07/09/2001
by Angelica Poggi

Significant increases and a rapid succession of premium prices have recently characterized the market for Giuseppe Bernardino Bison’s work (Italian, 1762-1844). Known only by scholars until a few years ago, he has now become one of the most sought after artists on the market. Owning one of the works of this "Canaletto" of the 19^th century it is not only fashionable among collectors but also a good opportunity for investment taking into consideration the diminishing availability of paintings by the 18^th century vedutisti on the market. The trend for Bison grew after a solo exhibition in Udine in 1997 increasing public awareness and the circulation of his work at Italian auction houses. Premium prices have also been recorded at international auctions in Paris and New York. The most noteworthy being in January 1996 at Christie’s, New York, when The Entrance of the Marciana library, Venice (54 x 72 x 3 cm) doubled its estimate, reaching $ 530,000 (€ 592,500) and the second at Tajan, Paris in June 1998 when View of Ca Foscari and Palazzo Balbi (44 x 77 cm) made $ 115, 850 (€ 129,50), six times its estimate.

Besides his views, Bison also painted landscapes and architectural capriccio’s where the execution from life generates an extraordinary freshness. In general however, the Venetian views fetch the highest prices. For example a painting entitled Arrival of the Bucintoro at Saint Nicolò in Lido (28 x 45 cm) tripled its estimate establishing the record price of $ 87,700 (€ 98,120) at Finarte, Milan on the 22^nd of November 2000. Another example is View of Piazzetta from the Grand Canal (81 x 126 cm) which sold for, at that time, about $ 106,690 (€ 119,220) at Sotheby’s, Milan on the 8^th of June 1999 again surpassing its estimate. A further indication of the growing interest for Bison’s Venetian works emerges when comparing the prices of two pendants depicting views of the Grand Canal. On the 24^th of May 1991 at Christie’s, London a pendant sized 37 x 57cm sold under estimate for, at that time, $ 129,390 (€ 144,590).

On the 30^th of January 1998 at Sotheby’s, New York a similiar pendant sized 61 x 79 cm fetched $ 140,000 (€ 129,250), above its estimate. Another pendant of a Venetian view at Sotheby’s, New York made the lower price of $ 100,000 (€ 111,900) on the 28^th of May 1999. If compared to the above mentioned prices it is surprising how it still doubled its estimate. The reason for its low estimate might be due to the fact that the subject matter is of the Campi of Venice and not the Canali. Similarly, a work on paper portraying The Grand Canal with La Punta della Salute (24 x 35 cm) sold at Finarte in Milan on the 16^th May 2001 for $ 34,150 (€ 38,200), whilst at Finarte, Rome on the 9^th of May 1995 another work on paper with the same subject and technique reached the lower price of, at that time, about $ 26,630 (€ 30,000). Finally, among the artist’s drawings, a gouache entitled View of the Venice Arsenal (15 x 20 cm) on view at Sotheby’s, London on the 2^nd of July 1997, sold for $ 47,634 (€ 53,689) premium, three times its estimate.

Among the works sold below estimate, at Sotheby’s, London in December 1999 there was The interior of Saint Mary of the Passion in Milan (165 x 123 cm). In spite of its presence at the 1997 Udine exhibition, it sold for only $ 32,270 (€ 32,570). Perhaps its subject matter would be much better appreciated within the Italian market. The other two paintings which noticeably sold under estimate are View of a church in Venice (36 x 47 cm) at Sotheby’s in Munich on the 15^th of June 1999 for $ 33,500 (€ 37,400) and Figures in the Hall of the Fenice Theatre (17 x 22 cm), that realized only $ 37,500 (€ 34,600) at Sotheby’s, New York on the 30^th of January 1998. In conclusion, it is relevant to keep in mind that this new appreciation for Bison’s works is a fashion-linked trend and for this reason it is difficult to estimate its stability on the market in the next years and his figures at future actions.