• À propos

Alain.R.Truong

Alain.R.Truong

Archives de Tag: Jusepe de Ribera

Patron donates prominent Ribera painting to Städel on the occasion of her one hundredth birthday

09 mardi Déc 2014

Posted by alaintruong2014 in Old Master Paintings

≈ Poster un commentaire

Étiquettes

Jusepe de Ribera, Saint James the Greater

14

Jusepe de Ribera (1591–1652), Saint James the Greater, ca. 1615/16. Oil on canvas, 133.1 x 99.1 cm. Frankfurt am Main, Städel Museum Donated by Dagmar Westberg, Frankfurt am Main, in 2014 Photo: Städel Museum.

FRANKFURT.- Today Dagmar Westberg is celebrating her one-hundredth birthday at the Städel Museum. On this occasion, the founder of the Dagmar-Westberg-Stiftung and long-time Städel patron is donating an extremely precious and art-historically important work to the Frankfurt museum for its Old Masters collection: the painting Saint James the Greater of ca. 1615/16 by Jusepe de Ribera (1591–1652). Ribera is among the most important painters of the seventeenth century, and one who unites the artistic achievements of two European schools in a single person. Born in the province of Valencia, he can be considered the most prominent Spanish painter after Diego Velázquez (1599–1660). He spent his entire life in Italy, however – first in Rome, then in the Spanish vice-kingdom of Naples – and was accordingly also one of the most influential painters of the Italian Baroque. In the Städel Museum, this masterwork will be presented in the large Italian gallery with immediate effect, and thus, after four centuries in private ownership, be placed on view in a public collection for the first time and permanently.

“For nearly two hundred years now, the dedication of individual citizens has been a cornerstone in the continuing existence of the Städel Museum. Within this tradition, Dagmar Westberg is a shining example, and in every respect an outstanding figure to whom we are deeply indebted. Her donation of the Saint James the Greater by Ribera can unquestionably be considered a milestone in our museum’s long collection history. We could not have dreamed of a more wonderful gift – and on the special occasion of her one-hundredth birthday, no less. We are delighted and proud that Ms Westberg is celebrating her day of honour in and with the Städel”, museum director Max Hollein commented.

Born in Hamburg in 1914 and a resident of Frankfurt, Dagmar Westberg is one of the most prominent patrons of the city’s Städel Museum. In the past years, she has already taken her birthdays as occasions for supporting the Städel with major donations of artworks and funds. In 2008, for example, Westberg presented the museum with, among other works, the altarpiece by the “Master of the von Groote Adoration”, a triptych dating from the first third of the sixteenth century and one of the most outstanding Netherlandish works of its time. In 2013, Dagmar Westberg enabled the museum to purchase a rare lithograph by Francisco Goya and a print by Edvard Munch. With funds from the Dagmar Westberg foundation she moreover regularly supports important purchases for the Städel’s Department of Prints and Drawings. Over the past years, drawings by Carl Spitzweg, Max Klinger, Henri Michaux and Almut Heise and works of printmaking by Max Beckmann, Candida Höfer, Tacita Dean and Paul Morrison – to name just a few important examples – have been acquired with her help. Ms Westberg also espouses the general interests and concern of the Städel and has assumed permanent patronage of a gallery in the museum’s Old Masters department.

Born to a Baltic-Hamburg family of entrepreneurs, Dagmar Westberg worked for many years for the American consulates general in Hamburg, Berlin and – from the end of World War II onward – Frankfurt am Main. Already her great-uncle Oskar Troplowitz, the inventor of such products as Leukoplast, Hansaplast, Tesa tape and Nivea and responsible for the success of the Beiersdorf company, was a great art patron. He bequeathed twenty-six paintings to the Hamburg Kunsthalle, including masterpieces by French and German artists of the nineteenth and twentieth centuries such as Auguste Renoir, Alfred Sisley, Pablo Picasso or Max Liebermann. His great-niece Dagmar Westberg has continued the tradition. She supports not only the Städel Museum but also, with great personal commitment, numerous other social, cultural and educational endeavours. Among the institutions and foundations she has aided are the Frankfurt girls’ refuge FeM, the Cronstetten-Stiftung, the German Summer Work Program at Princeton University and the Goethe-Universität Frankfurt am Main. In 2008 she was awarded the Georg August Zinn Medal of the State of Hesse for her dedication.

JUSEPE DE RIBERA (JÁTIVA 1591 – 1652 NAPLES), SAINT JAMES THE GREATER, CA. 1615/16 

Dates and facts
The painting acquired by the Städel Museum shows the apostle James the Greater in the impressive format of 133.1 by 99.1 centimetres, corresponding to the dimensions which, in Roman painting, were characteristic of the so-called tela d’imperatore (“imperial canvas”). In the work, the viewer encounters a monumental half-length figure of sheer sculptural presence. The apostle stands before a dark wall and is illuminated by a beam of light strikingly set off against that dark surface – a lighting situation of the kind typical of Caravaggio and his successors. In his right hand he firmly grips his attribute, the long pilgrim’s staff; in his left hand, which he holds before his body, he clutches a book. A further indication of his identity as a pilgrim is the insignia of the two small crossed pilgrim’s staffs pinned to the chest of his robe and gleaming in the light. James’s hands – toughened by weather and work and quite literally demonstrating his “hands-on” character – have been rendered with the almost provocative naturalism Caravaggio had introduced to art not long before. His garments, a light grey tunic with a vivid red cloak over it, is rich – not in decoration but in volume. The saint has the cloak draped over his left shoulder and gathered on his left arm in such a way that the thick fabric creates an elaborately formed topography of folds. Light and shade lend forceful plasticity to the virtually abstract pattern thus formed. The body performs a slight but perceptible twist; the left shoulder is turned towards the viewer. The contrary directions of the arms and hands lend the figure a certain dynamic. The monumentality of the pose, the arm held before the body in a protective gesture, and the three-dimensional pattern of the folds presenting itself so prominently to the viewer all serve to intensify the presence of the apostle in his virtually stage-like appearance in this painting.

