Price Codes A: < £2,000 B: £2,000 – £5,000 C: £5,000 - £10,000 D: £10,000 - £20,000 E: £20,000 - £40,000 F: > £40,000
Secrets of Venice “Unique, Glorious, Endangered” Gladwell and Patterson have been brightening the wintery January days with an exhibition of fine Venice paintings for over three decades, and this month our gallery in Knightsbridge will once again come alive with depictions of the water, architecture and beauty from this incredible city. The shocking images of the recent flooding in Venice serve to remind us all of the fragility of this, Europe’s most unique and glorious city. We must all do our bit to help and therefore a percentage of funds raised from this exhibition will go to the Venice in Peril “2019 Acqua Alta” Appeal to meet immediate challenges of the catastrophic floods and to be ready to offer support over the longer term. Venice means so many different things to each and every one of us lucky enough to have visited this most incredible of places, as you will see from the imaginative selection of Questions & Answers contained within the catalogue. The great joy of exploring Venice is the thrill that comes from discovering the undiscovered for ourselves. At every twist and turn of a boulevard, calle or rue we open ourselves to the chance of finding a captivating corner, being witness to a special view or discovering something breath-taking. The surprise of the unknown always delights, charms and captivates – this is what keeps us all exploring. It would be a tragedy to imagine a world where this wasn’t possible in Venice. We are also lucky enough to have a selection of paintings focusing on Venice through the eyes of some of our talented and passionate contemporary artists. Venice has been attracting artists for Millenia and will always do so, and it is fascinating to enjoy the diversity of paintings that this city inspires. We take special pleasure in including a wonderful collection from Peter Van Breda. Peter delights in painting the city in the early morning or late evening and capturing the effects of the light dancing on the water. He has a special ability of depicting the serene beauty of this elegant city and reminding us all of why we love it. We hope you all enjoy his captivating canvases and those of all of our other talented artists, and we look forward to welcoming you all to the gallery to experience this diverse and enchanting collection. With best wishes, Cory Fuller
Cory Fuller, Gladwell & Patterson Describe Venice in three words? Unique, Glorious, Endangered What does Venice represent to you? For me, Venice is all about the light. The dancing watery refractions on the gothic facades, gondolas slicing through the water dazzle on the grand canal, the orange and pink sunsets across the lagoon mixing like an artist's palette with the white Istrian stone and pink Verona marble of the Doge's palace. Venice is a treasure trove, a spiritual place where despite the busy waterways and crowds, it is easy to find peace and drama in equal measure. I love to find shadowy secret churches hidden in plain sight and I am immediately captivated by their history and storytelling through the frescos, alter pieces, architecture and mosaics.
What do you think the future holds for Venice? The unprecedented acqua alta eccezionale and flooding recently is a timely reminder of the fragile ecosystem surrounding Venice and its future vulnerability. We must support Venetians in their hour of need as well as look at ways we can help protect the beautiful city for generations to come. If someone was visiting Venice for a week, where would you send them/ your best kept secret? My most favourite hidden gem to stop for a lunch or an aperitivo is Cantina Azienda Agricola. Any visitor who can find the workshop, Lâ&#x20AC;&#x2122;Isola di Pinocchio in the Sestiere Cannaregio is rewarded. Handmade Marionettes are crafted here and the design process and colourful characters produced in this atelier are intriguing and delightful. I still have one in my son's room from his first visit.
Which artist across the centuries do you think captures Venice the best? The Renaissance artist Giovanni Bellini was a master of spectacle. His work was a pivotal turning point for Venetian art and heralded the golden age of Tintoretto, Titian, Veronese and Giorgione. I am moved and transfixed as I sit in front of an alter piece in a gloomy church, an angel's face radiating light and joy reflected from a slender gothic window above.
