https://www.charlesbeddington.com/exhibitions-FA9Kf daily 0.75 2022-03-29 https://www.charlesbeddington.com/exhibitions-FA9Kf/stand-at-fine-arts-paris monthly 0.5 2022-02-21 https://www.charlesbeddington.com/home daily 1.0 2023-12-06 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/5486c6cd-53bf-4cd1-8124-d3181d966c51/_DSC0414.JPG Home - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.charlesbeddington.com/contact daily 0.75 2025-06-16 https://www.charlesbeddington.com/privacy-policy daily 0.75 2022-03-31 https://www.charlesbeddington.com/terms-of-service daily 0.75 2022-03-31 https://www.charlesbeddington.com/giacomo-guardi-coastal-landscape daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/e5c91638-9e1d-4496-a66c-e85a5c429fdb/Guardi+drawing+framed.jpg Giacomo Guardi - GIACOMO GUARDI A Coastal Landscape with three Figures in the Foreground (Venice 1764 – 1835) Pen and ink and grey wash on paper - 6 ⅜ x 9 ¼ inches (16 x 23.5 cm) https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/b499a8c2-1c3c-49dd-83b7-b9c2cb850e2c/Guardi+%28drawing+back%29.jpg Giacomo Guardi https://www.charlesbeddington.com/carlo-labruzzi-the-temple-of-vesta-at-tivoli daily 0.75 2022-03-27 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/fdedef40-d0b6-4eaa-8f73-a9de51c0fd6a/Labruzzi+watercolour+%28framed%29.jpg Carlo Labruzzi - CARLO LABRUZZI The Temple of Vesta at Tivoli (Rome 1748 – 1817 Perugia) Pen and ink and watercolour - 14 x 19 inches (36.5 x 48.6 cm) Framed 15 ¼ x 21 ¾ inches (38.7 x 55.2 cm) Inscribed on the original mount, presumably by the artist; Tempio detto della Sibilla in Tivoli https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/6853e507-1753-4f52-91d5-70e7aca182f7/Labruzzi+watercolour+%28back%29.jpg Carlo Labruzzi https://www.charlesbeddington.com/antonietta-brandeis-venice-the-island-of-san-giorgio-maggiore daily 0.75 2024-01-17 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/d92e2d94-6a9f-419e-bc36-45943f01bd61/Brandeis.jpg Antonietta Brandeis - ANTONIETTA BRANDEIS Venice: The Island of San Giorgio Maggiore (Myslkovice, Czech Republic 1848 – 1926 Florence) Oil on panel - 4 ⅝ x 8 ⅜ inches (11.8 x 21.4 cm) Signed ‘ABrandeis’ (AB in monogram, lower right) https://www.charlesbeddington.com/giuseppe-canella-the-duomo-milan daily 0.75 2022-03-27 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/f34de56f-3678-4c5b-b21a-f5ae6e36826a/CF073587.jpg Giuseppe Canella - GIUSEPPE CANELLA The Duomo, Milan (Verona 1788 – 1847 Florence) Oil on card laid down on canvas, on the original stretcher - 15 ½ x 22 inches (39.2 x 55.7 cm) https://www.charlesbeddington.com/ippolito-caffi-rome-the-piazza-colonna daily 0.75 2022-03-27 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/be0cc4d4-aee3-4ac4-bbb7-870776e43557/Caffi.jpg Ippolito Caffi - IPPOLITO CAFFI Rome: The Piazza Colonna (Belluno 1809 – 1866 near Lissa) Oil on canvas, in a painted oval - 12 x 11 ¼ inches (30.5 x 28.5 cm) https://www.charlesbeddington.com/carl-ludwig-hackert-rome-the-fountain-of-the-nymph-egeria daily 0.75 2024-01-17 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/f0930cdf-8e4a-4e66-b292-884ea8c54a7d/Hackert.jpg Carl Ludwig Hackert - CARL LUDWIG HACKERT Rome: The Fountain of the Nymph Egeria (Prenzlau 1740 – 1796 Morges) Watercolour and gouache - 13 ⅝ x 18 ⅛ inches (34.5 x 46 cm) Signed, inscribed and dated ‘la Fontana Egeria vicino a Roma. px: apr: al vero de Carl Hackert 1776.’ https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/c1ead680-b2ba-4638-85c6-9d194c7fb91f/Hackert+%28back%29.jpg Carl Ludwig Hackert https://www.charlesbeddington.com/antoine-de-lohny-saint-vincent-ferrer-preachin daily 0.75 2024-01-18 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/3e398041-0e79-499d-b1a8-e0bace916434/DeLohny.jpg Antoine De Lohny - ANTOINE DE LOHNY Saint Vincent Ferrer preaching (active in Autun, Toulouse, Barcelona and Piedmont 1446 – c. 1490) Tempera on gold ground panel - 41 ¾ x 16 3/8 inches (106 x 41.5 cm) PROVENANCE - Francesco Molinari, Milan; his sale, Giulio Sambon, Milan, 30 November 1885. Private Collection, France. LITERATURE - G. Romano, ‘Sur Antoine de Lonhy en Piémont’, Revue de l’Art, 85, 1989, p. 36, fig. 8. H. Nieuwdorp in B. Cilento and M. Caldera, eds., Catalogue of the exhibition Napoleone e il Piemonte: Capolavori ritrovati, Fondazione Ferrero, Alba, 29 October 2005 – 27 February 2006, pp. 182-3, illustrated. This recently rediscovered panel, previously only known from a photograph taken in 1885, has been published in its absence as the work of Antoine de Lohny, ‘un artiste de premier plan, totalement plongé dans l’oubli jusqu’en 1989’.[i] It was in that year that François Avril[ii] and Giovanni Romano[iii] published their realisation that the Antoni Llonye active in Toulouse and Barcelona in 1460-2 is the same artist as the Master of Saluces, named after the Saluzzo Hours in the British Library, and as the Master of the Turin Trinity, whose work had been assembled in 1972 by Charles Sterling[iv] around the superb eponymous panel in the Museo Civico, Turin.[v] The painter’s remarkable career thus took him from working for Chancellor Nicolas Rolin in Burgundy in 1446 via Toulouse and Barcelona to Avigliana in Piedmont, where he settled in 1462. [i] D. Thiébaut in the catalogue of the exhibition Primitifs français: Découvertes et redécouvertes, Musée du Louvre, Paris, 27 February – 17 May 2004, p. 83. [ii] François Avril, ‘Le Maître des Heures de Saluces: Antoine de Lohny’, Revue de l’Art, 85, 1989, pp. 9-34. [iii] See under Literature above, pp. 35-44. [iv] C. Sterling, ‘Études savoyardes II: Le Maître de la Trinité de Turin’, L’Œil, 215, November 1972, pp. 14-27. [v] See Thiébaut, loc. cit., fig. 50. Purchased from Charles Beddington Ltd in February 2011 by the Reunion des musées de France for the Musée national du Moyen Age – Thermes et Hôtel de Cluny https://www.charlesbeddington.com/hans-besser-portrait-of-count-palatine-ludwig-1 daily 0.75 2025-07-18 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/1645203344624-718C2KK7MHJDIR6AGY3U/Besser%2C+Count+Palatine+Ludwig+copy+2.jpg Hans Besser - HANS BESSER Portrait of Count Palatine Ludwig, later Elector Ludwig VI, aged ten (Aachen c. 1505/10 – ? after 1558) Oil on panel - 23 1/2 x 17 3/4 inches (59.5 x 45 cm) Inscribed and dated: ‘LVDOVICVS . COM / PAL . RHENI . DVX / BAVARIÆANO . / DNI .1.5.4.9. / ÆTATIS . 10’ PROVENANCE - By inheritance from a former European ruling family to the present owner. LITERATURE - G. Ladner, ‘Zur Porträtsammlung des Erzherzogs Ferdinand von Tirol’, Mitteilungen des Österreichischen Instituts für Geschichtsforschung, 49, 1935, p. 384, G 11, pl. VIIc. S. Flamand Christensen, ‘Portraetter af den Danske prinsesse Dorothea, Pfalzgräfin bei Rhein’, Kunstmuseets Aarsskrift, 1937, p. 140. H. Rott, Quellen und Forschungen zur südwestdeutschen und schweizerischen Kunstgeschichte im XV. und XVI. Jahrhundert, III, Der Oberrhein: Text, Stuttgart, 1938, pp. 18-20. K. Löcher, ‘Hans Besser’ in the Allgemeines Künstler-Lexikon, 10, Munich/ Leipzig, 1995, pp. 208-9. K. Löcher, ‘Hans Besser’ in The Dictionary of Art, ed. J. Turner, London, 1996, 3, p. 877. K. Löcher, ‘Hans Besser – Der Meister der Pfalz- und Markgrafen’, Münchner Jahrbuch der bildenden Kunst, XLVII, 1996, pp. 84 and 100, note 52, fig. 11. Germanisches Nationalmuseum Nürnberg: Die Gemälde des 16. Jahrhunderts, ed. K. Löcher, Osfildern-Ruit, 1997, pp. 69 and 70, note 8. Sold to Compton Verney, Warwickshire, UK. Although he is known to have also executed murals and to have been considered for an altarpiece commission, all of Hans Besser’s surviving paintings are portraits dated between 1538 and 1549. None is signed but the identification of him as the artist, based on comparison with two signed engravings, is universally accepted. Kurt Löcher, the author of by far the most substantial study of the artist’s work (op. cit.,Münchner Jahrbuch, 1996), has singled out for praise ‘the freshness and magic of youth’ conveyed by the portraits of three young German princes painted in 1549 (loc. cit., The Dictionary of Art, 1996). Two of these show Margrave Philibert of Baden-Baden (Germanisches Nationalmuseum, Nuremberg; Löcher, op. cit., Münchner Jahrbuch, 1996, fig. 9; Löcher, op. cit., 1997, pp. 68-70, illustrated) and Margrave Christoph II of Baden- zu Rodemachern (Bayerische Staatsgemäldesammlungen, Munich, on loan to the Staatsgalerie, Neue Residenz, Bamberg; Löcher, op. cit., Münchner Jahrbuch, 1996, fig. 10). The third is the present, long untraced, painting, apparently the only work by the artist not in a German museum. Due to a misunderstanding, Ladner, op. cit., followed by other writers, describe the painting as at Schloss Blankenburg, Sweden. https://www.charlesbeddington.com/michel-martin-drolling-the-park-of-the-villa-borghese daily 0.75 2024-01-11 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/50671b45-56cb-418a-92ed-4da3678faabe/Drolling+%28framed%29.jpg Michel-Martin Drolling - MICHEL-MARTIN DROLLING The Park of the Villa Borghese, Rome, from the Villa Medici (Paris 1786 – 1851) Oil on paper laid on canvas - 10 ½ x 29 ⅛ inches (26.5 x 74 cm) https://www.charlesbeddington.com/leone-colle-venice-the-piazza-san-marco daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/3b19c554-c4e9-4e24-b7fb-65002cadbac7/image1.PNG Leone Colle - LEONE COLLE (active in Venice in the 1870s) Venice: The Piazza San Marco during Carnival by Moonlight Signed and dated ‘Colle Leone f.1878.’ (lower left) Oil on canvas - 32 ⅞ x 44 ½ inches (83.5 x 113 cm) https://www.charlesbeddington.com/jacob-de-gheyn-flowers-in-a-glass-vase-1 daily 0.75 2024-01-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/1645203267239-KHYFM6N4ORLCDBZ6JQJ8/DeGheyn.jpg Jacob De Gheyn - JACOB DE GHEYN Flowers in a Glass Vase with a Lizard in a curtained Niche (Antwerp 1565 – 1629 The Hague) Oil on panel - 43 ¼ x 29 ¼ inches (109.8 x 74.5 cm) Signed and dated: ‘JDGheÿn . Fe . 1615 .’ (JDG in monogram; bottom centre) PROVENANCE - The artist’s son Jacob de Gheyn III (1596-1641). Bequeathed to his nephew Johan Wttenbogaert. (Possibly) Anon. Sale, Amsterdam, 27 April 1774, lot 70. (Possibly) J.F. Wolschot; sale, Antwerp, 1 September 1817, lot 174 (described as ‘on linen pasted on wood’). Anon. Sale, Brussels, 10 November 1923, lot 3. With J. Goudstikker, Amsterdam, 1924. With Leggatt Brothers, London, from whom purchased by the father of the previous owner in 1929. LITERATURE - I.Q. van Regteren Altena, Jacques de Gheyn, an introduction to the study of his drawings, Amsterdam, 1936, pp. 23, 24, 32, 102, 128 and 129. H.E. van Gelder, ‘Werken van de de Gheyns’, Mededeelingen van den dienst voor Kunsten en Wetenschappen der gemeente ‘s Gravenhage, IV, 1937, pp. 82-9. H. Gerson, Van Geertgen tot Frans Hals, Amsterdam, 1951, pl. 138. M.L. Hairs, Les Peintres Flamands de Fleurs au XVIIe Siècle, Paris & Brussels, 1955, pp. 92, 93, 180, note 449, and 214 (2nd ed., 1965, pp. 152, 153 and 376). I. Bergström, Dutch Still-Life Painting in the Seventeenth Century, London, 1956, pp. 45-51, fig. 40. I. Bergström in the catalogue of the exhibition IJdelheid der IJdelheden, Leiden, 1970, [unpaginated p. VI], fig. 1. W. Bernt, The Netherlandish Painters of the Seventeenth Century, London, 1970, I, pl. 421. P. Mitchell, European Flower Painters, London, 1973, p. 121. F. Hopper Boom, ‘An early flower piece by Jacques de Gheyn II’, Simiolus, 8, 1975-76, p. 195. I.Q. van Regteren Altena, Jacques de Gheyn: Three Generations, The Hague, Boston & London, 1983, I, pp. 112-13; II, p. 21, no. P 41; III, pl. 10. S. Segal, Catalogue of the exhibition Flowers and Nature: Netherlandish Flower Painting of Four Centuries, Nabio Museum of Art, Osaka; Tokyo Station Gallery, Tokyo; and The Art Gallery of New South Wales, Sydney, 1990, p. 187. E. Gemar-Koeltzsch, Luca Bild-Lexikon: Holländische Stillebenmaler im 17. Jahrhundert, Lingen, 1995, 2, p. 376, no. 135/3. A. van der Willigen and F.G. Meijer, A Dictionary of Dutch and Flemish Still-life Painters Working in Oils, 1525-1725, Leiden, 2003, p. 89. Jacob de Gheyn’s parents were from Utrecht but at the time of his birth were living in Antwerp where his father (of the same name) worked as a glass-painter. De Gheyn’s father was his first master but on his death in 1581 the family moved back north, and in 1585 de Gheyn went to work in the Haarlem studio of the great Mannerist artist Hendrick Goltzius (1558-1617). Van Mander, in his biography of de Gheyn in Het Schilder-Boeck of 1604, tells us that he spent two years in Goltzius’ studio. In any case, Goltzius left for Rome in 1590, and de Gheyn is recorded at Amsterdam from 1591 until 1595, when he married the wealthy Eva Stalpaert van der Wiele, a union which gave him financial security and connections with the aristocracy. The couple is documented in Leiden 1596-1601, where de Gheyn was in contact with the famous French botanist and from 1592 director of the university’s botanical garden Charles de l’Escluse, known as Carolus Clusius (1526-1609). By 1603 de Gheyn had settled definitively in The Hague. He is recorded in 1623 as a gentleman of considerable means, with a large collection of ancient coins and medals. The poet and future statesman Constantijn Huygens was a close enough friend to attend his deathbed. De Gheyn was an exceptional draughtsman and in the earlier part of his career executed numerous engravings, including, during his Amsterdam period, 117 for the military manual The Exercise of Armes. These show a very successful assimilation of the lessons to be learned from Goltzius, only de Gheyn’s senior by seven years. According to Theodorus Schrevelius (1572-1649) in his chronicle of Haarlem “there was always a rivalry between the disciple and master”. De Gheyn’s marriage seems to have enabled him to relinquish printmaking more or less completely and to take up painting, a development described in detail by Van Mander. A similar shift took place in Goltzius’ career at the same time. De Gheyn’s relatively small œuvre in oil includes a variety of subjects, including religious (The Virgin Mary, Museo Bardini, Florence), mythological (Venus, Rijksmuseum, Amsterdam; Neptune, Amphitrite and Cupid, Wallraf-Richartz-Museum, Cologne), historical (Julius Caesar, Ham House), animals (The White Stallion offered to Prince Maurice after the Battle of Flanders, Rijksmuseum, Amsterdam) and genre (A Master teaching a Pupil, City Art Gallery, Manchester). An innovator in many fields, his Vanitas still life in the Metropolitan Museum of Art, New York, dated 1603, is generally considered the earliest known vanitas still life in European painting. It is, however, de Gheyn’s flower still lifes that are regarded as his greatest achievements, as they were by such contemporaries as Balthasar Gerbier, writing in 1618, and Huygens, who wrote that de Gheyn’s talent for flower painting even surpassed that of Jan Brueghel I (1568-1625) and Ambrosius Bosschaert I (1543-1614). De Gheyn certainly has a stronger claim to have painted the earliest independent flower painting produced in the Netherlands. Botanical interest encouraged by Clusius, the import of seeds and bulbs, and greatly improved methods of cultivation have all been credited with stimulating the rapid rise in flower painting in the years around and after 1600. De Gheyn was in the vanguard of this development. The earliest known flower piece by Roelandt Savery is of 1603, the earliest by Ambrosius Bosschaert of 1607, and the first reference to a flower still life by Jan Brueghel the Elder of 1606, while a watercolour flower piece on parchment by de Gheyn of 1598 is recorded in the William Young Ottley sale in London in 1814. Van Mander tells us that “a little pot of flowers from life … very precisely executed” sold to the Amsterdam collector Hendrick van Os, was De Gheyn’s first oil “and as a first effort wondrous”, and that a second, “larger pot of flowers” was purchased in 1604 by the Holy Roman Emperor Rudolf II, along with a sketchbook of flowers. While the larger of the two oils has not been traced, the small volume of twenty-two watercolour studies, which actually includes a number of animals and insects, all signed and dated between 1600 and 1604, is in the Frits Lugt Collection in the Institut Néerlandais, Paris (Van Regteren Altena, nos. 909-930, pls. 172-93; Swan, op. cit., pls. II-IV; figs. 33-7). This includes a still life of A Fritillary and three Tulips in a terracotta Vase, signed and dated 1600 (Bergström, op. cit., 1956, fig. 37; Swan, op. cit., pl. II). A very small flower piece on copper derives in all its elements from these studies and is thus datable before 1604; although currently untraced, this is clearly the artist’s earliest surviving oil painting and may be that bought by Hendrick van Os (Hopper Boom, op. cit., passim, fig. 1; Van Regteren Altena, no. P 31, pl. 1; C. Swan, Art, Science, and Witchcraft in Early Modern Holland: Jacques de Gheyn II (1565-1629), Cambridge, 2005, fig. 30). In 1606 de Gheyn received the extraordinary sum of six hundred guilders for a flower piece acquired by the Dutch States-General as a present for the French queen, Marie de’ Medicis, on her visit to Holland. That too is untraced, but de Gheyn’s highly individual contribution to the art of flower painting, entirely independent of Ambrosius Bosschaert and other contemporaries, is represented by three surviving signed and dated works from the years 1612-1615: 1612. On copper, 58 x 44 cm. Mauritshuis, The Hague (Bergström, op. cit., 1956, fig. 38; Van Regteren Altena, no. P 39, pl. 8; Swan, op. cit., fig. 6). 