Results: 1
-
View: Detail
-
- Works of Art
-
Results: 14
-
Sorting:
Artist/Maker
-
View: Lightbox 4x5
-
-
-
- After Richard Parkes Bonington (1802 - 1828)
- Bergues: Market Day
- France
- c. 1830
- P319
- East Galleries III Staircase
- Bookmarkable URLThis was probably painted by an early nineteenth-century follower of Bonington, deriving the composition from Bonington's lithograph 'Bergues, Jour du Marché', which was published in 1824 in 'Restes et Fragmens' [sic], a series of ten views of medieval architecture in northern France. Bergues, in Picardy, is five miles south of Dunkirk. Its sixteenth-century belfry seen here in the mid-distance was destroyed in 1944. Bonington's works were copied and imitated by many artists even during his short lifetime.
-
-
- Alexandre Calame (1810 - 1864)
- Souvenir of Rosenlaui, Switzerland
- Switzerland
- 1860
- P588
- East Galleries III Staircase
- Bookmarkable URLPainted in Geneva in 1860. Rosenlaui in the canton of Berne, where the Reichenbach flows down from the Wetterhorn, was one of the artist's favourite subjects. The sportsman and goats were added by Auguste Bonheur (1824-84) who was the brother of Rosa Bonheur.
-
-
- Follower of Abraham van Calraet (1642 - 1722)
- Boy Holding a Horse
- Netherlands
- c. 1670 - 1750
- P250
- East Galleries III Staircase
- Bookmarkable URLA weak pastiche of Calraet’s style, Boy holding a Horse derives from Cuyp’s Cavalry Trooper (Royal Collection) and Horse in a Landscape (Rotterdam, Boijmans van Beuningen Museum). A closely related composition attributed to Calraet is in the National Gallery, London, and other versions have appeared in sales, attributed to Cuyp but again probably by Calraet.
-
-
- Hendrik Leys (1815 - 1869)
- Soldiers Playing Cards
- Belgium
- 1849
- P570
- East Galleries III Staircase
- Bookmarkable URLA seventeenth-century Flemish scene, recalling similar paintings by Teniers (cf. Teniers P210).
-
-
- (Jean-Louis-) Ernest Meissonier (1815 - 1891)
- Dutch Burghers
- France
- 1833 - 1834
- P369
- East Galleries III Staircase
- Bookmarkable URLExhibited at the Paris Salon of 1834 as 'Bourgeois flamands'. This was Meissonier’s first exhibited picture - perhaps the principal explanation for its acquisition by Sir Richard Wallace, as it is a much cruder production than the other paintings by the artist in the Collection. Meissonier went on to paint many more seventeenth-century scenes.
-
-
- (Jean-Louis-) Ernest Meissonier (1815 - 1891)
- The Guard Room
- France
- probably 1847
- P371
- East Galleries III Staircase
- Bookmarkable URLOne of many guard room scenes by Meissonier, the figures wear sixteenth-century costume. Two drawings related to the painting were sold, Sotheby's, New York, 25 January 2002.
-
-
- Hugues Merle (1823 - 1881)
- Reading the Bible
- France
- c. 1859
- P597
- East Galleries III Staircase
- Bookmarkable URLPerhaps exhibited at the Paris Salon of 1859. The scene appears to be set in an orphanage, the children being orphaned sisters. Religion was the subject of much political controversy in France in the nineteenth century between the Right, generally supportive of the traditional Catholic faith, and the Left, generally supportive of secular policies. Scenes like this would therefore be regarded by many contemporaries as overt political statements (see also Scheffer, 'The Sister of Mercy', P616).
-
-
- August (Xaver Karl) Pettenkofen (1822 - 1889)
- Robbers in a Cornfield
- Austria
- 1852
- P338
- East Galleries III Staircase
- Bookmarkable URLThe figures appear to be wearing seventeenth-century costume.This low-life, rather disquieting scene is an unexpected purchase for the 4th Marquess of Hertford, differing markedly from his customary taste.
-
-
- David Roberts (1796 - 1864)
- Granada: the Chapel of Ferdinand and Isabella
- England
- 1838
- P587
- East Galleries III Staircase
- Bookmarkable URLThe Capilla Real, built in 1506-17, is on the south side of Granada Cathedral. It contains several tombs, including those of Ferdinand and Isabella, the ‘Catholic Kings’ who reconquered Granada from the Moors in 1481-92. Roberts, an enthusiastic traveller, was in Spain between December 1832 and August 1833, including three weeks in Granada.