Cory Fuller
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Lodovico Ughi Iconografica Rappresentatione della Inclita Città di Venezia consacrata al Reggio Serenissimo Dominio Veneto Italian • Engraving • Executed circa 1739 • 59" x 81", 150 x 205 cms • Price Code E 5
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Secrets of Venice Past
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“His secret, I think, is his colouring. Browns, greens and golds and the odd blue are, when in juxtaposition with each other, the richest combination…A sweep of colour creates light on the water and a shimmering reflection. Bouvard was a master of golden light and hidden shadows.” - Anthony Fuller Auguste Bouvard (1875-1956) was born at St. Etienne in France. His early artistic education was undertaken at the Ecole des Beaux-Arts in Paris, where he spent three years under a scholarship. His birth name was Eloi Noel Beraud although he signed his paintings Bouvard, Marc Aldine and Pelletier, amongst other pseudonyms but it is by Bouvard that he is best known. During the early part of his career, Bouvard painted a variety of French subjects under several pseudonyms in order to satisfy the demand for his work, but always maintained the same easy flowing brush and palette knife strokes. Study trips followed throughout Europe, where he began to paint the landscapes of Southern Europe and the Mediterranean coastline. His delicately coloured, rural scenes of southern France, usually signed with the pseudonym Pelletier, were imbued with a diffusion of warm light, reflected off rustic farm buildings beside quaint waterways running through tranquil villages. The majority of Bouvard’s output went through a dealer in Paris who recommended that he consider Venice as a subject. From that point, his career never looked back. Celebrated for his captivating views of the Venetian canals, Bouvard possessed an undeniable talent for utilising light and atmospheric effects to portray the grandeur of the legendary city. Whilst Bouvard’s subject matter is similar to Canaletto and Guardi, he differs from these great artists by his use of a free impressionist technique, with the introduction of vivid colour and warmth. Under a golden sun and turquoiseblue sky, Bouvard's Venice glistens with unmistakable majesty as he deftly documents its architectural gems and romantic atmosphere. Gladwell & Company held the first one-man exhibition of Bouvard’s work in Britain in 1928 at 68 Queen Victoria Street in the City, from which the late Queen Mary purchased two examples of his work. Herbert Fuller continued to acquire paintings from this fine artist up until Bouvard died in 1956, and the two subsequent generations of the Fuller family have continued to have specialised in his work ever since. His son, Antoine Bouvard, continued the family tradition of painting the waterways and monuments of Venice with the same rich colouring as his father, although in a broader and looser style. Many of Antoine Bouvard’s paintings are wrongly attributed to Auguste Bouvard, despite the difference in styles, as Antoine signed his work as “Bouvard” just like his father. Today, Gladwell & Patterson only acquire the finest works by Auguste Bouvard and this artist’s work remains part of the rich heritage of this historic London gallery. Examples of Auguste Bouvard’s paintings can be found in private collections throughout the world and his picturesque paintings remain in high demand on the art market.
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Auguste Bouvard • Doge’s Palace, Grand Canal French, (1875-1956) • Oil on Canvas • 15” x 22”, 38 x 56 cms • Price Code E
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Auguste Bouvard The Little Venetian Shop French, (1875-1956) Oil on Canvas 11" x 13¾", 28 x 35 cms Price Code C
Auguste Bouvard Terrace Conversations French, (1875-1956) Oil on Canvas 10½" x 13¾", 27 x 35 cm Price Code C
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Auguste Bouvard • Golden Reflections French, (1875-1956) • Oil on Canvas • 19¾" x 25½", 50 x 65 cms • Price Code E
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Ted Wake, Kirker Travel What does Venice represent to you? The most elegant place on the planet. La Serenissima epitomises man’s ability to overcome extraordinary challenges, to create beautiful buildings, priceless public places, and complex communities that intertwine and endure for centuries. Your favourite place for peace and quiet? St Mark’s Square at midnight on a Sunday evening in January long after the madding crowd has departed. Do you have a favourite art historical figure who has worked in Venice? It would have to be Canaletto – what made him leave Venice for London? What goes through your mind when you are en route to Venice? Isabella of restaurant Osteria Oliva Nera – and her pasta ‘al nero di sepia con gamberi’.
