Fonds Famille Bonaparte (1797-1988)
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Lettres Autographes Et Documents Manuscrits
VENTE AUX ENCHÈRES PUBLIQUES PARIS Pierre Bergé & associés Vente LETTRES AUTOGRAPHES ET DOCUMENTS MANUSCRITS MARDI 22 DÉCEMBRE 2009 15 HEURES DROUOT MONTAIGNE SALLE BOURDELLE PIERRE BERGÉ & ASSOCIÉS - FRANCE Pierre Bergé président Antoine Godeau - Frédéric Chambre vice-présidents 12 rue Drouot 75009 Paris - T. +33 (0)1 49 49 90 00 - F. +33 (0)1 49 49 90 01 numéro d’agrément_2002-128 du 04.04.02 SECRÉTAIRE GÉNÉRAL DÉPARTEMENT DÉPARTEMENT Fabrice de Sournac JUDAÏCA DESIGN T. + 33 (0)1 49 49 90 29 Amélie Sieffert ART NOUVEAU [email protected] T. + 33 (0)1 49 49 90 09 ART DÉCORATIF [email protected] François Epin RELATIONS PUBLIQUES T. + 33 (0)1 49 49 90 13 PRESSE SPÉCIALISÉE DÉPARTEMENT [email protected] Nathalie du Breuil BIJOUX - HORLOGERIE Sandor Gutermann T. + 33 (0)1 49 49 90 08 Dora Blary T. + 33 (0)1 49 49 90 33 [email protected] T. + 33 (0)1 49 49 90 11 [email protected] [email protected] CHARGÉE DE PROJETS : RÈGLEMENT PRESSE / ÉVÈNEMENTS DÉPARTEMENT Mariana Si Saïd Marie Le Tallec MEUBLES ET OBJETS D’ART T. + 33 (0)1 49 49 90 02 T. + 33 (0)1 49 49 90 26 TABLEAUX - DESSINS ANCIENS F. + 33 (0)1 49 49 90 04 [email protected] ORIENT ET EXTRÊME-ORIENT [email protected] EXPERTISE - INVENTAIRE DIRECTION ARTISTIQUE Daphné Vicaire ORDRES D’ACHAT Aurore Blot Lefevre T. + 33 (0)1 49 49 90 15 Sylvie Gonnin T. + 33 (0)1 49 49 90 03 [email protected] T. -
Mon Tgobert, Et Les Le Général Leclerc Bonaparte
- 117 - Mon tgobert, le Général Leclerc et les Bonaparte L’histoire de Montgobert, qui constitue un des points d’attraction les plus fréquentés du Valois, est riche de souvenirs, mais ne seront envisagés ici que ceux qui concernent le général Leclerc, Pauline et les descendanis des Bonaparte. Le château domine le village dont on a pu dire qu’il était à trois étages : en bas, le ru de Retz, l’étang, le moulin, les prairies, au-dessus l’église, le village lui-même, quelques potagers, enfin, tout-à-fait en haut, sur le plateau de la colline, le château entour6 de son parc qui domine la vallée. Le village a été fondé au milieu du XIIe siècle par le leude franc Godbert qui lui donna son nom et dans les chartes de l’époque, on retrouve déjà mentionnés les noms de Mons-Gomberte, puis quelques décennies plus tard de Mongombert. ##* Le premier seigneur de Montgobert connu, Jean, participa sous Philippe-Auguste à la conqugte de la Normandie sur Jean-sans-terre, puis à la bataille de Bouvines, sous la bannière du Sire de Coucy. A la fin du quatorzième siècle, par le mariage de Marguerite de Clermont, dame de Montgobert, le château passa dans la famille de Nicolas, seigneur de Menou. Son fils Jean, chambellan de Charles VI devint seigneur de Menou et de Montgobert. En 1474 la terre fut vendue à Robert de Malortie, seigneur de Montgobert et de Villers-Hélon et trente ans plus tard à François de Barbençon. Une de ses filles, Marguerite, devait épouser le 15 juillet 1519, Robert de Joyeuse. -
Fesch Et Les Arts Liturgiques
Fesch et les arts liturgiques Bernard Berthod Conservateur du Musée d’Art religieux de Fourvière, Joseph Fesch est nommé archevêque de Lyon en juillet 1802 par le premier consul, son neveu. Il prend possession de son diocèse en décembre 1802 et Pie VII le crée cardinal au consistoire du 17 janvier 1803 (fig. 2). Il séjourne peu à Lyon, cependant il assume pleinement son épiscopat, s’en- toure d’excellents grands vicaires et accomplit en dix ans la restauration religieuse de son grand diocèse. En 1814, il quitte sa ville épiscopale à l’approche des troupes autrichiennes, puis après les « Cent jours », il se réfugie à Rome où il mène une vie retirée avec sa sœur, Madame Laetitia. C’est là qu’il meurt le 13 mai 1839, léguant la plus grande partie de ses biens et collections à la ville