Venise, vue du Quai des Esclavons
The French artist’s quasi-modernist view of the City of Canals — a memento painted for a friend — also brought back happy memories for David Rockefeller, explains Bianca Arrivabene, Deputy Chairman of Christie’s in Italy
Moved by the painting’s beauty, David immediately recognised its proportions were perfect for the space above his fireplace. ‘Its size and shape, which was rather long and low, were precisely what we had been looking for to replace Cézanne’s Jas de Bouffan, which we had over our mantel in the library at Hudson Pines,’ he would later recall...
above and below are extracts from article re.
ROCKEFELLER COLLECTION | AUCTION PREVIEW
The French artist’s quasi-modernist view of the City of Canals — a memento painted for a friend — also brought back happy memories for David Rockefeller, explains Bianca Arrivabene, Deputy Chairman of Christie’s in Italy
Moved by the painting’s beauty, David immediately recognised its proportions were perfect for the space above his fireplace. ‘Its size and shape, which was rather long and low, were precisely what we had been looking for to replace Cézanne’s Jas de Bouffan, which we had over our mantel in the library at Hudson Pines,’ he would later recall...
above and below are extracts from article re.
ROCKEFELLER COLLECTION | AUCTION PREVIEW
In 1971, while visiting Australia with Peggy, David spotted Corot’s original sketch for this work in the National Gallery of Victoria in Melbourne. ‘Perhaps we made the curator a little envious by telling him that we have the oil painting,’ he wrote years later. ‘In any event, we sent him a photograph of our painting.’
‘David knew how lucky he was to be able to own art like this,’ says Arrivabene. ‘The fact that he spent his spare time visiting galleries and speaking to curators shows how passionate he was.’
Bianca Arrivabene, Deputy Chairman of Christie’s Italy, with
Corot’s Venise, vue du Quai des Esclavons, painted in 1845
Theatre of the Actors of Regard
detail
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