Friedrich Nerly Paintings & Artwork for Sale | Friedrich Nerly Art Value Price Guide

Jun. 05, 2026
Nerly, Friedrich: Gondel in der Lagune von Venedig
Est: €1,000 - €1,500
Gondel in der Lagune von Venedig. Bleistift, Feder und Pinsel in Schwarz, Spuren von Weißhöhungen auf gelblichem Karton. 22,8 x 43,1 cm. Unten rechts signiert und datiert "1848 f Venezia F. Nerly", sowie auf der Seitenwand der Gondel mit dem Monogramm "F N" . Nach einem längeren Aufenthalt in Rom verlässt Friedrich Nerly im Herbst 1835 die Ewige Stadt, um in die Heimat zurückzukehren. Doch ein zunächst nur als "Abstecher" geplanter Besuch in Venedig, führt schließlich zu einem lebenslangen Aufenthalt in der Lagunenstadt. Nerly erschließt sich den Markt der immer zahlreicher werdenden Reisenden mit gemalten und gezeichneten Ansichten vom Canal Grande, dem Dogenpalast, der Salute-Kirche sowie von Gondeln und Segelschiffen in der glitzernden Lagune. "Venedig und immer Venedig, von allen Seiten, groß und klein, zur alten und zur jetzigen Zeit" schreibt Nerly im Jahr 1845 über den unerschöpflichen Motivvorat der Stadt. Besonders die Zeichnungen des Künstlers, Vorarbeiten für später im Atelier ausgeführte Gemälde, bewahren die Spontaneität des ersten Eindrucks und spiegeln in ihrer lebendigen Frische das Naturerlebnis überzeugend wider (vgl. Ausst. Kat. Friedrich Nerly und die Künstler um Carl Friedrich von Rumohr, Mainz 1991, S. 11). - Provenienz: Aus dem Nachlass des Künstlers. Dessen Sohn Friedrich Paul Nerly (1842 Venedig - 1919 Luzern). Angermuseum Erfurt (mit der handschriftl. Inv.Nr. "...n. G. 3977"). 1910/20er Jahre vom Angermuseum veräußert. Zuletzt Privatbesitz Sachsen. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
May. 20, 2026
Friedrich II Nerly 1842-1919 Spiaggia di Salerno al tramonto
Est: €4,000 - €6,000
firmato basso a sinistra olio su tavola
Cambi Casa d'Aste
Apr. 29, 2026
Friedrich Christian Nerly
Est: €50,000 - €70,000
(Erfurt 1807–1878 Venice) Venice, the courtyard well of the Doge’s Palace with the Scala dei Giganti in the background, signed F Nerly. Venezia, oil on canvas, 107 x 94 cm, framed Provenance: Gallery Dr Bühler, Munich, September 1983; Sale, Sotheby’s, London, 23 November 1988, lot 309; Private Collection, USA; Private Collection, Italy. This painting depicts the inner courtyard of the Doge’s Palace in Venice. At the centre of the composition is the bronze fountain, created in 1559 by Alfonso Alberghetti, which served as an important source of water for the entire palace complex. On the left stands the Arco Foscari, crowned by the statue of Mars, created by Antonio Rizzo, one of the leading architects and sculptors of the early Renaissance in Venice. In the background is the Scala dei Giganti, also built by Rizzo and named after the colossal statues of Mars and Neptune, created by Jacopo Sansovino, which symbolise Venice’s rule over land and sea. Nerly inserts a lively scene from everyday life into this architectural setting. In the foreground is a Venetian water carrier in traditional dress. She wears elaborate jewellery and a hat adorned with a feather and stands next to the fountain, carrying a copper bucket over her shoulder. A pencil and watercolour study of this figure is kept in the Angermuseum (inv. no. 3940). Part of Nerly’s artistic estate was donated to the city of Erfurt by his son Friedrich Paul Nerly in 1883.
Dorotheum
Apr. 18, 2026
FRIEDRICH NERLY, eigentl. NEHRLICH : Castello Orsini-Odescalchi di Palo.
