Old Master Paintings Wednesday 30 October 2013 at 1Pm Knightsbridge, London

Total Page:16

File Type:pdf, Size:1020Kb

Old Master Paintings Wednesday 30 October 2013 at 1Pm Knightsbridge, London Old Master Paintings Wednesday 30 October 2013 at 1pm Knightsbridge, London Old Master Paintings Wednesday 30 October 2013 at 1pm Knightsbridge, London Bonhams Enquiries Customer Services Montpelier Street [email protected] Monday to Friday 8.30am to 6pm Knightsbridge +44 (0) 20 7468 8307 +44 (0) 20 7447 7447 London SW7 1HH www.bonhams.com Specialists Please see back of catalogue Head of Sale: for important notice to bidders Viewing Carlotta Mascherpa Sunday 27 October +44 (0) 20 7468 8307 [email protected] Illustrations 11am to 3pm Front cover: Lot 206 (detail) Monday 28 October Back cover: Lot 241 (detail) 9am to 4.30pm Andrew McKenzie Tuesday 29 October +44 (0) 20 7468 8261 [email protected] Live online bidding is 9am to 4.30pm available for this sale Wednesday 30 October Caroline Oliphant Please email [email protected] 9am to 11am +44 (0) 20 7468 8271 with “Live bidding” in the subject [email protected] line 48 hours before the auction Bids to register for this service. +44 (0) 20 7447 7448 David Dallas +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8336 To bid via the internet please visit [email protected] www.bonhams.com Lisa Greaves Please provide details of the lots +44 (0) 20 7468 8325 on which you wish to place bids at [email protected] least 24 hours prior to the sale. New bidders must also provide Poppy Harvey-Jones proof of identity when submitting +44 (0) 20 7468 8308 bids. Failure to do this may result [email protected] in your bids not being processed. Consultant Sale Number: 20613 Brian Koetser Catalogue: £18 Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Deputy Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Antony Bennett, Iain Rushbrook, John Sandon, Tim Schofield, Registered Office: Montpelier Galleries Malcolm Barber Group Managing Director, Matthew Bradbury, Harvey Cammell, Simon Cottle, Veronique Scorer, James Stratton, Roger Tappin, Matthew Girling CEO UK and Europe, Andrew Currie, David Dallas, Paul Davidson, Jean Ghika, Shahin Virani, David Williams, Michael Wynell-Mayow. Montpelier Street, Geoffrey Davies, Jonathan Horwich, James Knight, Charles Graham-Campbell, Miranda Grant, Robin Hereford, London SW7 1HH Patrick Meade, Caroline Oliphant, Hugh Watchorn. Asaph Hyman, Charles Lanning, Camilla Lombardi, +44 (0) 20 7393 3900 Fergus Lyons, Paul Maudsley, Gordon McFarlan, +44 (0) 20 7393 3905 fax Andrew McKenzie, Simon Mitchell, Jeff Muse, Mike Neill, Charlie O’Brien, Giles Peppiatt, Peter Rees, Julian Roup, Central Sale Information Middlesex Hospital Park Royal Coronation Road W Bonhams, e d s P t Park Royal a e a rn r o A k R v e R e s A4 o 0 a y Park a h l C Royal Western Ave A40 R o 0 Station a 0 d Acton 0 4 Cemetery North A Acton d Station a o R a i r o t c i V West Acton Horn Lane Bids Collection & shipment Station Handling & Important Notice +44 (0) 20 7447 7448 Sold lots marked with a special storage charges A surcharge of 2% is applicable +44 (0) 20 7447 7401 fax symbol W will be only retained when using Mastercard, Visa and To bid via the internet please visit at Bonhams, until 5:30pm on Please Note overseas debit cards. www.bonhams.com Wednesday 30 October 2013. For sold W lots removed to Lots not collected by then will be Bonhams warehouse there will The following symbol is used Payments removed to Bonhams Park Royal be no transfer and storage to denote that VAT is due on warehouse. charges for lots collected between the hammer price and