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Mattia Preti (Taverna 1613-1699 Valletta), A young man kneeling with a basket

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Lot 18. Mattia Preti (Taverna 1613-1699 Valletta), A young man kneeling with a basket, with inscription in pencil '26 Agosto 1829' in modern hand (verso), red chalk, traces of black chalk, indented with the stylus, 15 x 10 ¾ in. (37.8 x 27.5 cm). Estimate USD 40,000 - USD 60,000. © Christie's Images Ltd 2018

ProvenanceA. Chariatte, London (d. 1923) (L. 88a); Sotheby's, London, 30 April 1923, probably part of lot 7 (as Carlo Maratti).
Sir John Clermont Witt, London (1907-1982) (L. 646a).
Sotheby's, London, 19 February 1987, lot 260 (as Bolognese School, c. 1675).

Property of Margot Gordon.

LiteratureM. Aldega, M. Gordon, Italian Drawings. XVI to XVIII Century, Rome 1987, no. 28, ill.
C. Strinati, M. Marini and C. Ippoliti, Mattia Preti. Disegno e colore, Catanzaro 1991, pp. 154, 265-66, no. 51, ill. 

ExhibitedLondon, The Courtauld Gallery, The John Witt Collection. Part I: European Schools, 1963, no. 19 (as Annibale Carracci).

NoteDeveloping the heroic style of Raphael and Annibale Carracci, this powerful sheet may relate to the young shepherd, kneeling at left, in Preti's Adoration of the Shepherds (fig. 1), datable to the end of the artist's stay in Naples, circa 1660-61. Despite some differences, both works capture the figure from below and share the emphasis on the young man's muscular arm and shoulder. A similar model, caught in a strikingly close attitude, can be found in a drawing in the Ashmolean Museum, Oxford (Strinati, Marini and Ippoliti, op. cit., no. 23, ill.). The present sheet stands out in the artist's œuvre for its scale and technique, with bold strokes of red chalk – Preti's signature medium – over exploratory lines in black chalk. The figure's outlines were forcefully indented with a stylus to transfer the design onto another sheet.

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Fig. 1. Mattia Preti, The Adoration of the Shepherds, Walker Art Gallery, Liverpool.

Christie's. Old Master & British Drawings, 30 January 2018, New York


Giovanni Battista Gaulli, called il Baciccio (Genoa 1639-1709 Roma), God the Father and the dead Christ

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Lot 26. Giovanni Battista Gaulli, called il Baciccio (Genoa 1639-1709 Roma), God the Father and the dead Christ, black chalk, pen and brown ink, grey wash, heightened with white, squared in black chalk, 16 ½ x 11 1/8 in. (42 x 28.3 cm). Estimate USD 20,000 - USD 30,000© Christie's Images Ltd 2018

NoteCharacteristic of Gaulli’s preparatory drawings in its emphasis on the outlines of the figures, this unpublished sheet is a study for a late modello in oil on canvas with the Holy Trinity surrounded by angels, datable around 1685-1695 (fig. 1; F. Petrucci, Baciccio. Giovanni Battista Gaulli, 1639-1709, Rome 2009, no. B37, ill.). While it is not precisely known for which commission the drawing and modello were made, it has been suggested by Dieter Graf that it could be the decoration of the vestibule of the baptistery at Saint Peter’s, Rome (‘Giovanni Battista Gaulli. Entwürfe zur Dekoration des Vorraums der Taufkapelle von St. Peter’, Pantheon, XXXII, 1974, pp. 35-47). Drawings for the pairs of angels at lower left and right of the lunette in a technique and style identical with those of the present sheet are at the Kupferstichkabinett, Berlin (inv. KdZ 15280); and at the Ashmolean Museum, Oxford (inv. 1970.46; see ibid., p. 40, figs. 21, 22). 

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Fig. 1. Giovanni Battista Gaulli, called il Baciccio, The Holy Trinity surrounded by angels, present location unknown.

Christie's. Old Master & British Drawings, 30 January 2018, New York

Giuseppe Cesari, called Cavaliere d'Arpino (Arpino 1568-1640 Rome), Diana and Actaeon

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Lot 27. Giuseppe Cesari, called Cavaliere d'Arpino (Arpino 1568-1640 Rome), Diana and Actaeon, black and red chalk, watercolor, heightened with white, 19 7/8 x 27 in. (51.5 x 69.5 cm). Estimate USD 400,000 - USD 600,000© Christie's Images Ltd 2018

ProvenancePossibly seized from the artist on 30 July 1607 by Cardinal Scipione Borghese, Rome (1577-1633).
Failla Lemme Collection, Rome 2002.
Anonymous sale; Sotheby's, London, 6 July 2010, lot 199.