What delights you about your profession? The opportunity to meet and share hospitality with an extraordinary range of experts from across the globe – who all love to share their knowledge and a glass or two of fine wine. How do you think the visitors to Venice can become more ‘sensible tourists’? Don’t do day trips – and do stay in a hotel. Local people need real jobs – and hotels provide excellent employment opportunities that enable Venetians to live and plan their long term futures in their city. If someone was visiting Venice for a week, where would you send them? For lunch at Locanda Cipriani on Torcello – with a visit to the Byzantine churches: the handsome Santa Fosca, and Santa Maria Assunta to see the exquisite mosaics.
Kirker has been organising bespoke holidays to Venice since 1986, and are more passionate about La Serenissima today than ever. Whether you are looking for a short break to visit a favourite museum or gallery, a glamorous weekend staying in a stylish palazzo, or one of our escorted opera and art tours in the company of an expert lecturer, the expert Kirker team would be delighted to create the perfect itinerary. The Kirker Concierge will help you with tickets to museums, arrange walking tours and recommend and reserve a table for dinner at one of the best Venetian restaurants – from gastronomic fine-dining to traditional trattoria and authentic backstreet bacari. Kirker would be delighted to hear from you – speak to an expert on 020 7593 2288.
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Jonathan Keates, Chairman of Venice in Peril Fund Describe Venice in three words? Beyond all words.
What goes through your mind when you are on your en route to Venice? Acqua alta.
How would you describe the work of Venice in Peril? Safeguarding Venice for humanity and teaching future generations how to love it.
What makes the locals of Venice different to other Italian? Loud voices, singsong dialect.
What Venice in Peril project makes you most proud? San Giobbe social housing project Do you have a favourite art historical figure who has worked in Venice? Richard Parkes Bonington.
How do you think the visitors to Venice can become more ‘sensible tourists’? Leave the Piazza and Railto behind, explore churches and galleries, try to learn something about what made this city over 1,000 years. What is your solution to the cruise ship crisis? Ban the buggers, all of them, large or small.
V E NI CE IN PERIL FUND
The Venice in Peril Fund has financed the conservation of more than 60 monuments, churches and works of art that were in danger of irreversible decay. But over the years it has become clear that Venice presents special challenges beyond need for restoration. A percentage of funds raised from this exhibition will go to the Venice in Peril “2019 Acqua Alta” Appeal to meet immediate challenges of the catastrophic November 2019 floods and to be ready to offer support over the longer term. If you have been happy in Venice, have experienced her magic, feel the world would be a diminished place without her; if, in short, you want to help save Venice, then please send us a donation or become a member or remember us in your will. Please call us on 020 7736 6891.