d’Ajac- cio. Quelques pièces de son mobilier liturgique sont restées dans son ancien diocèse, d’autres sont conservées au Musée Fesch d’Ajaccio 1. Elles proviennent de commandes pour son quotidien, sa cathédrale, son diocèse, sa ville d’Ajaccio et la Grande Aumônerie, données directement ou léguées par testament. Toutes n’ont pas été retrouvées et des lieux restent à explorer 2. Lorsqu’il arrive à Lyon, à la fin de l’année 1802, tout est à reconstruire, matériellement et aussi spi- rituellement bien qu’une foi vive couve sous la cendre, entretenue pendant les années sombres par le grand vicaire Linsolas. Il faut reconstituer le vestiaire et le mobilier liturgique des principales paroisses de la ville et en premier lieu celui de la primatiale, pillés en 1793. -
TIBCO® Graph Database Getting Started Guide
TIBCO® Graph Database Getting Started Guide Software Release 2.0 November 2018 Two-Second Advantage® 2 Important Information SOME TIBCO SOFTWARE EMBEDS OR BUNDLES OTHER TIBCO SOFTWARE. USE OF SUCH EMBEDDED OR BUNDLED TIBCO SOFTWARE IS SOLELY TO ENABLE THE FUNCTIONALITY (OR PROVIDE LIMITED ADD-ON FUNCTIONALITY) OF THE LICENSED TIBCO SOFTWARE. THE EMBEDDED OR BUNDLED SOFTWARE IS NOT LICENSED TO BE USED OR ACCESSED BY ANY OTHER TIBCO SOFTWARE OR FOR ANY OTHER PURPOSE. USE OF TIBCO SOFTWARE AND THIS DOCUMENT IS SUBJECT TO THE TERMS AND CONDITIONS OF A LICENSE AGREEMENT FOUND IN EITHER A SEPARATELY EXECUTED SOFTWARE LICENSE AGREEMENT, OR, IF THERE IS NO SUCH SEPARATE AGREEMENT, THE CLICKWRAP END USER LICENSE AGREEMENT WHICH IS DISPLAYED DURING DOWNLOAD OR INSTALLATION OF THE SOFTWARE (AND WHICH IS DUPLICATED IN THE LICENSE FILE) OR IF THERE IS NO SUCH SOFTWARE LICENSE AGREEMENT OR CLICKWRAP END USER LICENSE AGREEMENT, THE LICENSE(S) LOCATED IN THE “LICENSE” FILE(S) OF THE SOFTWARE. USE OF THIS DOCUMENT IS SUBJECT TO THOSE TERMS AND CONDITIONS, AND YOUR USE HEREOF SHALL CONSTITUTE ACCEPTANCE OF AND AN AGREEMENT TO BE BOUND BY THE SAME. ANY SOFTWARE ITEM IDENTIFIED AS THIRD PARTY LIBRARY IS AVAILABLE UNDER SEPARATE SOFTWARE LICENSE TERMS AND IS NOT PART OF A TIBCO PRODUCT. AS SUCH, THESE SOFTWARE ITEMS ARE NOT COVERED BY THE TERMS OF YOUR AGREEMENT WITH TIBCO, INCLUDING ANY TERMS CONCERNING SUPPORT, MAINTENANCE, WARRANTIES, AND INDEMNITIES. DOWNLOAD AND USE OF THESE ITEMS IS SOLELY AT YOUR OWN DISCRETION AND SUBJECT TO THE LICENSE TERMS APPLICABLE TO THEM. BY PROCEEDING TO DOWNLOAD, INSTALL OR USE ANY OF THESE ITEMS, YOU ACKNOWLEDGE THE FOREGOING DISTINCTIONS BETWEEN THESE ITEMS AND TIBCO PRODUCTS. -
The 1852 National Gallery Acquisition of the Tribute Money by Titian
Art sales and attributions: the 1852 National Gallery acquisition of The Tribute Money by Titian Barbara Pezzini Figure 1 Titian, The Tribute Money, about 1560-8 (perhaps begun in the 1540s) Oil on canvas, 112.2 x 103.2 cm. London: National Gallery. © The National Gallery The evidence presented in this paper aims to complicate one of the core assumptions of cause and effect in art history: that poor quality and uncertain autography of a work of art cause poor critical reception and a poor sale. In fact, the opposite also occurs: a poor sale may contribute to the critical demise of a work of certain autography and, arguably, quality. To demonstrate this, the paper examines how the commercial circumstances around the 1852 acquisition of Titian’s The Tribute Money by the National Gallery [Fig. 1] had a definite impact on its subsequent, and factious, attribution history. The Tribute Money was a controversial purchase that flared up the already heated public debate around the National Gallery’s administration and it contributed to the implementation of the 1853 Parliamentary inquiry, a ‘Select Committee’ that eventually brought to the re- constitution of the museum and the appointment of its former Keeper and Trustee, Charles Lock Eastlake (1793-1865), as its first director.1 Francis Haskell already I wish to thank Susanna Avery-Quash, Lukas Fuchsgruber, Alycen Mitchell and Marie Tavinor who have read earlier drafts of this text and provided many insightful suggestions. Special thanks to Francesco Ventrella, the peer reviewer for the Journal of Art Historiography, who has generously provided many perceptive comments on this text. -