The manner in which this inherent force is tempered by the figure itself is typical of Ribera’s style. It is his head, inclined gently to one side, that brings an entirely different facet of the saint into play. Ribera calls attention to the head by making it the only part of the figure placed directly in the beam of light, while also backing it with a light aureole. The apostle gazes at the viewer frontally from deeply dark shining eyes, his lips slightly parted. Everything about his countenance is fine, noble and elegant – the curve of the lips, the contours of the ears, the dynamic strands of wavy brown hair. The gentleness of the face contrasts subtly with the forceful expression of the body. The ambiguity between appearance and apparition, presence and rapture distinguishes the painting as a sensitively conceived masterwork by the early Ribera. He executed it in the years around 1615/16, towards the end of his stay in Rome and shortly before he departed for Naples, where he would reside for the rest of his life.

Art-historical classification
Art scholars initially attributed the painting to the so-called “Master of the Judgement of Solomon” who has meanwhile revealed himself to be a fiction of research. Since 1978 the work has been cited in art-historical literature convincingly and unanimously as an early work by Ribera, and included in all of the relevant œuvre catalogues. Not only is the quality of the conception and painterly execution of this painting superb, but also the condition in which it has come down to us. It is above all stylistic comparison with works known for certain to be from Ribera’s hand that testify to his authorship, for example the Saints Peter and Paul in Strasbourg, the Saint Sebastian in Osuna, and the Penitent Saint Peter in New York, all of which resemble the Apostle James extremely closely in the formation of the face and modelling of the folds, even down to the smallest detail. A depiction of the same saint in the Prado, executed around 1630, strikingly shows how, fifteen years later, in a different stylistic phase, Ribera drew on his early work. Yet the painting is highly important not only within the Spanish master’s œuvre, but also with regard to its reception by his contemporaries. Even Diego Velázquez, an artist eight years Ribera’s junior, presumably received fundamental impulses from the older master’s work for his Saint Thomas executed only a few years later and now in the Musée des Beaux-Arts in Orléans.

Provenance
In Rome, the sources tell us, the young painter led the life of a bohemian and quickly made a name for himself with his art. As a result, his paintings were verifiably in the inventories of some of the town’s wealthiest collectors. Vincenzo Giustiniani, for instance, known as a patron of Caravaggio, must have cultivated close contact with Ribera and admired him much as he did Caravaggio, whose works are the most numerously represented in his inventory. That listing also mentions a Saint James the Great by Ribera’s hand in the tela d’imperatore format – possibly the very work now in the Frankfurt collection. The twentieth-century collection history of the Städel Saint James was recorded thanks to a number of changes of ownership. It first appeared in a catalogue when it was offered at auction by Leo Schidlof in Vienna in 1924. In 1927 it was shown in Berlin in the framework of an exhibition of the Antiquitätenhaus Wertheim; the accompanying catalogue names a certain Ernst Lang as its owner. Two years later, the private collector Ernst Seifert purchased the painting from Ernst Adler, domiciled in Asch, at an auction in the Berlin establishment of Rudolph Lepke. Seifert kept it over the war years, for nearly three decades altogether, and in 1958 sold it to the Munich art dealer Julius Harry Böhler. The latter sold it in 1964 to a family from whose collection the Bernheimer-Colnaghi art dealership recently obtained possession of it. It was there that the Frankfurt patron Dagmar Westberg purchased it in 2014 so as to present it to the Städel Museum as a gift on 8 December on the occasion of her one-hundredth birthday.

The significance of the acquisition for the Städel collection
At the Städel, the donation fills a gap in the Old Masters holdings. Precisely the beginnings of European Baroque painting, dating back to the decades around 1600 in Italy, were inadequately represented in this public collection. The donation of a Madonna by Guercino (ca. 1621/22) from the Beaucamp collection in 2010 was a first important step in remedying this state of affairs. A wide range of links can also be drawn to Guido Reni’s Caravaggesque Christ at the Column (1604), Dirck van Baburen’s Young Man Singing (1622) and Massimo Stanzione’s Susanna and the Elders (ca 1630/35).

“In Ribera’s Saint James, an outstanding example of the early reception of Caravaggio has made its way into the collection, where it will introduce a striking accent in our large Italian hall. A painting that stops you in your tracks”, comments Bastian Eclercy, head of the collection of pre-1800 Italian, French and Spanish painting at the Städel Museum.