Jonathan Keates 13
Auguste Bouvard • Evening Light, Santa Maria della Salute French, (1875-1956) • Oil on Canvas • 20” x 25”, 51 x 64 cms • Price Code E
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Auguste Bouvard • The Vegetable Market French, (1875-1956) • Oil on Canvas • 20” x 25”, 51 x 64 cms • Price Code E
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Fritz Klaiberg • A Journey down the Grand Canal German, (1921-1998) • Oil on Canvas • 24” x 36”, 61 x 91.5 cms • Price Code B
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Richard von Hagn Morning Light, Ponte dei Bareteri German (1850-1933) Oil on Panel, Painted in 1883 15ž" x 9", 40 x 23 cms Price Code C
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Revered for his topographical cityscapes of Venice, Rome and London, Canaletto immortalises Andrea Palladio’s masterpiece of ecclesiastical architecture the Chiesa del Santissimo Redentore. This work, colloquialised as Il Redentore, was commissioned as a votive church by the Venetian Senate in 1577 in fulfilment of a vow taken before the deliverance of the city from the devastating plague of 1575-76, during which thirty percent of the city’s population perished. Its foundation stone was laid in 1577 and construction took fifteen years. The Doge and Senators pledged to visit the church annually, processing across a temporary causeway constructed over the Giudecca canal on the third Sunday of July. This ceremony gave rise to the Festa del Redentore, a major Venetian festival. The beauty of this particular work is that it appeals both to Canaletto enthusiasts, but also fervent admirers of Palladian architecture of which there were many in early modern English society. The grey ground and light tonality indicate that Il Redentore was painted during the artist’s years in England during the late 1740s. The scene is largely atmospheric. The central church towers impressively over simple, domestic surrounds. The verticality of the church’s brilliant white Istrian stone façade, onto which elements of classical porticoes are superimposed, contrasts dramatically to the horizontality and plainness of the neighbouring buildings. Palladio thus combined Counter-Reformation simplicity and classical grandeur to elevate the church’s architectural status as one which was unprecedented in Venetian culture. A sweeping blue-tinged dome crowns the roof of The Redentore, its pigment mirroring that of the heavens above. The continuity between dome and sky suggests the strong religiosity of this site, symbolising the relationship between the earthly and heavenly realms. Moments of stasis and dynamism crowd the canvas, both in the solidity of the architecture in the painting’s background versus the gondolas racing along the Giudecca Canal in the foreground. The overall effect Canaletto creates is, however, very serene. The chaos of the thoroughfare is lost to the majesty of Palladio’s church, captured in mid-afternoon light. Both the distorted reflection of the church in the murky canal waters and the soft pink clouds scudding through the sky convey a certain nostalgia and ephemerality in Canaletto’s masterpiece. A moored ship on the far-right-hand-side is just visible within the parameters of the canvas.
Giovanni Antonio Canal, il Canaletto • The Redentore, Venice, Painted circa 1746 Italian, (1697-1768) • Oil on Canvas • 18" x 30½”, 47.5 x 77.5 cms • Price Code F
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Veronica Herwegen-Manini • Ponte di Rialto German, (1851-1933) • Oil on Canvas • 19¾" x 27½", 50 x 70 cms • Price Code D
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Vicente Poveda y Juan • Un Traghetto a Venezia: Gondoliere Spanish, (1857-1935) • Oil on Canvas • 23½" x 39½", 60 x 100 cms • Price Code F
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Roger Chapelet • Pali da Casada French, (1903-1995) • Gouache • 19¼" x 24¾", 49 x 63 cms • Price Code B
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Secrets of Venice Present
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José Luis Checa Galindo • The Magic of Venice Spanish, (born 1950) • Oil on Board • 14” x 21”, 36 x 54 cms • Price Code B
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Robert E. Wells • La Chiesa Di San Giacomo Di Rialto, “San Giacometto” British, (Contemporary) • Oil on Canvas • 36” x 36”, 91.5 x 91.5 cms • Price Code B
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Robert E. Wells • Rio De S.Barnaba British, (Contemporary) • Oil on Canvas • 36” x 36”, 91.5 x 91.5 cms • Price Code B
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Jonathan Pike Palazzo Mangilli, Valmarana British, (Contemporary) Watercolour 18½" x 13â&#x20AC;?, 47 x 33 cms Price Code C
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Jonathan Pike • Villa Foscari at Malcontenta British, (Contemporary) • Watercolour • 6” x 8”, 15 x 20 cms • Price Code A
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Jonathan Pike is broadly acknowledged to be one of the finest architectural painters of his generation. A watercolourist first and foremost, he also paints in gouache and oils. Jonathan's attention to architectural heritage and the decay of manmade objects is perfectly articulated in his work, from a classical structure in Venice to a British coastal scene. Texture and light are brought together to create dramatic renderings where attention to detail contributes to the passion and emotion of the scene. An avid traveler, Jonathan specializes in cityscapes of Rome, Florence, Havana, London, Dublin and elsewhere, but it is his exquisite Venetian scenes that have attracted a particularly keen following amongst collectors worldwide. Jonathan first visited Venice in 1975, and has returned on many occasions to produce his mesmeric studies of the atmosphere and light of this unique city.