Est: €980 -
FRIEDRICH NERLY, eigentl. NEHRLICH Erfurt 1807 - 1878 Venedig Castello Orsini-Odescalchi di Palo. Blick auf das am Strand von Ladispoli am Tyrrhenischen Meer gelegene Schloss aus dem 16. Jahrhundert. Sepiafederzeichnung mit zartem Lavis 1834. Signiert, ortsbezeichnet „palo“ und datiert „29. Dez. 1834.“. In der linken unteren Ecke mit kleiner Sepiafederskizze (Küstenstrich mit Booten auf dem Meer bei Sonnenuntergang) und Farbangaben. Auf leichtem Vélin mit Wasserzeichen (Nebenmarke): FI. 21,5 x 33,3 cm. Ränder gering wellig und minimal fleckig. Nerly, der seit Dezember 1828 bis Herbst 1835 in Rom lebte, erwanderte zeichnend u.a. die Umgebung Roms. Zeichnungen, die Nerlys Wanderungen an der Küste von Latium belegen, sind selten; meist handelt es sich dabei um Motive von der Küste zwischen Ostia und Anzio. Seltenes Motiv in der für den Künstler typischen Zeichnungsmanier. [ms]
Winterberg-Kunst
Dec. 04, 2025
Friedrich Nerly, The Grand Canal with a View of Santa Maria della Salute
Est: €100,000 - €120,000
Signed lower left: Nerly f The biography and artistic development of Friedrich Nerly are defined by the combination of his German origins — he was born Christian Friedrich Nehrlich into a family of musicians in Erfurt—and his Italian adopted homeland. At the age of just twenty-one, the artist was drawn to Italy — first to Rome and Milan, and in 1837 he finally settled in Venice, at the very heart of the motif that would henceforth become the central theme of his atmospheric views. Nerly’s vedute of the lagoon city were highly sought after by collectors throughout Europe and, alongside those of English painters such as Richard Parkes Bonington and William Turner, helped shape the nineteenth-century image of Venice. While Nerly’s meticulous attention to detail recalls the vedute of Canaletto painted a century earlier, his art is distinguished above all by its atmospheric rendering of a picturesque, idealized Venice. Everyday scenes and figures of contemporary life rarely appear in Nerly’s Venetian views in oil; he preferred figures dressed in historical costumes, mostly inspired by the Renaissance, which he studied with great precision. All the more charming, therefore, is the small scene in the lower right corner of the present painting: a lady in a blue dress with a fan leans on her companion as he leads her toward a gondola landing. She turns back once more toward a fruit seller, who sits offering her wares. The composition, showing the Grand Canal with a view of Santa Maria della Salute, is likely among Nerly’s earliest Venetian vedute. A version of this composition in the Kunsthalle Bremen is dated to 1838/39, the first years of his stay in the Lagoon City (fig. 1; oil on canvas, 67.5 × 86 cm, inv. no. 381-1947/5). This slightly smaller painting appears almost as a continuation of the present work: the young couple has now reached the gondola, and the two little dogs still frolic along the quay; only the fruit seller has disappeared. Another version, now bathed in evening light, is held by the Städel Museum in Frankfurt (fig. 2; oil on canvas, 74.5 × 106 cm, inv. no. 1173). Here, the young couple has vanished, while the fruit seller has reappeared. All three versions likely go back to a watercolour by Nerly depicting the scene in clear daylight (Erfurt, Angermuseum, inv. no. 3026). Nerly often used such a watercolour as the starting point for his oil views, in which he would then explore different light effects. At the centre of the composition, though at some distance, stands the magnificent church of Santa Maria della Salute, designed by Baldassare Longhena in the seventeenth century. From the viewer’s standpoint, the gaze extends across the Grand Canal toward the Palazzo Cavalli-Franchetti, built in the sixteenth century.
Lempertz
Dec. 04, 2025
Friedrich Nerly, View over the Bacino di San Marco in Venice
Est: €200,000 - €300,000
Signed lower left: F. Nerly f Certificate Dr. Wolfram Morath-Vogel, Erfurt, June 2019. It is sunset on the Grand Canal and over the Bacino di San Marco. The Doge's Palace glows in the golden light of Venice. In the distance, the domes of Santa Maria della Salute emerge against the backdrop of a fiery pink sky. This painting is the quintessence of a romantic understanding of Venice, whose leading master was Friedrich Nerly. Venice's bustling nature as a city of trade and fairy tales is captured in minute detail. Ships are anchored in the Bacino, gondolas carry members of high society across the mirror-smooth water, glistening silvery in the warm evening light. Nerly has rendered fantastic lighting effects in this veduta with picturesque brilliance. Few artists after Canaletto are likely to have given as much emphasis to Venetian views in their oeuvre as Friedrich Nerly. His calling was to capture the atmosphere of a picturesque, idealised Venice. Influenced by the Romantic movements of the 19th century, the Erfurt-based artist drew inspiration from the art of Caspar David Friedrich and William Turner. The latter worked in Venice from 1819 to 1821 and was an important source of inspiration for Nerly. He became one of the most sought-after vedutisti of his generation and made a name for himself on the international market as one of the best-known German landscape painters. Nerly, who was born in Erfurt as Christian Friedrich Nehrlich, arrived in the lagoon city on his return from a several-year stay in Rome. He had moved to Rome at the age of 21 and actually wanted to return to Germany in 1835. After a lengthy stay in Milan, he finally arrived in Venice in 1837 and remained there for the rest of his life. Through his marriage to a Venetian noblewoman, Nerly gained access to Venetian society. The Palazzo Pisani served as his home and studio. With the exception of a few short trips, Nerly never left the lagoon city until his death in 1878.
Lempertz
Nov. 25, 2025
FRIEDRICH NERLY
Est: €1,000 - €1,500
Erfurt, 1842 - Venezia, 1919 Venezia, isola di San Giorgio Firmato Nerly in basso a sinistra Olio su tela, cm 32,5X59,5 Provenienza: Roma, collezione Giosi Friedrich Paul Nerly, noto come Nerly il Giovane, fu tra i protagonisti più sensibili della pittura di paesaggio del tardo Ottocento. Figlio del vedutista Friedrich Nerly il Vecchio, ereditò dal padre l'amore per la luce veneziana e per la resa atmosferica dei paesaggi, ma seppe orientare la propria ricerca verso esiti più moderni e lirici. La sua formazione si compì in un contesto culturale internazionale: studiò a Monaco di Baviera e viaggiò a lungo in Europa, tra Germania, Francia, Svizzera e Italia, assorbendo le suggestioni del realismo romantico tedesco e dell'impressionismo francese. Tuttavia, la sua pittura mantenne sempre una matrice profondamente personale, improntata a una raffinata sensibilità per le variazioni luminose e per l'intimità del paesaggio. Il suo linguaggio pittorico, tecnicamente solido e vibrante di colore, si pone a cavallo tra la tradizione romantica e la sensibilità moderna, anticipando in parte la visione impressionista italiana. La pittura di Nerly non è mai mera descrizione ma è un dialogo continuo tra la natura e l'anima, tra la verità del paesaggio e la sua risonanza interiore. .