buyer’s premium Buyers Friday 1 November 2013 and +44 (0) 20 7447 7447 The sold lots marked with a close of business Wednesday W † VAT 20% on hammer price +44 (0) 20 7447 7401 fax special symbol will be available 20 November 2013. for collection from Bonhams and buyer’s premium warehouse as from 9.30am on Transfer and storage charges will Sellers Friday 1 November 2013. See VAT on imported items at Payment of sale proceeds commence on Wednesday 20 * Handling and Storage section for a preferential rate of 5% on +44 (0) 20 7447 7447 November 2013. charges. hammer price and the prevailing +44 (0) 20 7447 7401 fax The charges levied by Bonhams rate on buyer’s premium Lots maybe released from Bonhams are as follows: Valuations, taxation warehouse on production of the W These lots will be removed & heritage collection order obtained from Paintings and Frames marked to Bonhams Park Royal after +44 (0) 20 7468 8340 cashier’s office at Bonhams and a with W the sale. Please read the sale +44 (0) 20 7468 5860 fax form of photographic ID. If a third information page for more details [email protected] party is collecting on behalf of Transfer per lot £20.00 the client, the client must provide Daily storage per lot £3.40 Y These lots are subject to CITES Catalogue subscriptions Bonhams with written authority regulations, please read the To obtain any Bonhams catalogue prior to collection. The third party All other paintings and frames information in the back of the or to take out an annual must present a photographic form catalogue subscription: of ID when collecting. Transfer per lot £10.00 Subscriptions Department Daily storage per lot £1.70 a Buyers from within the EU: VAT +44 (0) 1666 502200 All sold lots not marked with W is payable at the prevailing rate +44 (0) 1666 505107 fax will only be held at Bonhams All the above charges are on just the Buyer’s Premium [email protected] Knightsbridge for 21 days. exclusive of VAT (NOT the Hammer Price). Lots not collected by then Shipping will be transferred to Bonhams Buyers from outside the EU: For information and estimates Park Royal warehouse on Handling & storage VAT is payable at the prevailing on domestic and international Wednesday 20 November 2013. payment rate on both Hammer Price and All charges due Bonhams must shipping as well as export licenses Transfer and storage charges Buyer’s Premium. If a Buyer, be paid by the time of collection please contact Bonhams Shipping will commence Thursday 21 having registered under a non-EU from Bonhams’ warehouse. Department on: November 2013. address, decides that the item is +44 (0) 20 8963 2849 not to be exported from the EU, +44 (0) 20 8963 2850 Payment in advance then he should advise Bonhams Bonhams Warehouse Tel: +44 (0) 20 7447 7447 to +44 (0) 20 7629 9673 fax Address: immediately. [email protected] ascertain amount due by: cash, Unit 1, Sovereign Park cheque with banker’s card, Coronation Road credit card, bank draft or Park Royal, London NW10 7QP traveller’s cheque. Tel: +44 (0) 87 0811 3867 Hours of opening 9.30am to 4.30pm Monday to Friday Payment at time of collection By credit card / debit card 1 1 1 Florentine School, circa 1580 The Stoning of Saint Peter; and The Gathering of the Manna a pair, oil on panel 9.5 x 21cm (3 3/4 x 8 1/4in). (2) £7,000 - 10,000 €8,300 - 12,000 Old Master Paintings | 3 2 3 2 Circle of Francesco de’ Rossi, called il Salviati (Florence 1510-1563) Portrait of a gentleman, three-quarter-length, in a black embroidered tunic oil on panel 116 x 87.1cm (45 11/16 x 34 5/16in). £3,000 - 5,000 €3,600 - 5,900 3 Florentine School, 16th Century The Angel Annunciate oil on panel 