Jonathan Pike • Watergate - Evening on Grand Canal British, (Contemporary) • Watercolour • 19" x 13½", 48 x 34 cms • Price Code C
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Bianca Arrivabene, Deputy Chairman of Christie’s Italy How did you end up living in Venice? It is all about LOVE. I fell in Love with my husband, Giberto, when I was a teenager. After some time, and marriage, we moved to Venice – that was thirty years ago. Do you feel modern art and art from the 19th and 20th Centuries can be displayed in the same rooms? It’s a MUST! In our case it is a matter of layers of life and families objects. There is no reason photography cannot sit well on a XVIII century Venetian console. Do you have a favourite art historical figure who has worked in Venice? Where do I begin? Tiziano, Tintoretto, Tiepolo, Carpaccio, Veronese, Sansovino, Longhena, Carlo Scarpa. It is very difficult, actually impossible, to select one out of this selection. What goes through your mind when you are on your way home to Venice? Again, Venice is about home, and I am very lucky that in my life the word home matches with the word Venice. But yes, getting back home is always such a great treat. Even more as Venice is my home. On top of it, I am so spoilt. Our family home, the sixteenth century Palazzo Popadopoli, is also home to the most magnificent hotel in town. So, Venice also makes me think of the word AMAN, synonymous with luxury. I am so spoilt, I know. How would you describe a traditional Venetian? Venetians are open people. Elegant, and surprisingly charming. Venice still today is a port city. Ports are welcome recovery places, where exchanges happen. This characteristic can, I think, be applied to the old days and to our days too. Meaning, Venetians are open to mingle with people from all over the world with differing 34
interests. Even though, I need to point out that with Venetians comes complaining! They love to complain, sit at the caffè and complain! What delights you about your home, Palazzo Papadopoli? The successful transformation of the building into the AMAN Hotel. It amazingly fits in now, and is ready to go for the next 500 years, so people from all over the world can enjoy the beauty and the energy of such a fabulous house. How do you think the Biennale changes Venice when it is on? Venice gets invaded by a very strong and positive energy, built by the many young and older art related people in town. It is always a great year! The vibes are strong and positive. One thing that I absolutely love when Biennale Arti Visive is on is that you can see many places in town usually not accessible to the public; Palazzi, Churches, and warehouses. A great way to see the “behind the doors” of this city.
Bianca Arrivabene
Stewart Lees • Bellini British, (Contemporary) • Oil on Panel • 15¾" x 19¾", 40 x 50 cms • Price Code C
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Ken Knight The Bell Tower, Old Venice Australian, (Contemporary) Oil on Board 39¾" x 35½", 101 x 90 cms Price Code C
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Ken Knight A Sunny Corner, Venice Australian, (Contemporary) Oil on Board 39¾" x 35½", 101 x 90 cms Price Code C
Ken Knight Gondolas and Santa Maria Della Salute Australian, (Contemporary) Oil on Board 10" x 19ž", 25 x 50 cms Price Code B
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Matthew Alexander • The Grand Canal British, (born 1953) • Oil on Board • 23½" x 35½", 60 x 90 cms • Price Code B
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Ronny Moortgat • Giardini Belgian, (Contemporary) • Acrylic on Panel • 8” x 16”, 20 x 40 cms • Price Code A
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Ronny Moortgat • Passing Gondolas Belgian, (Contemporary) • Oil on Canvas • 16” x 24”, 40 x 60 cms • Price Code B
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Ronny Moortgat • Santa Maria della Salute at Dusk Belgian, (Contemporary) • Oil on Canvasboard • 16” x 24”, 40 x 60 cms • Price Code B
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Walter Dolphyn • The Exciting Adventures of the Most Boring Man in the World, “My Lonely Nights in Venice” Belgian, (Contemporary) • Oil on Panel • 8" x 23¾", 20 x 60 cms • Price Code C
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Peter's Secrets of Venice
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Peter van Breda • Biblioteca Marciana British, (Contemporary) • Oil on Canvas • 23¾" x 28¾", 60 x 73 cms • Price Code C
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Peter van Breda • Lion of Saint Mark British, (Contemporary) • Oil on Canvas • 23¾" x 28¾", 60 x 73 cms • Price Code C
