Jean Louis Théodore Géricault, 1791 Rouen – 1824 ParisREITERSCHLACHTÖl auf Karton.21 x 34,6 cm.Beigegeben eine ausführliche gutachterliche Dokumentation von Dr. Bruno Chenique, ehem. Villa Medici, Rom, sowie Getty Research Institute Los Angeles, mit zahlreichen Abbildungen auch von Vorzeichnungen. Danach ist das Gemälde in den Jahren 1810/12 entstanden.Wie in einem Knäuel haben sich in dieser Darstellung die gegeneinander kämpfenden Reiter bildlich verschmolzen. Die Wildheit eines solchen Kampfes wird hier vor Augen geführt, Angreifer oder Gegner sind hier nicht mehr zu unterscheiden. Dass eine solche Darstellung auch von einer ethischen Aussage geprägt ist, steht außer Zweifel: Gut und Böse sind hier in Eins verflochten. Die Dramatik wird hier auch noch durch die Wahl der Malfarben unterstrichen. Lediglich Braun- und Weißtöne streiten hier gegeneinander, im oberen Bereich gerahmt vom unruhigen Blau des bewegten Himmels. Neben den pastos aufgetragenen weißen Partien und dem flächig gehaltenen Braun, das auch den Grund der Malpappe durchscheinen lässt, sind auch Reste feiner Vorzeichnungsskizzen zu erkennen. Es bedarf keiner Erwähnung, dass der Maler zu den bedeutendsten seiner Epoche zählt, obwohl er bereits 33-jährig starb. Ab 1819 wurde er durch sein Aufsehen erregendes Gemälde „Das Floß der Medusa“ berühmt. Hier erfolgte auch der Umbruch in seiner Malerei von der Romantik zum Realismus. So schilderte er nun vorwiegend auch Szenen aus ärmlichen Verhältnissen, Krankenhäusern und als passionierter Reiter war auch das Pferdemotiv wesentliches Charakteristikum in seinem Oeuvre geworden. Das Gemälde geht kompositionell letztlich auf ein bekanntes, aber verlorenes und nur durch Zeichnung erhaltenes Werk Leonardo da Vincis zurück, die „Anghiari-Schlacht“. Rubens hatte das Bildthema erneut aufgegriffen. Darauf wiederum konnte Géricault für sein Werk zurückgreifen. Jedoch schuf er hier eine völlig neue, nahezu abstrahierende Sicht. Der Maler, der selbst an den Folgen eines Reitunfalls starb, hat neben seinen zahlreichen Pferdeszenen in seinen Bildern auch hier ein kunsthistorisches Denkmal seiner Kunst hinterlassen. A.R.Literatur:Gregor Wedekind, Max Hollein (Hrsg.), Géricault. Bilder auf Leben und Tod, Schirn Kunsthalle, Frankfurt am Main, Katalog, München 2013. Michael Brunner et al. (Hrsg.), Géricault, Delacroix, Daumier und Zeitgenossen. Französische Lithographien und Zeichnungen, Ausstellungskatalog, Petersberg 2009. (1300521)Jean Louis Théodore Géricault,1791 Rouen – 1824 ParisCAVALRY BATTLE Oil on card.21 x 34.6 cm.Accompanied by a detailed report by Dr Bruno Chenique, formerly Villa Medici, Rome, and the Getty Research Institute, Los Angeles, with numerous illustrations including preliminary sketches. According to the report the painting was created in 1810/12. Literature:Gregor Wedekind, Max Hollein (ed.), Géricault. Bilder auf Leben und Tod, Schirn Kunsthalle, Frankfurt am Main, catalogue, Munich 2013. Michael Brunner et al. (ed.), Géricault, Delacroix, Daumier und Zeitgenossen. Französische Lithographien und Zeichnungen, exhibition catalogue, Petersberg 2009.
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Eugène Delacroix, 1798 Charenton-Saint-Maurice, Paris – 1863 ebendaDIE DANTEBARKE Öl auf Leinwand. 26 x 36 cm. Um 1840. In vergoldetem Louis XV-Rahmen.Die Gesten und Mimiken der beiden Männer, die in der Mitte eines Bootes stehen, sind von Schreck und Angst erfüllt. Sie befinden sich inmitten einer aufgewühlten See und versuchen, ihr Gleichgewicht zu halten. Die beiden werden von allen Seiten von wütenden Männern angegriffen, mit nackten und muskulösen Körpern, die sich an den Rändern des Bootes festklammern, sich bücken oder sich treiben lassen, teils wütend oder halb ertrunken. In der Ferne wird eine Stadt von einem Feuer heimgesucht, dessen Flammen für ein helles Licht sorgen, das den Schrecken der Szene noch verstärkt. Das Chaos ist vollkommen, die Elemente versuchen, das Boot zu destabilisieren, das von einem Fischer mit großer Mühe manövriert wird. Wir befinden uns hier in der Hölle und es ist Caron, ihr Wächter, der die beiden Dichter Dante und Vergil auf ihrer Initiationssuche über den Styx führt. Tief hinten brennt die Stadt der Toten in ewigem Feuer, während sich um sie herum die Verdammten tummeln, die die Laster der Gier, des Zorns oder des Neids verkörpern, die sie dazu verdammen, ewig in diesen trüben Gewässern zu verbleiben. Delacroix ließ sich für sein Gemälde vom achten Gesang der „Göttlichen Komödie“ Dantes inspirieren. Dantes Komödie, in der der mittelalterliche Autor, der Held der Erzählung, durch die Kreise der Hölle geht, geführt von dem antiken römischen Dichter Vergil. Durch die Wahl dieses epischen Themas bekräftigt der Maler seine literarische Bildung und die intellektuellen Ambitionen seines Werks. Sein schwungvoller und dynamischer Stil zeigt auch, was er seinen älteren Vorbildern verdankt, insbesondere seine Bewunderung für die kraftvollen Körper von Michelangelo, aber auch von Rubens, von dem er seinen Umgang mit der Farbe übernimmt. Durch die Hinwendung zur Historienmalerei bricht er mit dem Neoklassizismus. Der Klassizismus, in dem die antiquierten Themen, die in einer glatten und höflichen Art und Weise behandelt wurden, hatte die Kunst in eine Sackgasse geführt.Eugène Delacroix (1798-1863) war ein französischer Maler, der zu den bedeutendsten Vertretern der Kunst des 19. Jahrhunderts zählt und gilt als Anführer der romantischen Bewegung. Da Delacroix in den Jahren nach dem Fall des Ersten Kaiserreichs arbeitete, fand er eine Resonanz zwischen dem turbulenten aktuellen Geschehen in Paris und