75.5 x 54.5cm (29 3/4 x 21 7/16in). unframed £1,500 - 2,000 €1,800 - 2,400 4 Italian School, 17th Century Portrait of Michelangelo Buonarroti, bust-length, seated before a sculpture inscribed ‘Michel angelis bona/rotus patritius floren/tinus.an.agens 73’ (on the piece of paper, lower right) oil on canvas 42.1 x 37.1cm (16 9/16 x 14 5/8in). £1,000 - 1,500 €1,200 - 1,800 4 4 | Bonhams 5 6 5 After Fra’ Angelico, circa 1450 The Flight into Egypt inscribed ‘ELONGAVI FVGIENS 7 MANSI INSOLITVDINE PS. XXXXXV.C’ (upper edge) and ‘SVRGE ACCIPE PVERVM 7 MATREM EP 7 FVGE IN EGIPTVM MACEI.II.C’ (lower edge) oil on panel 37.5 x 36.5cm (14 3/4 x 14 3/8in). £2,000 - 3,000 €2,400 - 3,600 PROVENANCE The Collection of Lord Northwick, Thirlestane House, Cheltenham (possibly inv. no. 1639) From whom purchased by Sir Thomas Phillipps Bart., Middle Hill, 1859 (all according to a label on the reverse) LITERATURE Possibly J.R. Northwick, Catalogue of the Late Lord Northwick’s Extensive and Magnificent Collection of Ancient and Modern Pictures, Cabinet of Miniatures and Enamels (1859), p.85, cat. no. 1639 The present composition is after Fra’ Angelico’s original composition, part of a series for the Armadio degli Argenti door, now in the Museo di San Marco, Florence, and originally commissioned by Piero de’ Medici for the Basilica della Santissima Annunziata in the same city. 6 School of Ferrara, 16th Century Portrait of a young gentleman, bust-length, in a black tunic and hat oil on panel 43.5 x 36cm (17 1/8 x 14 3/16in). £1,000 - 1,500 €1,200 - 1,800 7* Milanese School, circa 1800 7 Portrait of a nobleman, half-length, in profile, in red robes and hat oil on panel 17.5 x 12.2cm (6 7/8 x 4 13/16in). £2,000 - 3,000 €2,400 - 3,600 Old Master Paintings | 5 8 (recto) 8 (verso) 8 German School, circa 1500 The Mocking of Christ; and Saint John the Baptist with Saint John the Evangelist double-sided, oil on panel 96 x 69cm (37 13/16 x 27 3/16in).
Recommended publications
  • Incisori Itineranti Nell'area Veneta Nel Seicento. Dizionario Bio-Bibliografico
    UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII UNIVERSITÀ DEGLI STUDI DI VERONA Incisori itineranti nell’area veneta nel Seicento. Dizionario bio-bibliografico di Luca Trevisan e Giulio Zavatta VERONA · MMXIII Volume pubblicato con il contributo dell’Università di Verona nell’ambito del Prin 2008 Mobilità dei mestieri del libro in Italia tra il Quattrocento e il Seicento, Unità di Verona (responsabile: prof. Giancarlo Volpato) Le voci bio-bibliografiche sono state redatte da Luca Trevisan (M - Z) e Giulio Zavatta (A - L). Crediti fotografici: Biblioteca Panizzi (Reggio Emilia), figg. 1, 4, 5, 12 Luca Trevisan, figg. 8, 9, 11, 13, 14, 16 Giulio Zavatta, figg. 2, 3, 6, 7, 10, 15 Proprietà riservata © Copyright 2013, Università di Verona Impaginazione e stampa: Tipolitografia « La Grafica », Vago di Lavagno (Verona) ISBN 978-88-98513-25-3 Sommario 7 Giancarlo Volpato Una bella giornata con un pomeriggio felice 13 Giulio Zavatta Annotazioni sull’itineranza degli incisori del Seicento in area veneta 21 Luca Trevisan Appunti per l’incisione a Venezia nel XVII secolo: note di contesto 29 Dizionario bio-bibliografico 125 Iconografia 143 Bibliografia generale 151 Indice dei nomi Una bella giornata con un pomeriggio felice di Giancarlo Volpato Se Subiaco era stata l’aurora, Venezia fu l’alba dei libri a stampa: un’alba ra- diosa, splendente, ricca di straordinarie novità e che illuminò l’universo della cultura sino ad un mezzogiorno di grande fulgore, con un pomeriggio che s’avviò – lentamente e in un tempo piuttosto lungo – sino ad un tramonto con poca luce.