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Peter van Breda, Artist What does Venice represent to you? Complete escape from anything ordinary. It’s a unique city, rich in culture, with enchanting waterways and magnificent art and architecture. It’s a dream to paint for the distinctive atmosphere and light. What goes through your mind when you’re on your way to Venice? I’m mostly preoccupied with what materials I have in my luggage and whether or not I’m going to make it through security without having any of my essential kit confiscated. My easel didn’t appear at Marco Polo one time but I spotted it on the runway as I was reporting it missing from the airport terminal. I imagined it being crushed by the next 747. As soon as I step on the first vaporetto though I’m mapping the city in my mind and already making plans. It’s always thrilling – like the first time. Your favourite place for peace and quiet? Looking out to sea from the Giardini; there’s always so much to see and it’s very peaceful, never crowded. My daughter used to love the parkland when she was little and we often still meet there when we’re travelling together to sketch and have a coffee.
magnificent piece. It’s a lovely, quiet spot where I can paint without interruption right on the Grand Canal and very special. Do you have a favourite art historical figure who has worked in Venice? Sickert is a real favourite, he visited frequently over a ten-year period and wrote: “Venice is the loveliest city in the world” When he was elected a Royal Academician in 1934 and chose for his diploma piece a canvas of a sparkling Santa Maria della Salute. Do you like to read biographies of great artists from the cannon of art history, or do you just let the pictures do the work? In particular, I like to read the letters of artists such as Monet, Cezanne, Sickert and Van Gogh. They’re personal, honest and insightful. They’re also reassuringly revealing about the preoccupations of painting every day.
If you could choose to live with the masterpiece of a great Impressionist painter, what would it be? It would have to be ‘Le Grand Canal’ by Monet. His paintings of Venice are among the most brilliantly coloured canvasses of his career. In this particular piece he captures the exotic effects of light and atmosphere. I have painted from the exact same location – Fondamenta del Traghetto S. Maurizio – where Monet stood to paint this Peter van Breda
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Peter van Breda • Piazzetta Reflections British, (Contemporary) • Oil on Canvas • 39½” x 47¼", 100 x 120 cms • Price Code C
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Peter van Breda Madonna del Orto British, (Contemporary) Oil on Canvas 23½" x 11¾", 60 x 30 cms Price Code B 50
Peter van Breda • Boat Yard British, (Contemporary) • Oil on Canvas • 15” x 18”, 38 x 46 cms • Price Code B
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Peter van Breda First Light from Ponte della’Accademia British, (Contemporary) Oil on Canvas 31½ x 23¾", 80 x 60 cms Price Code C
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Peter van Breda Palazzo Barbaro British, (Contemporary) Oil on Canvas 9½" x 13¾", 24 x 35 cms Price Code B
Peter van Breda San Zaccaria towards Salute British, (Contemporary) Oil on Board 8” x 10”, 20 x 25 cms Price Code A
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If you had to choose the greatest painting, building, and sculpture found in Venice which would they be? The Presentation of the Virgin by Tintoretto is a great favourite, it hangs in the church where he is buried – Madonna dell’Orto – in the Cannaregio. There’s an incredible sculpture: Bust of a Marble Woman (Puritas) in Ca’ Rezzonico, the artist (Corradini) makes the veil look transparent and it’s breathtakingly beautiful. Saint Mark’s Basilica has to be the greatest building in Venice. I’m quite literally stunned by its magnificence. Painting en plein air is difficult in Venice, have you painted from the water or a boat? Painting in Venice is the relatively easy part; coping with the crowds is the most challenging bit, they have almost pushed me into the water on many occasions and I get a lot of selfie sticks poked in my face. They’re mostly very nice to meet though and I’ve had some very interesting chats with people from all over the world. I’ve painted from bouncing vaporetto stops that get rocky in the wake of the boats but I haven’t yet had the opportunity to paint from a boat… something to work on for the future.