LiteratureA. De Rinaldis, 'Le opere d'arte sequestrate al Cavalier d'Arpino', in Archivi. Archivi d'Italia e rassegna internazionale degli archivi, III, no. 2, 1936, p. 115. 
H. Röttgen, Il Cavalier Giuseppe Cesari d'Arpino. Un grande pittore nello splendore della fama e nell'incostanza della fortuna, Rome 2002, pp. 113, 346-347, under no. 109, no. 184, ill.
S. Loire, Musée du Louvre, Département des Peintures. Peintures italiennes du XVIIe siecle du Musée du Louvre: Florence, Gênes, Lombardie, Naples, Rome et Venise, Paris 2006, p. 92. 
M.S. Bolzoni, Il Cavaliere Giuseppe Cesari d'Arpino. Maestro del disegno. Catalogo ragionato dell'opera grafica, Rome 2013, p. 124, fig. 103, no. 250.

NoteMarking a firm point in the history of colored drawings in Early Modern Italy, Cesari's Diana and Actaeon stands out in his corpus of drawings for its size, level of finish and prestigious provenance. In this depiction of Ovid's myth (Metamorphoses, III:165-205) the scene takes place in an idyllic grotto, with verdant plant life silhouetting the naked bodies of Diana and her nymphs, bathing in their secluded waterhole. They are accidentally discovered by Actaeon while out hunting, and he is immediately cursed by the goddess and transformed into a stag. 

Characterized by a 'subtle sensuality' (Bolzoni, op. cit.), the present work replicates in reverse a composition that Cesari developed about 1602-16066 as a small-format painting, known today in two versions in the Louvre and in the Szépmuvészeti Múzeum, Budapest (Röttgen, op. cit., nos. 109-110, ill.). While Herwarth Röttgen dated the present drawing to the 1620s, new evidence regarding its provenance could suggest an earlier date (Bolzoni, op. cit.). This work has been convincingly identified with that listed among the works of art infamously seized from Cesari by Cardinal Scipione Borghese on 30 July 1607 and described in the inventory compiled the following day under no. 83 as 'Un Disegno d'Atteone in Carta Reale' (a drawing of Diana and Actaeon on royal size paper; De Rinaldis, op. cit.). Both subject matter and paper size match the present work - as the carta reale format ranges from 44.8-45.2 to 61.5-61.7 cm. If this identification proves to be correct, this drawing would have certainly been executed before the Cardinal's raid in 1607 and possibly at the time of the two painted versions of the subject in Paris and Budapest.

As argued by Marco Simone Bolzoni, the drawing’s technique follows Cesari’s methodical design practice, with figures carefully modelled in black and red chalk through dense cross-hatching. Broad strokes of watercolor define the flesh tones of the nudes, while the lush vegetation of the background is carefully highlighted with touches of white applied with the tip of the brush. 

A touchstone for the development of highly-finished colored drawings as an independent genre, Diana and Actaeon appears as an experimental exception in Cesari's work, yet it emerges as a peak of his sophisticated style and masterful drawing technique.

We are grateful to Prof. Herwarth Röttgen for confirming the attribution of the drawing based on digital photographs, and to Marco Simone Bolzoni for confirming the attribution based on direct inspection and for providing additional information on the drawing and its provenance.

Christie's. Old Master & British Drawings, 30 January 2018, New York

Standing Male Figure, Xochipala, Guerrero, Mexico, 1200-900 BC & Standing Female Figure, Chorrera, Ecuador, 1200-300 BC

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Standing Male Figure, Xochipala, Guerrero, Mexico, 1200-900 BC. Earthenware with red and black pigment. H-24 D-5 W-10 cm.© Miho Museum.

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Standing Female Figure, Chorrera, Ecuador, 1200-300 BC. Earthenware. H-38 D-10.5 W-19 cm.© Miho Museum

A white glazed censer, Yuan dynasty (1279-1366)

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A white-glazed censer, Yuan dynasty

Lot 39. A white glazed censer, Yuan dynasty (1279-1366); 10.5cm., 4 1/8 in. Estimate 3,000 — 5,000 GBP. Lot sold 6,875 GBP. Photo: Sotheby's 2013

the deep rounded sides rising from three cabriole legs to a lipped rim, flanked by a pair of upright handles, the body moulded with a raised fillet below the rim, covered in a crackled white glaze.

