Catedral em Construção, Ribeirão Preto, São Paulo, Brasil

Catedral em Construção, Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Fotografia - Cartão Postal


Nota do blog: Catedral vista a partir da rua Tibiriçá, entre 1912-1917. O prédio está sem a torre do relógio. Ao fundo, o Palácio Episcopal.

Catedral de Ribeirão Preto, 1910, Ribeirão Preto, São Paulo, Brasil

Catedral de Ribeirão Preto, 1910, Ribeirão Preto, São Paulo, Brasil 
Ribeirão Preto - SP
Fotografia

Catedral de São Sebastião sem a torre do relógio e vista do jardim a partir da Rua Américo Brasiliense, ano 1910. Após a demolição da velha Matriz na Praça XV os serviços religiosos passaram a se realizar num edifício na rua Álvares Cabral n. 55. Em 1901 foi realizado um concurso para escolha do projeto para a nova matriz, e entre 33 projetos, foi escolhida a planta do arquiteto Carlos Ekman. As obras iniciais foram realizadas entre 1902 e 1908. Em 1909 o bispo Dom Alberto José Gonçalves assumiu a coordenação das obras completando a construção da torre do relógio, a execução da decoração e as pinturas internas.

Nota do blog: Fotografia de Flósculo de Magalhães.

Palácio Rio Branco, Ribeirão Preto, São Paulo, Brasil

Palácio Rio Branco, Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Fotografia


Vista do Palácio Rio Branco (imagem publicada "O município e a cidade de Ribeirão Preto na comemoração do 1° centenário da independência nacional", de 1923).
O Paço Municipal (Câmara e Prefeitura) foi inaugurado em 26 de maio de 1917, em solenidade com a presença do presidente da Câmara Cel. Francisco Schmidt, o prefeito municipal Joaquim Macedo Bittencourt, entre outras autoridades. No piso térreo foram instaladas a prefeitura, instrução pública, contadoria, repartição de obras, biblioteca, tesouraria e portaria; no piso superior ficavam as salas de sessões da Câmara, das comissões e do presidente e prefeito, além de um salão nobre decorado pelo pintor Torquato Bassi. O projeto do edifício é de autoria do engenheiro Antônio Soares Romeo, auxiliado pelo construtor José Michelletti. Trabalharam no prédio o pintor Carlo Barberi, José Barbosa e Mário Nakamura na carpintaria, e José Pontan na execução da fachada. O mobiliário e a tapeçaria foram adquiridos no Liceu de Artes e Ofícios, na Casa Alemã, no Domingos Innecchi & Filho, entre outras empresas.

Nota do blog: Data efetiva não obtida (circa 1923) / Autoria não obtida.

Rua General Osório com José Bonifácio, Enchente do Ribeirão Preto em 07/03/1927, Ribeirão Preto, São Paulo, Brasil - Aristides Motta

Rua General Osório com José Bonifácio, Enchente do Ribeirão Preto em 07/03/1927, Ribeirão Preto, São Paulo, Brasil - Aristides Motta
Ribeirão Preto - SP
Fotografia

Vista Aérea da Catedral, Ribeirão Preto, São Paulo, Brasil

Vista Aérea da Catedral, Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Foto Postal Colombo N. 22
Fotografia - Cartão Postal

Nota do blog: É possível ver a Catedral, a praça da Bandeira, rua Prudente de Morais, rua Lafaiete, rua Florêncio de Abreu, rua Visconde de Inhaúma, rua Tibiriçá, instalações da Mogiana, a rotunda, a Vila Tibério, a Vila Mário Junqueira (atual parque Maurílio Biagi), o bairro República e parte da Vila Virgínia.