The major museums of the world – first and foremost the Prado in Madrid and the Museo di Capodimonte in Naples – have works by Ribera in their collections. At the Frankfurt Städel, the absence of a painting by this master has hitherto represented a painful gap. A particular desideratum was a work from the phase in which the young artist was strongly affected by his encounter with the art of Caravaggio. Still in his early twenties, Ribera lived in Rome for at least four years from about 1612 to 1616, and there fell under the spell of that master of chiaroscuro painting and the study of nature. Very few sources shed light on this phase of Ribera’s career, which has only recently gained the recognition it deserves from scholars and the public thanks above all to the major exhibition in Madrid and Naples in 2011/12. That show gave research on the subject a regular boost, as a result of which Ribera’s early work is presently one of the most intensively discussed topics in the literature on the Italian Baroque. Within this context, the acquisition of a large-scale Ribera canvas of the Penitent Saint Peter (ca. 1612/13) by the Metropolitan Museum in New York in 2012 attracted a lot of attention, as did the Paris Louvre’s purchase of the artist’s Saint John the Baptist the same year. With the new acquisition that has come about through Dagmar Westberg’s gift, the Städel is now in the fortunate position of being able to make a significant contribution to this highly topical discussion.

Paris Tableau 2014

14 vendredi Nov 2014

Posted by alaintruong2014 in 19th Century European Paintings, Old Master Paintings

≈ Poster un commentaire

Étiquettes

Adélaïde Labille-Guiard, Alexandre-François Desportes, Aniello Falcone, Apollonio di Giovanni, Bartholomeus van der Helst, Cerstiaen Luyckx, Charles Le Brun, Christiaen van Pol, Claude Joseph Vernet, Daniel Seghers, David Teniers Le Jeune, dit Il Mastelletta, Felice Giani, Francesco Albani dit L'Albane, Francesco Guardi, Francesco Solimena, Frans Francken le jeune, Frans Pourbus le Jeune, Giovanni Andrea Donducci, Giovanni da Bologna, Hendrick Bloemaert, Jacob Adriaensz. Backer, Jacob Ferdinand Voet, Jan Brueghel le Jeune, Jean Joseph Xavier Bidauld, Jean-Baptiste Marie Pierre, Johan Thomas Lundbye, Johann Carl Loth, Johann Georg Platzer, Jusepe de Ribera, Lancelot Théodore Turpin de Crissé, Louis Gauffier, Louis Léopold Boilly, Luca Giordano, Lucas Valkenborch, Marten van Valckenborch, Martin Van Valckenborch, Palma il Giovane, Philippe van Bree, Saint Sébastien, Salomon van Ruysdael, Salvator Rosa, Simone Cantarini, Thomas-Germain Duvivier

16

Apollonio di Giovanni (Florence 1415/17-1465), « Crucifixion avec la vierge Marie, sainte Marie-Madeleine, saint François et saint Benoît, » circa 1450, Tempera et or sur panneau, 73 x 49 cm. © Grassi Studio, Paris Tableau, stand 1.

En 2013, Paris Tableau avait clôt sa troisième édition sur un succès : quelque 6000 visiteurs avaient fait le déplacement pour rencontrer les 24 exposants français et internationaux sélectionnés avec la plus grande rigueur. Ce chiffre de fréquentation, en croissance constante depuis la création du salon, allait de paire avec la présence accrue des musées étrangers. Véritable indice de succès, les conservateurs de nombreux musées étaient au rendez-vous : la National Gallery de Londres, le MET de New York, le Minneapolis Institute of Arts ou encore le Kunstmuseum de Bâle, tous étaient présents dès l’ouverture. Répondant à une enquête de satisfaction organisée les jours suivants, le public, également composé d’historiens de l’art, de collectionneurs ou d’amateurs, ne tarissait pas d’éloges sur l’atmosphère à la fois chaleureuse et sérieuse de ce salon à taille humaine. L’objectif de Paris Tableau était alors atteint : ce salon est désormais une étape incontournable dans la vie du marché de l’art international.

Forte de cet acquis, la 4e édition, toujours installée dans le chaleureux écrin du Palais Brongniart, réunira, du 13 au 16 novembre, les curieux et passionnés de peinture ancienne autour d’œuvres variées : portraits, scènes de genre ou paysages du Moyen Âge au Second Empire, écoles du Nord, italienne ou française : tout l’éventail de la peinture ancienne sera ainsi déployé. Cette année, deux exposants de plus sont conviés,
pour un total de 26 exposants internationaux, les meilleurs dans leur domaine ; parmi eux, on compte quatre nouveaux venus, les galeries Thomas Agnew & Sons (Londres), Matteo Grassi (New York), Maurizio Nobile (Bologne) et Porcini (Naples), ainsi que deux
marchands de cadres.
Les dix membres fondateurs Maurizio Canesso, Hervé Aaron, Éric Coatalem, Bertrand Gautier, Bob Haboldt, Jean-François Heim, Georges de Jonckheere, Jacques Leegenhoek, Giovanni Sarti et Claude Vittet réaffirment leur volonté de garder un format intime, garantissant ainsi la qualité des œuvres exposées et le confort du visiteur. Un format certes réduit mais qui s’explique aussi par l’exigence d’excellence imposée aux participants. Dans un souci d’équité, les stands sont attribués chaque année par tirage au sort.

5

Louis Gauffier (La Rochelle, 1761 – Livorno, 1801), Portrait de Ferdinando Nerli. Huile sur toile, 66 x 48.3 cm. © Grassi Studio, Paris Tableau, stand 1.

10

Jean Joseph Xavier Bidauld (Carpentras, 1758 – Montmorency, 1846). Paysage vu à travers une treille, vers 1840. Huile sur toile, H. 32,5 x L. 41 cm. Signé et localisé en bas au centre, sur la lettre : a Mr / Bidaul[d] / [Montmorency ?]. © Galerie Michel Descours, Paris Tableau, stand 2.