Provenance: Bluett & Sons, London (according to label).
Collection of Carl Kempe.
Sotheby’s Paris, 18th December 2008, lot 154 (part lot).

LiteratureBo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 713.

Sotheby's. Fine Chinese Ceramics and Works of Art, London, 15 may 2013

A rare ‘Huozhou’ lobed ‘Dragon’ cup, Jin dynasty (1115-1234)

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A rare ‘Huozhou’ lobed ‘Dragon’ cup, Jin dynasty (1115-1234)

Lot 40. A rare ‘Huozhou’ lobed ‘Dragon’ cup, Jin dynasty (1115-1234); 10.4cm., 4 1/8 in. Estimate 3,000 — 5,000 GBP. Lot sold 8,750 GBP. Photo: Sotheby's 2013

the gently curved eight-lobed body resting on a short spreading foot, set with a dragon handle over one side of the rim, covered overall with an opaque white glaze falling short of the foot to reveal the white body.

Sotheby's. Fine Chinese Ceramics and Works of Art, London, 15 may 2013

Galerie Eberwein at BRAFA, 27 Jan - 4 Fev 2018, Stand 24c

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Eberwein2102017T13548

Ram's head amulet, Egypt, Nubia, 25th Dynasty, 722-655 BC. Gold and emerald. H 3.2 cm© Galerie Eberwein

A royal amulet representing a ram's head wearing a sun disk with Uraeus, probably made for a necklace worn by one of the Kushite kings. Representations show these pharaohs wearing a ram's-head amulet tied around the neck on a thick cord, the ends falling forward over the shoulders

Provenance: private collection, Germany, acquired circa 1958

Literature: E.R. Russmann, The Representation of the King in the XXVth Dynasty, Fondation Egyptologique Reine Élisabeth, Brussels, Brooklyn, 1974; this piece will be published in P. Lacovara and Y. Markowitz, Nubian gold, ancient jewelry from Sudan and Egypt, 2017.

Eberwein22112017T797

Eberwein22112017T7109

Mummy mask, Egypt, Ptolemaic Period, 306-30 BC. Polychrome and gilt cartonnage (layers of linen with plaster). The expressive eyes are inlays of glass and obsidian. H 47.5 cm© Galerie Eberwein

Provenance: private collection, the Netherlands 1970; France, 1965.

Galerie Eberwein at BRAFA, 27 Jan - 4 Fev 2018, Stand 24c22 Rue JacobFR-75006 Paris. m +33 (0)6 72 90 40 70 - antonia.eberwein@egypt-art.com - www.egypt-art.com

A 'Jun' bowl, Song dynasty (960-1279)

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A 'Jun' bowl, Song dynasty (960-1279)

Lot 43. A 'Jun' bowl, Song dynasty (960-1279); 22.5cm., 8 7/8 in. Estimate 20,000 — 30,000 GBP. Lot sold 27,500 GBP. Photo: Sotheby's 2013

well-potted with deep rounded sides supported on a short foot, applied overall with a lavender-blue glaze thinning to a mushroom tone at the rim, the glaze coagulating unevenly just short of the foot.

Provenance: Collection of John Kenny.
Sotheby's Melbourne, 17th May 2004, lot 12.

Sotheby's. Fine Chinese Ceramics and Works of Art, London, 15 may 2013


A 'Longquan' celadon 'Peony' vase, Yuan dynasty (1279-1366)

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A 'Longquan' celadon 'Peony' vase, Yuan dynasty (1279-1366)

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Lot 44. A 'Longquan' celadon 'Peony' vase, Yuan dynasty (1279-1366); 27.5cm., 10 7/8 in. Estimate 15,000 — 20,000 GBP. Lot sold 43,750 GBP. Photo: Sotheby's 2013

the baluster body rising from a stepped foot to a tall waisted neck flaring at the rim, crisply moulded to the exterior with undulating peony scrolls above pointed upright lappets, the neck encircled with rows of horizontal ridges, covered overall in a rich unctuous sea-green glaze, Japanese wood box and cover. Quantity: 2.