Veneza, Vista do Canal Giudecca, Hospital dos Incuráveis e da Igreja do Espírito Santo, Veneza, Itália (Venice, A Capriccio View of the Giudecca Canal, The Ospedale degli Incurabili and the Chies adi Spirito Santo) - Johann Richter

Veneza, Vista do Canal Giudecca, Hospital dos Incuráveis e da Igreja do Espírito Santo, Veneza, Itália (Venice, A Capriccio View of the Giudecca Canal, The Ospedale degli Incurabili and the Chies adi Spirito Santo) - Johann Richter
Veneza - Itália
Coleção privada
OST - 84x136

This luminous and beautifully preserved capriccio is among Johann Richter’s largest and most impressive Venetian views, exemplary for its refinement, balance, and colouring. A follower of Luca Carlevarijs and a forerunner to Canaletto and Bellotto, Richter was a Swedish artist who spent much of his career in Venice. Although an accomplished painter of landscapes and decorations  in his early career in Stockholm, it was in Venice that he established himself as one of the pioneers of Venetian view painting, with his earliest known examples of this subject dating to 1717. In addition to faithful representations of Venice, he also often painted scenes that included recognizable Venetian architecture rendered in fanciful settings. Such is the case with the present example, which places buildings on the Fondamenta delle Zattere—including the Chiesa di Santo Spirito and the Ospedale degli Incurabili (a 16th-century hospital building)—in an imaginary environment. 
The present painting is wholly characteristic of Richter’s Venetian repertoire.  An expansive scene is set beneath a clear blue sky defined by clouds with soft pink undertones. The restrained yet crisp palette of the setting, which lacks harsh shadows, contrasts pleasingly with the vibrant costumes of the various figures that animate the central foreground. The placement of the boat that holds these figures, as well as a nearby vessel with an imposing mast in the immediate foreground was a technique that Richter often employed to increase the sense of depth and space within his paintings. Such a technique has been expertly employed in the present work, which, despite being an imaginary scene, seems to fully engross audiences in the beauty of 18th-century Venice. 

Reggio di Calabria, Vista do Por-do-Sol com um Templo na Costa à Direita, Reggio di Calabria, Italia ((Reggio di Calabria, A View at Sunset with a Temple on the Shore at Right) - Claude-Joseph Vernet

Reggio di Calabria, Vista do Por-do-Sol com um Templo na Costa à Direita, Reggio di Calabria, Italia ((Reggio di Calabria, A View at Sunset with a Temple on the Shore at Right) - Claude-Joseph Vernet
Reggio di Calabria - Itália
Coleção privada
OST - 99x140 - 1769

This magnificent view, showing an Italian coastal scene at sunset, with fishermen gathering in their nets, is an outstanding example of Claude-Joseph Vernet’s landscape painting. Bathing the scene in a golden, crepuscular light, the artist displays here his mastery in the depiction of dramatic landscapes, contrasting the rugged rock formations and weather-beaten trees with the calm, shimmering waters and tranquil, naturalistic figures.

In 1734, under the sponsorship of the Marquis de Caumont, Vernet left for Italy where he would remain for almost two decades, painting and sketching his surroundings and establishing himself as a marine and landscape painter. His compositions bear the influence of the great landscape painters of the previous century, of Poussin, Claude Lorrain and Salvator Rosa, encapsulating both the majestic skies and the transcendent power of his natural surroundings. Yet, in contrast to those of his predecessors, Vernet’s figures do not appear dwarfed by their surroundings, appearing instead to exist harmoniously in their midst.

Upon his return from Italy, the artist was employed by King Louis XV to create a pictorial record of France’s harbours and coastline. The topographical commission was to occupy him for a further ten years, until finally he settled in Paris, where he returned to painting the Italianate landscapes that were so close to his heart. It was during this period that Vernet was to execute the View of Reggio di Calabria, along with its pendant, Entrance to the port at Palermo. By 1769, the year the present painting was executed, the artist was at the very height of his career and no European collection was deemed complete without at least one painting by his hand. Many of his views by this time, however, were almost entirely imagined, lifting elements from existing landscape and working them into his own invented compositions. While we know Vernet travelled to Naples, there is no evidence to suggest he ever visited Reggio di Calabria or indeed Palermo, nor do the paintings display any recognizable landmarks from those regions. It is entirely possible that the titles were the invention of Nicolas Dufour who engraved the works and inscribed their titles on the reverse (see under Engraved).