1613. On copper, 39 x 28.5 cm. De Villeneuve Collection (Bergström, op. cit., 1956, fig. 39; Van Regteren Altena, no. P 40, pl. 9; Segal, op. cit., no. 32). 1615. Our painting. Untraced since 1929, this is described by Van Regteren Altena as the largest recorded flower painting by De Gheyn (although he gives similar dimensions to an asymmetrical flower piece on canvas datable after 1620, Van Regteren Altena, no. P 42, pls. 20-2). De Gheyn’s friend Arend van Buchell, known as Arnoldus Buchelius (1565-1641) mentions in his Res pictoriae that he had on 3 April 1635 visited De Gheyn’s son, the painter Jacob de Gheyn III, and admired this flower-piece, for which a collector had in vain offered a thousand florins (see G.J. Hoogewerff and J.Q. van Regteren Altena, Arnoldus Buchelius “Res Pictoriae”, The Hague, 1926, p. 92). In his will drawn up in 1641, Jacob de Gheyn III bequeathed “… aen sijn, … neve Johan Wttenbogaert, den grooten blompot daer een tros lelien, boven uut comt, geschildert van des comparants vader za., so die staet in sijn ebbenlijst besloten in een houten casse”[the large vase of flowers surmounted by lilies, painted by the father … which is in an ebony frame and enclosed in a wooden case] (see A. Bredius, Rembrandtiana, Oud-Holland, XXXIII, 1915, p. 127; Van Regteren Altena, pp. 128-9). Despite not having been seen since 1929, the painting’s significance as a milestone in the development of Dutch flower painting is attested by the frequent discussions of it in the context of early Dutch still life painting. In Bergström’s opinion de Gheyn’s three dated flower pieces in oil ‘are sufficient to secure for him one of the most prominent positions in Dutch still-life art’, and this is one of only five paintings given full-page black and white illustrations in his pioneering study of Dutch still-life painting of 1956. https://www.charlesbeddington.com/edward-william-cooke-sunset-on-the-venice-lagoon daily 0.75 2025-06-10 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/79e08cbf-a190-4026-a3ad-261bfea4aa83/E.W.Cooke.jpg Edward William Cooke - EDWARD WILLIAM COOKE, R.A. (London 1811 – 1880 Groombridge, Kent) Sunset on the Venice Lagoon, San Giorgio in Alga and the Euganean Hills in the Distance Signed ‘E W Cooke. RA. FRS.’ (lower right) and dated 1864 (lower left); signed (twice), inscribed and dated on the reverse ‘Sunset on the Lagune of Venice – San Giorgio in Alga & the Euganean Hills in the distance – E . W .Cooke . RA. FRS. / Dec. 5th. 1864. / To James Veitch Esq. from E W Cooke’ Oil on board - 9 ⅞ x 14 ⅞ inches (25.2 x 38 cm) https://www.charlesbeddington.com/the-lyon-master-the-molo-venice-from-the-bacino-di-san-marco-after-rain daily 0.75 2024-01-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/93694736-8f6a-4893-8b51-e48b8653eae3/The+Lyon+Master+%28framed%29.jpg The Lyon Master - THE LYON MASTER The Molo, Venice, from the Bacino di San Marco after Rain (Active in Venice c. 1738 – 44) Oil on canvas - 30 ⅞ x 47 ⅝ inches (78.5 x 121 cm) https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/805fb965-a81a-4067-9c95-b0a24f6775fd/Lyon+Master+%28back%29.jpg The Lyon Master https://www.charlesbeddington.com/luca-carlevarijs-venice-the-loggetta-of-sansovino daily 0.75 2024-01-17 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/00e5604a-9e8b-4475-bfb8-ba0617047998/Carlevarjis+%27Campanile%27+framed.jpg Luca Carlevarijs - LUCA CARLEVARIJS Venice: The Loggetta of Sansovino (Udine 1663 – 1730 Venice) Oil on canvas - 16 ⅛ x 24 ⅝ inches (41 x 62.7 cm) With inscription on the lining canvas (possibly copied from the original canvas?) ‘il campanile Della Piazzetta / a Venezia studio dal / vero originale di / antonio Canal. Detto / il CAnAletto // proveniente dAllA nobil casa / Manfrin’ and the number 46. https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/704f166c-d8ac-4ec2-9da6-a7d5e7ef46fc/Carlevarjis+%28back%29.jpg Luca Carlevarijs https://www.charlesbeddington.com/francesco-guardi-venice-the-grand-canal daily 0.75 2024-01-11 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/394bb278-a0f6-449e-bc1b-272eb895f814/Venetian+View+framed.jpg Francesco Guardi - FRANCESCO GUARDI Venice: The Grand Canal with the Rialto Bridge and the Palazzo dei Camerlenghi (Venice 1712 – 1793) Oil on canvas - 34 x 42 inches (86.4 x 106.8 cm) https://www.charlesbeddington.com/alessandro-lotti-venice-the-ground-floor-of-the-zecca daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/20de4504-87d6-4dfc-8008-1ab945a8eaac/Lotti.jpg Alessandro Lotti - ALESSANDRO LOTTI (active c. 1818 – c. 1850) Venice: The Ground Floor of the Zecca with a Family being shown the Coin Presses Oil on paper laid on canvas - 15 ⅞ x 21 inches (40.2 x 53.3 cm) Signed or inscribed on the original stretcher ‘Proprietà di Alessandro Lotti’ https://www.charlesbeddington.com/fra-angelico-saint-anthony-abbot-1 daily 0.75 2024-01-18 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/aec4f0c7-5d22-4470-840e-53140224c36d/Fra+Angelico+copy.jpg Fra Angelico - FRA ANGELICO Saint Anthony Abbot (Vicchio di Mugello c.1395 – 1455 Rome) Tempera on gold ground panel, arched top - 35 x 13 1/4 inches (89 x 33.8 cm) PROVENANCE - Purchased from Horace Buttery, London, in 1956. LITERATURE - M. Boskovits, ‘Appunti sull’Angelico’, Paragone, XXVII, no. 313, March 1976, pp. 43 and 52-3, note 27, pl. 13. K. Baetjer, European Paintings in the Metropolitan Museum of Art by artists born before 1865, New York, 1995, p. 15. C. C. Wilson, ‘Fra Angelico: new light on a lost work’, The Burlington Magazine, CXXXVII, no. 1112, Nov. 1995, pp. 737-40, fig. 26. C. C. Wilson, Italian Paintings XIV-XVI Centuries in the Museum of Fine Arts, Houston, Houston, 1996, pp.139 and 144, notes 45-6, fig. 10.5 (colour). E. P. Bowron and Mary G. Morton, Masterworks of European Painting in the Museum of Fine Arts, Houston, Princeton, 2000, p. 9. This panel was first published by Professor Miklós Boskovits, who knew it from a photograph he found in the Angelico file in Berenson’s photograph archive at I Tatti (an accompanying note indicated incorrectly that it had been purchased in 1955 by J. Paul Getty). He suggests that it may originally have been a lateral component of the same polyptych as predella panels, datable to the second half of the 1430s, at Antwerp (Saint Romuald appearing to the Emperor Otto III), Chantilly (Saint Benedict in Ecstasy), Cherbourg (The Penitence of Saint Julian) and Houston (Saint Anthony Abbot tempted by Gold). All were considered by Sir John Pope-Hennessy (Fra Angelico, 2nd ed., London, 1974, pp. 220, 222-3 and 227, figs. 66-8 and 80) the work of an imitator of Fra Angelico, incorrectly in Boskovits’s opinion, especially in the case of the Houston panel. Katharine Baetjer suggests, loc. cit., that a panel of The Nativity in the Metropolitan Museum of Art may also have been part of the same predella. Carolyn Wilson points out that, while the association of the Houston panel with the other three predella panels has not found general acceptance, loose copies of both this panel and the Houston panel are incorporated in a Florentine engraving of c.1460-70 depicting Saint Anthony Abbot surrounded by eleven Scenes from his Lifepreserved in the Museo Civico, Pavia (Wilson, op. cit., 1995, fig. 27; Wilson, op. cit., 1996, fig. 10.10). She tentatively suggests that the engraving may indicate that the two panels were originally part of an unusual form of dossal rather than a polyptych. The attribution of this panel to Fra Angelico has been emphatically endorsed (from a transparency) by Carl Brandon Strehlke (letter of 5 April 2000); he agrees with Boskovits that it is probably a lateral panel of a polyptych and considers it possibly an early work. It has also been confirmed by Everett Fahy, who has seen the panel in the original. https://www.charlesbeddington.com/francesco-guardi-the-piazza-san-marco-venice-1 daily 0.75 2025-07-07 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/a52f52c3-8164-4cde-bba6-63ad657713f1/Guardi%2CF.