Sotheby's. Fine Chinese Ceramics and Works of Art, London, 15 may 2013

Supernatural Avian Jaguar baby, Olmec, Mexico, 1200-900 BC

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Supernatural Avian Jaguar baby, Olmec, Mexico, 1200-900 BC. Cream-slipped terracotta with traces of cinnabar. H-19 D-11.5 W-19.5 cm© Miho Museum.

Standing Figure, Olmec, Las Bocas, Puebla, Mexico, 1200-900 BC

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Standing Figure, Olmec, Las Bocas, Puebla, Mexico, 1200-900 BC. Earthenware. H-17.1 D-3.4 W-9.2 cm© Miho Museum.

A 'Longquan' celadon bowl, Song dynasty (960-1279)

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A 'Longquan' celadon bowl, Song dynasty (960-1279)

Lot 46. A 'Longquan' celadon bowl, Song dynasty (960-1279); 15.1cm., 6in. Estimate 5,000 — 7,000 GBP. Lot sold 27,500 GBP. Photo: Sotheby's 2013

the curved sides rising from a tapered foot to a gently flaring rim, moulded to the exterior with overlapping pointed lappets, covered overall in a crackled sea-green glaze, the rim mounted with gilt-metal, Japanese wood box. Quantity: 3.

ProvenanceA Japanese Private Collection.

Sotheby's. Fine Chinese Ceramics and Works of Art, London, 15 may 2013

A pair of 'famille-verte' biscuit-enamelled bowls, Kangxi marks and period (1662-1722)

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A pair of 'famille-verte' biscuit-enamelled bowls, Kangxi marks and period (1662-1722)

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Lot 242. A pair of 'famille-verte' biscuit-enamelled bowls, Kangxi marks and period (1662-1722); diameters 6 in., 15.2 cm. Estimate 25,000 — 35,000 USD. Lot sold 43,750 USD. Photo: Sotheby's 2010

each brightly enamelled in dark green, yellow, aubergine and pale turquoise with two peony sprays on one side, separated by butterflies from a spray of wild roses, all over two finely incised dragons chasing a flaming pearl, the base inscribed with an underglaze-blue six-character Kangxi mark (2).

Sotheby's. Fine Chinese Ceramics and Works of Art, New York, 15 sept. 2010

Dario Ghio at BRAFA, 27 Jan - 4 Fev 2018, Stand 106c

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Ghio592017T7456

Ghio592017T74512

Set of four candlesticks, Rome, circa 1720. Silversmith: Simone Miglié. Silver-gilt in original fitted brown leather case. H 8.5 cm© Dario Ghio

Intended to decorate the corners of a game table. The base of each is engraved with the coat of arm of the Sanchez de Luna family, which was originally from Aragon. This set was made for Don Alonso Sanchez de Luna (1704-1781), the third Duke of Sant'Arpino, a Neapolitan nobleman who took Barbara Pisani as his first wife in 1740, and later married Laura Caracciolo, the daughter of the Prince of Castagneto.

Ghio1392017T73753

Attributed to Giacomo Raffaelli (1753-1836), View of Tivoli falls, Rome, first quarter 19th century . Micro mosaic. Within a Greek-key border and carved gilt wooden frame. H 43.5 x 36 cm© Dario Ghio

During the archaeological excavations in Rome that began in the 16th century, the ancient technique of mosaic was revived with the re-discovery of classical antiquities. In the late 18th century, the Vatican Mosaic Workshops developed the micro mosaic technique using tiny glass beads on panels. Small objects with mosaic versions of landscapes, architectural views, animals and classical motifs became a Roman specialty, which were highly sought after by Grand Tour visitors in the late 18th and 19th centuries

Related views of Tivoli include The Temple of Sibyl and a Waterfall by Giacomo Raffaelli in the Hermitage Museum illustrated by Grieco, op. cit., p.151 pl. 372 and a View of Tivoli by Giovanni Morelli in the Gilbert Collection, Victoria & Albert Museum illustrated by Gabriel, op. cit., p.102-3, n° 47

Comparative literature: Roberto Grieco ‘Micromosaici Romani’- Rome 2007, p. 151, pl. 372; Jeanette H. Gabriel ‘The Gilbert Collection Micromosaics’-London, 2000, p.102-3, n° 47.

