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Lot Essay
This painting may be considered an exceptional newly discovered masterpiece by Jacob Philipp Hackert. Claudia Nordhoff describes The view from the Grotta dell'Annunziata in Maiori as a main work of Hackert. The artist painted the motive of the famous grotto first in 1770 and readopted it in 1804 in the present lot. The painting did not leave Hackert's atelier during his lifetime, but most probably came into possession by inheritance of his brother-in-law, Johann Christian Behrendt (1765-1838), who was married to his younger sister Wilhelmina. After Hackert's death in 1807, a catalogue of the works of art of his estate was composed: Catalogue des Tableaux, Etudes d'arbres, d'animaux et des paysages, comme aussi des dessins en Bistre en Gouache, fait par le défunt Paysagiste Philippe Hackert. Claudia Nordhoff assumes in her certificate of 8 March 2013 that the present painting is identical with no. 19 of this catalogue: La grotte, de Minerve près du golfe de Salerne, avec les ruines d'un ancient pont; Vue de la mer, where the inscription on the painting was misread as 'Minerva' instead of 'Majura'.
After Hackert's arrival in Rome in the winter of 1768, he explored the surroundings of the town. In spring 1770 he travelled to Naples, where he became ill, for his convalescence he was sent to the coast south of Naples. Here the artist discovered the pristine and undiscovered nature. Hackert's interest for remote and untouched regions conducted him to the predominantly rocky coast between Sorrento and Salerno which he documented in numerous drawings. In a drawing of 1770 Hackert for the first time depicts the interior of a grotto which is passed by a wooden bridge resting on stony supports; on the bridge are fishermen and women, a fishing boat is nearby (Stourhead, Wiltshire, The National Trust). The subject is the so called Grotta dell'Annuziata at the coast near Maiori, situated close to Amalfi, owing its name to the little church Chiesa dell'Annunziata, which was built in the 14th century inside the grotto.
Hackert executed his first painting of the View from the Grotta dell'Annunziata in Maiori after his excursion in 1770 (Nordhoff, Reimer, op. cit., 1994, II, no. 62; offered at Koller, Zurich, 24 September 2003, lot 3062 (Sfr. 251,000)). Here he concentrated on the single cliffs of the natural arch, which massively extend into the image space. On the opposed coastline of the bay, the dome and the campanile of S. Maria a Mare are visible, and to the right the Norman watch tower. In the foreground fishermen and women are at work, two rowing boats and a larger sailing boat are at sea.
In the final years of his life, which Hackert spent in Tuscany, he executed the present lot with the veduta of Maiori. Nordhoff assumes that this version was based on a drawing as well. Again the composition is framed by the huge natural rock formation; Maiori is visible in the distance, as is the wooden bridge. Hackert modified the figures in the foreground and the ships in the water. The ship in the foreground is a simple fishing boat ('Barca'), transformed into a suitable vehicle for a wealthy family on excursion, which probably came to pray in the chapel situated in the grotto. This painting shows fisher folk again, although this time not at work, therefore suggesting that this version represents a holiday.
The present painting is executed with the same accuracy as the painting from 1770. It is characterized by a highly realistic and detailed representation of the location and precise rendering of the nature as can be seen in the meticulous visualization of the individual segments of the rocks. The painting is a masterly executed composition of contrast between the dark natural arc, the clear and sunny sky and the mountainous landscape in the background. Only the island of Capri, visible to the right, becomes blurred in the misty morning light.
A certificate of authenticity by Dr. Claudia Nordhoff, Rome (dated 8 March 2013) is available from the department.
After Hackert's arrival in Rome in the winter of 1768, he explored the surroundings of the town. In spring 1770 he travelled to Naples, where he became ill, for his convalescence he was sent to the coast south of Naples. Here the artist discovered the pristine and undiscovered nature. Hackert's interest for remote and untouched regions conducted him to the predominantly rocky coast between Sorrento and Salerno which he documented in numerous drawings. In a drawing of 1770 Hackert for the first time depicts the interior of a grotto which is passed by a wooden bridge resting on stony supports; on the bridge are fishermen and women, a fishing boat is nearby (Stourhead, Wiltshire, The National Trust). The subject is the so called Grotta dell'Annuziata at the coast near Maiori, situated close to Amalfi, owing its name to the little church Chiesa dell'Annunziata, which was built in the 14th century inside the grotto.
Hackert executed his first painting of the View from the Grotta dell'Annunziata in Maiori after his excursion in 1770 (Nordhoff, Reimer, op. cit., 1994, II, no. 62; offered at Koller, Zurich, 24 September 2003, lot 3062 (Sfr. 251,000)). Here he concentrated on the single cliffs of the natural arch, which massively extend into the image space. On the opposed coastline of the bay, the dome and the campanile of S. Maria a Mare are visible, and to the right the Norman watch tower. In the foreground fishermen and women are at work, two rowing boats and a larger sailing boat are at sea.
In the final years of his life, which Hackert spent in Tuscany, he executed the present lot with the veduta of Maiori. Nordhoff assumes that this version was based on a drawing as well. Again the composition is framed by the huge natural rock formation; Maiori is visible in the distance, as is the wooden bridge. Hackert modified the figures in the foreground and the ships in the water. The ship in the foreground is a simple fishing boat ('Barca'), transformed into a suitable vehicle for a wealthy family on excursion, which probably came to pray in the chapel situated in the grotto. This painting shows fisher folk again, although this time not at work, therefore suggesting that this version represents a holiday.
The present painting is executed with the same accuracy as the painting from 1770. It is characterized by a highly realistic and detailed representation of the location and precise rendering of the nature as can be seen in the meticulous visualization of the individual segments of the rocks. The painting is a masterly executed composition of contrast between the dark natural arc, the clear and sunny sky and the mountainous landscape in the background. Only the island of Capri, visible to the right, becomes blurred in the misty morning light.
A certificate of authenticity by Dr. Claudia Nordhoff, Rome (dated 8 March 2013) is available from the department.