    [Show full text]
  • The Marriage Contract in Fine Art
    The Marriage Contract in Fine Art BENJAMIN A. TEMPLIN* I. INTRODUCTION ................................................................................ 45 II. THE ARTIST'S INTERPRETATION OF LAW ...................................... 52 III. THE ARNOLFINI MARRIAGE: CLANDESTINE MARRIAGE CEREMONY OR BETROTHAL CONTRACT? .............................. ........................ .. 59 IV. PRE-CONTRACTUAL SEX AND THE LAWYER AS PROBLEM SOLVER... 69 V. DOWRIES: FOR LOVE OR MONEY? ........................ ................ .. .. 77 VI. WILLIAM HOGARTH: SATIRIC INDICTMENT OF ARRANGED MARRIAGES ...................................................................................... 86 VII. GREUZE: THE CIVIL MARRIAGE CONTRACT .................................. 93 VIII.NINETEENTH AND TWENTIETH CENTURY COMPARISONS ................ 104 LX . C ONCLUSION ..................................................................................... 106 I. INTRODUCTION From the Middle Ages to the Enlightenment, several European and English artists produced paintings depicting the formation of a marriage contract.' The artwork usually portrays a couple-sometimes in love, some- * Associate Professor, Thomas Jefferson School of Law. For their valuable assis- tance, the author wishes to thank Susan Tiefenbrun, Chris Rideout, Kathryn Sampson, Carol Bast, Whitney Drechsler, Ellen Waldman, David Fortner, Sandy Contreas, Jane Larrington, Julie Kulas, Kara Shacket, and Dessa Kirk. The author also thanks the organizers of the Legal Writing Institute's 2008 Summer Writing Workshop
    [Show full text]
  • AFAT-31-DEF.Pdf
    AFAT UNIVERSITÀ DEGLI STUDI DI TRIESTE Dipartimento di Studi Umanistici AFAT Direttore Giuseppe Pavanello Comitato scientifico Massimo Bisson • Barbara Boccazzi Mazza • Enrica Cozzi • Alberto Craievich • Daniele D’Anza • Roberto De Feo • Massimo De Grassi • Simone Ferrari • Lorenzo Finocchi Ghersi • Matteo Gardonio • Ludovico Geymonat • Milijenko Jurkovic´ • Matej Klemencˇicˇ • Maurizio Lorber • Enrico Lucchese • Alessio Pasian • Jan-Christoph Rössler • Ferdinand Sˇerbelj • Valerio Terraroli • Andrea Tomezzoli • Denis Ton • Giovanni Carlo Federico Villa • Maria Walcher • Nicoletta Zanni I testi sono sottoposti all’esame del Comitato Scientifico e del Comitato dei Revisori Anonimi Distribuzione libraria Scripta edizioni [email protected] ISSN 1827-269X AFAT Rivista di Storia dell’arte fondata nel 1975 31(2012) scripta edizioni con il contributo di Presentazione Con l’abituale puntualità, pubblichiamo il to riconoscimento agli sforzi e agli apporti nuovo numero di AFAT 31, relativo al 2012, scientifici che in esse si riversano, tanto più rinnovato nella veste editoriale e nel comita- quando si è in presenza di Atenei di media to scientifico, anche con il proposito, come già dimensione. Il nostro più vivo ringraziamen- detto in passato, di ampliare ulteriormente il to alla Fondazione CRTrieste per il generoso raggio dei contributi. La rivista infatti, pur contributo che ha permesso la pubblicazione privilegiando tematiche legate all’ambito della rivista. territoriale consueto, vuole sempre più aprirsi Crediamo di aver fatto, ancora una volta, a interventi di studiosi che vogliono collabo- un lavoro degno di attenzione e, sfogliando rare, a vario titolo, con l’Ateneo triestino. il volume, ci si potrà rendere conto del buon Nel 2013 AFAT è stata inclusa dalla Con- livello dei testi qui editi, dal tardogotico al sulta Nazionale per la Storia dell’Arte nell’e- Novecento.