Richard Cosway, RA and Maria Cosway
Richard Cosway, RA and Maria Cosway Richard Cosway, RA (5 November 1742 – 4 July 1821) was a leading English portrait painter of the Regency era, noted for his miniatures. He was a contemporary of John Smart, George Engleheart, William Wood, and Richard Crosse. His wife was the Italian-born painter Maria Cosway, a close friend of Thomas Jefferson. Cosway was born in Tiverton, Devon, the son of a schoolmaster. He was initially educated at Blundell's School but at the age of twelve he was allowed to travel to London to take lessons in painting. He won a prize from the Society of Artists in 1754 and by 1760 had established his own business. He exhibited his first works at the age of 20 in 1762 and was soon in demand. He was one of the first group of associate members of the Royal Academy, elected in August 1770, and was elected a full member the following March, on the casting vote of the academy's president, Sir Joshua Reynolds. He is included in Johan Zoffany's group portrait of the members of the academy (begun in 1771); a late addition to the composition, he was painted on an extra strip of canvas, attached to the right-hand side of the painting. Cosway painted the future King George IV in 1780 and was appointed Painter to the Prince of Wales in 1785—the only time this title was ever awarded. His subjects included the Prince's first wife, Maria Anne Fitzherbert, and various English and French aristocrats, including Madame du Barry, mistress of King Louis XV of France. -
"Haiti" at the Theatricum Botanicum by Laura WAGNER
H-Haiti Review: Revival of William DuBois's "Haiti" at the Theatricum Botanicum by Laura WAGNER Discussion published by Laura Wagner on Tuesday, October 23, 2018 Review: Revival of William DuBois's "Haiti" at the Theatricum Botanicum By Laura Wagner (Duke University) When the Theatricum Botanicum in Topanga, California revived William DuBois’s Haiti this summer, it was the first time the play had been performed since it premiered in 1938, at the Negro Theatre Unit of the Works Progress Administration's Federal Theatre Project. Although the play has been widely misattributed to W.E.B. Du Bois, William DuBois was a white playwright and novelist who later became the editor of the New York Times Book Review. DuBois’s Haiti tells the story of the final months of the Haitian Revolution, featuring historical characters (Generals Toussaint Louverture and Henri Christophe on the Haitian side, General Charles LeClerc and Pauline Bonaparte on the French side) along with an array of imaginary subalterns, revolutionaries, servants, and lovers. A play’s revival is a curious thing, and it is not clear if it is better for audience members to view such a performance as a work of contemporary art or instead as a historical artifact. As a historical document, the play Haiti is a fascinating glimpse of how revolutionary Haiti was imagined and represented among “progressive” white Americans a mere four years after the end of the twenty-year US occupation of Haiti and nearly thirty years before the Civil Rights Act became law. In 1938, Haiti’s portrayal of Black triumph and interracial romance may have been radical for US audiences. -
A Challenge to Napoleon: the Defiance of the Daughters of Charity