Wannenes Art Auctions
Nov. 22, 2025
Friedrich Nerly, Cavallo Arabo – The Arabian Stallion “Tursi” of Wilhelm I of Württemberg
Est: €30,000 - €40,000
Signed and dated lower right: F. Nerly fecit 1837 This depiction of an elegant Arabian stallion, led by an Oriental groom through a wide, open landscape, represents an important early work by the young Friedrich Nerly from his Milan period, shortly before he settled permanently in Venice. The genesis of the painting can be reconstructed with considerable precision thanks to an oil sketch as well as drawings of both the horse and the groom preserved in Nerly’s Milan sketchbook. The oil sketch, executed in the same year as the present painting, identifies the Arabian stallion in an inscription: “Tursi / Cavallo Arabo pel (sic) Re di Württemberg” (“Tursi / Arabian stallion of the King of Württemberg”). Wilhelm I, King of Württemberg, was an important patron of the young Friedrich Nerly: he commissioned paintings from him and appointed him his artistic agent in Italy. The king, who spent the summer months regularly in Italy, established in Stuttgart a stud farm of Arabian horses that would become highly successful – Tursi was one of these stallions. Composition, colour palette, and lighting are already anticipated in the Erfurt oil sketch: the rich, warm brown of the horse, the bright red of the groom’s turban, and the restrained blue of his clothing. At the centre stands – appropriately – the royal stallion, turning his head back in an elegant movement. The expansive landscape and southern atmosphere, evoked by the blue of the sky and the earthy tones of the ground, come fully into their own only in the finished painting. Nerly’s Milan sketchbook contains two sheets directly related to this work: one shows the stallion and groom at the centre, surrounded by studies of the horse’s head from various angles. Another sheet presents a variation of the poses of horse and handler and records the groom’s attire in a coloured brush study. The relationship between Nerly and the King of Württemberg would remain close. In 1852 Wilhelm I awarded the artist the Order of the Württemberg Crown, honouring one of the protagonists of Romantic painting. For the oil sketch and the two Milan sketchbook sheets (all in the Angermuseum, Erfurt), see: Claudia Denk et al. (eds.), Friedrich Nerly. Von Erfurt in die Welt. Die Gemälde und Ölstudien des Nerly-Bestandes im Angermuseum Erfurt, Berlin 2024, pp. 255–257, no. 18. The work is listed in Nerly’s 1846 catalogue and can be dated to the year 1838 (cf. Österreichische Blätter für Literatur und Kunst, 3rd year, no. 54 [Vienna, 5 May 1846], pp. 423 f., as well as no. 55 [Vienna, 7 May 1846], pp. 427–429). We would like to Dr Dorothee Hansen and Dr Maren Hüppe for important information regarding this work.
Lempertz
Nov. 22, 2025
Friedrich Nerly, The Piazzetta in Venice by Moonlight
Est: €20,000 - €30,000
Signed lower right: Nerly This painting originates from the collection of Giovanni Leonardo Frizzoni (1806–1849), father of Gustavo Frizzoni (1840–1919), the renowned art connoisseur who was biographer and collaborator of Giovanni Morelli (1816–1891), one of the inventors of the attribution method in art history. The work had been kept since before 1889 in Villa Frizzoni in Crella, on Lake Como, where it is documented in a photographic album kept in the family archive: under the photograph of the canvas is the handwritten note “11 September 89 (Venice) Crella”. The collection of Giovanni Leonardo and his wife Clementina Vittoria Reichmann (1815-1907) consisted of about fifty works by important masters, particularly from the Lombard-Venetian Renaissance, with only a few from the 19th century (Piccolo 2025). Friedrich Nerly (1807-1878) was in direct contact with the Frizzoni family: he had, in fact, painted the portrait of Giovanni Leonardo's wife, Clementina, around 1836, with the Frizzoni summer residence at Colle dei Pasta in Bergamo in the background (Anderson 2019, pp. 219, 228, fig. 10), and two views of Girgenti and Palermo, probably a memento of his adventurous honeymoon in Sicily in 1834 (Degl'Innocenti 2001, p. 380). The contact between the painter and the Frizzoni family came about through the important German writer and art historian Karl Friedrich von Rumohr (1785-1843), who had a considerable influence on the Frizzoni family's passion for collecting. Von Rumohr had met Nerly, then a 16-year-old aspiring artist, following the management of the Hamburger Kunstverein in 1827. The following year, the painter accompanied him on his third trip to Italy; in 1829, they also passed through Bergamo and in 1837, together with Giovanni Leonardo Frizzoni, they returned to Germany (Battezzati 2009, pp. 16-17). After the deaths of Giovanni Leonardo (1849) and Clementina (1907), the work remained in the possession of the family of the heirs. This Venice, painted around 1835, is therefore an important discovery that attests to the link between the German painter and one of the most important Italian collecting families of the 19th and 20th centuries. The work is listed in Nerly’s 1846 catalogue and can be dated to the year 1838 (cf. Österreichische Blätter für Literatur und Kunst, 3rd year, no. 54 [Vienna, 5 May 1846], pp. 423 f., as well as no. 55 [Vienna, 7 May 1846], pp. 427–429). We would like to Dr Dorothee Hansen and Dr Maren Hüppe for important information regarding this work.