der historischen Vergangenheit der Antike. Er schuf ein außergewöhnlich vibrierendes Werk, das die revolutionären Künstler inspirierte. Er gab sein Debüt im Salon von 1822 mit dem Werk „Die Dante-Barke“. Das monumentale Gemälde (189 x 241,5 cm) wurde vom französischen Staat erworben und im Musée du Luxembourg gezeigt, das vier Jahre zuvor für die Ausstellung von Kunstwerken eröffnet worden war und begründete sofort Delacroix‘ Ruf als Talent zu einem bedeutenden Werk. Trotz des verkleinerten Maßstabs gibt die vorliegende Replik die Dramatik der monumentalen Komposition aus dem Louvre brillant wieder. (†)Provenienz: Sammlung Lily, Irland. Schenkung an das Art Institute of Chicago. (13013310) (13)Eugène Delacroix,1798 Charenton-Saint-Maurice, Paris – 1863 ibid.DANTE’S BARGEOil on canvas.26 x 36 cm.Ca. 1840.In gilt Louis XV frame The monumental painting (189 x 241.5 cm) was acquired by the French state and installed at the Musée du Luxembourg, which had opened four years earlier for the exhibition of works of art, and immediately established Delacroix’s reputation as a talented artist. Despite the reduced scale, this copy replicates the drama of the monumental Louvre brilliantly. (†)Provenance:Lily collection, Ireland.On loan to the Art Institute of Chicago.
Rubens Santoro (Italian, 1859-1942)A sunlit Venetian canal signed 'Rubens Santoro' (lower left)oil on canvas50.3 x 37cm (19 3/4 x 14 1/2in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 28 November 1990, lot 179.Private collection, UK (acquired from the above sale).For further information on this lot please visit Bonhams.com
Unbekannt18./19. Jh. Biblische Szenen und ReproduktionenKonvolut aus circa 59 Grafiken. Diverse Formate, Mappengröße 78 x 107 cm. Größtenteils fleckig, tlw. beschnitten, besch. Die Mappe beinhaltet größtenteils biblischen Szenen, daneben auch aus Szenen aus Theaterstücken, historischen Ereignissen sowie Porträts. Einige der Blätter sind Reproduktionen bekannter Werke von Rafael, Rubens u.a.
Peter Paul Rubens (1577-1640) Werkstatt und Frans Snijders (1579-1657), nach. ''Satyr und Mädchen mit Fruchtkorb'', Altmeisterkopie des 19. Jh. nach dem in Dresden befindlichen Original. Öl auf Lwd., unsign., leichte Altersspuren, rückseitig Dresdner Inventarnummer, 100 x 72 cm, ger. 115 x 84 cm
UNGER William (1837 Hannover - 1932 Innsbruck) 59 Radierungen alter Meister, lose in 18 broschierten Mappen: "Die kaiserl. königl. Gemälde-Galerie in Wien. Radirungen von William Unger. Text von Carl von Lützow" Verlag: H.O. Miethke, Wien 1877-1885, 2°, Radierungen mit verschiedenen Abb.-Maßen, 68,3x58cm (Blatt), Mappen lädiert, tlw. stockfl., drei mit handschriftlicher Anmerkung zur Lieferungsnummer, Radierungen jeweils mit Druck-Signatur Ungers und blind geprägter Benummerung in der rechten unteren Bildecke, teils zusätzlich mit Bleistift benummert Bestand: 1877 aus Lieferung I. (in Mappe IV) Nr. 1 Holbein d.J. "Bildnis einer Frau"; 1878 Lieferung III. Nr. 10 Rubens "Helene Fourment", Nr. 11 Veronese "Chistus bei Jairus"; Lieferung V. Nr. 17 Snyder "Eberjagd", Nr. 18 Achtschellinck/Cocques "Rudolf von Habsburg und der Priester", Nr. 19 Van Dyck "Madonna mit dem seligen Hermann", Nr. 20 Correggio "Io und Jupiter"; Lieferung VI. Nr. 22 Murillo "Johannes der Täufer", Nr. 23 Carracci "Christus und die Samariterin"; Lieferung VII. Nr. 25 Dürer "Maximilian I.", Nr. 27 Rubens "Pietá"; 1879 Lieferung VIII. Nr. 29 "Altar des heiligen Ildefonso" (Mittelbild), Nr. 30 Desgleichen (Linker Flügel), Nr. 31 Desgleichen (Rechter Flügel, Nr. 32 Desgleichen (Aussenseite des Flügel); Lieferung IX. Nr. 33 Tizian "Madonna mit drei Heiligen", Nr. 35 Corregio "Ganymed", Van Dyck "Junger Feldherr"; Lieferung X. Rembrandt "Singender Jüngling", Nr. 38 Teniers d.J. "Das Innere eines Bauernhauses", Lieferung XI. Nr. 41 Bassano "Der barmherzige Samariter", Nr. 42 Jan Steen "Liederliches Leben", Nr. 44 Frans Hals "Junger Mann"; 1880 Lieferung XII. Nr. 45 Rubens "Der heilige Ambrosius und Kaiser Theodosius", Nr. 46 Christoph Amberger "Männliches Brustbild", Nr. 47 Veronese "Madonna mit weiblichen Heiligen", Nr. 48 Tintoretto "Der Doge Nicolò da Ponte"; Lieferung XIII. Nr. 49 Frans van Mieris "Die Seidenhändlerin", Nr. 50 Tizian "Die Ehebrecherin vor Christus", Nr. 51 Rembrandt "Porträt seiner Mutter", Nr. 52 Pieter Brueghel d.Ä. "Herbstlandschaft"; 1881 Lieferung XIV. Van Dyck "Samson bei Delila", Nr. 54 Velazquez "Infantin Margaretha Theresia", Nr. 55 Tizian "Kurfürst Johanna Friedrich von Sachsen", Nr. 56 Craesbecke "Wirtsstube"; Lieferung XV. Nr. 57 Mantegna "Der heilige Sebastian", Nr. 58 Van Dyck "Prinz Ruprecht von der Pfalz", Nr. 59 Tizian "Diana und Kallisto", Nr. 60 Jan van Eyck "Cardinal von Santa Croce"; Lieferung XVI. Nr. 61 Rubens "Die vier Welttheile", Nr. 62 Furini "Sigismonda", Nr. 63 Poussin "Landschaft", Nr. 64 Lotto "Porträt eines Mannes"; 1883 Lieferung XIX. Nr. 74 Tizian "Männliches Bildnis, der sogennanten Parma", Nr. 75 Van Dyck "Heilige Familie" (aus XVII./handschriftlich) Nr. 66 Van Dyck "Männliches Bildnis", Nr. 67 Gerard Dow "Der Arzt", Nr. 68 Rubens "Wunder des heil. Franz Xaver, Originalskizze"; 1885 Lieferung XXII. Nr. 85 Rogier van der Weyden "Tryptychon", Nr. 86 Antonius Mor "Weibliches Bildnis", Nr. 87 G.B. Crespi "Christus erscheint den Aposteln", Nr. 88 Tizian "Männliches Bildnis"; Lieferung XXIV. Nr. 93 Holbein d.J. "Männliches Bildnis", Nr. 94 Memling "Madonna", Nr. 95 Moretto "Die hl. Justina", Nr. 96 Palma Vecchio "Madonna mit Heiligen"; Lieferung XXV. (Mappe stark befleckt) Nr. 97 Dürer "Das Allerheiligenbild", Nr. 98 Parmegianino "Männliches Bildnis", Nr. 99 Lotto "Madonna mit Heiligen", Nr. 100 Van Dyck "Johann von Montfort" *Unger studierte an der Kunstakademie in Düsseldorf bei Joseph Keller. Ab 1866 war Unger Mitarbeiter der "Zeitschrift für bildende Kunst", wodurch seine Arbeiten breitere Bekanntheit erlangten. 