-PiazzaSanMarco+copy.jpg Francesco Guardi - FRANCESCO GUARDI The Piazza San Marco, Venice, looking West from the Basilica (Venice 1712 – 1793) Oil on canvas - 18 ½ x 26 5/8 inches (47 x 67.8 cm) PROVENANCE - Killian Steiner, the Württemberg industrialist, who founded the 'Associated Bank' in 1869, was among the founders of the 'Railroad Company' in the Balkans and in 1871 took part in the founding of 'The Bank of Germany', and by descent to the present owner. LITERATURE - C. Beddington, ‘Le prime vedute di Francesco Guardi’ in the catalogue of the exhibition Francesco Guardi 1712-1793, ed. A. Craievich and F. Pedrocco, Museo Correr, Venice, 29 September 2012 – 6 January 2013, p. 98, fig. 23 (colour). This exceptional view of the Piazza San Marco was hidden in a private collection and remained unrecognised and unknown until its recent publication in the catalogue of the major Francesco Guardi tercentenary exhibition at the Museo Correr. It was until recently extended on three sides, an added strip at the bottom bearing a monogram “AC” and the date 1764. That date may in fact be accurate, the painting being closely related in style to the well-known, signed view of The Piazza San Marco looking South-East in the Nationalmuseum, Stockholm (A. Morassi, Guardi. L’opera completa di Antonio e Francesco Guardi, Venice, 1973, I, p. 371, no. 319; II, fig. 346). The added monogram indicates that this painting was sold in the nineteenth century as the work of Canaletto, and indeed, in its precision of detail it shows Guardi at his most Canalettesque. Three variants are known: The Earl of Harewood; sale, Christie’s, London, 21 June 1968, lot 43. 11 ¾ x 20 in. (31.5 x 50.7 cm.). Morassi no. 345, fig. 372. Crespi Collection, Milan. 47 x 67 cm. Ie. of almost exactly the same dimensions as this painting. Morassi no. 347, fig. 373. Anon. Sale, Christie’s, New York, 11 January 1991, lot 86. 33 x 50 ¼ in. (83.9 x 127.6 cm.). Part of a late set of four painted for Samuel Boddington. In all of these the Campanile is cut by the upper edge. While the ex-Harewood painting, which also crops the view on both sides, may be of similar date, the other versions are unquestionably later. https://www.charlesbeddington.com/bernardo-canal-venice-the-grand-canal-at-the-entrance-to-the-cannaregio-1 daily 0.75 2025-07-07 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/ed66deed-360c-4500-a03e-6c9c5cc51c0c/B+Canal+Canareggio+copy.jpg Bernardo Canal - BERNARDO CANAL Venice: The Grand Canal at the Entrance to the Cannaregio with the Church of San Geremia and the Palazzo Labia (Venice 1664 – 1744) Oil on canvas - 28 ⅜ x 43 ⅞ inches (72 x 111.5 cm) PROVENANCE - With W.L. Lesser, by whom offered at Christie’s, London, 14 May 1904, lot 52, as ‘A. Canaletto’. Private Collection, Italy. Best known as the father of Canaletto, Bernardo Canal is an artist of considerable interest in his own right. It should be remembered that, as far as we know, he provided his son with all of the training which he received. Canaletto’s earliest style is, indeed, so close to that of his father that there is some disagreement among specialists about the dividing line between the two. Most of Bernardo’s paintings correspond in composition with works by his son, and it is generally presumed, in most cases probably correctly, that it was Canaletto who invented them. Bernardo’s distinctive style and palette, dominated by browns, remains, however, very much his own. Canal was one of the most senior of the Venetian view painters, only a decade younger than Luca Carlevarijs (Udine 1663 - 1730 Venice), and his style remains thoroughly that of an artist of that generation, stylistically most closely related to that of his near-contemporary Johann Richter (Stockholm 1665 - 1745 Venice). Bernardo clearly earned the respect of his colleagues, serving as Prior of the Venetian Collegio dei Pittori in 1739. The composition derives from Canaletto’s painting then in the collection of Joseph Smith in his palazzo on the Grand Canal, and now in the Royal Collection (W.G. Constable, Canaletto: Giovanni Antonio Canal 1697-1768, London, 1963 [and subsequent editions revised by J.G. Links], I, pl. 51; II, no. 251). Bernardo, however, almost certainly used the engraving after it by Antonio Visentini, plate X in the first edition of his Prospectus Magni Canalis Venetiarum, published in 1735. Bernardo has introduced variations, and it is possible that this is the painting recorded by Constable, op. cit., as no. 251(d)5, as in the collection of W.G. Skipwith, Winchester ‘28 ½ x 43 ½ in. (72.5 x 111 cm.). Sky, centre foreground figures, and placing of craft differ slightly from the Windsor picture, otherwise a near replica’). https://www.charlesbeddington.com/il-garofalo-the-apotheosis-of-hercules-1 daily 0.75 2025-07-07 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/3bd2ef82-850a-4b89-8885-fdcd36e90fa5/Garofalo%2C+Apotheosis+of+Hercules+copy.jpg Il Garofalo - BENVENUTO TISI, IL GAROFALO The Apotheosis of Hercules: Hercules stepping from his Pyre onto the Four-Horse Chariot, being greeted by Zeus, Minerva and Mercury, with Fame and Philoctetes to the left and Neptune and a Water Nymph in the Foreground (Ferrara 1481 – 1559) Oil on canvas - 33 5/8 x 45 1/2 inches (85.5 x 115.7 cm) PROVENANCE - In Vienna before 1823, when acquired from ‘Fedenza’ for a Northern European Princely Collection, in which the painting remains to the present day. This masterpiece by Garofalo is apparently completely unrecorded, having remained hidden in a private collection since 1823. The Subject Ovid, Metamorphoses, IX, 104-273, relates how Hercules ended his days as a mortal and was received by the gods into Olympus. The centaur Nessus, dying of an arrow wound he had received from Hercules for attempting to abduct Hercules’ wife Deianira, determined to avenge himself, giving Deianira a shirt soaked in his blood, telling her that it would inspire love in the wearer. A long time afterwards Deianira came to suspect her husband of infidelity and sent the shirt to him. When Hercules put it on, his body was ravaged by burning poison which had entered Nessus’ blood from his own arrow. In intense pain he built a pyre on the summit of Mount Oeta in Trachis, on top of which he placed the skin of the Nemean lion, and persuaded Philoctetes, in return for the gift of his bow and quiver, to light it for him. When Hercules laid upon it, with his club as a pillow, the fire only consumed that part of him which was mortal and he emerged from it even greater than before, at which point his father Zeus ‘swept him up through the hollow clouds in his four-horse chariot, and set him among the glittering stars’. Welcomed by all the gods of Olympus, Hercules was adopted by Athene as her own son and she gave him in marriage her daughter Hebe, who bore him two sons. Other Depictions of the Subject Depictions of Hercules’ reception into Olympus are not uncommon. An Athenian black figure neck amphora of circa520-500 B.C. shows Hercules in the four-horse chariot accompanied by Juno, Minerva, Apollo and Mercury (Sale of the Castle Ashby Vases, Christie’s, London, 2 July 1980, lot 94). Pigler lists twenty-three Italian depictions, mostly ceilings (A. Pigler, Barockthemen, ed. Budapest, 1974, II, pp. 131-2), including those by Ludovico Carracci in Palazzo Sampieri-Talon, Bologna (A. Brogi, Ludovico Carracci, Bologna, 2001, I, pp. 167-8, no. 54; II, fig. 135), Pietro da Cortona in Palazzo Pitti, Florence (Pigler, op. cit., pl. 209; G. Briganti, Pietro da