11

Palma il Giovane (Jacopo Negretti, 1544-1628), Saint Sébastien. Huile sur toile, 190 x 114 cm. © Galerie Michel Descours, Paris Tableau, stand 2.

8

Jean-Baptiste Marie Pierre  (Paris,1714 – Paris, 1789), Bacchante endormie – 1763.Huile sur toile, 105 x 71 cm. © Didier AAron & Cie, Paris Tableau, stand 3.

photo Thomas Hennocque

Lancelot Théodore Turpin de Crissé  (Paris, 1782 – Paris, 1859), L’enfance de Bacchus – Huile sur toile, 129 x 97 cm. Monogrammé. Exécuté vers 1835. © Didier AAron & Cie, Paris Tableau, stand 3.

12

David Téniers le Jeune (Anvers, 1610 – Bruxelles, 1690), La foire du village. Huile sur bois, 65 x 40,5 cm. Signé. © Galerie Sanct Lucas, Paris Tableau, stand 4.

paristableau2014_sanct-lucas_vernet_hd

Claude Joseph Vernet (Avignon, 1714 – Paris, 1789), Un pêcheur relevant son filet de pêche. Huile sur bois, 40,5 x 31,5 cm. © Galerie Sanct Lucas, Paris Tableau, stand 4.

13

Francesco Albani dit L’Albane, Le Christ apparaissant à Madeleine. Huile sur cuivre, ovale, 19 x 24,5 cm. Au revers, une inscription à l’encre : « From the Orleans Gallery/ Engraved ». © Galerie Canesso, Paris Tableau, stand 5.

Marquis de Nancré (selon Du Bois de Saint-Gelais 1727) ; Paris, Galerie du Palais-Royal, collection du Régent, Philippe d’Orléans (1674-1723) où il est décrit par Du Bois de Saint-Gelais (1727) ; puis par descendance, son fils Louis d’Orléans (1703-1752) ; toujours par descendance son fils, Louis-Philippe, duc d’Orléans, (1725-1785), et enfin son fils, Louis-Philippe d’Orléans (1747-1793), connu sous le nom de Philippe –Egalité, puis, en 1792, le tableau passe en Angleterre avec la collection, vente Orléans, Bryan’s Gallery, Londres, 26 décembre 1798 et jours suiv., n° 66, acheté par John Maitland (150 livres) Woodford Hall, Essex, (Buchanan, 1824), sa vente Christie’s, Londres, 30 juillet 1831, n° 92. Acheté en Angleterre et depuis 1957, Rome, collection Andrea Busiri Vici (1903-1989).

14

Aniello Falcone (Naples, 1607-1656), Bataille de cavalerie entre Turcs et Chrétiens. Huile sur toile, 76 x 113 cm. © Galerie Canesso, Paris Tableau, stand 5.

Brésil, collection privée (selon le catalogue de 1975 de la galerie Wengraf ); Londres, avec la galerie Werner Wengraf, 1975; Londres, avec P. & D. Colnaghi, 1976; Londres, vente Sotheby’s, 14 Decembre 2000, lot 75; Rome, collection privée.

15

Felice Giani (San Sebastiano Curone/Alexandrie 1758 – Bologne 1823), Samson et Dalila, 1784. Huile sur toile, 35 x 54,5 cm. © Carlo Virgilio & C., Paris Tableau, stand 6.

A 8755

August Nicomedo (Rastatt 1763 – Naples (?) circa 1797), Minerve accueillie Louis Charles de Bourbon face au tombeau de son père Louis XVI, en présence de la France et d’Hercule de Bourbon. Huile sur toile, 76 x 63 cm. Signé et daté : “August Nicodemo Roma 1794”. Italie, collection particulière. © Carlo Virgilio & C., Paris Tableau, stand 6.

3

Frans Pourbus le Jeune (1569-1622), Portrait d’un Officier Habsbourg, c.1600. Huile sur toile, 98,4 cm x 77,4 cm. © The Weiss Gallery, Paris Tableau, stand 7.

18

Jacob Ferdinand Voet (Anvers 1639 – circa 1700), Portrait d’une élégante Demoiselle, c.1678 ?. Huile sur toile, 73 cm x 59 cm. © The Weiss Gallery, Paris Tableau, stand 7.

19

Jusépe de Ribera (Jàtiva, 1591 – Naples, 1652), Tête coupée de Saint Janvier – 41 x 47 cm. Huile sur toile. © Porcini, Paris Tableau, stand 8.

20

Francesco Solimena (Canale di Serino 1657 – Naples, 1747), La Conversion de Saul – Huile sur toile, 129 x 102 cm. Bozzetto pour la fresque dans la Sacristie de l’église San Paolo Maggiore à Naples. © Porcini, Paris Tableau, stand 8.

21

Thomas-Germain Duvivier (Paris, 1735 – 1814), Les Attributs des arts et de la musique. Huile sur toile, 114 x 85 cm. © Galerie Terrades, Paris Tableau, stand 9.

22

Johann Carl Loth (Munich, 1632 – Venise, 1698), Le Retour du fils prodigue, vers 1670. Huile sur toile, 128 x 160,5 cm. © Galerie Terrades, Paris Tableau, stand 9.

23

Alexandre-François Desportes  (Champigneulles, 1661- Paris, 1743), Hallali de loup, 1721. Huile sur toile, 250 x 225 cm. Signée et datée en bas à droite : Desportes 1721. © Galerie Jean François Heim, Paris Tableau, stand 10.