1871 wurde er zum Professor ernannt und siedelte im Folgejahr nach Wien über, wo er Aufträge für die Gesellschaft für vervielfältigende Kunst übernahm. In den folgenden Jahren fertigte er unter anderem die Radierungen für das von Carl von Lützow mit Text versehene Werk "Die kaiserl. königl. Gemälde-Galerie in Wien" an. Er gilt als Meister der Reproduktionsgrafik. Neben den zahlreichen Reproduktionen von Gemälden alter Meister schuf er zudem radierte Porträts von Persönlichkeiten wie beispielsweise Kaiser Franz Joseph I. und Eduard Suess. Zu seinem Spätwerk zählen auch Zeichnungen und Aquarelle.*
Rubens, Peter Paul. 1577-1640 Antwerpen, Kopie nachDas Urteil des Paris. Öl auf Leinwand, re. u. bez. "C. n. Rubens/ F. Grebestein". Am unt. Rand min. Druckstelle. Verso Stempel der Gemäldegalerie Dresden: "Copie nach No: 962 B der Königl. Gemälde-Galerie zu Dresden 1912". 49,5 x 63,5 cm, Rahmen 56,5 x 70 cm Copy after Peter Paul Rubens: judgement of Paris, oil/ canvas, wnscribed lower right: F. Grebestein after Rubens, gallery stamp of the Collection of paintings Dresden and year 1912. Size including frame: 56,5 x 70 cm
FRANK AUERBACH (B. 1931)Portrait of Debbie Ratcliff III 1984 oil on canvas 66 by 66 cm. 26 by 26 in. This work was executed in 1984.Footnotes:Provenance Marlborough Fine Art Ltd., London (no. 35238.6)Acquired directly from the above by the present owner in 1984 ExhibitedVenice, XLII Biennale di Venezia, British Pavilion, Frank Auerbach: Paintings and Drawings 1977-1985, 1986, p. 50, no. 32, illustrated in colourHamburg, Kunstverein; Essen, Museum Folkwang, Frank Auerbach, 1986-1987, p. 72, no. 37, illustrated in colourMadrid, Museo Nacional Centro de Arte Reina Sofía, Frank Auerbach: Retrospectiva, 1954-1985, 1987, p. 68, no. 37, illustrated in colourLiteratureRobert Hughes, Frank Auerbach, London 1990, p. 208, no. 215, illustrated in black and whiteWilliam Feaver, Frank Auerbach, New York 2009, p. 294, no. 505, illustrated in colourFrank Auerbach's Portrait of Debbie Ratcliff III is a masterly and empathetic painting which formed the third of a trio of portraits of his model and muse Debbie Ratcliff that were first unveiled at the 42nd Venice Biennale in 1986, where Auerbach was awarded the Golden Lion, sharing the prestigious prize with Sigmar Polke. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially Auerbach was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive debut solo-shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the School of London, a group that included Lucian Freud and Francis Bacon. Bacon shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human expression. However, despite his affiliation with the School of London artists and comparisons to Bacon, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux Arts Gallery until 1963, before joining Marlborough Gallery in 1965. Today his works are amongst the most internationally collected and desirable amongst all living artists. Beautifully positioned within the square canvas, Debbie Ratcliff sits composed and elegant, her angular shoulders asymmetrically filling the composition. Auerbach employs rich swathes of crimson, green hues, and vibrant yellows to build his portrait. There is a meditative, emotional quality to his paint; Auerbach's heavy impasto can take months to build up and scrape back, he paints slowly and methodically revealing an intense observation of his subject. He makes his mark with authority and finality, pushing abstraction to the limit while still capturing the essence of his sitters. Auerbach first met Ratcliff at the Slade School of Art in 1983. He was reportedly drawn to her strongly defined features and initially had her pose reclining on a bed. It was in the second sitting that Auerbach decided to seat her instead on a chair facing him; the pose would continue in all three of these portraits the artist created of her. Over the course of Ratcliff's sittings for him, the two would come to relax in one another's presence, enjoying conversations about art and literature. Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. A true draftsman as well as a painter, his graphic works, his signature thick black lines and the concerted mark-making that he employs give his sitters a flickering quality of energy. His method requires an intimate knowledge, not only of his sitter's physiognomy, but also their temperament and personality and most of Auerbach's sitters posed for him every week, often over many years. Connections were important to Auerbach, who despite the physical immediacy of his brushwork, ultimately undertook long and studied contemplations of his subjects. He has attested to finding himself simply more engaged when he knows the people, as they get older and change, enjoying the process of recording this in paint. Auerbach's portraiture features a number of long-standing sitters, including, his wife Julia, Catherine Lampert, Gerda Boehm, Stella West, 'J.Y.M.' and as seen in this present work, Debbie Ratcliff. Auerbach's distortions in his portraits have been likened to Francis Bacon's figures. However, perhaps unlike Bacon, a warmth emanates from the former's portraits. In Portrait of Debbie Ratcliff III, Auerbach's muse is cast as an impression instead of a likeness. Painting only those whom the artist has formed an intimate bond with, the paintings teeter on incomprehensibility. Auerbach's prolonged engagement with Ratcliff throughout the course of her sittings nonetheless captures a spirit in its fleeting and mercurial beauty. The rapid and vivid strokes perceive an individuality, a humanity. Portrait of Debbie Ratcliff III is a painting of life in action. An individual in the throes of contemplative personal eminence. Frank Auerbach is widely recognised as one of the most inventive and influential painters of the Post-War period. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art, in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Haraeus, Franciscus (Franciscus van Haer): Annales ducum seu principum Brabantiae totiusque Belgii. Tomi tres: quorum primo solius Brabantiae, secundo Belgii uniti principum res gestae, tertio Belgici tumultus usque ad inducias anno M.DC.IX. pactas, enarrantur. 3 Bde. in 2. Antwerpen: Officina Plantiniana (B. Moretus, Wwe. I. Moretus und I. Meursius) 1623. 30,7 x 20 cm. Mit 2 gest. Titeln nach Peter Paul Rubens, 44 Kupfertafeln m. Ganzfigurenporträts, Druckermarke. 16 Bll., 707 SS., 58 Bll.; 2 Bll., 678 SS., 59 Bll. Blindgepr. Ldr. (Stärker berieben und bestoßen, Bezug am Rücken bzw. Gelenken t. gelöst. Vorderdeckel des zweiten Bandes etwas gelockert. Stellenweise feucht- und altersfleckig, t. Gebrauchsspuren; die Kupfertitel jeweils mit hs. Vermerken von alter Hand im oberen weißen Rand.) Bertram/Büttner 104-109. Lipperh. Gb 17. Graesse III, 209. Zu Rubens Judson/Velde 51-52. Evers 57, 59, 179-180 u. 184. Kat. Rubens als boekillustrator 17a. - Dieses Hauptwerk v. Haraeus behandelt die Geschichte des Herzogtums Brabant in den Jahren 615-1623. - Bibliotheksstempel "Adolphe Matthieu, Mons".
(BERKELEY) GEORGEAutograph letter signed ('G:Cloyne'), as Bishop of Cloyne, to Thomas Prior ('Dear Tom'), beginning by commenting on Lord Chesterfield's letter which '...does great honour to you...' and hoping his Society will follow up on his recommendations on glass and paper, warning him '...You have heard of the trick the glass men of Bristol were said to have paid Dr Helsham and Company...', and going on to present him with a painting by his wife ('...For my part I think she shows a most uncommon genius, but others may be supposed to judge more impartially than I...'), pleased that some of the local families are following their example but wishing that painting was more employed amongst '...ladies and idle people as a thing that may divert the spleen, improve the manufactures, and increase the wealth of the nation...', asking him to decline Mr Simon's request to join the Historico-Physical Society on his behalf ('...I must therefore depend on you for getting me out of this scrape...'), one page on a bifolium, integral freefront address panel signed 'G:Cloyne', docketed '...Mrs Berkeley presents to Mr Prior her painting of the Bishop now in M. Archdall's possession', dust-staining particularly to address panel, some small tears and old repairs, folio (315 x 202mm.), Cloyne, 3 July 1746Footnotes:ENCOURAGING THE ARTS AS A MEANS TO PROSPERITY: In a newly rediscovered letter, the Bishop of Cloyne presents a portrait of himself by his wife to his lifelong friend and agent Thomas Prior.George Berkeley (1685-1753) met fellow scholar Thomas Prior (1681-1751) at the Duke of Ormond's School in Kilkenny, alma mater of Jonathan Swift and William Congreve, and their correspondence runs from 1713 until 1747, reflecting a long friendship during which Prior acted as his Dublin agent and looked after his legal and financial affairs. Prior was a great advocate for the promotion of trade and industry in Ireland and, in 1731 had established the Dublin Society for the Promotion of Agriculture, Manufactures, Arts and Sciences (the 'Society' Berkeley mentions here) which subsequently became the Royal Dublin Society. At this time both men were interested in the use of tar-water as a means of helping their poor Irish neighbours during the years of famine that followed the winter of 1739-40. Berkeley published his last major work on the subject Siris:... concerning the Virtues of Tar-Water in 1744 and in 1746, the year of our letter, Prior dedicated his own treatise to Lord Chesterfield, with whom he had corresponded during the latter's spell as viceroy to Ireland (1745-6) and who held him in great regard (Gilbert and Carter, ODNB).By this letter, Berkeley presents Prior with a portrait of himself by his wife Anne (née Forster, c.1700-1786), who also shared his love of philosophy, music and the arts, and who had just taken up painting, much to his approval. Campbell Fraser refers to her portrait in his Works and the docket on our letter confirms his supposition that the portrait was latterly in the possession of the antiquarian Rev. Mervyn Archdall. As alluded to in our letter, Berkeley was a great advocate of the arts as a means to improvement, with his establishment at Cloyne renowned for its art collection and its passion for music, which he hoped would influence artistic activity in the region as a whole ('to be plain we are musically mad', he wrote). Amongst Berkeley's collection were several fine Old Masters including a Magdalen by Rubens and heads by Van Dyke and Kneller 'besides several good paintings performed in the house; - an example so happy that it has diffused itself into the adjacent gentleman's houses... The love of art as well as the love of truth... followed him into his contemplative old age' (Fraser, p.310). The present letter is part of a large correspondence which forms the backbone of all biographies of Berkeley through letters made available to the biographer Joseph Stock by descendants