Ghio192017T113125

Christ Mocked (The Crowning with Thorns), Italy or Germany, second half 17th century. Ivory sculpture with relief figures, 23 x 13.5 cm© Dario Ghio

Dario Ghio at BRAFA, 27 Jan - 4 Fev 2018, Stand 106c25 Boulevard Princesse CharlotteMC-98000 Monte-Carlo. t +377 97 70 40 18 - m +377 68 08 65 214 - info@darioghio.com - www.darioghio.com

De Backker Medieval Art at BRAFA, 27 Jan - 4 Fev 2018, Stand 126b

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Christ at rest, Burgundy or Upper Rhine, 2nd half of the 15th century. Walnut. H 69 cm© De Backker Medieval Art

De Backker 13112017T14651

Nicolas Frances (active in León between 1434-1468), The Crucifixion, Spain, León, Second quarter of the 15th century. Tempera on gold ground, 69.2 x 58.3 cm© De Backker Medieval Art

De Backker 2592017T133933

Sicilian-Arabic casket, Sicily or Southern Italy, 12th-13th century. Ivory with gilt copper mounts. H 13 x W 22 x D 13 cm. © De Backker Medieval Art

 

De Backker Medieval Art at BRAFA, 27 Jan - 4 Fev 2018, Stand 126bGrote Plaats 31BE-2323 Hoogstraten. t +32 (0)3 314 90 34 - m +32 (0)476 96 34 83 - debackker@skynet.be - www.debackker.be


A yellow and green 'dragon' bowl, Jiajing mark and period (1522-1566)

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A yellow and green 'dragon' bowl, Jiajing mark and period

Lot 81. A yellow and green 'dragon' bowl, Jiajing mark and period (1522-1566); 11.8cm., 4 5/8 in. Estimate 12,000 — 15,000 GBP. Lot sold 21,250 GBP. Photo: Sotheby's 2009. 

of square form, the rounded sides rising to a slightly flared rim, the exterior painted with a green five-claw dragon to each face, the interior with a shou symbol, all reserved on a yellow ground.

ProvenanceA Japanese Private Collection.

Sotheby's. Fine Chinese Ceramics and Works of Art, New York, 04 nov. 2009

A small pair of blue and white and later red enamelled jars, Ming dynasty, 16th century

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A small pair of blue and white and later red enamelled jars, Ming dynasty, 16th century

Lot 83. A small pair of blue and white and later red enamelled jars, Ming dynasty, 16th century; 11cm., 4 3/8 in. Estimate 3,000 — 4,000 GBP. Lot sold 3,750 GBP. Photo: Sotheby's 2009. 

each of oblong octagonal section, the rounded sides rising to a straight rim, painted with mandarin ducks and herons on a lotus pond, below a band of ruyi at the rim and lappets above the base, the base with apocryphal Xuande markQuantity: 2

ProvenanceCollection of Emil Hultmark, Stockholm, circa 1930.

Sotheby's. Fine Chinese Ceramics and Works of Art, New York, 04 nov. 2009

A large fahua 'Lotus' jar, guan, Ming dynasty

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A large fahua 'Lotus' jar, guan, Ming dynasty

Lot 59. A large fahua'Lotus' jar, guan, Ming dynasty; 33.6cm., 13 1/4 in. Estimate 8,000 — 12,000 GBP. Lot sold 18,750 GBP. Photo: Sotheby's 2009. 

the robustly potted broad-shouldered baluster body rising from a spreading flat base to a short waisted neck with rolled rim, slip decorated and brightly glazed in cream, yellow and turquoise with large lotus blossoms divided by cranes perched on rockwork issuing from foaming waves, all below a floral-filled ruyi-cloud collar and reserved on a rich dark blue ground, later domed and pierced wood cover. Quantity: 2

Provenance: Collection of Emil Hultmark, Stockholm, circa 1930.

ExhibitedSigge Bjorcks Konsthandel, Stockholm, 1926 (front cover).

Sotheby's. Fine Chinese Ceramics and Works of Art, New York, 04 nov. 2009

Emerald cup with Persian verse carved inscription, 252 carats, India, Mughal period, 16th-17th century

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Emerald cup with Persian verse carved inscription, 252 carats, India, Mughal period, 16th-17th century.