Cortona, ed. Florence, 1982, p. 235, no. 95, pl. 220), Sebastiano Ricci in Palazzo Marucelli-Fenzi, Florence (J. Daniels, Sebastiano Ricci, Hove, 1976, pp. 110-12, no. 110, fig. 119), Giambattista Tiepolo in Palazzo Canossa, Verona (destroyed; M. Gemin and F. Pedrocco, Giambattista Tiepolo, Venice, 1993, p. 482, no. 510, illustrated), and Ubaldo Gandolfi in Palazzo Malvezzi Cà Granda, Bologna (D. Biagi Maino, Ubaldo Gandolfi, Turin, 1990, p. 279, no. 162, pl. 15, fig. 240). Dating and Provenance Garofalo was one of the outstanding figures in Emilian classicism during the first half of the sixteenth century, with which his career coincides with some precision, from his apprenticeship to Boccaccio Boccaccino in 1497 to his affliction with total blindness in 1550. A native of Ferrara, he worked mainly in his native city and the area around the Po delta. Most of his most impressive, and relatively rare, mythological paintings were executed for the ruling Este family, from the Minerva and Neptune of 1512 (A. M. Fioravanti Baraldi, Il Garofalo, ed. 1998, pp. 112-13, no. 40, illustrated, and colour pl. X; exhibited Castello Estense, Ferrara, and Residenzscloss, Dresden, Il Trionfo di Bacco: Capolavori della Scuola Ferrarese a Dresda, 1480-1620, 2003, pp. 113-16, no. 16, illustrated in colour), painted for Alfonso I d’Este, to those painted for his son Ercole II: Venus and Mars outside the Gates of Troy (Fioravanti Baraldi, op. cit., pp. 192-4, no. 125, illustrated; exhibited Ferrara and Dresden, 2003, pp. 137-8, no. 27, illustrated in colour) Diana and Endymion (Fioravanti Baraldi, op. cit., pp. 250-1, no. 183, illustrated; exhibited Ferrara and Dresden, 2003, pp. 134-5, no. 25, illustrated in colour), Mars and Venus, and The Triumph of Bacchus in India of 1540 (Fioravanti Baraldi, op. cit., pp. 252-5, no. 185, illustrated, and colour pl. XXIX, detail; exhibited Ferrara and Dresden, 2003, pp. 142-6, no. 29, illustrated in colour); acquired from Francesco III d’Este by Frederick Augustus II, Elector of Saxony, these are all now in the Gemäldegalerie at Dresden. Thematically and qualitatively it is with such paintings that ours belongs, a dating to the late 1530s seeming most likely on stylistic grounds. It seems highly probable that this, apparently Garofalo’s only depiction of Hercules, was executed for Ercole II d’Este, 4th Duke of Ferrara, Modena and Reggio (1508-1559), who succeeded his father in 1534. Ercole was an avid collector and patron of the arts, his interests including antique sculpture, coins and gems as well as contemporary sculpture and painting, and he founded a tapestry workshop in Ferrara. Ercole’s commissions show an understandable predilection for depictions of his Olympian namesake. Jacopo Sansovino began for him in 1550 an over life-size statue of Hercules, originally intended for the Porta Ercolea at Modena, but eventually erected by Ercole at Brescello, where it still stands in the main square. The Labours of Hercules were represented in wall paintings by Girolamo da Carpi and in a set of tapestries woven by the Ferrara tapestry workshop from cartoons by Battista Dossi (fragments are in the Louvre). Shortly after Ercole came to power, Dosso Dossi painted for him a Hercules and the Pygmies (Alte Galerie des Steiermärkischen Landesmuseums Joanneum, Graz), in which, as Gregor Weber has recently emphasised (in the catalogue of the Ferrara and Dresden 2003 exhibition, p. 37, fig. 1), the features of the classical hero resemble those of the Duke in portraits such as the bust by Prospero Sogari Spani Clementi (ibid., p. 32, fig. 6) and the medal by Pompeo Leone (ibid., p. 34, fig. 10). Such a resemblance is equally apparent in our painting. How it might have left the Este collections remains to be ascertained. https://www.charlesbeddington.com/antonietta-brandeis-rome-on-the-palatine-hill-1 daily 0.75 2025-07-07 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/1645199551372-3SKDS1UEY733VQSBOVGD/Brandeis+%27Rome%27.jpg Antonietta Brandeis - ANTONIETTA BRANDEIS Rome: On the Palatine Hill (Myslkovice, Czech Republic 1848 – 1926 Florence) Oil on panel - 9 ⅝ x 13 ⅜ inches (24.5 x 34 cm) Signed with monogram AB (lower right) https://www.charlesbeddington.com/il-canaletto-the-grand-canal-venice-1 daily 0.75 2025-07-07 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/cc1a1586-a0e1-4104-b347-f2b12f83477d/Canaletto-GrandCanal+copy.jpg Il Canaletto - GIOVANNI ANTONIO CANAL, IL CANALETTO The Grand Canal, Venice (1697 – 1768) Oil on canvas - 18 ¼ x 30 ¼ inches (46.5 x 76.8 cm) PROVENANCE - Sir John Brownlow, Bart., 1st Viscount Tyrconnel (1690-1754), Arlington Street, St. James’s, London, by 1738. His sister and heiress Anne (1694-1779), widow of Sir Richard Cust, by whom removed to Belton House, Lincolnshire, and by descent there through her grandson and heir, Sir Brownlow Cust, 1st Baron Brownlow (1744-1807), to Peregrine Cust, 6th Baron Brownlow, by whom sold in 1955. With Leggatt Brothers, London, 1955-6, when acquired by a private collector. LITERATURE - The Goods belonging to the Right Honourable Lord Viscount Tyrconnel in his Lordship’s House in Arlington Street, St. James’s, London, taken the 22nd and following days in May 1738, Ms. In the Belton Archives, Lincolnshire Record Office, either one of ‘Two views of Venice’ in the Great Parlour or one of ‘Two prospects of Venice by Canaletti’ in the Dining Room. The Inventory of Pictures of the Right Honle Viscount Tyrconnel, deceased, taken in Arlington Street, St. James’s, 2nd day of April 1754, Ms., one of ‘Two views of Venice. Canaletto’ in the Back Parlour (Ground floor drawing room). Mr Patch’s Account of the pictures at Belton, Ms., 1779 or shortly after, among four pictures described as ‘Canaletti – A view in Venice’. The Hon. Elizabeth Cust, A Catalogue of the Pictures at Belton House, Ms., circa 1805-6, described as ‘Canaletti – View of Venice’ in the Red Drawing Room. Lady Elizabeth Cust, Records of the Cust Family, II, The Brownlows of Belton, 1909, p. 232 (transcript of the 1754 inventory). W. G. Constable, Canaletto, 1962, II L. Puppi, L’opera completa del Canaletto, 1968 J. G. Links, Canaletto. The Complete Paintings, 1981 F. Russell, The Picture Collection at Belton in the catalogue of the Christie’s Belton House Sale, 30th April – 2nd May 1984, p. 162 M. Levey, The Later Italian Paintings in the Collection of Her Majesty the Queen, 2nd ed., 1991, p. 27, under no. 387. G. T. M. Shackleford in the catalogue of the exhibition A Gift to America: Masterpieces of European Painting from the Samuel H. Kress Collection, North Carolina Museum of Art, Raleigh; The Museum of Fine Arts, Houston; Seattle Art Museum; and the Fine Arts Museum of San Francisco, 1994-5, p. 225, note 10. J. G. Links, A Supplement to W. G. Constable’s Canaletto, 1997 https://www.charlesbeddington.com/antonio-joli-the-arch-of-trajan-at-benevento-1 daily 0.75 2025-07-07 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/90dbc154-691e-472f-bb49-fff18f389a14/JoliUPDATED.jpg Antonio Joli - ANTONIO JOLI The Arch of Trajan at Benevento, with a group of visitors led by Maria Amalia of Saxony, Queen Consort of Naples and Sicily, and subsequently Spain, and the Marchese Bernardo Tanucci, an artist sketching in the foreground (Modena c. 1700 – 1777 Naples) Oil on canvas - 30 ½ x 51 ½ inches (77.5 x 131 cm) PROVENANCE - Private Collection, Italy, until 2010, purchased from Charles Beddington LTD from Museo Nacional del Prado. Benevento is in Campania, 50 km inland from Naples. Originally called Maleventum, it was renamed Beneventum on becoming a Roman colony in 268 B.C., and by the end of the Republic it was one of the most prosperous cities in Italy. Under the Empire it was probably, after Capua, the largest city of southern Italy. Much of its significance must have been due to its position on the Via Appia at the junction of its two great branches, one, the Via Trajana, leading to Brindisi, the other to Taranto. It received repeated visits from Roman emperors, including Nero, Trajan and Septimius Severus. Much the best known monument of classical Benevento is the Arch of Trajan, also known as the Porta Aurea, commissioned by the senate and people of Rome and constructed in Parian marble by Apollodorus of Damascus in 114. It