While details of its original commission remain undetermined, the painting has since enjoyed a provenance of considerable prestige. Nicolas Dufour’s inscription tells us that at the time of the engravings’ execution, the painting was in the collection of Monsieur de Longvillers (later listed as 'Longvilliers' by Florence Ingersoll-Smouse) in Montreuil-sur-Mer, northern France.2 According to Louis Clement de Ris, the painting then passed to the lawyer and illustrious collector, Jean-Baptiste-Laurent Boyer de Fonscolombe (1716-1788) in Aix-en-Provence.3 The Boyer de Fonscolombe collection, comprising some two hundred paintings and over fifteen hundred drawings by some of the most prominent painters and draftsmen, included works by Rembrandt Harmensz. van Rijn, Claude Lorraine, Jean-Honoré Fragonard, François Boucher and Giovanni Paolo Panini. The collection also boasted two further works by Vernet, a Rocky landscape in the manner of Salvator Rosa, listed among the works sold following Boyer de Fonscolombe’s death, and a Clair de Lune, commissioned by the collector himself and noted in the artist’s Livre de Raison.4 Following Boyer de Fonscolombe’s death in 1788, two sales were held of his collection: one on the 18 January 1790 in Aix and another in Paris on 13 December of the same year. While both the Clair de Lune and the Rocky Landscape were listed for sale, the present painting and its pendant do not appear among the lots, suggesting the pair were retained by the family of the deceased.5

The View of Reggio di Calabria and its pendant were then acquired by Tzar Alexander I of Russia in 1803 for 4,000 roubles, via art dealer Pirling and Cie, for the Hermitage Museum collection, Saint Petersburg. The paintings appear in the museum’s catalogue from 1880 (see L.C. de Ris under Literature) and the reverse of the canvas still bears Russian markings, including the inventory number 1559, the number under which it is noted by Louis Clement de Ris. Scholarship remains divided as to whether the View of Palermo entered the museum earlier, with Louis Réau suggesting it was purchased for the collection under the reign of Tzar Paul I, though Ingersoll-Smouse and Nemilova agree it was acquired simultaneously with its pendant in 1803.  Tzar Alexander also bought an earlier work by Claude-Joseph Vernet, a View of the Città Nuova signed amd dated 1761 (inv. 1549), reuniting it with its pendant, Marine (inv. no. 1558) that was bought for the museum under Tzar Paul I. While the Città Nuova pair has remained united at the museum, the View of Reggio Calabria was separated from its pendant, and in 1933 passed to Antiqvariat, an agency charged with the sale of works from the Hermitage, largely to foreign buyers, to fund Russia's rapid industrialisation Russia in the late '20s and early '30s. It seems most likely the painting was acquired from them directly by the Parisian gallerist and dealer, Paul Cailleux, who bought numerous paintings from Russia in this period. The present painting was sold in Paris on 16 February 1951, remaining in the family of the buyer until acquired by a private collector in 2007. The painting’s pendant, meanwhile is still housed at the Hermitage, Saint Petersburg today.

Escadaria Interna do Museu do Ipiranga, Atual Museu Paulista, São Paulo, Brasil

Escadaria Interna do Museu do Ipiranga, Atual Museu Paulista, São Paulo, Brasil
São Paulo - SP
Fotografia

Londres, Vista do Rio Tâmisa com a Catedral de St. Paul, Londres, Inglaterra (London, A View from River Thames, with St. Paul's Cathedral) - Antonio Joli

Londres, Vista do Rio Tâmisa com a Catedral de St. Paul, Londres, Inglaterra (London, A View from River Thames, with St. Paul's Cathedral) - Antonio Joli
Londres - Inglaterra
Coleção privada
OST - 38x71

This beautiful view of St Paul's Cathedral, painted by Joli in the 1740 or 1750s, shows the newly restored and rebuilt London, with its breathtaking new cathedral and unparalleled skyline of Wren churches. The artist has deliberately taken a high viewpoint, thus being able to include a formidable amount of topographical detail. Clustered around St Paul's, completed in 1710, are a myriad church towers, and further to the right the Monument is clearly visible, followed on the right by the Tower of London. To the right of the composition is Old London Bridge, by the date of this picture already over six hundred years old, and providing a link with London before the Great Fire.