of Thomas Prior, who printed an extract of our letter in 1776. Stock's version is also included in Alexander Campbell Fraser's The Works of George Berkeley, D.D. Formerly Bishop of Cloyne, 1871, p.308, T.E. Jessop & A.A. Luce The Works of George Berkeley, Bishop of Cloyne, 1956, Vol.VIII, no.234 and Marc A. Hight The Correspondence of George Berkeley, 2003, no.337, but until now the full text of the letter has not been available to scholars. Fraser notes that 'Thomas Prior, to whom so many of them were addressed, was hardly one to draw out Berkeley's singular powers of reason and imagination', dealing as they do with practical and personal matters rather than the philosophical. They provide, nonetheless, an important insight into Berkeley's relationships and, for some periods of his life, remain the only record available of Berkeley's movements. Provenance: Private Collection, USA.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
English school (19th century),A portrait miniature depicting Rembrant Van Rijn in the manner of his "Self Portrait Aged 34",Watercolour on ivory, 8.5cm x 6.5cm,Framed and glazed,With a further portrait miniature depicting Peter Paul Rubens in the manner of his self portrait,Watercolour on ivory,Trade label for William Biggs verso,9cm x 7cm,Framed and glazed (2)
After Sir Peter Paul RubensThe Assumption of the Virginoil on panel105 x 74cmThe original painting is in the Museum Kunstpalast, Düsseldorf.Condition report: The painting is executed in oil on a large wooden panel formed from three boards in vertical alignment. The panel joins show signs of movement which has been reinforced in the past with canvas strips and horizontal battens attached to the reverse. The battens appear to be restraining the panel, along the lower edge the panel is distorted and one of the wooden battens has a split following the line of the panel join. There are also smaller splits forming along the lower edge and adjacent to the joins. The paint along the panel joins is raised and in some areas is flaking. At the lower right corner the paint layer is blistering with losses starting to form. Overpaint is present along the joins and in other areas of the painting, covering wear and reinforcing the figures. The varnish is clear and semi-matte. There is a layer of dust across the surface
After Rubens, early 19th Century/Portrait of Thomas Howard, 2nd Earl of Arundel/half-length, wearing a black coat with white collar/oil on canvas, 63.5cm x 53.5cm CONDITION REPORT: Restored hole lower centre. Surface has been cleaned but is now dirty again. Crazing to surface and some signs of paint thinning. Not re-lined, otherwise ok.
French school; second quarter of the 19th century."Portrait of a gentleman.Oil on canvas.It conserves its original canvas.Measurements: 51 x 40 cm; 70 x 60 cm (frame).Portrait of a gentleman who appears before the spectator in profile, although he seems to direct his sight slightly in such a way that he links with the gaze of the one who observes the piece. The work is executed with a rapid, sometimes sketchy brushstroke, although the artist does not lose interest in capturing the details, giving great importance to the hair and features of the subject.The work is clearly inspired by the portraits of Anton van Dyck, a key Flemish Baroque painter and one of the most important portraitists of the 17th century. The son of a cloth and silk merchant, which undoubtedly influenced his appreciation of textiles, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen, who had spent several years in Italy and developed a markedly Italianate style. This period of Van Dyck's training coincided with Rubens' return from Italy, after which he produced a series of altarpieces for the churches of Antwerp, bringing with him a whole new visual language in its ambition, drama and colour, which fitted in well with the Counter-Reformation religiosity of the Spanish Netherlands. It is not surprising therefore that Van Balen's brilliant pupil soon joined the circle of Rubens. By 1620 Van Dyck was already his principal assistant, although he had his own independent studio in the city. During these years he devoted himself mainly to religious works and in 1620 he was invited to London to work for King James I. In February 1621 he was already in London. In February 1621 he returned to Antwerp and in October he left for Italy. During these months in his native city he began to emerge as a brilliant portraitist, with works such as the portrait of "Frans Snyders and his Wife" (Frick Collection, New York) and "Isabella Brant", the wife of Rubens (National Gallery, Washington). In Italy Van Dyck spent six years in Genoa, from where he visited Rome and Venice, always studying the works of earlier masters, particularly Venetians and especially Titian, whose influence would be evident throughout the rest of his career. He also visited Sicily, where he painted the portrait of the viceroy Manuel Filiberto of Savoy. In Genoa the Flemish artist became the most sought-after portraitist by the local aristocracy and in 1627 he returned to Antwerp with a solid reputation and was soon appointed painter to the Archduchess Isabella. However, he did not abandon religious painting, to which he devoted himself in particular between 1628 and 1630, during Rubens' absence from Antwerp. His religious works reveal characteristics typical of Counter-Reformation art, such as the profound religious sentiment and the reflection of the mystical fervour that pervaded the painter's own personality. In 1632 he moved to London again, this time at the request of King Charles I.