    [Show full text]
  • The Age of Pleasure and Enlightenment European Art of the Eighteenth Century Increasingly Emphasized Civility, Elegance, Comfor
    The Age of Pleasure and Enlightenment European art of the eighteenth century increasingly emphasized civility, elegance, comfort, and informality. During the first half of the century, the Rococo style of art and decoration, characterized by lightness, grace, playfulness, and intimacy, spread throughout Europe. Painters turned to lighthearted subjects, including inventive pastoral landscapes, scenic vistas of popular tourist sites, and genre subjects—scenes of everyday life. Mythology became a vehicle for the expression of pleasure rather than a means of revealing hidden truths. Porcelain and silver makers designed exuberant fantasies for use or as pure decoration to complement newly remodeled interiors conducive to entertainment and pleasure. As the century progressed, artists increasingly adopted more serious subject matter, often taken from classical history, and a simpler, less decorative style. This was the Age of Enlightenment, when writers and philosophers came to believe that moral, intellectual, and social reform was possible through the acquisition of knowledge and the power of reason. The Grand Tour, a means of personal enlightenment and an essential element of an upper-class education, was symbolic of this age of reason. The installation highlights the museum’s rich collection of eighteenth-century paintings and decorative arts. It is organized around four themes: Myth and Religion, Patrons and Collectors, Everyday Life, and The Natural World. These themes are common to art from different cultures and eras, and reveal connections among the many ways artists have visually expressed their cultural, spiritual, political, material, and social values. Myth and Religion Mythological and religious stories have been the subject of visual art throughout time.
    [Show full text]
  • Renaissance Art and Architecture
    Renaissance Art and Architecture from the libraries of Professor Craig Hugh Smyth late Director of the Institute of Fine Arts, New York University; Director, I Tatti, Florence; Ph.D., Princeton University & Professor Robert Munman Associate Professor Emeritus of the University of Illinois; Ph.D., Harvard University 2552 titles in circa 3000 physical volumes Craig Hugh Smyth Craig Hugh Smyth, 91, Dies; Renaissance Art Historian By ROJA HEYDARPOUR Published: January 1, 2007 Craig Hugh Smyth, an art historian who drew attention to the importance of conservation and the recovery of purloined art and cultural objects, died on Dec. 22 in Englewood, N.J. He was 91 and lived in Cresskill, N.J. The New York Times, 1964 Craig Hugh Smyth The cause was a heart attack, his daughter, Alexandra, said. Mr. Smyth led the first academic program in conservation in the United States in 1960 as the director of the Institute of Fine Arts at New York University. Long before he began his academic career, he worked in the recovery of stolen art. After the defeat of Germany in World War II, Mr. Smyth was made director of the Munich Central Collecting Point, set up by the Allies for works that they retrieved. There, he received art and cultural relics confiscated by the Nazis, cared for them and tried to return them to their owners or their countries of origin. He served as a lieutenant in the United States Naval Reserve during the war, and the art job was part of his military service. Upon returning from Germany in 1946, he lectured at the Frick Collection and, in 1949, was awarded a Fulbright research fellowship, which took him to Florence, Italy.