If someone was visiting Venice for a week, where would you send them? I’d send them to Piazza San Marco in the early morning, when the day is just starting, to hear the bells from the Campanile and gaze in wonder at the Basilica di San Marco with its spectacular gold façade and opulent mosaics. Then onto Scuola Grande di San Rocco to see The Crucifixion of Christ by Tintoretto. I’d also recommend Ca’Rezzonico, it’s a beautiful palazzo full of wonderful paintings, sculptures and frescos. Robert Browning lived there for a short time. I’d recommend a mellow walk alongside the park at the Giardini for quiet and space. Taking an early morning vaporetto the full length of the Grand Canal and staying on it to come back again is a must to see the wonderful architecture that lines the Canal. And at the end of each day I like to return to the Cannaregio because it feels like a second home. I have a favourite café for a glass of something amber beside the canal. It’s full of friendly Venetians doing the same.
What would you like to take from Venice and move to London? Waterways with boats, instead of roads with cars. I love the early morning delivery boats with their fish or vegetables. Or the builders picking up materials for the day ahead… whatever it is, it’s better by boat. What have you got to say about the cruise ships visiting the lagoon? They’re menacing and their impact on Venice is completely disproportionate to its size. You can’t blame people for wanting to visit Venice but there are better ways of arriving. I was once asked “when does Venice close?” by a passenger, which was a bit worrying.
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Peter van Breda Tintoretto’s Venice, Rio Madonna delle Orto, Venice British, (Contemporary) • Oil on Board 8” x 10”, 20 x 25 cms • Price Code A
Peter van Breda • Fish Market British, (Contemporary) • Oil on Canvas • 15” x 18”, 38 x 46 cms • Price Code B
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Peter van Breda • Giardini British, (Contemporary) • Oil on Canvas • 11¾" x 18", 27 x 46 cms • Price Code B
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Peter van Breda Rio de San Lorenzo British, (Contemporary) Oil on Canvas 15¾" x 12", 40 x 30 cms Price Code B
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Peter van Breda Morning Light, Salute British, (Contemporary) Oil on Canvas 12" x 15¾", 30 x 40 cms Price Code B
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Peter van Breda Blue Umbrellas on Riva degli Schiavoni British, (Contemporary) Oil on Canvas 15” x 18”, 38 x 46 cms Price Code B
Peter van Breda • Sparkling Lights of Venice British, (Contemporary) • Oil on Canvas • 31½" x 39½”, 80 x 100 cms • Price Code C
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INDEX Matthew Alexander Auguste Bouvard Peter van Breda Giovanni Antonio Canal, il Canaletto Roger Chapelet JosĂŠ Luis Checa Galindo Walter Dolphyn Richard von Hagn Veronica Herwegen-Manini Fritz Klaiberg Ken Knight Stewart Lees Ronny Moortgat Jonathan Pike Vicente Poveda y Juan Lodovico Ughi Robert E. Wells
p. 38-39 p. 8-11, 14-15 p. 46-59 p. 18-19 p. 23 p. 26-27 p. 43 p. 17 p. 21 p. 16 p. 36-37 p. 35 p. 40-42 p. 30-33 p. 22 p. 5 p. 28-29
5 Beauchamp Place, London SW3 1NG • +44 (0)20 7584 5512 • glenn@gladwellpatterson.com • gladwellpatterson.com