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23 janvier 2014

Attributed to Gaspar van Wittel (flemish c.1653-1736), The Colosseum and the Arch of Constantine

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Attributed to Gaspar van Wittel (flemish c.1653-1736), The Colosseum and the Arch of Constantine. Photo courtesy Freeman's

Signed and located 'Gasparo Van Witel Roma' bottom center on column, oil on canvas 22 3/16 x 43 1/8 in. (56.4 x 109.5cm). Set within a later trumeau. Estimate $25,000-40,000

Provenance: Private Collection, New York, New York.
By descent in the family.
Private Collection, New York, New York.

Note: Also known as Vanvittelli, Gaspar van Wittel was the preeminent painter of 18th century Italian Veduta scenes. Briganti publishes numerous versions of this composition (G. Briganti, Gaspar Van Wittel, Milan, 1996. pp 151-155, numbers 54-60), which depicts the Colosseum from the gardens of the Friars of Santa Francesca Romana. Another version sold 'Important Old Master Pictures' Christie's, London. December 16, 1998, lot 69.

This painting is executed in oil on canvas and is mounted in a red painted frame with some gilt touches and 3 mirrors below. The varnish is shiny and transparent but quite yellowed. Flyspecks and accretions are visible throughout, but are most noticeable in the sky. Stretcher creases and mechanical crackle are present as is expected in a painting of this age. The painting is largely planar though there are with slight vertical ridges that appear to come from the support fabric. Examination in UV light shows minor retouching and some heavy varnish drips. The most visible of these is in the lower left, just to the left of left-most foreground figures. An round area of retouching approximately an inch across, is seen in the next to the top tier of the Coliseum, located approx 13" vertically by 16 1/4" horizontally from lower left corner of painting. Some variation in fluorescence in the sky may indicate early retouching but also corresponds to variations in varnish gloss and may simply be reflective of that difference in varnish density. The varnish flouresces a greenish-white and appears to be a natural resin. The painting is glue lined and mounted on a modern (probably 3rd quarter of the 20th century) mitre-joined stretcher. The painting is in good condition for its age but would benefit from cleaning by a qualified conservation professional

Freeman's. European Art & Old Masters, 28 Jan 2014 11:00. Philadelphia www.freemansauction.com/

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