    [Show full text]
  • Giovanni Gasparro: Revelations of the Human and the Holy by Richard Dellamorte
    Giovanni Gasparro: Revelations of the Human and the Holy by Richard Dellamorte In terms of art, Italy could possibly be l’Antico ed il Nuovo Testamento e gli scritti dei santi the richest country in the world. Boasting many famous artists cattolici, Thomas Mann e la letteratura in genere, le altre from Giotto Di Bondone and Sandro Botticelli to Leonardo Da arti come il teatro e la musica, le opere di pittura e scultura Vinci and Masaccio, it seems fairly obvious that even today, del passato e contemporanee.” In addition to biblical there are artists exploring the depths of the extraordinary, scripture, Giovanni finds inspiration from literature, theatre, carving new frontiers in the world of art. In the last few music, and of course, art, past and present. However, months, I’d quickly become captivated and enamoured with Gasparro maintains that sensorial reality and nature prove the work of Italian artist, Giovanni Gasparro, and was lucky to be the main source of inspiration for him, stimulating his enough to speak with him about his work. creative and artistic muse. Born in Bari, Gasparro had aspirations of becoming an artist Delving deeper into the psyche of Gasparro, one can ever since he was a child, realizing a strong affinity for envision the vast recesses of Italian history and art, fusing brushes and crayons, putting them to paper. He spent hours this amalgamation of the spiritual and the aesthetic. admiring works by Gaspare Traversi and Michelangelo, and Gasparro says his interest lies in the impulses governing according to Giovanni, both living in such a culturally rich the human soul — “mi interessa indagare le pulsioni che country as Italy, and experiencing so much artistic influence agitano l’umano.” Many of Giovanni’s works depict naked, has helped shape him as an artist: “è stato determinante twisted bodies and intertwined limbs; one reoccurring il fatto che vivessi in Italia, fra capolavori assoluti di tutti i element of his art includes imagery of hands — sometimes tempi.” cascading several hands in gesture across the canvas, as if in movement.
    [Show full text]
  • OLD MASTER PAINTINGS Wednesday 4 July 2018
    OLD MASTER PAINTINGS Wednesday 4 July 2018 BONHAMS OLD MASTERS DEPARTMENT Andrew McKenzie Caroline Oliphant Lisa Greaves Director, Head of Department, Group Head of Pictures Department Director London London and Head of Sale London – – – Poppy Harvey-Jones Brian Koetser Bun Boisseau Junior Specialist Consultant Junior Cataloguer, London London London – – – Mark Fisher Madalina Lazen Director, European Paintings, Senior Specialist, European Paintings Los Angeles New York Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors – – Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, David Johnson, Charles Lanning, Grant MacDougall Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Edward Wilkinson, Leslie Wright. OLD MASTER
    [Show full text]
  • Künstler-Inventare; Urkunden Zur Geschichte Der Holländischen