24

Johan Thomas Lundbye (Kalundborg, 1818 – Bedsted, 1848), Peter Christian Skovgaard appuyé contre un muret dans une étable. Huile sur papier marouflé sur toile, 34 x 28 cm. Situé, daté et signé avec monogramme en bas à droite : Veiby Juny 1843 TL. © Galerie Jean François Heim, Paris Tableau, stand 10.

25

Giovanni Andrea Donducci, dit Il Mastelletta (Bologne, 1575-1655), Marie-Madeleine dans le désert, huile sur panneau de bois, 40×60,5 cm. © Maurice Nobile, Paris Tableau, stand 11.

26

Abraham Brueghel, dit Il Brueghel Napoletano ou Ryngraaf (Anvers, 1631 – Naples, 1690/97), Nature morte aux fruits avec un homme barbu, huile sur toile, 94 x 134 cm. © Maurice Nobile, Paris Tableau, stand 11.

27

William Larkin (c.1580 – 1619), Portrait en buste d’Elizabeth Drury, Lady Burghley, devenue Comtesse d’Exeter (1577/8-1654), tournée vers la gauche, vêtue d’une riche collerette de dentelle sur un ensemble sombre perlé. Peint vers 1615. Huile sur panneau, 79 x 58 cm. © Derek Johns Ltd, Paris Tableau, stand 12.

La Comtesse d’Exeter, depuis le XVIIème siècle. Sotheby’s, Londres, 17 Novembre 1948, lot 116 (‘Portrait de dame inconnue’ par Cornelia Jonson [sic]) Collection privée, Belgique

28

Marten van Valckenborch (Louvain, 1535 – Francfort, 1612), Paysage d’automne avec vendanges et récolte de fruits. Huile sur toile, 85 x 127 cm. © Derek Johns Ltd, Paris Tableau, stand 12.

2

Giovanni Salamone di ser Albertino da Bologna, dit Giovanni da Bologna (Actif en Vénétie et à Bologne ; documenté entre 1377 et 1389), Vierge à l’Enfant, Vers 1380.Tempera et or sur panneau, H. : 88 x L. : 55 cm. © Galerie G. Sarti. Paris Tableau, stand 13.

29

Luca Giordano (Naples, 1634-1705), Portrait de Platon,. Vers 1660. Huile sur toile. 116,5 x 99 cm. © Galerie G. Sarti. Paris Tableau, stand 13.

ParisTableau2014_EnricoCeci__1_HD-494x590

Travail venitien du début du XVIII° siècle, Important cadre en bois peint et doré a décor de feuillages et fleurs, avec incrustations de nacre. Vue : 81 x 61 cm. Extérieur: 111 x 91 cm. © Enrico Ceci, Paris Tableau, stand 14

ParisTableau2014_EnricoCeci_2_HD-e1415374906464-530x590

Rome , debut du XVII° siècle. Très important cadre en bois à placage d’argent et bronze doré. Vue: 17 x 19 cm. Extérieur: 37,5 x 40 cm. © Enrico Ceci, Paris Tableau, stand 14.

oeuvre35

Francesco Guardi (Venice 1712 – 1793), Le Bucintoro quittant le bassin de San Marco à Venise pour San Nicolò del Lido, le jour de l’ascencion – Huile sur toile, 52.2 x 84.8 cm. © Charles Beddington Ltd, Paris Tableau, stand 15.

oeuvre25

Jacob Adriaensz. Backer (Harlingen, 1608 ou 1609 – Amsterdam, 1651), Démocrite, le philosophe rieur. Vers 1633. Huile sur bois, panneau de chêne,  60 x 46,5 cm. Galerie Stopalo, Stockholm ; collection privée, Suède (depuis environ 1970). © Rafael Valls Ltd, Paris Tableau, stand 16.

oeuvre26

Martin Van Valckenborch (Louvain, 1534 – Francfort-sur-le-Main, 1612), Nativité. Huile sur toile, 61,6 x 124,5 cm. Signée : “MARTE VAN/VALKENBORCH/INVENTOR. ET FECIT”. Œuvre appartenant au même patrimoine familial depuis environ 1950. © Rafael Valls Ltd, Paris Tableau, stand 16.

oeuvre46

Jan Brueghel le Jeune et atelier, (Anvers, 1601 –  Anvers, 1678), Dispute d´oiseaux. Huile sur cuivre, H. : 18,5 x L. : 25,5 cm. Collection Frank. © Kunsthandel P.de Boer, Paris Tableau, stand 17.

41

Lucas Valkenborch (Leuven, circa 1535 – Frankfort, 1597), Paysage boisé avec des personnages dansant et s’activant joyeusement dans un village. Tondo, D. : 13,2 cm. Signé des initiales VVL et daté 1596. © Kunsthandel P.de Boer, Paris Tableau, stand 17.

disp_img

Frans Francken le jeune (1581 – Anvers – 1642), Le Portement de Croix. Huile sur cuivre, 50,3 x 66,3 cm. Signé, porte au dos la marque de Pieter Staes – Daté 1604. © Galerie Claude Vittet, Paris Tableau, stand 19.

– Collection Rainer de Beisac, Wiesbaden
– Miss Maitland, Londres

7

Cerstiaen Luyckx (Anvers, 1623 – ? après 1658), Bouquet de roses, pivoines et passiflores dans un vase ainsi qu’une coccinelle et un papillon. Huile sur panneau, 32 x 24,8 cm. Signé en bas à droite. © David Koetser Gallery, Paris Tableau, stand 20.

