Circle of Pompeo Girolamo Batoni (Italian, 1708 – 1787) A portrait of a gentleman In a D.S. Lavender Antiques display frame/box Oil on ivory Registered with APHA - 5U5JMDTX Property of a lady Dimensions: 2.5 in. (H) x 2 in. (W)
AFTER POMPEO GIROLAMO BATONI (ITALIAN, 1708-1787) Penitent Magdalene 19th century copy, oil on canvas, unsigned. Depicting Mary Magdalene reclining in a cave her fingers laced in prayer reading from a book propped upon a human school, framed. The original now lost; formerly in the Staatliche Museen, Gemäldegalerie, Dresden (see A.M. Clark, Oxford 1985, p. 226, cat. no. 60, pl. 56).
Pompeo Girolamo Battoni 1708 Lucca - 1787 Rom in der Art - Die Heimkehr des verlorenen Sohnes - Öl/Lwd. Doubl. 24 x 15,5 cm. Rückseitig auf altem Papieretikett bez.: Pompeo Battoni. Rückseitig auf dem Keilrahmen mit handschriftl. Restaurierungsvermerk. Rahmen. Kleine Version des großformatigen Gemäldes von Pompeo Girolamo Battoni aus dem Jahr 1773 im Kunsthistorischen Museum Wien.
Eichwald Böhmen Wandteller im Alt-Wiener Stil "Herkules am Scheidewege zwischen Tugend und Wollust", unterglasurblaue Bienenkorbmarke um 1900-1927, Pinselnummer 30 cm/1550 und Nummer 10., Coupe-Form mit königsblau glasiertem Teilfond, Tondo mit mythologischer Szene in polychromem Kupferumdruck, nach einer Gemäldevorlage des italienischen Malers Pompeo Girolamo Batoni (1708-1787) sowie reicher ornamentaler Golddekoration und Goldrand, Wandaufhängung aus Draht, guter altersgemäßer Zustand, D 30 cm. Eichwald Bohemia Wall plate in the old Viennese style "Hercules at the crossroads between virtue and lust", underglaze blue beehive mark c. 1900-1927, brush number 30 cm/1550 and number 10., coupe shape with royal blue glazed partial ground, tondo with mythological scene in polychrome copper overprint, after a painting by the Italian painter Pompeo Girolamo Batoni (1708-1787) as well as rich ornamental gold decoration and gold rim, wire wall mounting, good condition for its age, d 30 cm.
BATONI POMPEO (1708 - 1787). A reclining male nude with drapery. Signed on the right. The attribution to Pompeo Batoni was confirmed by Prof. Francesco Petrucci on a photographic basis. Provenance: Galerie Bassenge, Berlin, 27 May 2011, lot 6282; Private collection, Rome. For a comparison, see four nude studies dating back to 1765 and preserved at the Albertina in Vienna (Inv. n° 1346, 1347, 6733, 14295) and two others at the Museum of Fine Art in Houston (Inv. n° 94.1050 , 94.1051). 51,50 x 39,00 cm.
REPRÄSENTATIVES PORTRAIT CLEMENS XIII Öl auf Leinwand. Doubliert. 135 x 98 cm. Auf dem Schriftstück bezeichnet, signiert und datiert „1760“. In vergoldetem Rahmen. Leicht nach rechts gewandtes Dreiviertelportrait des stehenden Papstes Clemens XIII (Carlo della Torre Rezzonico (1763-1769), der von 1758-1769 das Amt des Papstes bekleidete. Er machte sich um die Niederlassung deutscher, französischer und englischer Künstlerkolonien in Rom verdient und ernannte Winckelmann zum Commissario delle Antichità. Rechts neben ihm ein rot gedeckter Tisch, über dem seine Hand wie schwebend ein Schriftstück hält. Dahinter ein reich beschnitzter und vergoldeter Thronstuhl mit rotem Samtbezugeschrieben Ein Portrait aus der Hand Batonis mit der Darstellung Clemens XIII wird im Palazzo Barberini in der Galleria Nazionale d‘Arte Antica in Rom verwahrt (Inv. Nr. 1925). Jenes ist unten links signiert, datiert und bezeichnet „Alla Santita di Nro Sig.re / Clemente Papa XIIII / Per / Pompeo Batoni che pinse / L‘anno. 1760“. Weitere Versionen sind bekannt in der Sammlung Weyer in Köln, Palazzo Ranghiasci Brancaleoni in Gubbi in der Staatlichen Gemäldegalerie in Kassel, in der Pinacoteca Vaticana, in einer Privatsammlung in Rom, in Wardour Castle in Wiltshire und in besonders guter Qualität und in signiertem Zustand im römischen Kunsthandel. Anmerkung: Pompeo Girolamo Batoni war ein äußerst populärer Portraitist und en vogue bei seinen Zeitgenossen. Besonders betuchte Touristen, welche die Ewige Stadt aufsuchten, ließen sich gern von ihm portraitieren, wodurch er als der Erfinder des Touristenportraits gilt. Er wurde zeit seines Wirkens durchaus mit Anton Raphael Mengs gleichgestellt. Literatur: Vgl. Luigi Cajani, Anna Foa, Clemente XIII, in: Massimo Bray (Hrsg.), Enciclopedia dei Papi. Bd., Rom 2000. Vgl. Anthony M. Clark, Pompeo Batoni. A complete catalogue of his works with an introductory text, New York 1985. Vgl. Edgar Peters Bowron, Pompeo Batoni. A complete catalogue of his paintings, New Haven/ London 2016. Vgl. Ernst Emmerling, Pompeo Batoni. Sein Leben und Werk, Köln 1932. Vgl. Edgar Peters Bowron, Peter Björn Kerber, Pompeo Batoni. Prince of Painters in Eighteenth-Century Rome, New Haven 2007. (1401254) (13) Pompeo Girolamo Batoni, 1708 Lucca – 1787 Rome REPRESENTATIVE PORTRAIT OF POPE CLEMENT XIII Oil on canvas. Relined. 