    Digitized by the Internet Archive in 2010 with funding from University of Toronto http://www.archive.org/details/knstlerinventa05bred KUNSTLER-INVENTARE KÜNSTLER-INVENTARE URKUNDEN ZUR GESCHICHTE DER HOLLÄNDISCHEN KUNST DES XVPen^ XVIIten UND XVIIIten JAHRHUNDERTS HERAUSGEGEBEN VON Dr. A. BREDIUS UNTER MITWIRKUNG VON Dr. O. IIIRSCHMANN FÜNFTER TEIL MIT 7 ABBILDUNGEN UND 86 FACSIMILES HAAG MARTINUS NIJIIÜFF 1918 975684 , Inhalt. Seite Vorwort xi Die Nachlass-Versteigerung von Pieter Isaacsz. (Mit Urkunden über Isaac Isaacsz , Matheus van Hoven und Micliiel van de Sande) 1473 Inventar eines Verwandten von Hans van Ebelen (Evelen) 1490 Die Naclilass-Versteigerung von Jan Jansz .... 1494 Das Xachlass-Inventar des Vaters von Simon Root. (Mit Urkunden über Anthony Leemans und Nicolaes ' Lissant) . 1497 Bilderverkauf durch Abraham de Cooge. (Mit Urkunden über Adriaen Hansz Muj-lties) 1511 Das Xachlass-Inventar von Edo Quiter 1523 Inventar von Pieter Ykens 1528 Inventar und Xachlass-Inventar von Jan Blom |Pro- voost], (Mit Urkunden über Jan Pietersz Blom und Jan Huybertsz Blom) 1531 Das Nachlass-lnventar der Witwe von Philips le Petit. (Mit Urkunden über Alexander , Bernardus Philips und Niclaes le Petit und Lucas Verstratei)). 1549 Das Nachlass-lnventar von Willem Willemsz Swin- derwyck 1576 Das Xachlass-Inventar von" Jacob Loys 1588 Das Xachlass-Inventar von Hans van Londerseel . 1594 Inventar von Xicolaes de Bruyn 1599 Vlll — Seite Das Nachlass-Inventar von Maerten Adriaensz Balken- eynde. (]\Iit Urkunden über Floris van Schooten und Jacob Wynants) 1604 Das Nachlass-Inventar von Francois Verwilt. (Mit Urkunden über Adriaen Fransz) 1617 Das Nachlass-Inventar der Witwe von Abraham Verlinde. (Mit Urkunden über Willem Verlinde) . 1629 Das Nachlass-Inventar der Witwe von Crijn Hen- dricksz Volmarijn.
    [Show full text]
  • Rodolfo Pallucchini
    - ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte PRECISAZIONI ALLA R. GALLERIA ESTENSE UMEROSE sono le opere che attendono che i restauri e qualche parziale ripassatura N una determinazione critica ed attributiva di colore n~n lo hanno troppo modificato, alla R. Galleria Estense di Modena. Nel Cata­ per cui è legittimo ritenere che i caratteri logo dei dipinti, in preparazione, si darà conto della figura siano ancora quelli originari. per ciascun'opera S'erge il Reden­ delle particolari tore su di un pae­ questioni attribu­ saggio vario, sol­ tive e bibliografi­ cato a destra da che, sorte dopo la un corso d'acqua, magistrale pubbli­ che riflette l'az­ cazione diA. Ven­ zurro del cielo, po­ turi. 1) Qui si pren­ polato da borghi, de in esame un mura, castella, ed gruppo di pitture, a destra rialzato a non colla pretesa falde brune di ter­ di applicar etichet­ reno montuoso. te, ma per tentare Ampia è 1'atmo­ di determinare il sfera dello sfondo, , , linguaggio figura­ lmmersa m una tivo, cioè il valore luce solare pome­ e la qualità della ridiana, per via loro particolare dell'orizzonte te­ forma artistica. 2) nuto così basso; I. Un problema una vastità aerea attributivo, del e cosmica davvero quale si tenta la intesa attraverso risoluzione, è co­ la legge prospet­ stituito dalla tavo­ tica antonelliana, letta con il Cristo organizzatrice, in benedicente (n. 242) senso nnaSClmen­ (fig. 2), entrata in tale, delle aspira­ Galleria nell' ul- FIG. I - GIÀ A VIENNA, RACC. PRIVATA - ATTRIBUITO A B. MONTAGNA zioni pittoriche CRISTO BENEDICENTE timo quarto del dei veneti.