Exhibition at the Royal Academy of Arts reunites Charles I's collection

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Anthony van Dyck, Charles I, 1635-6. Oil on canvas, 84.4 x 99.4 cm. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

LONDON.- The Royal Academy of Arts, in partnership with Royal Collection Trust, presents Charles I: King and Collector, a landmark exhibition that reunites one of the most extraordinary and influential art collections ever assembled. During his reign, Charles I (1600-1649) acquired and commissioned exceptional masterpieces from the fifteenth to the seventeenth century, including works by Van Dyck, Rubens, Holbein, Titian and Mantegna, amongst others. Charles I was executed in 1649 and just months later the collection was offered for sale and dispersed across Europe. Although many works were retrieved by Charles II during the Restoration, others now form the core of collections such as the Musée du Louvre and the Museo Nacional del Prado. 

Charles I: King and Collector reunites around 150 of the most important works for the first time since the seventeenth century, providing an unprecedented opportunity to experience the collection that changed the appreciation of art in England. 

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Anthony van Dyck, Charles I, c. 1632–36. Black chalk on paper. 47.9 x 36.5 cm. Rijksmuseum, Amsterdam. Purchased with the support of the Vereniging Rembrandt, inv. RP-T-1887-A-1162. Photo © Rijksmuseum, Amsterdam. 

In 1623, two years prior to his ascension to the throne, Prince Charles visited Madrid. The Habsburg collection made a lasting impression on the future king and he returned to England with a number of works, including paintings by Titian and Veronese. Intent on creating his own collection, he acquired the esteemed Gonzaga collection, which had been accumulated by the Dukes of Mantua. He also commissioned important artists, most notably Anthony van Dyck, who was appointed ‘principalle Paynter in Ordenarie to their Majesties’ in 1632. In collaboration and competition with other collectors close to the Stuart court, namely Thomas Howard (1586-1646), Earl of Arundel, and George Villiers (1592-1628), Duke of Buckingham, Charles I amassed a collection unrivalled in the history of English taste. 

By 1649, the collection of Charles I comprised around 1,500 paintings and 500 sculptures. An inventory compiled by Abraham van der Doort (c.1580-1640), first Surveyor of The King’s Pictures, recorded the contents of the collection, providing a detailed account of the artistic tastes and high level of connoisseurship within the king’s circle.  

Charles I: King and Collector includes over 90 works generously lent by Her Majesty The Queen from the Royal Collection. Major lenders also include The National Gallery, London, the Musée du Louvre, Paris, the Museo Nacional del Prado, Madrid, as well as numerous other public and private collections. 

Anthony van Dyck’s monumental portraits of the king and his family form the core of the exhibition: his first major commission upon his arrival in England, Charles I and Henrietta Maria with Prince Charles and Princess Mary (‘The Greate Peece’), 1632 (The Royal Collection), and his two magnificent equestrian portraits, Charles I on Horseback with M. de St. Antoine, 1633 (The Royal Collection), and Charles I on Horseback, 1637-38 (The National Gallery, London). They are being shown together with Van Dyck’s most celebrated and moving portrait of the king, Charles I (‘Le Roi à la chasse’), c.1635 (Musée du Louvre, Paris), which has returned to England for the first time since the seventeenth century.  

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Anthony van Dyck, Charles I and Henrietta Maria with Prince Charles and Princess Mary ("The Greate Peece"), 1632. RCIN 405353. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

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Anthony van Dyck, Charles I on Horseback with M. de St Antoine, 1633. RCIN 405322. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

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Anthony van Dyck, Charles I in the Hunting Fieldc.1635Oil on canvas. 266 x 207 cm. Paris, Louvre Museum, Department of Paintings. Photo © RMN-Grand Palais (musée du Louvre). Christian Jean.

Charles I commissioned some of the most important artists of his day, and the exhibition includes Peter Paul Rubens’s Minerva Protects Pax from Mars (‘Peace and War’), 1629-30 (The National Gallery, London) and his Landscape with Saint George and the Dragon, 1630-5 (The Royal Collection) as well as Van Dyck’s spectacular Cupid and Psyche, 1639-40 (The Royal Collection). Particular attention has been given to the patronage of Queen Henrietta Maria, including works by Orazio Gentileschi and Guido Reni.  

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Peter Paul Rubens, Minerva Protects Pax from Mars (‘Peace and War’), 1629-30. NG46. © The National Gallery, London

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Peter Paul Rubens, Landscape with St George and the Dragon1630-35. RCIN 405356. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

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Anthony van Dyck, Cupid and Psyche, 1639-40. Oil on canvas. 200.2 x 192.6 cm. RCIN 405571. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

In addition, the exhibition presents the most important Renaissance paintings from the collection, including Andrea Mantegna’s monumental series, The Triumph of Caesar, c.1484-92 (The Royal Collection), which commands a dedicated gallery within the exhibition, as well as Titian’s Supper at Emmaus, c.1530 (Musée du Louvre, Paris), and Charles V with a Dog, 1533 (Museo Nacional del Prado, Madrid). Other Renaissance artists represented are Correggio, Agnolo Bronzino, Jacopo Bassano, Tintoretto and Paolo Veronese as well as Albrecht Dürer, Jan Gossaert, Hans Holbein the Younger and Pieter Bruegel the Elder.  