Galerie Brian Koetser, Londres, 1971.
Collection privée, Londres (1971-2012).

Salomon van-Ruysdael-RiverEstuarywithFerryBoatandSwimmers.-2442014T161528

Salomon van Ruysdael (Naarden, 1600/3 – Haarlem, 1670), Paysage d’estuaire au bac et nageurs. Huile sur panneau, 48.2 x 47 cm.Signé et daté sur le bac: S. v Ruysdael 1640. © David Koetser Gallery, Paris Tableau, stand 20.

Galerie Leonard Koetser, 1962 ;
Collection privée, Royaume-Uni 1962-2014.

oeuvre65

Hendrick Bloemaert (1602 – 1672), Démocrite, huile sur toile, 95.5 x 73.9 cm. © Thos. Agnew and Sons. Paris Tableau, stand 21.

oeuvre66

Salvator Rosa (1615 – 1673), Glaucus et Scylla, huile sur toile, 87.6 x 74.3cm. © Thos. Agnew and Sons. Paris Tableau, stand 21.

Paris_Tableau_2014_Dossier_de_presse_Page_43_Image_0002

Daniel Seghers (1590 – Anvers – 1661), Bouquet de fleurs sur un entablement. Panneau : 42 x 34 cm. Signé et daté 1640. © De Jonckheere. Paris Tableau, stand 22.

oeuvre18

Simone Cantarini (Pesaro, 1612 – Vérone, 1648), Sainte Cécile. Huile sur toile, 119 x 96 cm. © Jacques Leegenhoek. Paris Tableau, stand 23.

oeuvre60

Charles Le Brun (1619-1690), Allégorie du Tibre. Huile sur toile, 74 cm x 95,5 cm. © Jacques Leegenhoek. Paris Tableau, stand 23.

paristableau3

Bartholomeus van der Helst (Haarlem, 1613 – Amsterdam, 1670), Portrait d’un Jeune Garçon en Cupidon, assis dans un paysage et tenant une bulle de Savon. Huile sur toile, H. :  93 x L. : 106 cm. Signé et date en bas à gauche : B. vander . helst . fecit 1641. © Galerie Bob Haboldt, Paris Tableau, stand 24.

Platzer_Bacchus-et-Ariane

Johann Georg Platzer (Sankt Michael in Eppan 1704 – 1761 Sankt Michael in Eppan), Bacchus et Ariane, Bacchus et Midas. Paire d’huiles sur cuivre, l’une : 56,2 x 79,5 cm, signée en bas à gauche  J.G. Plazer; l’autre : 56,1 x 79,3 cm, signée sur le tonneau  J.G. Plazer. © Galerie Bob Haboldt, Paris Tableau, stand 24.

Paris_Tableau_2014_Dossier_de_presse_Page_30_Image_0001

Louis Léopold Boilly (La Bassée, 1761 – Paris, 1845), Trompe-l’œil aux pièces de monnaie sur le plateau d’un guéridon. Huile sur marbre blanc cerclée d’ébène, 47 cm de diamètre (58 cm avec sa bordure). © Galerie Éric Coatalem. Paris Tableau, stand 25.

Octave Linet ; sa vente, Palais Galliera, Paris, 23 Mars 1963, lot 4 ; Cologne, collection Gustav Rau ; légué en 2001 à la Fondation UNICEF, inv. GR I.245

oeuvre11

Adélaïde Labille-Guiard (Paris, 1749 –  Paris, 1803), Portrait d’un conventionnel. Huile sur toile, 73 x 60 cm. © Galerie Éric Coatalem. Paris Tableau, stand 25.

oeuvre68

Christiaen van Pol (Berkenrode, 1752 – Paris, 1813), Verre de vin et pêches sur un entablement de marbre. Huile sur panneau de chêne entoilé, 24 x 32,5 cm. Signé en bas à droite : V. POL. © Talabardon & Gautier. Paris Tableau, stand 26.

18 (1)

Philippe van Bree (Antwerp, 1786 – Brussels, 1871), L’Atelier de Jan Frans van Daël à la Sorbonne. Huile sur panneau, 47 x 58 cm. © Talabardon & Gautier. Paris Tableau, stand 26.

Esquisse pour le tableau exposé au Salon de 1817
Collection David-Weill

Paris Tableau.

« Lock, Stock and Barrel: Norton Simon’s Purchase of Duveen Brothers Gallery » at Norton Simon Museum

26 dimanche Oct 2014

Posted by alaintruong2014 in European Sculpture & Works of Art, Exhibitions, Old Master Paintings

≈ Poster un commentaire

Étiquettes

Clodion, Flying Mercury, Francesco Bissolo, Francesco di Giorgio Martini, Giorgione, Hubert Robert, Hyacinthe Rigaud, Jacopo Bassano, Jean-Honoré Fragonard, Jusepe de Ribera, Leandro Bassano, Norton Simon Museum, Pierino da Vinci, Titian, Vincenzo Catena, Vittore Carpaccio

6

Zorzo da Castelfranco called Giorgione (Italian, 1477/78–1510), Bust Portrait of a Courtesan, c. 1509. Oil on panel, transferred to canvas.The Norton Simon Foundation.

PASADENA, CA.- The Norton Simon Museum presents an exhibition examining one of Norton Simon’s most memorable acquisitions—the purchase of the century-old, esteemed art dealership, the Duveen Brothers Gallery. Featuring more than 130 works from the Museum’s collection, along with several loans, « Lock, Stock and Barrel: Norton Simon’s Purchase of Duveen Brothers Gallery » sheds light on Simon’s business strategies and his dramatic evolution as an art collector. And with its focus on the Gallery’s remaining stock, the exhibition provides a window onto the tastes and trends of the early- to mid-20th-century American art market.