    [Show full text]
  • Catalogue Abrégé Des Tableaux Et Des Sculptures Du Musée Royal De La
    r r CATALOGUE ABREGE DES TABLEAUX ET DES SCULPTURES DU MUSEE ROYAL (Mauritshuis) A LA HAYE La Haye 1899 t 3» DES TABLEAUX ET DES SCULPTURES MUSÉE ROYAL DE LA HAYE (Mauritshuis) La Haye i s 99 Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/catalogueabregedOOmaur Le Musée est ouvert gratuitement : du i novembre au i mars, de io à 3 heures. „ 1 mars „ 1 juin, „ 10 „ 4 juin 1 „ 1 ,, septembre, ,, 10 ,, 5 ,, 1 1 ,, septembre ,, novembre, ,, 10 ,, 4 ,, Le dimanche et les jours fériés le Musée n’est ouvert qu’à partir de midi et demi. > INTRODUCTION. Le Mauritshuis, le bâtiment qui renferme le Cabinet Royal de Tableaux, a été construit de 1633 à 1644 par Pieter Post, archi- tecte à la Haye, d’après les plans de Jacob van Campen, depuis architecte de l’Hôtel de ville d’Amsterdam. Il tire son nom de son fondateur, le Comte (plus tard Prince) Jean Maurice de Nas- sau, Gouverneur du Brésil. Lorsque le Prince retourna dans sa patrie, l’édifice était à peu près terminé. Il le décora de nom- breuses oeuvres artistiques, entre autres de paysages peints au Brésil par Frans Post, en mémoire du séjour de ce prince dans l’Amérique méridionale. En 1660 le roi Charles II fut logé dans ce palais pendant le séjour qu’il fit à la Haye, en se rendant en Angleterre. Après la mort du prince Jean Maurice de Nassau, le 20 déc. 1679, le Mauritshuis passa en des mains étrangères et fut loué en 1685 aux Etats députés de la Hollande.
    [Show full text]
  • Catalogue Designer: Laura Scivoli Exhibition Material Visual Design: He Zhao
    Index Silent Narratives. Curatorial Concept - Mei Huang .................................................................................... 7 Silent Narratives: A Polyphony Of Stories And Journeys - Dr. Laia Manonelles Moner ................................... 20 Interview on the Exhibition Silent Narratives - Wang Hui ............................................................................. 24 Chinese Hall ............................................................................................................................. 33 Wu Guanzhen .......................................................................................................................... 35 Liu Jianhua ............................................................................................................................... 42 Wang Sishun ............................................................................................................................ 44 Shen Ruijun .............................................................................................................................. 50 Zong Ning ............................................................................................................................... 52 Ding Shiwei .............................................................................................................................. 56 European Hall ......................................................................................................................... 99 Yang Song ..............................................................................................................................
    [Show full text]
  • Strategy and Identity in the Careers of Sixteenth Century Venetian Painters
    the Road to Recognition Strategy and identity in the careers of sixteenth century Venetian painters Clim Wijnands / 4222385 / Master Thesis / dr. Bram de Klerck / 28-08-2017 Table of Contents Introduction 3 1. Vantage points 7 1.1 Theoretical framework 7 1.2 Consuming and social stratification in Renaissance Venice 13 1.3 Patronage in Renaissance Venice 18 2. Lorenzo Lotto: the wanderer 25 2.1 A promising start 27 2.2 Problems and solutions in Venice 34 2.3 Running to stand still 40 3. Giovanni Antonio da Pordenone: the embodiment of the new 49 3.1 From provincial artist to recognised master 51 3.2 Establishing a foothold 60 3.3 The conquest of Venice 64 4. Gerolamo Savoldo: the original avant-garde 69 4.1 Fashioning a marketable identity 71 4.2 Breakthrough and oblivion 77 Conclusion 86 Bibliography 90 Figures 95 Appendices 110 2 Introduction Art history has always had the tendency to focus on the accomplished painters at the top of the artistic food chain. In reality, however, many talented painters struggled immensely to reach that top, while an even larger number of mediocre painters could only dream of fame and glory. This research is not primarily concerned with the elite artists, nor does it cover the many anonymous painter-craftsmen in the periphery of the art market. Instead, it is devoted to the middle group of ambitious and skilled artists trying to break out of the margins of the art world. Sixteenth-century Venice was a city with an abundance of churches, scuole and palaces, and was governed by a culturally sophisticated elite.
    [Show full text]