Vincentian Heritage Journal Volume 30 Issue 2 Article 3 Spring 2011 A Challenge to Napoleon: The Defiance of the Daughters of Charity Elisabeth Charpy D.C. Follow this and additional works at: https://via.library.depaul.edu/vhj Recommended Citation Charpy, Elisabeth D.C. (2011) "A Challenge to Napoleon: The Defiance of the Daughters of Charity," Vincentian Heritage Journal: Vol. 30 : Iss. 2 , Article 3. Available at: https://via.library.depaul.edu/vhj/vol30/iss2/3 This Article is brought to you for free and open access by the Vincentian Journals and Publications at Via Sapientiae. It has been accepted for inclusion in Vincentian Heritage Journal by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. 46 47 that mysticism is deeply tied to its root tradition, world view, and language,49 A Challenge to Napoleon: but we cannot deny the fact that its result shares characteristics as seen in The Defiance of the Daughters of Charity three mystics from three very different traditions. By Finally, notice that all three mystics employed central symbols from Elisabeth Charpy, D.C. the natural world. Vincent de Paul used a mare which pulls a cart following Translated by the will of her master; Cheng Yi chose the mountain, nurturing all forms of Clara Orban, Ph.D. life according to a proper time; and Yin Zhiping envisioned a bright moon & which shines upon the world, though occasionally darkened by fleeting Edward R. Udovic, C.M. clouds. They probably chose natural examples due to their innate lack of artificiality or falsity. -
La Politique Religieuse De Napoléon
1 NAPOLEON ET L'EGLISE La politique religieuse de Napoléon La politique religieuse de Napoléon s'enracine 1/ dans son héritage familial Education donnée par sa mère, dotée d'une grande force d'âme et d'une sincère piété Influence de son oncle le cardinal Joseph Fesch: son conseiller en ce domaine, l'instrument de sa politique. Religiosité corse: chez lui la superstition se mêle au scepticisme philosophique. 2/ dans ses convictions profondes «un peuple sans religion, on ne le gouverne pas, on le mitraille » Dans sa politique de reconstruction de la France, un rôle est assigné à la religion catholique: «mais il faut que cette religion soit dans la main du gouvernement !» 1 Le Concordat et le rétablissement du culte Pour ramener la paix intérieure: premières mesures: autoriser le retour des prêtres d'exil, restituer au clergé les églises non aliénées Négociateur: le rustique mais habile et éloquent abbé Etienne Alexandre Bernier, insermenté, un des chefs de l'insurrection vendéenne. Pie VII, souhaite un accord qui rétablira le culte public dans « la fille ainée de l'Eglise Bonaparte en Italie s'en ouvre au Cardinal Martiniana, archevêque de Verceil et le charge de transmettre au Pape son projet d'accord. Avec prudence Pie ,VII envoye en France, Mgr Spina, accompagné d'un théologien le Père Caselli : mission secrète, sonder les intentions réelles du Premier Consul et mesurer son crédit. 1/ Huit mois de négociation de novembre 1800 à l'été 1801. Texte de l'accord, une vingtaine de rédactions successives des deux côtés, volonté réciproque d'aboutir,--- mais les objectifs différent sensiblement. -
The Deposition from the Cross Oil on Canvas 55¾ by 45 In.; 142 by 114 Cm
Sébastian Bourdon (Montpellier 1616 - Paris 1672) The Deposition from the Cross oil on canvas 55¾ by 45 in.; 142 by 114 cm. Bears a red wax seal with the Spencer coat of arms on the reverse. Likely painted between 1640 and 1643, The Deposition is an early work by Bourdon, from the beginning of his first Paris period, just predating the Crucifixion of Saint Peter painted for Notre-Dame. The picture shares a similar compositional structure and use of heavily robed, leaning figures, as found in other early religious works such as King Solomon Sacrificing to the Idols (Private Collection), and Tobit Burying the Dead (Valence, Musée des Beaux-Arts). A smaller autograph replica of the composition, of smaller dimensions and horizontal in format, is located in the Musée Fabre, Montpellier. An anonymous copy is also recorded in the