Duveen Brothers Gallery was once one of the largest and most successful art dealerships. Founded in 1879 in England, the firm under Lord Joseph Duveen was responsible for helping some of the most prominent American businessmen—Henry Clay Frick, Andrew Mellon and Henry Huntington among them—build their renowned art collections. By the time Simon began collecting in the mid-1950s, the firm was owned by Edward Fowles, who had managed the Paris office, and occupied a stately mansion at 18 E. 79th Street. Simon’s interest was then in 19th- and 20th-century art (his first major purchase in 1954 was a Renoir), but while visiting the Duveen showroom in the late 1950s, one particular 15th-century painting caught his eye.

That painting, titled ―Bust Portrait of a Courtesan,‖ was purchased by Duveen in the mid-1930s. Then as now, scholars reveled in discussing and disputing its authorship—whether the painter was Titian, Giorgione, Rocco Marconi, Giovanni Cariani, Bonifazio Veronese or an imitator of any of the above. And many have wavered in their steadfast attribution, as did the famed art historian Bernard Berenson, who published it in 1932 as a Titian, and then again in 1957 as a Giorgione (long after he had left the employ of the Duveen firm). By 1963, despite still some hesitation due to the question of attribution, Simon agreed with Fowles to purchase the painting over a two-year period. And in the course of those two years, he eventually expressed interest in first an additional seven, and then another five objects in Duveen’s stock, until eventually he decided to purchase the whole inventory of slightly fewer than 800 objects, along with the Duveen gallery building and its entire library and archives. (The library was sold to the Sterling and Francine Clark Art Institute in 1965. The archives are now housed at the Getty Research Institute, Los Angeles. The building was traded to the dealer William Acquavella in 1967.)

After a series of decorative arts and furniture auctions in the 1970s to recoup a good portion of his $4 million outlay for the company, what Duveen pieces remain today in the Norton Simon collections number around 130 objects, primarily paintings, a handful of sculptures, a few porcelains and a cape purportedly worn by Charles IV of Spain. Of this assemblage, only about two dozen pieces are on permanent display. The remaining hundred objects are less frequently exhibited due to their condition, the type of restoration that the paintings underwent under the Duveen conservators’ hands or their dubious attributions. But as a whole, they offer an intriguing historical look at the infamous figure of Joseph Duveen and his eponymous firm that lived on 25 years after his death, as well as the state of the art market and art restoration in America at mid-20th century.

The purchase also resonates with Simon’s shrewd style of acquiring entire floundering-but-viable businesses and building them into thriving enterprises such as Hunt Foods, McCall’s Publishing and Canada Dry. In a step that he would repeat more than once while assembling his outstanding art collection, with his purchase of Duveen lock, stock and barrel, Simon planted his foot squarely in the market for Old Masters and began seriously his quest to build a collection that included earlier European art, especially early Italian art. This exhibition examines his remarkable and stunning maneuver 50 years in hindsight, and reveals his uncanny strategy that ultimately brought to Pasadena important Italian works by Bernardino Luini, Francia, Vincenzo Catena and Antoniazzo Romano, as well as French, Spanish and northern works by Gerard David, Jusepe de Ribera, Peter Paul Rubens, Jean-Honoré Fragonard and Hyacinthe Rigaud.

« Lock, Stock and Barrel: Norton Simon’s Purchase of Duveen Brothers Gallery » is curated by Chief Curator Carol Togneri.

5

Claude Michel called Clodion (French, 1738-1814), Bacchante Supported by Bacchus and a Faun, 1795. Terracotta, 20 in. (50.8 cm). The Norton Simon Foundation.

2

Attributed to Vittore Carpaccio (Italian, 1455-1526),  Portrait of a Venetian Nobleman, c.1510. Oil on panel, 14 x 10-3/4 in. (35.6 x 27.3 cm). The Norton Simon Foundation.

7

Jean-Honoré Fragonard (French, 1732-1806), Happy Lovers, c. 1760-65. Oil on canvas, 35-1/2 x 47-3/4 in. (90.2 x 121.3 cm). The Norton Simon Foundation

8

Titian, or Imitator (Italian, c.1487/90-1576), Venetian Nobleman, after 1530. Oil on canvas, 42-1/2 x 36 in. (108.0 x 91.4 cm). The Norton Simon Foundation

9

Jacopo Bassano (Jacopo da Ponte), possibly Leandro Bassano (Italian, 1510-1592), Portrait of a Lady, after 1570. Oil on canvas, 31 x 25-3/4 in. (78.7 x 65.4 cm). The Norton Simon Foundation.

10

Hubert Robert (French, 1733-1808), The Fountain, c. 1775. Oil on canvas, 26 x 20 in. (66.0 x 50.8 cm). The Norton Simon Foundation.

3

Francesco di Giorgio Martini (Italian, 1439–1501/02), Fidelity, c. 1485. Fresco transferred to canvas, mounted on wood panel. The Norton Simon Foundation

11

Pierino da Vinci (Italian, 1530-1553), Nilus, God of the River Nile, 16th century. Bronze, 5-1/2 x 12-1/2 x 5-1/4 in. (14.0 x 31.8 x 13.3 cm). The Norton Simon Foundation.