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Andrea Mantegna, Triumph of Caesar: The Picture Bearersc.1484-92. Tempera on canvas. 270.3 x 280.7 cm. RCIN 403958. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017. 

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Andrea Mantegna, Triumph of Caesar: The Bearers of Standardsc.1484-92. Tempera on canvas. 269.5 x 280 cm. RCIN 403959. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

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Andrea Mantegna, Triumph of Caesar: The Bearers of Trophies and Bullionc.1484-92. Tempera on canvas. RCIN 403960. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017. 

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Andrea Mantegna, Triumph of Caesar: The Vase Bearersc.1484-92. Tempera on canvas. 269.5 x 280 cm. RCIN 403961. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017. 

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Andrea Mantegna, Triumph of Caesar: The Elephants, c. 1484-92. Tempera on canvas. 270.0 x 280.7 cm. RCIN 403962. Royal Collection Trust. © Her Majesty Queen Elizabeth II 2017.

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Andrea Mantegna, Triumph of Caesar: The Corselet Bearers, c. 1484-92. Tempera on canvas. RCIN 403963. Royal Collection Trust. © Her Majesty Queen Elizabeth II 2017.

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Andrea Mantegna, Triumph of Caesar: The Captives, c. 1484-92. Tempera on canvas. RCIN 403964. Royal Collection Trust. © Her Majesty Queen Elizabeth II 2017.

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Andrea Mantegna, Triumph of Caesar: The Musicians, c. 1484-92. Tempera on canvas. RCIN 403965. Royal Collection Trust. © Her Majesty Queen Elizabeth II 2017.

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Andrea Mantegna, Triumph of Caesar: Julius Caesar, c. 1484-92. Tempera on canvas. RCIN 4039666. Royal Collection Trust. © Her Majesty Queen Elizabeth II 2017.

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Titian, The Supper at Emmaus, c.1530. Oil on canvas, 169 x 244 cm. Paris, Louvre Museum, Department of Paintings, inv. 746. Photo © RMN-Grand Palais (musée du Louvre).

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Titian, Charles V with a Dog, 1533. Oil on canvas. 194 x 112.7 cm. Museo Nacional del Prado, Madrid, inv. P00409. Photo © Museo Nacional del Prado.

Further highlights are the celebrated Mortlake tapestries of Raphael’s Acts of the Apostles, c.1631-40 (Mobilier National, Paris), arguably the most spectacular set of tapestries ever produced in England, as well as the precious works formerly kept in the Cabinet at Whitehall Palace, including paintings, statuettes, miniatures and drawings. 

Christopher Le Brun, President, Royal Academy of Arts, said: ‘Charles I is one of history’s greatest collectors, the Royal Collection is one of the world’s greatest collections and the Royal Academy’s galleries are amongst the finest in the world. With such a combination this exhibition provides the perfect launch for our 250th anniversary celebrations in 2018’.

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Hans Holbein the Younger, Robert Cheseman, 1533. Oil on panel. 58.8 x 62.8 cm. Mauritshuis, The Hague, inv. 276. Photo © Mauritshuis, The Hague.

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Roman, Aphrodite ('The Crouching Venus')second century. Marble. 119 cm. RCIN 69746. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

 

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Titian, The Allocution of Alfonso d’Avalos to His Troops, 1540-41. Oil on canvas. 223 x 165 cm. Museo Nacional del Prado, Madrid, inv. P00417. Photo © Museo Nacional del Prado.

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Paolo Veronese, Mars, Venus and Cupid, c.1580. National Galleries of Scotland, Edinburgh. Purchased by the Royal Institution 1859; transferred to the National Gallery of Scotland 1867. Photo: Antonia Reeve © National Galleries of Scotland.

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Hans Holbein the Younger, "Noli me tangere", 1526 - 28. RCIN 400001. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

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Artemisia Gentileschi, Allegory of Painting, c. 1638-39. RCIN 405551. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017.

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