is also depicted in an etching by Piranesi, and drawings in the British Museum by Willey Reveley (1700-1799) and Nicola Vianelli (1848), and a model of it is in the Gipsoteca of the University of Perugia. Fifteen metres high and straddling the Via Appia, it survives largely as shown here and is one of the best preserved Roman remains in the Campania and indeed one of the best preserved of all Roman triumphal arches. The reliefs on the side facing the city and on one wall of the passageway depict themes from Trajan's policy and work for Rome and Italy; those on the side toward the country and on the other wall of the passageway allude to his achievements abroad. Some of the reliefs are now in the British Museum. The arch is here shown being admired by a group of sightseers led by Maria Amalia of Saxony (1724-1760), wife of Charles of Bourbon, King of Naples and Sicily and from 1759 King Charles III of Spain. She is accompanied by the Marchese Bernardo Tanucci (1698-1783), Charles’ immensely influential first minister. When the king left for Spain in 1759, his Italian thrones passed to his son Ferdinand III of Sicily and Ferdinand IV of Naples, then nine years old. As regent Tanucci became the virtual ruler of the two kingdoms, although his power waned after 1774 and he was dismissed in 1777. When the suppression of the Jesuits in 1767 resulted in papal excommunication, the monastery at Benevento was one of those seized by Tanucci in retaliation. Tanucci is shown in several views incorporating depictions of notable events, including a number by Joli, notably his representations of The Departure of Charles of Bourbon for Spain in 1759 seen from the Land,1 his two versions of Charles of Bourbon installing his son Ferdinand as King of Naples and Sicily,2 and his three versions of A Game of Palla a Bracciale.3 He is also shown in the view by Pietro Fabris of The Festival in the Largo del Castello, Naples, on the Occasion of the Departure of charles of Bourbon for Spain in 1759.4 After the departure of Charles of Bourbon in 1759, Tanucci must have been responsible for royal commissions to Joli, who was working for the court from that year and settled definitively in Naples in 1762; Charles wrote to the minister in February 1764 expressing his eagerness to see two views by Joli which were about to arrive in Madrid.5 A slightly smaller version of this composition is among the paintings by Joli from the Bourbon royal collections at Caserta.6 That has entirely different figures, variations in the subsidiary buildings, and taller trees on the far right. Its apparently less distinguished quality, and the absence of the eminent visitors both suggest that it is of later date than this painting. 1. R. Toledano, Antonio Joli, Turin, 2006, pp. 334-42, nos. N.XV.1-9, all illustrated. 2. Toledano 2006, pp. 346-7, nos. NXVII.1-2, both illustrated. 3. Toledano 2006, pp. 354-5, nos. N.XXI.1-3, illustrated. 4. N. Spinosa, Pittura napoletana del Settecento dal Rococò al Classicismo, Naples, 1987, p. 162, no. 304, fig. 402; N. Spinosa and L. Di Mauro, Vedute napoletane del Settecento, Naples, 1989, p. 200, no. 154, and p. 289, fig. 137; E. Bellucci in Importanti dipinti di veduta, ed. C. Naldi, Cocoon Art, Milan, 2008, pp. 18-21, illustrated in colour. 5. Toledano 2006, p. 32. 6. Toledano 2006, p. 386, no. N.XXXV, illustrated. https://www.charlesbeddington.com/sir-william-nicholson-nesting-swans daily 0.75 2025-07-08 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/6e6af116-f794-4e13-bbde-a59005dbc830/W.Nicholson+%28framed%29.jpg Sir William Nicholson - SIR WILLIAM NICHOLSON Nesting Swans, Chartwell (Newark-on-Trent 1872 – 1949 Blewbury) Oil on canvas-board - 12 ⅞ x 16 ⅛ inches (32.8 x 41 cm) Signed ‘Nicholson’ (lower left) https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/b4b67552-f034-4273-8902-1114c182e6a7/W.+Nicholson+%28back%29.jpg Sir William Nicholson https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/b4c1bc38-adb1-43c3-afd2-1320c8f92b5c/IMG_0013.JPG Sir William Nicholson https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/d082b657-a9b9-45ad-bf1d-76da376b4bed/IMG_0012.JPG Sir William Nicholson https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/1648560233318-CA29CM1ISEO51DW9LSM1/Sir+William+Nicholson+%E2%80%93+Study+for+Breakfast+at+Chartwell+II.jpg Sir William Nicholson - Sir William Nicholson – Study for ‘Breakfast at Chartwell II’, c. 1932/33 (National Trust, Chartwell) https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/1648560225660-SNO0P2WI9RYIHEIVMG9H/Sir+Winston+Churchill+%E2%80%93+Black+Swans+at+Chartwell+.jpg Sir William Nicholson - Sir Winston Churchill – Black Swans at Chartwell, 1948 (National Trust, Chartwell) Sir Winston Churchill – Black Swans at Chartwell, 1948 (National Trust, Chartwell) https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/1648560204094-AQ84RHU1WA9M3E992X72/Churchill+feeding+Swans.jpg Sir William Nicholson - Churchill feeding his black swans https://www.charlesbeddington.com/carlo-labruzzi-the-temple-of-vesta-at-tivoli-view-paintings daily 0.75 2025-07-08 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/fdedef40-d0b6-4eaa-8f73-a9de51c0fd6a/Labruzzi+watercolour+%28framed%29.jpg Carlo Labruzzi - CARLO LABRUZZI The Temple of Vesta at Tivoli (Rome 1748 – 1817 Perugia) Pen and ink and watercolour - 14 x 19 inches (36.5 x 48.6 cm) Framed 15 ¼ x 21 ¾ inches (38.7 x 55.2 cm) Inscribed on the original mount, presumably by the artist; Tempio detto della Sibilla in Tivoli https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/6853e507-1753-4f52-91d5-70e7aca182f7/Labruzzi+watercolour+%28back%29.jpg Carlo Labruzzi https://www.charlesbeddington.com/francesco-guardi-venice-the-grand-canal-1 daily 0.75 2025-07-07 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/394bb278-a0f6-449e-bc1b-272eb895f814/Venetian+View+framed.jpg Francesco Guardi (Copy) - FRANCESCO GUARDI Venice: The Grand Canal with the Rialto Bridge and the Palazzo dei Camerlenghi (Venice 1712 – 1793) Oil on canvas - 34 x 42 inches (86.4 x 106.8 cm) https://www.charlesbeddington.com/new-page daily 0.75 2025-12-09 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/5ecd6256-78b7-4741-8805-4401cd9e4fd5/_DSC0414.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/517e590e-8356-4046-940f-2451973b9c0b/_DSC0683.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/6ca73f3e-70aa-41e9-88eb-b2046310cfa1/_DSC0293.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/bdc507da-dd11-4b24-bb6d-e7fe6b644ba0/_DSC0246.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/27064268-1b8d-4654-89c6-df5138887458/IMG_1987.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/fa1f0737-76a9-413b-a8a9-f215d687626d/IMG_0231.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/69d6a847-878c-4cc0-8d79-ced02ba346b5/IMG_8500.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/506b94bb-2011-4d09-b9f3-357dafbc79da/https---cdn.evbuc.com-images-447904679-234418137319-1-original.20230216-164511.jpeg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/fc3c64b0-bc4e-49ee-af73-cfc91770722b/TEFAF-fallback-social-logo.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/aa7aa128-b673-4f59-9454-392cc07243ed/TEFAF-fallback-social-logo.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/506b94bb-2011-4d09-b9f3-357dafbc79da/https---cdn.evbuc.com-images-447904679-234418137319-1-original.20230216-164511.jpeg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/506b94bb-2011-4d09-b9f3-357dafbc79da/https---cdn.evbuc.com-images-447904679-234418137319-1-original.20230216-164511.jpeg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/bcf3766c-d8f9-4a07-94f9-6a9c5887f0a6/IMG_0406.