FOLLOWER OF SIR PETER PAUL RUBENS 1577 Siegen - 1640 Antwerp SELF-PORTRAIT Oil on canvas. 41,5 x 30,5 cm. Verso: Inscribed on the stretcher on an old paper label: 'The Property of HIS GRACE THE DUKE OF NORFOLK, K.G., G.C.V.O. removed from Everingham Park, Yorkshire'. Part. old restored, old retouchings, craquelé. Frame. Provenance: Westphalian private collection.PETER PAUL RUBENS (NACHFOLGER) 1577 Siegen - 1640 Antwerpen SELBSTBILDNIS Öl auf Leinwand. 41,5 x 30,5 cm. Verso: Auf dem Keilrahmen auf altem Papierlabel beschriftet: 'The Property of HIS GRACE THE DUKE OF NORFOLK, K.G., G.C.V.O. removed from Everingham Park, Yorkshire'. Part. altrest., Altretuschen, Craquelé. Rahmen. Provenienz: Westfälische Privatsammlung.
PETER PAUL (ALSO PIETER PAUWEL) RUBENS (WORKSHOP) 28 June 1577 Siegen - 30 May 1640 Antwerp APOSTLE THOMAS WITH A PROTRACTOR Oil on oak panel. 92 x 68 cm (F. 112 x 86 cm). Partly old rest., old retouching. Elaborate ebony framing. Provenance: International collection.PETER PAUL (AUCH PIETER PAUWEL) RUBENS (WERKSTATT) 28. Juni 1577 Siegen - 30. Mai 1640 Antwerpen APOSTEL THOMAS MIT WINKELMASS Öl auf Eichenholztafel. 92 x 68 cm (R. 112 x 86 cm). Part. altrest., Altretuschen. Aufwendige Ebenholzrahmung. Provenienz: Internationaler Sammlungsbesitz.
SIGNIERTE PORZELLANBILDPLATTE 'DER FRÜCHTEKRANZ' Deutsch, Ende 19. Jh., nach Peter Paul Rubens (1577-1640) Polychrome Malerei auf rechteckiger Porzellanbildplatte, Rahmen. c. 24 x 29 cm (ohne Rahmen). Rechts unten bez. 'Kopie n. Rubens K.Schubert'. Verso bez. 'K.Schubert Meißen Heinrich Freitägerstr. 3'. Darstellung von sieben Putti, einen prächtigen Früchtekranz tragend. Das Originalgemälde wird in der Alten Pinakothek München aufbewahrt. Sehr min. herstellungsbedingte Fehler. Wohl handelt es sich um Porzellanmaler Karl Schubert, tätig um 1887 in Meißen. Er hat auch für KPM Berlin gearbeitet.
THREE BOXES OF CERAMICS, GLASS WARES AND SUNDRY ITEMS, to include boxed Wedgwood Jasperware and Chinese Legend pin dishes, Royal Worcester match holders and pin dishes, boxed Pendelfin piano and cherry pie ornaments, a green onyx jewellery box, a 1953-54 Ministry of Food ration book, S Hancock and Sons Rubens Ware bowl, vase and bird figure (sd), a boxed glass preserve pot, with plated lid and spoon, in the form of an apple, a 1990s resin art deco style figure height 34cm, seven vinyl singles by artists including Elvis Presley, Billie Jo Spears and Shakin Stevens, a box of cut crystal and other glasswares, an Old Hall tea and coffee pot, etc (sd) (3 BOXES)
Signed by many Ferrari F1 drivers including Michael Schumacher, Nikki Lauda and Jody Scheckter.Signed by the author, Jane Nottage, dedicated "To James, Forza Ferrari" Signatures of Ross Brawn and Luca di Montezamolo on separate page. Additional signatures below. Eddie Irvine, Mika Salo, Rubens Barrichello, Ivan Capelli, Jean Alesi, Gerhard Berger, Luciano Burti, Felipe Massa, Luca Badoer and Stephan Johanssen. Unrepeatable! Click here for more details and images
Two-carton accumulation of well over 20,000 stamps in over 25 volumes, including two-volume collection in green Ideal albums for foreign countries to late 1920s incl. Japan with imperf dragons and syllabics, Siam with handful of 'atts' incl. large numeral surcharge, etc, a Minkus Supreme Global album with Netherlands and US incl. many plate blocks, collection in three replete Swiftsure loose-leaf albums, three special hingeless albums for Rubens thematic sets and m/s with no empty spaces, etc, etc. Noted Russian area and Latin America, as well as useful British Commonwealth. Also two bonus boxes with a good range of mainly Stanley Gibbons catalogues - about 20 different 'parts' - incl. 2012 China.