4

Francesco Bissolo (Italian, 1470/72-1554), The Annunciation, c. 1500. Oil on panel, transferred to canvas, 43-3/4 x 39-1/2 in. (111.1 x 100.3 cm). Norton Simon Art Foundation.

12

Jusepe de Ribera (Spanish, 1591-1652), The Sense of Touch, c. 1615-16. Oil on canvas, 45-5/8 x 34-3/4 in. (115.9 x 88.3 cm). The Norton Simon Foundation.

13

Northern Europe, 1610-1630, Flying Mercury, c. 1620. Bronze, 27 in. (68.6 cm). The Norton Simon Foundation.

14

Hyacinthe Rigaud (French, 1659-1743), Portrait of Antoine Paris, Conseiller d’Etat, 1724. Oil on canvas, 58-1/2 x 45 in. (148.6 x 114.3 cm). The Norton Simon Foundation.

15

Flanders, Holy Family with Music-Making Angels, c. 1520. Wool tapestry with silk and gold threads (woven at Brussels), 102 x 116 in. (259.1 x 294.6 cm). The Norton Simon Foundation.

16

Vincenzo Catena (Italian, c.1470-1531), The Rest on the Flight into Egypt, after 1510. Oil on panel, overall: 32 x 43 in. (81.3 x 109.2 cm). Norton Simon Art Foundation.

Alain R. Truong

Alain R. Truong
janvier 2021
L M M J V S D
 123
45678910
11121314151617
18192021222324
25262728293031
« Fév    

Articles récents

  • Message du blogueur
  • ‘Waiting To Fade’ by Mehran Naghshbandi
  • A fancy deep greyish yellowish green « Chameleon » diamond and coloured diamond ring
  • A light blue diamond and diamond ring
  • A fancy vivid yellow diamond and diamond ring

Catégories

  • 19th Century European Drawings (7)
  • 19th Century European Paintings (45)
  • 19th Century Furniture & Sculpture (18)
  • 20th Century Design (25)
  • African & Oceanic Art (1)
  • American Art (11)
  • American Furniture (1)
  • Ancient Egypt (12)
  • Antiquities (50)
  • Archéologie (2)
  • Architecture (5)
  • Auctions (57)
  • Automobiles de collection (44)
  • Birds (38)
  • Books & Manuscripts (11)
  • Buddhist Works of Art (71)
  • Cabinet de curiosités (17)
  • Chinese antique rhinoceros horn (45)
  • Chinese Bronze (77)
  • Chinese Ceramics (571)
  • Chinese Coins & Medals (1)
  • Chinese Furniture (40)
  • Chinese Glass (45)
  • Chinese Jade (94)
  • Chinese Lacquer (57)
  • Chinese Paintings (57)
  • Chinese Porcelains (1 129)
  • Chinese Textile (75)
  • Chinese works of Art (195)
  • Chinoiserie (112)
  • Contemporary Art (86)
  • Contemporary Asian Art (10)
  • Contemporary Ceramics (22)
  • Contemporary Glass (1)
  • Costume and Textiles (21)
  • Decoration (5)
  • Decorative Art & Folk Art (2)
  • Design (19)
  • English Furniture (7)
  • European Ceramics (87)
  • European Prints & Multiples (30)
  • European Sculpture & Works of Art (141)
  • Exhibitions (91)
  • Fairs (7)
  • Fashion (110)
  • Félidés (15)
  • Fish (2)
  • Flowers (31)
  • French & Continental furniture (62)
  • Gems (71)
  • Gems, Minerals & Natural History (52)
  • Gold Boxes & Objects of Vertu (18)
  • Himalayan & Southeast Asian Art (25)
  • Humour (3)
  • Impressionist & Modern Art (25)
  • Indian Art (23)
  • Interiors (12)
  • Islamic Art (85)
  • Japanese works of Art (48)
  • Jewelry (1 139)
  • Korean Art (3)
  • Minerals & Natural History (75)
  • Modern & Contemporary Art (7)
  • Modern Art (32)
  • Non classé (42)
  • Old Master Drawings (31)
  • Old Master Paintings (251)
  • Photography (103)
  • Post-War and Contemporary Art (45)
  • Pre-Columbian Art (12)
  • Qing dynasty (1)
  • Quote (3)
  • Russian Art (7)
  • Silver (40)
  • Silver & Gold Boxes (3)
  • Silver, Gold Boxes & Objects of Vertu (17)
  • Tauromachie (2)
  • Tribal Art (1)
  • Urban Art (3)
  • Vanitas & Memento mori (20)
  • Vietnamese Art (36)

Archives

Follow Alain.R.Truong on WordPress.com

Entrez votre adresse mail pour suivre ce blog et être notifié par email des nouvelles publications.

Rejoignez 1 085 autres abonnés

Commentaires récents

felipe gazmuri dans Message du blogueur
Andrew Degian dans A rare early Ming copper-red v…
alaintruong2014 dans Top 12 Most Expensive Chinese…
J.Mäkinen dans Top 12 Most Expensive Chinese…
Marci dans Theodoros Savopoulos Jewelry

Méta

  • Inscription
  • Connexion
  • Flux des publications
  • Flux des commentaires
  • WordPress.com

Stats du Site

  • 1 217 624 visites

  • alaintruong2014

Propulsé par WordPress.com.

Annuler
Confidentialité & Cookies : Ce site utilise des cookies. En continuant à utiliser ce site, vous acceptez leur utilisation.
Pour en savoir davantage, y compris comment contrôler les cookies, voir : Politique relative aux cookies