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/edb653e1-01a0-4534-8bfd-6982b019ed4f/182837fe-a8d5-485e-b8d5-995dbb5509e1.JPG Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/939a6fcd-df8b-4818-b7f5-51d05908ca3b/IMG_2908.jpg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/cf6be595-7005-4fbf-bb99-febdf7b57122/WhatsApp+Image+2025-12-09+at+15.16.41.jpeg Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/7e135051-c9b0-4654-b154-add8c7c0cd6e/Roundel+low+res.png Exhibitions & Fairs https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/aa7aa128-b673-4f59-9454-392cc07243ed/TEFAF-fallback-social-logo.jpg Exhibitions & Fairs https://www.charlesbeddington.com/publications-v2 daily 0.75 2025-06-17 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/4e80b488-11d5-448c-990c-5b37507b2e94/IMG_8900.jpg https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/8df7b24e-79c8-42ea-9aec-f8ab0c3c193d/IMG_8899.jpg https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/4fd11725-5eba-4e24-993e-907b50e196e2/IMG_8902.jpg https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/0e2c590d-102b-40d1-be25-fb7b499245ca/IMG_8898.jpg https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/8a147f1c-d157-4a54-a908-1ad9745ff3cc/Screenshot+2025-06-10+at+12.16.45.jpg https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/6404c155-839c-43be-bd30-0636e34c5976/IMG_8901.jpg https://www.charlesbeddington.com/lotte-lasertein-portrait-of-anders-celsing daily 0.75 2024-01-17 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/b9db6224-2706-48f3-879a-f7e346fe11d8/Laserstein.jpg Lotte Lasertein, Portrait of Anders Celsing - LOTTE LASERSTEIN Portrait of Anders Celsing (Preußisch Holland, East Prussia, now Pasłęk, Poland 1898 – 1993 Kalmar, Sweden) Oil on canvas, 16 ⅛ x 13 in. (41 x 33 cm.) Signed ‘Lotte Laserstein’ (upper left) https://www.charlesbeddington.com/sir-william-nicholson-nesting-swans-2 daily 0.75 2024-01-11 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/2ad4813d-09e1-4eb4-be0a-2ee9f1898dc3/Philpot%2BHead%2B1.jpeg Glyn Warren Philpot, mask ofr a Faun - GLYN WARREN PHILPOT, R.A. Mask of a Faun (London 1884-1937) Numbered 4/8 (on the back of the neck) Bronze with a black patina. 9 ¾ in. (24.7 cm.) high, excluding marble base. Conceived in plaster circa 1920. This cast is 4/8 from the edition cast in 1986 by the Art Bronze Foundry for the Fine Art Society. https://www.charlesbeddington.com/giovanni-pividor-x3 daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/4a5f1a94-35d8-4639-9102-f0c5652d49b3/Pividor%2C+Redentore+copy.jpg Pividor x3 - GIOVANNI PIVIDOR (1816-1872) Venice: The Redentore Pen and ink and brown wash 5 ¼ x 7 ½ in. (13.3 x 18.8 cm.) https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/95424a55-ee14-4c3e-8590-c6c6bed4bcb2/Pividor%2C+Prisons+copy.jpg Pividor x3 - Venice: The Doge’s Palace and the Prisons Pen and ink and brown wash 5 ¼ x 7 ½ in. (13.3 x 18.8 cm.) https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/785b560f-0b50-4868-a8c6-f64ff6daf856/San+Giorgio+Maggiore+copy.jpg Pividor x3 - Venice: San Giorgio Maggiore Pen and ink and brown wash 5 ¼ x 7 ½ in. (13.3 x 18.8 cm.) https://www.charlesbeddington.com/francesco-zanin-the-campo-ss-giovanni-e-paolo-venice-big daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/283f48e7-16e0-4594-b745-4570eca4427d/Zanin+copy.jpg Francesco Zanin, The Campo SS. Giovanni e Paolo, Venice - FRANCESCO ZANIN (Nove, Vicenza 1824 – 1884 Venice) The Campo SS. Giovanni e Paolo, Venice Oil on canvas 29 ⅝ x 43 ⅝ in. (74.3 x 111.3 cm.) https://www.charlesbeddington.com/antoine-de-lohny-saint-vincent-ferrer-preaching daily 0.75 2025-07-08 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/6f60e92f-96a2-463a-a871-f6f1ed8db65b/DeLohny.jpeg Antoine De Lohny - ANTOINE DE LOHNY Saint Vincent Ferrer preaching (active in Autun, Toulouse, Barcelona and Piedmont 1446 – c. 1490) Tempera on gold ground panel - 41 ¾ x 16 3/8 inches (106 x 41.5 cm) https://www.charlesbeddington.com/fra-angelico-saint-anthony-abbot daily 0.75 2025-07-08 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/bb26614c-5565-44e0-8b32-60bc00941e7a/Fra%2BAngelico%2Bcopy.jpeg Fra Angelico - FRA ANGELICO Saint Anthony Abbot (Vicchio di Mugello c.1395 – 1455 Rome) Tempera on gold ground panel, arched top - 35 x 13 1/4 inches (89 x 33.8 cm) https://www.charlesbeddington.com/hans-besser-portrait-of-count-palatine-ludwig daily 0.75 2024-01-18 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/13d3dc81-4ab4-4cdc-a1fa-44413e3e52a1/Besser%2C%2BCount%2BPalatine%2BLudwig%2Bcopy%2B2.jpeg Hans Besser - HANS BESSER Portrait of Count Palatine Ludwig, later Elector Ludwig VI, aged ten (Aachen c. 1505/10 – ? after 1558) Oil on panel - 23 1/2 x 17 3/4 inches (59.5 x 45 cm) Inscribed and dated: ‘LVDOVICVS . COM / PAL . RHENI . DVX / BAVARIÆANO . / DNI .1.5.4.9. / ÆTATIS . 10’ https://www.charlesbeddington.com/il-garofalo-the-apotheosis-of-hercules daily 0.75 2025-07-08 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/24b9c142-1767-46be-b9f6-256d663c335a/Garofalo%2C%2BApotheosis%2Bof%2BHercules%2Bcopy.jpeg Il Garofalo - BENVENUTO TISI, IL GAROFALO The Apotheosis of Hercules: Hercules stepping from his Pyre onto the Four-Horse Chariot, being greeted by Zeus, Minerva and Mercury, with Fame and Philoctetes to the left and Neptune and a Water Nymph in the Foreground (Ferrara 1481 – 1559) Oil on canvas - 33 5/8 x 45 1/2 inches (85.5 x 115.7 cm) https://www.charlesbeddington.com/jacob-de-gheyn-flowers-in-a-glass-vase daily 0.75 2025-07-08 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/f530ba48-d541-4384-ae8b-549bb1966d91/DeGheyn.jpeg Jacob De Gheyn - JACOB DE GHEYN Flowers in a Glass Vase with a Lizard in a curtained Niche (Antwerp 1565 – 1629 The Hague) Oil on panel - 43 ¼ x 29 ¼ inches (109.8 x 74.5 cm) Signed and dated: ‘JDGheÿn . Fe . 1615 .’ (JDG in monogram; bottom centre) https://www.charlesbeddington.com/bernardo-canal-venice-the-grand-canal-at-the-entrance-to-the-cannaregio daily 0.75 2024-01-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/b7623ea8-724b-40dc-a049-533c5599fa06/B%2BCanal%2BCanareggio%2Bcopy.jpeg Bernardo Canal - BERNARDO CANAL Venice: The Grand Canal at the Entrance to the Cannaregio with the Church of San Geremia and the Palazzo Labia (Venice 1664 – 1744) Oil on canvas - 28 ⅜ x 43 ⅞ inches (72 x 111.5 cm) https://www.charlesbeddington.com/il-canaletto-the-grand-canal-venice daily 0.75 2024-01-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/2e68c120-a1fb-446b-8e6b-b4656a98139f/Canaletto-GrandCanal%2Bcopy.jpeg Il Canaletto - GIOVANNI ANTONIO CANAL, IL CANALETTO The Grand Canal, Venice (1697 – 1768) Oil on canvas - 18 ¼ x 30 ¼ inches (46.5 x 76.8 cm) https://www.charlesbeddington.com/francesco-guardi-the-piazza-san-marco-venice daily 0.75 2024-01-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/2ff34632-118c-4a71-b66f-726d547d9a03/Guardi%2CF.-PiazzaSanMarco%2Bcopy.jpg Francesco Guardi - FRANCESCO GUARDI The Piazza San Marco, Venice, looking West from the Basilica (Venice 1712 – 1793) Oil on canvas - 18 ½ x 26 5/8 inches (47 x 67.8 cm) https://www.charlesbeddington.com/antonio-joli-the-arch-of-trajan-at-benevento daily 0.75 2025-07-08 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/03d23aba-2ca7-4e3a-b347-bfb6bdc68890/JoliUPDATED.jpeg Antonio Joli - ANTONIO JOLI The Arch of Trajan at Benevento, with a group of visitors led by Maria Amalia of Saxony, Queen Consort of Naples and Sicily, and subsequently Spain, and the Marchese Bernardo Tanucci, an artist sketching in the foreground (Modena c. 1700 – 1777 Naples) Oil on canvas - 30 ½ x 51 ½ inches (77.5 x 131 cm) https://www.charlesbeddington.com/antonietta-brandeis-rome-on-the-palatine-hill daily 0.75 2024-01-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/8a35bd37-900f-4f54-9ff4-f2e491fec23a/Brandeis%2B%27Rome%27.jpeg Antonietta Brandeis - ANTONIETTA BRANDEIS Rome: On the Palatine Hill (Myslkovice, Czech Republic 1848 – 1926 Florence) Oil on panel - 9 ⅝ x 13 ⅜ inches (24.5 x 34 cm) Signed with monogram AB (lower right) https://www.charlesbeddington.com/frans-vervloet-venice-a-side-chapel-in-the-church-of-san-sebastiano-with-a-cardinal-at-prayer daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/6068c86d-063a-4984-9a9c-e3f29e53359a/CF055536.jpg frans vervloet, venice: a side chapel in the church of san sebastiano with a cardinal at prayer - FRANS VERVLOET (Mechelen 1795 - 1872 Venice) Venice: A Side Chapel in the Church of San Sebastiano with a Cardinal at Prayer Oil on canvas, unlined, on the original stretcher, 13 ⅛ x 10 in. (33.2 x 25.5 cm.) Signed and dated ‘F. VERVLOET / 1842’ (lower centre) https://www.charlesbeddington.com/g-grubas-psm daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/204d7f30-1ce9-4959-9703-200e7c77d8e6/G.