Joli arrived in London in 1744, several years before his celebrated kinsman and rival, Canaletto. He was clearly inspired by the freshness and air of optimism he found, and produced a number of ravishing views of London showing the Thames bustling with activity, and bearing elaborate and ornamental barges, lending a distinctly Venetian feeling to this most quintessential English view. Joli's English patrons included Philip Stanhope, 4th Earl of Chesterfield, for Chesterfield House, and John Lord Brudenell, for whom he painted a large set of views of towns which he had visited on the Grand Tour. Both Joli and Canaletto enjoyed the patronage of Charles, 2nd Duke of Richmond, who commissioned from Joli a 'View of St Paul's.... a beautiful picture and veramente di buon gusto' in 1744, prior to Canaletto's superb painting of the same view.

This painting came from the celebrated collection at Hendon Hall, an early Georgian house which was sold by the executors of William, Marquis of Powis, in 1756. The buyer was James Clutterbuck, a financier, who acquired the house for his friend David Garrick. Though his memorial was erected at Hendon, Garrick apparently never lived there, but he did arrange for his nephew the Rev. Carrington Garrick to occupy the house at Hendon, and Hendon Hall and its estate was left on trust for him upon Garrick's death. It is tempting to suggest that this view by Joli was commissioned or acquired by Garrick but it is more likely that the substantial collection of pictures at Hendon Hall was collected in the early nineteenth century by Charles Cumberlege-Warre, nephew of a later owner, Samuel Ware. An 1850 manuscript catalogue of the collection listed over two hundred paintings and sculptures, including the present work, and Frederick Earp supplied watercolour illustrations of most items. Probably the most celebrated painting in the collection was a ceiling by Tiepolo which was acquired from the Wrightson collection by the National Gallery in Washington. The collection covered a wide range of artists including Veronese, Reni, Hals, Giordano, Guardi, Vernet, and another work by Joli depicting Paestum.

Ferrari 308 GTS Targa Coupé 1978, Itália

Ferrari 308 GTS Targa Coupé 1978, Itália
Fotografia

1978 Ferrari 308 GTS Targa Coupé
Coachwork by Pininfarina
Registration no. AWW 162T
Chassis no. 308GTS/25603

*Early model with carburettor induction
*Imported from the USA
*Left-hand drive
*Circa 31,000 miles from new

Ferrari's line of highly successful V8-engined road cars began with the 308 GT4 of 1973. Originally badged as a Dino, the all-new 308 GT4 2+2 superseded the preceding Dino V6. The newcomer's wedge-shaped styling - by Bertone rather than the customary Pininfarina - was not universally well received but the performance of the amidships-mounted, double-overhead-camshaft, 3.0-litre V8 certainly was, the latter's 255bhp proving sufficient to propel the 308 GT4 to over 150mph.
Introduced at the Paris Salon in 1975, the stunningly beautiful 308 GTB - Ferrari's second V8-engined road car - marked a return to Pininfarina styling following the Bertone-designed 308 GT4. Badged as a 'proper' Ferrari rather than a Dino, the newcomer had changed little mechanically apart from a reduction in both wheelbase and weight, retaining its predecessor's underpinnings and transversely mounted 3.0-litre quad-cam engine. Produced initially with glassfibre bodywork - the first time this material had been used for a production Ferrari - the Scaglietti-built 308 used steel after April 1977 while further developments included the introduction of an open-top GTS version with Targa-style removable roof, the adoption of Bosch K-Jetronic fuel injection (1980) and, finally, revised cylinder heads with four valves per cylinder (1982). An exhilarating driver's car and a Ferrari purist's delight, the 308 GTB and its many derivatives proved a huge commercial success for Maranello with over 12,000 sold.
One of the earlier cars with carburettor induction, this left-hand drive Ferrari 308 GTS was built to European specification, including its bumpers and indicators. '25603' was imported from the USA around 10 years ago by the previous owner and has belonged to the current vendor for the last five years, being maintained by his company. Finished in the classic colour combination of Rosso Corsa with tan leather interior, the car has covered only some 31,000 miles from new. The vendor describes the paintwork as superb throughout, while the original interior is said to be excellent apart from some wear to the rearmost carpets. The car comes complete with its original tool kit and jack, Ferrari letter of authentication, some expired MoTs, recent bills, and a V5C Registration Certificate. Benefiting from its limited mileage and reported to be silky smooth to drive, this beautiful 308 GTS represents very good value for an early carburettor car in this condition.