Seltenes Porzellangemälde: Die heilige Familie nach Peter Paul RubensKPM Berlin / Fraureuth. Geprägte Zeptermarke KPM und rote Stempelmarke der Porzellanmanufaktur Fraureuth mit Zusatz "Fraureuth Kunstabteilung handgemalt", 1917 - ca. 1922. Signiert "O. Dietrich". DIETRICH, Oskar (1877 - 1948) Polychrome Malerei. 34 x 28,5 cm, im Goldstuckrahmen (49 x 43,5 cm). Rechteckige Platte mit der Darstellung der heiligen Familie mit Maria mit Jesusknaben, Josef sowie Elisabeth mit dem Johannesknaben, nach einem um 1630 entstandenen Gemälde von Peter Paul Rubens (1577-1640) Die Porzellanfabrik Fraureuth AG in Sachsen wurde 1865 gegründet und unterhielt Kunstabteilungen an verschiedenen Standorten. Die Malerei in Lichte war auf sogenannte "Galerie-Kopien" spezialisiert, d. h. Kopien von berühmten Altmeistergemälden auf Porzellanplatten, Vasen, Tellern und Dosen, die ab 1917 für die Fraureuther Manufaktur von ortsansässigen Malern dekoriert wurden. Neben Alfred Brödel und Karl Büttner fertigte der aus Lichte stammende Maler Oskar Dietrich den Großteil der Galerie-Kopien auf Porzellanplatten an. Die Platten selbst stammten zum Teil von der KPM Berlin. Literatur : Katalog der Porzellanfabrik Fraureuth A.-G., Katalog der Kunstabteilung Wallendorf S.-M. 1920, S. 1. Alamy, Sandy: "Von wahrhaft künstlerischer Ausführung", Porzellanplattenmalerei aus Thüringen seit dem 19. Jahrhundert, 2014, S. 93 ff. Fraas, Susanne: Wachgeküsst, Verborgene Schätze der Fraureuther Porzellanfabrik, 2003.
Collection of coins and medallions, including a bronze 1884 medallion which reads 'Forwards with German Hardwork and German Strength' in the original box; bronze medallion (1577-1877) commemorating the 300th birthday of Peter Paul Rubens; 1855 France Napoleon III - Universal International Exposition Palace of Industry medallion; Napoleon III Universelle de Paris 1867, 1881 Paris Exhibition coin, Paul von Hindenburg issue 5 mark silver coin; with a small collection of miscellaneous GB coins.
16 Ovale Portraitminiaturen "Italienische und flämische Renaissance Künstler: Andrea del Sarto, Carlo Dolci, Giotto, Rubens, Leonardo da Vinci, Tizian, Van Dyck, Domenico Zampier, Bellini, Masaccio, Perugino, Michelangelo, Raffael, Fra Angelico, Guido Reni und Salvator Rosa" nach Vorbildern aus der Selbstportrait-Sammlung der Uffizien/Florenz, Öl/Holz, 18./19.Jh., 14x12/16,5x14cm, leichte Defekte, min. restauriert, ehem. Slg. Claus Virch Kustos d. Painting Department am Met/NY
Biedermeier Ansichtstasse/UT mit lupenfeiner Malerei "Ave Maria" (Mönch bei der Überfahrt ins Kloster) nach einem Gemälde von Christoph Christian Rubens (1805-1875) und Goldstaffage, Ritznr. 74, Pressnr. 74, UT bez. "M. Helmhampf", weitere Widmung ausgeschliffen, 19.Jh., H. 12,5cm, Ø 17,5cm, Riss im Boden, etw. berieben
Peter Paul RubensEnde 19. Jh., unsigniert, recto bezeichnet "Rubens", Eisen gegossen, in Kaltbemalung staffiert, Darstellung des bekannten flämischen Barockmalers und Diplomaten der spanisch-habsburgischen Krone, auf ein Postament gestützt, dahinter seine Malutensilien auf runder Plinthe liegend, leichte Altersspuren, H ca. 34 cm.
JUAN DE SEVILLA ROMERO (Granada, 1643-1695)."Apparition of the Virgin and Child to Saint Catherine of Siena".Oil on canvas.Measurements: 86 x 65,5 cm.Typical of Juan de Sevilla's work was the representation of interiors where the furniture and the divine, that is to say, where the domestic and the miraculous, harmonize merging in spatial continuity. This is the case here with the apparition of the Virgin with a break of glory before Saint Catherine, who kneels at her feet. Next to her is a bed with a velvet canopy.Juan de Sevilla Romero was a Spanish Baroque painter who belonged to the Granada school of painting as the most direct continuator of Alonso Cano, along with Pedro Atanasio Bocanegra, with whom he had a rivalrous relationship. He trained first with Francisco Alonso Argüello, then with Pedro de Moya, and went on to work with Alonso Cano from 1660 onwards. The influence of his master and of Flemish engravings, especially Rubens, are the fundamental characteristics of his painting. From 1674 onwards he received numerous commissions for different churches and convents in his city, such as the two canvases in the sacristy of the convent of San Jerónimo (in situ), San Pantaleón for San Felipe Neri (Granada Museum of Fine Arts), Triumph of the Eucharist for the Augustinian nuns (in situ) and The Disciples of Emmaus in the Hospital del Refugio and convent of San Antón in Granada, among others. He also worked in Cordoba and Seville, where he collaborated on the tempera decorations for the Corpus Christi celebrations. Other works by the artist include The Holy Family (Museo de la Pasión, Valladolid), the Pietà (Seville cathedral), the Santas (National Museum of Poznan, Poland) and Presentation of the Virgin in the Temple and The Rich Epulon and the Poor Lazarus (Prado, the former from the royal collections and the latter acquired in 1928).
Peter Paul Rubens: Siegen 1577 - 1640 Antwerpen.Motiv: Der Raub der Töchter des Leukippos. (Original entstanden um 1618). Dargestellt ist die Entführung der beiden Töchter des Leukippos, Hilaeira und Phoibe, durch die römischen Dioskuren Castor und Pollux.Fein in Öl kolorierter, spiegelverkehrter Kupferstich nach dem Gemälde - Vorbild. Format ca. 39 x 36 cm, unter Glas in prachtvollem Rahmen. Auf diesem rückseitig mehrere Vermerke: a) Stempel „Privat-Eigenthum Ernst II. Herzog v. S. Coburg-Gotha“. b) “Cap. XI N° 183“. c) Bekröntes „E“. d) Roter Stempel mit schwer leserlicher Schrift e) Schwarzer Stempel mit bekröntem „E“ und „N° 2597“. f) Inventar - Nr. (?) „2597“. Provenienz: Aus dem ehemaligem Besitz Herzog Ernsts II. von Sachsen - Coburg - Gotha.