Lempertz
Nov. 22, 2025
Friedrich Nerly, The Grand Canal with a View of Santa Maria della Salute / 50 Lots – My Choice | Jubilee Auction Henrik Hanstein, 4.12.2025
Est: €100,000 - €120,000
Signed lower left: Nerly f. Please note: This lot will be auctioned in the sale "50 Lots - My Choice | Jubilee Auction Henrik Hanstein” on 4th December 2025, 6 pm. The biography and artistic development of Friedrich Nerly are defined by the combination of his German origins — he was born Christian Friedrich Nehrlich into a family of musicians in Erfurt—and his Italian adopted homeland. At the age of just twenty-one, the artist was drawn to Italy — first to Rome and Milan, and in 1837 he finally settled in Venice, at the very heart of the motif that would henceforth become the central theme of his atmospheric views. Nerly’s vedute of the lagoon city were highly sought after by collectors throughout Europe and, alongside those of English painters such as Richard Parkes Bonington and William Turner, helped shape the nineteenth-century image of Venice. While Nerly’s meticulous attention to detail recalls the vedute of Canaletto painted a century earlier, his art is distinguished above all by its atmospheric rendering of a picturesque, idealized Venice. Everyday scenes and figures of contemporary life rarely appear in Nerly’s Venetian views in oil; he preferred figures dressed in historical costumes, mostly inspired by the Renaissance, which he studied with great precision. All the more charming, therefore, is the small scene in the lower right corner of the present painting: a lady in a blue dress with a fan leans on her companion as he leads her toward a gondola landing. She turns back once more toward a fruit seller, who sits offering her wares. The composition, showing the Grand Canal with a view of Santa Maria della Salute, is likely among Nerly’s earliest Venetian vedute. A version of this composition in the Kunsthalle Bremen is dated to 1838/39, the first years of his stay in the Lagoon City (fig. 1; oil on canvas, 67.5 × 86 cm, inv. no. 381-1947/5). This slightly smaller painting appears almost as a continuation of the present work: the young couple has now reached the gondola, and the two little dogs still frolic along the quay; only the fruit seller has disappeared. Another version, now bathed in evening light, is held by the Städel Museum in Frankfurt (fig. 2; oil on canvas, 74.5 × 106 cm, inv. no. 1173). Here, the young couple has vanished, while the fruit seller has reappeared. All three versions likely go back to a watercolour by Nerly depicting the scene in clear daylight (Erfurt, Angermuseum, inv. no. 3026). Nerly often used such a watercolour as the starting point for his oil views, in which he would then explore different light effects. At the centre of the composition, though at some distance, stands the magnificent church of Santa Maria della Salute, designed by Baldassare Longhena in the seventeenth century. From the viewer’s standpoint, the gaze extends across the Grand Canal toward the Palazzo Cavalli-Franchetti, built in the sixteenth century.
Lempertz
Nov. 22, 2025
Friedrich Nerly, View over the Bacino di San Marco in Venice / 50 Lots – My Choice | Jubilee Auction Henrik Hanstein, 4.12.2025
Est: €200,000 - €300,000
Signed lower left: F. Nerly f Certificate Dr. Wolfram Morath-Vogel, Erfurt, June 2019. Please note: This lot will be auctioned in the sale "50 Lots - My Choice | Jubilee Auction Henrik Hanstein” on 4th December 2025, 6 pm. It is sunset on the Grand Canal and over the Bacino di San Marco. The Doge's Palace glows in the golden light of Venice. In the distance, the domes of Santa Maria della Salute emerge against the backdrop of a fiery pink sky. This painting is the quintessence of a romantic understanding of Venice, whose leading master was Friedrich Nerly. Venice's bustling nature as a city of trade and fairy tales is captured in minute detail. Ships are anchored in the Bacino, gondolas carry members of high society across the mirror-smooth water, glistening silvery in the warm evening light. Nerly has rendered fantastic lighting effects in this veduta with picturesque brilliance. Few artists after Canaletto are likely to have given as much emphasis to Venetian views in their oeuvre as Friedrich Nerly. His calling was to capture the atmosphere of a picturesque, idealised Venice. Influenced by the Romantic movements of the 19th century, the Erfurt-based artist drew inspiration from the art of Caspar David Friedrich and William Turner. The latter worked in Venice from 1819 to 1821 and was an important source of inspiration for Nerly. He became one of the most sought-after vedutisti of his generation and made a name for himself on the international market as one of the best-known German landscape painters. Nerly, who was born in Erfurt as Christian Friedrich Nehrlich, arrived in the lagoon city on his return from a several-year stay in Rome. He had moved to Rome at the age of 21 and actually wanted to return to Germany in 1835. After a lengthy stay in Milan, he finally arrived in Venice in 1837 and remained there for the rest of his life. Through his marriage to a Venetian noblewoman, Nerly gained access to Venetian society. The Palazzo Pisani served as his home and studio. With the exception of a few short trips, Nerly never left the lagoon city until his death in 1878.
Lempertz
Nov. 04, 2025
Friedrich von Nerly (German, 1807-1878) At the Well
Est: $8,000 - $12,000
Friedrich von Nerly (German, 1807-1878) At the Well oil on canvas signed F. Nerly and inscribed Venezia (lower right) 42 1/4 x 37 in. (107.3 x 94cm) Property of a California Collector This lot is located in Philadelphia.