+Grubacc+PSM+in+frame.jpg https://www.charlesbeddington.com/carlo-grubas-volta-di-canal daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/262327cc-deab-4d32-b725-47c26daf2dfb/C+Grubacs+AL.jpg https://www.charlesbeddington.com/giuseppe-gavagnin-arrival-victor-emmanuel daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/5f1590cc-b54b-4ab4-8767-07700cc9ccfd/Gravanin.jpg https://www.charlesbeddington.com/antonietta-brandeis-molo daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/1940fa83-fbe5-4785-95da-cde87a13e358/Brandeis.jpg https://www.charlesbeddington.com/antonietta-brandeis-little-rialto daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/2b8a8ce9-00d3-40ba-ae57-3a70141c7e6d/Small+Rialto.jpg https://www.charlesbeddington.com/antonietta-brandeis-large-rialto daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/a8611ccc-1a7d-4e77-8a41-c1db014e852c/Antonietta+Brandeis%2C+_Rialto_+%28framed%29.jpg https://www.charlesbeddington.com/ew-cooke-venice-sunset daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/60a1f7ea-9bc0-4401-8762-1365dc3c3ffd/Cooke.jpg https://www.charlesbeddington.com/frans-vervloet-psm daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/b7f5099b-9179-45ce-a887-1a72f5640365/Vervolet.jpg https://www.charlesbeddington.com/francesco-zanin-campo-giovanni-small daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/a4be9978-df40-433f-ba42-8cbb67771d50/Zanin.jpg https://www.charlesbeddington.com/antonietta-brandeis-sgm daily 0.75 2025-06-20 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/eeb74f71-0877-4698-9096-f273e98e4395/Brandais.jpg https://www.charlesbeddington.com/carlo-ponti-six-views daily 0.75 2025-06-23 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/a723f23c-4bd3-4f94-a99c-5b05675e7cef/678909-0-medium.jpg https://www.charlesbeddington.com/antonio-varni-palette daily 0.75 2025-10-14 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/c23cd08f-7295-463c-bbe2-e80c6d8bd05f/CF83722.jpg https://www.charlesbeddington.com/giovanni-migliara-imaginary daily 0.75 2025-06-10 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/e5540aac-869d-4647-a3e9-f2b39fd52510/Migliani.jpg https://www.charlesbeddington.com/brandeis-santa-maria-della-salute daily 0.75 2025-06-10 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/4ea2d3c8-ad5e-4be4-aa1d-d30445f9653f/Brandeis+orange.jpg https://www.charlesbeddington.com/marco-grubas-palettes daily 0.75 2025-06-20 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/feb8b90b-a0fd-42ed-8054-51e53768926d/CF83724.jpg https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/6167c318-34f4-4b19-9cad-7db42b72d0f8/CF83723.jpg https://www.charlesbeddington.com/guy-head-iris daily 0.75 2025-06-20 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/f5b17c93-b563-4b11-85a7-b79b1e70f2cc/2000-14_Head-IrisCarryingWater_front.jpg GUY HEAD, Iris - GUY HEAD (1753-1800) Iris Carrying the Water of the River Styx to Olympus for the Gods to Swear By, c. 1793 Oil on canvas 78 x 56 inches (198.1 x 143.5 cm) https://www.charlesbeddington.com/carlo-grubas-molo-rainstorm daily 0.75 2025-06-20 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/dce7b356-a360-4669-9af8-9563c2b2d267/37e0bdea-3077-4090-8cf2-b2db01029a8f.jpg https://www.charlesbeddington.com/giacomo-guardi-coastal-landscape-2 daily 0.75 2025-06-20 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/84960c2d-4080-413f-afe0-082bb869d970/Guardi+1.jpg Giacomo Guardi, A Coastal Landscape (Copy) - GIACOMO GUARDI (Venice 1764 – 1835) A Coastal Landscape With inscription ‘By Guardi’; signed on the verso ‘Giacomo de Guar[di] and inscribed ‘Veduta di favre della Pallada’ Pen and ink and grey wash on paper 7 ⅛ x 9 ¾ in. (18.2 x 24.8 cm.) https://www.charlesbeddington.com/bison-landscape-pair daily 0.75 2025-06-20 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/a0081639-80f7-4ba0-9cd4-31de0f5aa266/Bison+2.jpg https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/9159d2f6-4257-4267-9789-5014d4329013/Bison+1.jpg https://www.charlesbeddington.com/new-page-1 daily 0.75 2026-03-06 https://www.charlesbeddington.com/selected-sales daily 0.75 2024-01-12 https://www.charlesbeddington.com/selected-sales/20th-century monthly 0.5 2024-01-11 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/33ff91eb-196b-4021-aaa1-1a7412a70a06/W.%2BNicholson.jpg Notable Sales - 20th Century SIR WILLIAM NICHOLSON (Newark-on-Trent 1872 – 1949 Blewbury) Nesting Swans, Chartwell https://www.charlesbeddington.com/selected-sales/18th-century monthly 0.5 2022-03-29 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/cc1a1586-a0e1-4104-b347-f2b12f83477d/Canaletto-GrandCanal+copy.jpg Notable Sales - 18th Century GIOVANNI ANTONIO CANAL, IL CANALETTO (1697 – 1768) The Grand Canal, Venice https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/66c127a2-fe06-4a34-8f61-e4a945b2cadb/Guardi%2CF.-PiazzaSanMarco+copy.jpg Notable Sales - 18th Century FRANCESCO GUARDI (Venice 1712 – 1793) The Piazza San Marco, Venice, looking West from the Basilica https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/90dbc154-691e-472f-bb49-fff18f389a14/JoliUPDATED.jpg Notable Sales - 18th Century ANTONIO JOLI (Modena c. 1700 – 1777 Naples) The Arch of Trajan at Benevento, with a group of visitors led by Maria Amalia of Saxony, Queen Consort of Naples and Sicily, and subsequently Spain, and the Marchese Bernardo Tanucci, an artist sketching in the foreground https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/13049b8c-7e8f-45cb-8987-87cc824bedb8/Bellotti%2B%27Piazzetta%27.jpeg Notable Sales - 18th Century PIETRO BELOTTI (Venice 1725 - c. 1800 France) Venice: The Molo from the Bacino di san Marco https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/d0829303-a8a4-4fd1-89d8-d46354ffc39e/Venetian%2BView.jpeg Notable Sales - 18th Century FRANCESCO GUARDI (Venice 1712 - 1793) Venice: The Grand Canal with the Rialto Bridge and the Palazzo dei Camerlenghi https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/edc63c4f-f8e4-4cbd-b2ba-5fad86bd5db6/Labruzzi%2Bwatercolour.jpeg Notable Sales - 18th Century CARLO LABRUZZI (Rome 1748 - 1817 Perugia) The Temple of Vestal at Tivoli https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/430c9649-c163-453d-b2c2-b6d1735d9049/The%2BLyon%2BMaster.jpeg Notable Sales - 18th Century THE LYON MASTER (Active in Venice c. 1738 – 44) The Molo, Venice, from the Bacino di San Marco after Rain https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/518992fe-72f7-4d43-b78b-93bac489d9ba/2000-14_Head-IrisCarryingWater_front.jpg Notable Sales - 18th Century GUY HEAD (English, 1753-1800) Iris Carrying the Water of the River Styx to Olympus for the Gods to Swear By https://www.charlesbeddington.com/selected-sales/17th-century monthly 0.5 2025-07-08 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/f530ba48-d541-4384-ae8b-549bb1966d91/DeGheyn.jpeg Notable Sales - 17th Century JACOB DE GHEYN (Antwerp 1565 – 1629 The Hague), Flowers in a Glass Vase with a Lizard in a curtained Niche https://www.charlesbeddington.com/selected-sales/16th-century monthly 0.5 2022-03-29 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/bdf080d0-ed1f-46a9-87ad-0ca7ab36ec15/Besser%2C+Count+Palatine+Ludwig+copy+2.jpg Notable Sales - 16th Century HANS BESSER (Aachen c. 1505/10 – ? after 1558) Portrait of Count Palatine Ludwig, later Elector Ludwig VI, aged ten https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/73374ed8-f6e2-43d3-8c51-e8f7f37aa6f2/Garofalo%2C+Apotheosis+of+Hercules+copy.jpg Notable Sales - 16th Century BENVENUTO TISI, IL GAROFALO (Ferrara 1481 – 1559) The Apotheosis of Hercules: Hercules stepping from his Pyre onto the Four-Horse Chariot, being greeted by Zeus, Minerva and Mercury, with Fame and Philoctetes to the left and Neptune and a Water Nymph in the Foreground https://www.charlesbeddington.com/selected-sales/15th-century monthly 0.5 2022-03-29 https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/6b45615a-370f-475a-858e-ab178c2ec06b/DeLohny.jpg Notable Sales - 15th Century ANTOINE DE LOHNY (active in Autun, Toulouse, Barcelona and Piedmont 1446 – c. 1490) Saint Vincent Ferrer preaching https://images.squarespace-cdn.com/content/v1/61dc2f5cf4a99d31115f36b2/aec4f0c7-5d22-4470-840e-53140224c36d/Fra+Angelico+copy.jpg Notable Sales - 15th Century FRA ANGELICO (Vicchio di Mugello c.1395 – 1455 Rome) Saint Anthony Abbot