A pair of 19th Century Victorian cast wax / plaster relief panels depicting Elizabethan court scenes, either after Rubens paintings of Shakespearean scenes. Each depicts Elizabeth I in a palace setting with attendants. Both in ebonised stepped frames with glazed fronts. Measures approx; 40cm x 29cm.
Dietmar Lemcke (bn. 1930), by and after, 'Sea Wall in Brittany', signed and dated 1958 in pencil to margin, etching, 35cm x 40cm; Otto Eglau (1917-1988), by and after, 'Afrika', signed and titled in pencil to margin, etching, 20cm x 31cm; Ian McWhirter, by and after, 'Burn's Monument, Attoway', signed in pencil to margin, etching; Alexander H. Kirk, by and after, 'Santa Maria', signed and titled in pencil to margin, etching; E. H. Groom, by and after, 'Big Ben', signed and titled in pencil to margin, etching; After Rubens, reproduction print, 'Albertina Facsimile' blindstamp to margin; Jacobus Houbraken (1698-1780), by, after Holbein, 'A Portrait of Catherine Howard', etching, 40.5cm x 25cm; along with a small portfolio of prints, qty.
Sammlung: von 10 Bl. mit Portraits, davon 8 n. A.van Dyck, 1 n. Rubens, tls. von P.Pontius bzw. Vorsterman, 18. Jh. 8°-Kl.Fol. Tls. auf Darst. geschn., tls. aufgez. Johannes Livens, Henricus van Baelen, Adam de Coster, Paulus Pontius, Justus Suttermans, Robertus van Voerst, Johann T'Serclaes von Tilly, Johann VIII. (Nassau-Siegen), Lucius Annaeus Seneca, Nicolaus le Camus (von u. n. P.L. van Schuppen). - Tls. Alters- u. Gebrauchssp. R
Rubens, Peter Paul: (1577-1640) nach. Le Tems decouvre la Verité. Bl. 24 aus: La Gallerie du Palais du Luxembourg. Kupferstich v. A.Loir n. u. bei Nattier, nach 1710. Plgr. 50,2 x 23,5, Blgr. 63 x 42 cm. Mit den Namensz., Titel u. Nr. i.d. Platte. Die in den Jahren 1620-1625 für das neu erbaute Palais Luxembourg von Rubens gemalten Bilder verherrlichen das Leben der Königin Maria Medici. - Etw. angestaubt, stockfl. u. randrissig.
ISMAEL DE LA SERNA GONZÁLEZ (Guadix, Granada, 1898 - Paris, 1968)."Saint George slaying the dragon". Oil on serge.It has holes in the canvas and restorations.Signed in the lower left corner.Measurements: 237 x 193 cm.This work reproduces the painting by Rubens "Fight between St. George and the dragon", painted between 1606-1608, which currently belongs to the collection of the Prado Museum. According to the specialist H. Vlieghe, Rubens' painting appears to be based on a work by Titian in the Graphische Sammlung in Munich. In the foreground we see the figure of Saint George on his horse, striking the dragon with his lance, while in the background on the left, the princess can be seen still holding the lamb that was to feed the beast.Ismael González de la Serna began his art studies in Granada and completed them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.
Circle of DOMENICO FETTI (Rome, 1589 - Venice, 16 April 1623)"Jacob's Dream.Oil on canvas. Re-tinted.It has repainting, restorations on the pictorial layer and missing parts in the frame.It has a 19th century frame.Measurements: 78 x 51 cm; 92 x 65 cm (frame).Aesthetically the work follows the compositional and stylistic precepts of the painting by Dominico Fetti, which belongs to the collection of Domenico Fetti, and has the same title. The canvas narrates the mysterious dream of the patriarch Jacob who, according to Genesis, dreamt on the road to Haran of a heavenly ladder on which angels ascended and descended. This vision of Jacob narrated by the sacred text is usually interpreted as a symbol of the contemplative life, according to Benedictine interpretation. The Genesis account tells us that Jacob set out from Beer-sheba in the direction of Haran. By chance he came to a place and stayed there to spend the night, because the sun had already set. He took a stone from there, put it on as a pillow, and lay down to sleep in that place. And he had a dream: a stairway was leaning against the earth, with its top touching the sky. Angels of God were ascending and descending it. The Lord stood on it and said, "I am the Lord, the God of your father Abraham and the God of Isaac. The land on which you are lying, I will give it to you and your descendants. Your descendants will multiply like the dust of the earth, and you will occupy the east and the west, the north and the south; and all the nations of the world will be called blessed because of you and your descendants. I am with you; I will keep you wherever you go, and I will return you to this land and will not forsake you until I have fulfilled what I have promised." When Jacob awoke, he said, "Truly the Lord is in this place, and I did not know it." And, in awe, he added, "How terrible is this place; it is but the house of God and the gate of heaven."Domenico Fetti was a Roman-born artist who began his artistic education at the hands of his father, the renowned painter Pietro Fetti. He later continued his studies with Andrea Commodi and Lodovico Cigoli. His career took off thanks to the patronage of Ferdinando Gonzaga, who, following his appointment as Duke of Mantua, made the painter move to that city. His stay there brought him into contact with the paintings of great artists such as Rubens and Titian. In 1622 he moved to Venice with the support of important patrons. Fetti's painting was characterised by his experimentation with various genres such as portraiture, allegory, history and religion.
Rubens and His Legacy From Van Dyck to Cezanne sponsored by BNY Mellon Hardback Book 2014 First Edition published by Royal Academy of Arts some ageing good condition. All lots sold on behalf of Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
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