresco of the Chariot of the Sun for the Palazzo Clerici in Milan.

Firmly and briskly painted, they imitate remarkably the appearance of relief sculptures and would, undoubtedly, have served as overdoors in a large-scale decorative scheme. Although Morassi published this and the other frescoes as ‘painted in the main by Domenico [Tiepolo] and collaborators’, he revised his opinion after seeing the frescoes cleaned, and in a letter dated 15 January 1963 declared his belief that the entire group was by Giambattista.

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