-
-
- Follower of Jacob van Ruisdael (1628 - 1682)
- Wild Duck Shooting
- Netherlands
- late 17th century
- P148
- East Galleries III Staircase
- Bookmarkable URLAlthough the picture is of the seventeenth century and includes characteristic Ruisdael motifs, such as the bent tree in the foreground, the execution is too weak to be by Ruisdael himself.
-
-
- Ary Scheffer (1795 - 1858)
- The Sister of Mercy
- France
- 1830 - 1831
- P616
- East Galleries III Staircase
- Bookmarkable URLProbably exhibited at the Paris Salon of 1831 when it was accompanied in the catalogue by a verse from a song, 'Les deux soeurs de charité', by Scheffer’s friend Pierre-Jean Béranger. The charitable order of the Sisters of Mercy was founded by Saint Vincent de Paul in 1634. Religion was the subject of much political controversy in France in the nineteenth century between the Right, generally supportive of the traditional Catholic faith, and the Left, generally supportive of secular policies. Scenes like this would therefore be regarded by many contemporaries as overt political statements (see also Merle, 'Reading the Bible', P597).
-
-
- After Titian (1485 - 1576)
- Danaë with Cupid
- Italy
- c. 1750 - 1800
- P546
- East Galleries III Staircase
- Bookmarkable URLAccording to Ovid’s Metamorphoses (IV, 697-8), Danaë was imprisoned in a tower by her father, Acrisius, King of Argos, following a warning that he would be killed by any son she bore. However, Jupiter, king of the gods, came to Danaë in the form of a shower of golden rain and impregnated her. She later gave birth to Perseus (see Titian P11), who later accidentally killed his grandfather with a discus, thus fulfilling the prophecy.
This is a late 18th-century copy of a painting by Titian, which hung in the Palazzo Farnese in Rome in the first half of the 18th century, before being taken to Naples around 1759 (it is now in the Museo di Capodimonte, Naples). The original picture, which dates from the 1540s, is the earliest example of a series of paintings on the same theme produced by Titian in the mid-16th century (other examples are now in the Prado Museum (Madrid), the Hermitage Museum (St. Petersburg) and the Kunsthistorisches Museum (Vienna). Each version shows Danaë in a similar pose, although the figure to her right – in this case, Cupid – is sometimes presented as a nursemaid.
Titian’s treatment of the subject – an example of what is sometimes referred to as his ‘erotic mythologies’ – was extremely significant and influential in the history of art. It is believed that the present picture was painted in Naples and dates from the late 18th century. The 4th Marquess of Hertford bought the painting from Christie’s in 1856, where it was curiously described as by ‘Rossi’. At least ten other copies of the original painting are known.
-
-
- Horace Vernet (1789 - 1863)
- The duc de Nemours entering Constantine
- France
- c. 1837 - 1839
- P619
- East Galleries III Staircase
- Bookmarkable URLA study connected with three large paintings for Versailles illustrating the siege of Constantine, commissioned by King Louis-Philippe for Versailles and painted by Vernet 1838-9. Constantine, in north-eastern Algeria, was captured by the French under the duc de Nemours (1814-96), second son of Louis-Philippe, on 15 October 1837. Vernet painted few oil sketches, even when he was planning his largest pictures.
-
-
- Richard Westall (1765 - 1836)
- Cimon and Iphigenia (after Reynolds)
- England
- 1789 - 1836
- P566
- East Galleries III Staircase
- Bookmarkable URLThe subject of this painting is taken from the Giovanni Boccaccio’s collection of stories, the Decameron, dating from the 14th century. According to the first story of the fifth day, Cymon, of ‘a clownish mien’ was the son of a Cypriot lord and was confined to the country estates. He discovered the sleeping Iphigenia, as shown here, while out walking on a summer’s morning. Such was the power of Cymon’s instantaneous love for Iphigenia that he was transformed into an elegant courtier, allowing the pair to be married.
This picture, traditionally attributed to Westall, is copied from a painting by Joshua Reynolds, which was presented to the Prince Regent (later George IV) by the artist’s niece in 1814 and is now in the Royal Collection. The original painting is an important example of Reynolds’s late works and was engraved on three occasions. Reynolds’s figure of Iphigenia demonstrates his knowledge and admiration for the work of the Italian Renaissance masters, principally Titian and Correggio. Another copy, by William Etty, is in the collection at York City Art Gallery.
-
Sorting:
Artist/Maker