former collection of Cardinal Joseph Fesch. Until recently, this picture formed part of the illustrious Spencer collection, where it hung at Althorp House for over a century, along with masterpieces by Rubens, van Dyck, Giordano and Guercino. To this day, the Spencer collection remains one of the most important intact family collections in Europe, one that was begun in earnest by Robert Spencer, 2nd Earl of Sunderland (1641-1702). Paris Bourdon was born in Treviso and grew up in a noble family, receiving a formal education. Initially he entered the bottega of Titian in 1509, but by 1518 he was already registered as an independent master. According to Giorgio Vasari, to whom we are indebted for nearly all the facts of Bourdon's life, he did not spend many years with Titian, having left the older master’s workshop due to conflicts with his teacher. -
1J - Petits Fonds Et Pièces Isolées D’Origine Privée
Archives du département du Rhône et de la métropole de Lyon 1J - Petits fonds et pièces isolées d’origine privée 1J 1-1J1764 XIII-XXIe Adeline Chanellière 1 Archives du département du Rhône et de la métropole de Lyon Introduction Zone d’identification Cote : 1J 1-1J1764 Date : XIII-XXIe Auteur : Adeline Chanellière Modalités d’entrée : Achats, dons, legs, dépôts. Zone du contenu et de la structure Présentation du contenu : La sous-série 1 J est constituée de documents isolés ou de petits fonds (1 mètre linéaire au maximum), d’origine privée pour la plupart. Mode de classement : La série J a été créée par la circulaire du 15 avril 1944. Le cadre de classement et la cotation en ont été fixés par la circulaire du 16 décembre 1965, et confirmés par celle du 18 décembre 1998. De 1964 à 1986, les pièces isolées qui auraient dû former la sous-série 1 J ont été cotées selon un système simple mais condamné à disparaître dès sa création : le numéro de la sous-série correspondait au millésime de la date d’enregistrement. C’est ainsi que l’on commence le registre de l’année 1964 en inscrivant 64 J 1. En 2005, Nathalie Favre-Bonvin établit une cotation conforme à la réglementation. Les articles sont ordonnés à partir de 1 J 1. Un premier inventaire propose en salle de lecture la consultation des articles 1 J 38 à 1 J 416. Depuis, chaque document nouvellement entré aux Archives du département du Rhône et de la métropole de Lyon est coté par ordre d’arrivée. -
Great Napoleons Mother
GREAT N APOLEON ’ S M OT H E R BY C L A R A T S C H U D I J UTE DRI SE D TRANSZAN ON FROM THE NORWE GM N BcY M fl P E . O E mm) a c olouteb 130mm. N EW YORK N O . E , P B U TTO C ’ ‘ CO; LlM . TR ’ ANSLATORS PREFACE. No apology can be needed on the part of either au tho r or translato r for b ringing before the a a public a sketch of the life of Letitia Bon p rte, whose chequered career is so deeply interesting , and yet so little known . It commends itself to the study of women of all nations and of every cast of thought, while an insight into the a a m an ch r cter of the mother of a remarkable , a a a wh tever our person l , political , or p triotic at a a feeling may be, ought the least to w ken our curiosity . The fact that N apoleon was a terror to every E a nation of urope , a verit ble scourge of God , E a need not be ignored by the nglish re der, fiome w whose inherent love of will , ho ever, help him to understand that the conqueror “ ’ ” could at the same time be a mother s pride , and it is mainly in this light that he is to be contemplated in the following sketch . ’ TRAN SLA OR S RE F CE . vi . T P A The translator does not consider herself wanting in loyalty to her own country or in condemnation of the all -absorbing ambition of a O s h e N poleon , while publishing the pinions has translated ; they are those of the Norwegian “ a and uthoress , not her own , the other side of a position has also points of interest for the historical student .