Freeman’s
Oct. 22, 2025
Friedrich Christian Nerly
Est: €60,000 - €80,000
(Erfurt 1807–1878 Venice) Venice, Palazzo Contarini, the House of Desdemona on the Grand Canal, signed Nerly, also signed on the reverse, oil on canvas, 112 × 84 cm, framed Provenance: Private Collection, Italy. A certificate issued by Dr Wolfram Morath-Vogel, Titisee-Neustadt, September 2025, is available upon request. We are grateful to Dr Wolfram Morath-Vogel for his scholarly advice. Since his move to Venice in 1837, Friedrich Nerly devoted his artistic work time and again to the impressive architecture of the lagoon city. He was particularly fascinated by the late Gothic Palazzetto Contarini Fasan on the Grand Canal, which— inspired by Shakespeare’s Othello—he poetically reinterpreted as the “Casa di Desdemona,” a counterpart to the Palazzo Moro, the “Casa d’Otello.” The present painting shows the moonlit façade with the famous balcony, where a cockatoo takes a sugar piece from the lips of a young Venetian woman. This intimate scene, recognizable as such by the sunblinds lowered at night, is attentively observed by a gondolier—his head tilted back to gaze up at the balcony. In this way, Nerly unites a precise depiction of architecture with a romantic fiction—apt for the “House of Desdemona” and characteristic of his oeuvre. The motif occupied the artist for decades, and there are several variations, some in oil but also watercolors, one of which is housed in the Angermuseum in Erfurt (inv. no. 3033). According to Dr. Morath-Vogel, the present work was likely created soon after 1850.
Dorotheum
Jun. 29, 2025
Nerly, Friedrich I (1807-1878)
Est: €500 - €700
Dorf in den Alpen. Feder in Schwarz, braun laviert und aquarelliert. Sign., nicht dat. (um 1830). 20 x 15 cm. - Punktuell auf Träger montiert. - Mit kleinen Quetschfalten und etw. gebräunt. -
Zisska & Lacher
Jun. 29, 2025
Nerly, Friedrich I (1807-1878; Zuschreibung)
Est: €700 - €1,000
Blick auf Venedig. Bleistift auf Papier. Monogr. und dat. 1837. 12,8 x 21,7 cm. - Unter Passepartout. - Der aus Erfurt stammende Nerly ließ sich ab Ende Oktober 1835 dauerhaft in Venedig nieder, fand hier eine Fülle an Inspirationen und Sujets für seine Bilder und wurde bald Mitglied der venezianischen Kunstakademie. Unser Blatt zeigt eine der Hauptansichten Venedigs: links der Eingang in den Canal Grande, gefolgt von den Giardini Reali, vorbei an der Biblioteca Marciana über die beiden Säulen am Eingang des Markusplatzes hin zum Palazzo Ducale am rechten Bildrand. Ein zart, wohl mit Kreide angedeutetes Blau im Himmel findet sein leicht blasseres Echo auf der Wasseroberfläche und fasst die spontan eingefangene, mit flotten Strichen wiedergegebene Silhouette der Stadt ein.
Zisska & Lacher
Jun. 06, 2025
Nerly, Friedrich I (1807-1878)
Est: €260 - €400
Wasserträgerin in Venedig. Bleistift auf Papier. Sign., nicht dat. (um 1840). 16,9 x 23,1 cm. - Mit vereinzelten, winzigen Flecken und leichten Verschmutzungen. Verso von späterer Hand mit Titel und Lebensdaten des Künstlers beschriftet. -
Zisska & Lacher
Jun. 06, 2025
Nerly, Friedrich I (1807-1878)
Est: €500 - €700
Dorf in den Alpen. Feder in Schwarz, braun laviert und aquarelliert. Sign., nicht dat. (um 1830). 20 x 15 cm. - Punktuell auf Träger montiert. - Mit kleinen Quetschfalten und etw. gebräunt. -
Zisska & Lacher
Jun. 06, 2025
Nerly, Friedrich I (1807-1878)
Est: €300 - €450
3 Ansichten von Tivoli. Braune Tuschpinsel über Bleistift auf Papier. Jeweils sign. und 2 Bl. dat. 1832 und 1839. 11,5 x 8,7 und 8,7 x 11,2 cm. - 2 Bl. unter Passepartout. - Wohl aus einem Skizzenbüchlein. - Die kleinen Zeichnungen zeigen sehr unterschiedliche Ansichten von Tivoli, von den Gebirgszügen bis hin zu den Ruinen des Tempels der Vesta.
Zisska & Lacher
May. 16, 2025
Friedrich Nerly: Venetian Woman at the Well
Est: €5,000 - €7,000
NERLY, FRIEDRICH 1807 Erfurt - 1878 Venedig Title: Venetian Woman at the Well. Date: 1870s. Technique: Oil on canvas. Mounting: Laid on fibreboard. Measurement: 67 x 55cm. Notation: Signed at the bottom: "Nerly". Provenance: Private ownership, Canada; Sam and Grayson Hall Collection, Rhinebeck NY. We are gratful to Claudia Denk, Munich, for her kind support in cataloguing the present work on the basis of high-resolution photographic data. Estimated shipping costs for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 63,03 Euro plus 11,97 Euro VAT Worldwide: 109,24 Euro plus 20,76 Euro VAT additional shipping insurance Explanations to the Catalogue Friedrich Nerly Germany Romanticism 19th C. Paintings Genre Painting Birds
Van Ham Kunstauktionen
May. 16, 2025
Friedrich Nerly: Young Donkey DrIver in the Mountains
Est: €5,000 - €7,000
NERLY, FRIEDRICH 1807 Erfurt - 1878 Venedig Title: Young Donkey Driver in the Mountains. Date: 1870s. Technique: Oil on canvas. Mounting: Laid on fibreboard. Measurement: 67 x 57.5cm. Notation: Signed lower right: "Nerly". Provenance: Private ownership, Canada; Sam and Grayson Hall Collection, Rhinebeck NY. We are grateful to Claudia Denk, Munich, for her kind support in cataloguing the present work on the basis of high-resolution photographic data. Estimated shipping costs for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 63,03 Euro plus 11,97 Euro VAT Worldwide: 109,24 Euro plus 20,76 Euro VAT additional shipping insurance Explanations to the Catalogue Friedrich Nerly Germany Romanticism 19th C. Paintings Child / Children Painting Animals
Van Ham Kunstauktionen
May. 16, 2025
Friedrich Nerly (1807 Erfurt - Venedig 1878) – Am Canal Grande in Venedig (On the Grand Canal in Venice)
Est: €1,600 - €2,000
Pencil, washed (pen and ink and wash on paper). 1838. 28.2 x 22 cm. Inscribed, dated and signed "Venedig den/5. Juni/1838/Nerly/bei Sternenschein/um 3/4 auf 9 -" lower left.
