This month I would like to introduce my friend William Thuillier (a *distinguished* Bond Street art dealer!) . .
William has had a gallery in Bond Street since 1992, and specialises mainly in 17th.century and 18th.century works from private collections. These have included portraits by Wright of Derby, Reynolds and Nattier. In addition he has purchased, researched and re-attributed works by English and Italian masters such as William Kent, Sir Godfrey Kneller, John Wootton and Jacopo Amigoni. His clients have included institutions and museums such as the National Portrait Gallery, Tate Britain, and the National Maritime Museum, and he has advised clients on the formation of their collections both in Britain and the United States. Over the last twenty years he has participated in fairs in New York, Tokyo, Brussels and Monaco, as well as being a regular exhibitor at the Olympia Fine Art and Antiques Fair.
During Old Master Week London, he will be exhibiting eighteenth century classical landscapes, views of Venice and historical portraits, including recently discovered works by Sir Peter Lely, Claude Lefebvre and Sir Godfrey Kneller. The opening of this exhibition will be on Sunday 5th.July 6-9pm., and their will be further cocktails in the evenings of the following week, so ask me for further details.
You can see William’s current inventory and contact details by visiting his website:
Here are details of William’s latest exciting acquisition:
Alternatively known as
MASTER OF THE LANGMATT FOUNDATION VIEWS
A Capriccio landscape of classical architecture beside a river, with figures on a path, and mountains in the distance, probably inspired by the Veneto
Oil on canvass: 64.75 x 90.5cm
The attribution has been suggested in a certificate by Professor Dario Succi and been confirmed by Dr Charles Beddington
Provenance: Alain Truong
The elusive personality of the painter who executed the thirteen vedute in the Langmatt Foundation at Baden has been pinned down by Professor Succi to Apollonio Domenichini, who registered in the Fraglia, or Guild, of Venetian painters in 1757. Over a period of twenty years his paintings were dispatched through the merchant Giuseppe Maria Sasso, his middleman, to the English collector John Strange, resident in the Serenissima since 1774. Clearly Strange requested a broad selection of Venetian views from a painter who was still active at the time of Canaletto’s demise, and before Francesco Guardi entered the ranks. From external references it has been possible to date the Langmatt series to the early 1740’s, and the present picture would probably have been executed in the same decade. Other vedute specialists at the time included Michele Marieschi, Francesco Tironi and Francesco Albotto, and it is with their work that Domenichini’s has often been confused. While he shares their interest in precise architectural definition and the pale, blond tones of Venetian stonework, Domenichini’s raking light and sinewy, elongated figures give his work a special character. In his entry on The Grand Canal and Rialto Bridge by Domenichini in the Thyssen-Bornemisza Collection (oil on canvas: 54 x 79.4 cm.), Roberto Contini has commented on the “calligraphic description of the physical aspect of the buildings, conveying in detail their decadence and even reproducing the deterioration of the plastered facades….the palette of …acid and cold tones…the characteristic blue sky with creamy and white clouds.” The buildings in the present painting, their crumbling stonework etched in blondish tones against a raking evening light, illuminating the distant Dolomites, certainly evoke the classical spirit of Palladio and his architectural heritage throughout the Veneto