Karl & Faber
Nov. 30, 2024
Nerly, Friedrich
Est: -
Nerly, Friedrich 1807 Erfurt - 1878 Venedig Venezianischer Gondoliere. Signiert. Öl/Lwd./doubl., 52 x 84 cm.
Dusseldorfer Auktionshaus
Nov. 29, 2024
Nerly, Friedrich: Palazzo in Venedig mit Loggien und Garten zu einem Kanal
Est: €1,000 - €1,500
Palazzo in Venedig mit Loggien und Garten zu einem Kanal. Feder in Braun, teils laviert, über Bleistift auf bläulichem Bütten. 22,3 x 32 cm. Unten rechts signiert, bezeichnet und datiert "F. Nerly Venezia / 1842". Wz. Fragment. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Nov. 28, 2024
Friedrich Nerly the Elder View of Venice, from Giardini Pubblici
Est: €150,000 - €180,000
View of Venice, from Giardini Pubblici Signed and inscribed lower right: F. Nerly f
Grisebach
Nov. 16, 2024
Friedrich Nerly, View from the Riva degli Schiavoni over the Bacino di San Marco towards Santa Maria della Salute at Sunset
Est: €50,000 - €70,000
Signed and dated lower left: F. Nerly. Venezia. 1839 The artist has positioned himself to include some of the city's most famous landmarks. In the distance, we see the sun setting behind the domes of Santa Maria della Salute, next to which are the Punta della Dogana and the entrance to the Grand Canal. On the right, along the Riva degli Schiavoni, is the Doge's Palace; on the Molo, at the entrance to Piazzetta San Marco, are the columns of Marco and Todaro, behind which we see the Biblioteca Marciana. This painting, created in 1839, can be counted among Nerly's early Venice vedutas. The artist moved to Venice in 1835 and there became one of the most fashionable vedutists of his generation, gaining a reputation as one of the most important German landscape painters on the international market. Nerly's use of a warm colour palette as a counterpoint to dramatic shadows casts an atmospheric haze over his canvases - an effect reminiscent of the works of J.M.W. Turner (1775-1851), who was an important inspiration for Nerly. Nerly was born Friedrich Nerlich in Erfurt in 1807 and met the artist, writer and patron Baron Carl Friedrich von Rumohr (1785-1843) in 1823, who recognised the young artist's talent and made him his protégé. Nerly travelled to Italy with von Rumohr in 1828 and it was on this trip that he made the fateful decision to spend the rest of his life there - and to Italianise his name from Nerlich to Nerly. He continued his studies in Rome for six years before moving to Venice in 1835, where he set up his studio in the Palazzo Pisani near the Campo Santo Stefano, which was a favourite meeting place for Venetians. Nerly's work is an homage to the land and city he chose as his home, and his reverence for Venice shines through in his golden palette.
Lempertz
Nov. 15, 2024
Friedrich Nerly (1807 Erfurt - Venedig 1878) – Italienisches Bergdorf mit Ochsenfuhrwerk (bei Olevano?) (Italian mountain village with ox cart (near Olevano?))
Est: €1,800 - €2,000
Pen and sepia ink on laid paper with watermark "umranktes Wappen". 21.4 x 33.7 cm. Signed with the artist's monogram "F. Ny.f" lower right.
Karl & Faber
Oct. 26, 2024
Friedrich Nerly, The Apparitionist
Est: €80,000 - €120,000
Signed lower left: Nerly. Friedrich Nerly was often inspired by literary sources in his works. Whilst some paintings make only subtle reference to their poetic or dramatic sources, there are others in which he illustrates his literary inspirations directly. Nerly often chose motifs from English literature, such as Shakespeare's “Othello” or Lord Byron's “Childe Harold’s Pilgrimage”. In this work, however, which was painted by the artist at a time when he had been living in Venice since 1837, he has picked a theme from Friedrich Schiller. The work depicts a scene from his unfinished story “The Apparitionist” that was published in numerous sequels in the magazine Thalia between 1787 and 1789. Schiller's fragmentary work tells the story of a German prince from a Protestant family staying in Venice who falls prey to the intrigues of a Jesuit secret society who attempt to convert him to Catholicism. Through his conversion, as well as many other nefarious schemes, the fraternity hoped to gain influence over the German territories belonging to the prince's family. One important character in the story was a masked Armenian who followed the prince and his companion one evening, whispering strange, enigmatic words to them, only to later disappear without a trace. Nerly depicts the scene taking place on St. Mark's Square. The figures of the three protagonists – the prince, his companion and the Armenian – stand out as dark silhouettes beside the base of the monumental column of St. Theodore against the light of the moon. This is one of only a few paintings by Nerly in which the figures are depicted larger in relation to the surrounding buildings. “Nerly sets this mysterious encounter architecturally between the tactile, sculptural base of the column and a boldly contrasting view of the Dogana and Maria de la Salute with San Giorgio in the distance, illuminated by the light of the moon between the parting clouds, but at the same time […] vaguely, as if witnessed in a dream.” (Myssok, op. cit., p. 65). Nerly's penchant for moonlit scenes and the depiction of spectral moonlight lent itself to the motif. The water of the lagoon shines pale and silvery behind the three dark figures, further intensifying the mysterious and dangerous atmosphere evoked by the group. The painting was created in connection with three further depictions inspired by “The Apparitionist” commissioned by the Duke of Brunswick for his summer residence Sibyllenort. Nerly wrote in a letter on 4 September 1855: “[…] I'm constantly busy and am working on a commission for 4 larger oil paintings from the Duke of Brunswick and on a subject that has been depicted in book editions but otherwise hardly ever, namely The Apparitionist by Schiller.” (cited from the German in Römische Tage - Venezianische Nächte, op. Cit., p. 57). Of the four paintings, only the whereabouts of the present, unusual work are known today.
Lempertz
Oct. 26, 2024
Friedrich Nerly, Winter on the Canal Grande with Santa Maria della Salute
Est: €100,000 - €120,000
Signed lower right: F. Nerly
Lempertz
Oct. 26, 2024
Friedrich Nerly, View of the Bacino di San Marco in Venice
Est: €250,000 - €300,000
Signed lower left: F. Nerly Few artists after Canaletto are likely to have given Venetian views as much prominence in their œuvre as Friedrich Nerly. In turn, the German painter's views, alongside those of a number of English painters in particular, such as Richard Parkes Bonington and William Turner, characterised the image of the lagoon city in the 19th century, the century after Canaletto and Bellotto. Although Nerly's meticulous attention to detail is reminiscent of Canaletto's vedute, his atmospheric depiction of a picturesque, idealised Venice predominates. Everyday scenes and figures of contemporary life are seldom found in Nerly's views of Venice, but quite frequently in his drawings, watercolours and preparatory studies. Nerly, who was born Christian Friedrich Nehrlich in Erfurt, arrived in the lagoon city on his return from a stay of several years in Rome. He had moved to Rome at the age of 21 and actually wanted to return to Germany in 1835. After a longer stay in Milan, he finally came to Venice for a visit in 1837 - and stayed! He moved into the rooms where his Swiss painter colleague Lépold Robert, who had fallen in love with Princess Charlotte Bonaparte, had shot himself two years earlier. Nerly, on the other hand, married the adopted daughter of a Venetian nobleman, which brought him into Venetian society, and he never left the lagoon city, with the exception of short trips, until the end of his life in 1878.
Lempertz
Sep. 25, 2024
Federico Paolo Nerly
Est: €4,500 - €6,500
Sunrise in Pompeii oil on canvas, cm. 74.5x120.5 Signed on lower left: Nerly
Bolli & Romiti s.r.l
May. 16, 2024
Friedrich Nerly, Island in the Venice Lagoon
Est: €2,000 - €3,000
Signed and dated lower right: Friedrich Nehrlich / 1855 Framed under glass
Kunsthaus Lempertz KG
Dec. 01, 2023
Nerly, Friedrich (Erfurt 1807-1878 Venedig),
Est: €200 - €300
Pozzuoli. Feder auf Transparentpapier. Nicht sign. und dat. (um 1835), ortsbezeichnet. 22,3 x 17,2 cm. - - Unter Passepartout. - Etw. knittrig, mit vereinzelten kleinen Flecken und minimal lichtrandig. -
Zisska & Lacher
Nov. 30, 2023
View of Venice from the Public Gardens
Est: €100,000 - €150,000
Signed and inscribed on the lower right: F. Nerly f
Grisebach
Nov. 18, 2023
Friedrich Nerly, Peasant family in Olevano
Est: €1,500 - €1,800
Inscribed: Olevano im Juni 31 Framed under glass
Kunsthaus Lempertz KG
Nov. 17, 2023
Friedrich Paul Nerly: View Across the Lagoon to the Towers of Venice
Est: €5,000 - €8,000
NERLY, FRIEDRICH PAUL 1842 Venedig - 1919 Luzern Title: View Across the Lagoon to the Towers of Venice. Technique: Oil on canvas. Measurement: 62 x 102cm. Notation: Signed lower left: Nerly. Frame: Framed. Provenance: Private ownership, Switzerland. Explanations to the Catalogue Estimated shipping costs for this lot: Arrangement after the auction. For this lot we will charge an extra allocation for import VAT, as the item has been imported from outside the EU (Conditions of Sale §V5.2).
Van Ham Kunstauktionen
Nov. 15, 2023
Friedrich Nerly (1807 Erfurt - Venedig 1878) – Figurenstudien eines Gondoliere
Est: €400 - €500
Bleistift auf bläulichem Papier. 26,3 x 36,8 cm. Verso unleserlicher Stempel.Papier im mittleren Bereich bräunlich verfärbt. In guter Erhaltung. Taxation: differenzbesteuert (VAT: Margin Scheme)
Karl & Faber - Timed
Oct. 18, 2023
FRIEDRICH NERLY, THE ELDER (GERMAN 1807-1878), THE PALAZZO PISCANI, VENICE
Est: £25,000 - £35,000
FRIEDRICH NERLY, THE ELDER (GERMAN 1807-1878)THE PALAZZO PISCANI, VENICEOil on canvasSigned (lower right)50 x 81.5cm (19½ x 32 in.)Provenance:Purchased by the Great-Grandfather of the present owner, circa 1910, and thence by descentBorn Friedrich Nerlich in Erfurt, Germany, in 1807, he moved to Hamburg and his uncle became his first drawing instructor, who introduced him to the house of Johann Michael Speckter, a centre of intellectual and artistic liberalism in early 19th century Hamburg. In 1823 the aesthete Carl Friedrich Freiherr von Rumohr took him under his wing. Nerlich soon became his protégé and in 1828 they travelled to Italy, an experience that left a permanent mark on the artist. He remained there for the rest of his life and he changed his name to Nerly, a pronunciation closer to the Italian language. He lived in Rome of six years and became a leading figure in the German artistic community. He later moved to Venice and the present work is one of Nerly's best Venetian canvases. From his studio in the Palazzo Pisani, near the Campo San Stefano, a favourite meeting point for the Venetians, the earliest was stimulated by breath-taking views of the romantic city. Having become acquainted with Joseph Mallord William Turner, who worked in Venice between 1819 and 1821, Nerly's realism absorbed an element of romanticism, as he adopted a new dramatic effect of light in his panoramas.
Dreweatts 1759 Fine Sales
Aug. 26, 2023
Attribution: Friedrich Nerly (Friedrich Nehrlich)
Est: €200 - €400
Attribution: Friedrich Nerly (Friedrich Nehrlich), 1807 Erfurt-1878 Venice, fishermen in their boat at sunrise, in the background the Venice Lagoon, oil/canvas on cardboard relined, signed Nerly lower right, approx. 29x35cm, frame approx. 37x43cm . German Description: Zuschreibung: Friedrich Nerly (Friedrich Nehrlich), 1807 Erfurt-1878 Venedig, Fischer in ihrem Boot bei Sonnenaufgang, im Hintergrund die Lagune von Venedig, Öl/Lwd auf Karton doubliert, rechts unten signiert Nerly, Kratzer links, ca. 29x35cm, R. ca. 37x43cm
Henry's Auktionshaus
Jul. 05, 2023
Nerly, Friedrich (Erfurt 1807-1878 Venedig),
Est: €300 - €500
Pozzuoli. Feder auf Transparentpapier. Nicht sign. und dat. (um 1835), ortsbezeichnet. 22,3 x 17,2 cm. - Unter Passepartout. - Etw. knittrig, mit vereinzelten kleinen Flecken und minimal lichtrandig.
Zisska & Lacher
Jun. 29, 2023
FRIEDRICH VON NERLY, Matita e china su carta
Est: €2,000 - €3,000
FRIEDRICH VON NERLY (Erfurt 1807 - Venezia 1878) Veduta di Palermo con la conca d'oro Matita e china su carta Cornice non coeva in radica di noce Firma in basso a destra e data 1832 Provenienza: Nobile famiglia siciliana. cm 10,5 x 35.
Benedetto Trionfante Auction House s.r.l
Jun. 23, 2023
Nerly, Friedrich (Erfurt 1807-1878 Venedig),
Est: €300 - €500
Pozzuoli. Feder auf Transparentpapier. Nicht sign. und dat. (um 1835), ortsbezeichnet. 22,3 x 17,2 cm. - Unter Passepartout. - Etw. knittrig, mit vereinzelten kleinen Flecken und minimal lichtrandig.
Zisska & Lacher
May. 25, 2023
Friedrich Nerly (1807 Erfurt - Venedig 1878) – Blick über den Bacino di San Marco in Venedig (View over the Bacino di San Marco in Venice)
Est: €250,000 - €350,000
Oil on canvas. (Around 1840). Signed lower left in the foreground "F. Nerly f.". Framed. This work is accompanied by an expertise by Dr. Wolfram Morath-Vogel, Erfurt, dated April 2020.
Karl & Faber
May. 20, 2023
Friedrich Nerly, Venetian Freight Boat
Est: €3,000 - €5,000
Monogrammed and dated lower right: F.N. 75
Kunsthaus Lempertz KG
May. 20, 2023
Friedrich Nerly, Two Fishing Boats in the Lagoon of Venice
Est: €2,000 - €3,000
Signed on the left boat: Nerly Framed under glass Verso: Silhouette of Venice, drawn with pencil.
Kunsthaus Lempertz KG
May. 20, 2023
Friedrich Nerly, Medlars and Lobelias
Est: €2,000 - €3,000
Signed lower right: Nerly Roma Framed under glass
Kunsthaus Lempertz KG
May. 20, 2023
Friedrich Nerly, Autumnal Mallow Blossoms
Est: €2,500 - €3,500
Signed and dated lower right: F. Nerly 1832 Roma Framed under glass Very beautiful, freshly coloured nature study. Like the following lot, this was also made in the the artist's Roman period, when Nerly worked in close contact with Rumohr. Rumohr owned a small but important collection of plant studies by Franz Horny, which may have inspired Nerly to these botanical etudes.
Kunsthaus Lempertz KG
Dec. 13, 2022
FRIEDRICH NERLY (GERMAN, 1807-1878) The Doge's Palace and the Piazzetta di
Est: £240,000 - £280,000
FRIEDRICH NERLY (GERMAN, 1807-1878) The Doge's Palace and the Piazzetta di San Marco with a View of the Grand... oil on canvas 30 1/4 x 42 7/8 in. (76.8 x 108.7 cm.)
Christie's
Dec. 13, 2022
FRIEDRICH NERLY THE ELDER (GERMAN, 1807–1878) The Palazzo Piscani, Venice o
Est: £40,000 - £60,000
FRIEDRICH NERLY THE ELDER (GERMAN, 1807–1878) The Palazzo Piscani, Venice oil on canvas 20 x 32 1/2 in. (50.8 x 82.5 cm.)
Christie's