135 x 98 cm. Inscribed, signed, and dated “1760“ on the document. A portrait by Batoni depicting Pope Clement XIII is held at the Palazzo Barberini in the Galleria Nazionale d‘Arte Antica in Rome (inv. no. 1925). It is signed, dated, and inscribed lower left. (†)
ACHILLES UND DIE TÖCHTER DES LYKOMEDES Öl auf Leinwand. Doubliert. 158,5 x 126 cm. In dekorativem Rahmen. Die Darstellung geht auf eine Erzählung in der griechischen Mythologie zurück: Um ihn vom Trojanischen Krieg fernzuhalten, sandte die Meeresnymphe Thetis ihren Sohn Achilles zu Lykomedes, dem König von Skyros, der ihn in Mädchenkleider steckte. Die Griechen konnten ihn aber nicht entbehren und schickten Odysseus auf die Suche, der Achilles auf Skyros durch eine List entdeckte. Er breitete vor der Mädchenschar Geschenke aus, neben Schmuck auch ein Schwert und einen Schild, und ließ auf der Trompete ein Angriffssignal blasen. Daraufhin griff Achilles instinktiv nach den Waffen und folgte dem Ruf des Odysseus (Ovid 13, 162 ff.). Auf dem vorliegenden Gemälde ist auf der linken Seite am Hof des Lykomedes Achilles zu sehen, wie er das vorgelegte Schwert ergriffen hat und es aus der Scheide zieht, während die drei Mädchen neben ihm aufmerksam den vorgelegten Schmuck betrachten und teils probieren. Anmerkung: Das Originalgemälde von Pompeo Batoni, Öl auf Leinwand, von 1746, befindet sich in den Uffizien in Florenz. (1391112) (1) (18) Pompeo Girolamo Batoni, 1708 Lucca – 1787 Rome, after ACHILLES AMONG THE DAUGTHERS OF KING LYCOMEDES Oil on canvas. Relined. 158.5 x 126 cm. The depiction is based on a legend from Greek mythology: The sea nymph Thetis sent her son Achilles to Lycomedes, the king of Scyros to keep him away from the Trojan War. The king dressed Achilles in girls’ clothes to disguise him. However, the Greeks could not do without Achilles’ help and sent Odysseus in search of him. He discovered Achilles on Scyros by means of a trick: He laid out gifts in front of the group of girls, including jewellery, a sword, and a shield, and then sounded an attack signal on a trumpet. Achilles instinctively grabbed the weapons and followed Odysseus’ call (Ovid 13, 162f.). In this painting Achilles is depicted at the court of Lycomedes on the left, having taken hold of the presented sword and pulling it from its scabbard, while the three girls next to him attentively look and try on some of the presented jewellery. Restored, with retouching in places. Notes: The original painting by Pompeo Batoni, oil on canvas, dated 1746, is held at the Uffizi Galleries in Florence.
Pompeo BATONI Lucques, 1708 - Rome, 1787 Allégorie de la peinture Huile sur toile (Toile d'origine) Allegory of the painting, oil on canvas (original canvas), by P. Batoni h: 48,50 w: 38 cm Provenance : Saisi par l'armée américaine en 1945 puis restitué avant 1959 à la comtesse Contanz Francken-Sierstorpff ; Vente de la comtesse Contanz Francken-Sierstorpff et à divers propriétaires, Cologne, Lempertz, 11 novembre 1959, n° 6 ; Collection particulière, Suisse Bibliographie : Anthony M. Clark, 'Pompeo Batoni Complete catalogue of his works with an Introductory text', Oxford, 1985, p. 221, n° 43 Edgar Peters Bowron, 'Pompeo Batoni. A complete catalogue of his paintings', volume I, New Haven, Londres, 2016, p. 42, n° 37 Commentaire : Œuvres en rapport : Deux copies d'atelier plus grandes : - Cassa di Risparmo di Lucca, à Lucques (64 x 48 cm), (fig. 1) ; - Vente anonyme ; Venise, Franco Semenzato, 15 décembre 1991, n° 37 (64,3 x 49,3 cm) Dans la même vente de la comtesse Contanz Francken-Sierstorpff, il y avait 'Le Cimetière' de Carl Friedrich Lessing, acquis par le musée du Louvre en 1990. Le musée indique dans l'historique ce tableau : " la provenance Francken-Sierstorpff n'est pas avérée, faute d'être spécifiée dans le catalogue de cette vente qui regroupait des oeuvres de divers propriétaires ". Constituée à la fin du XVIIIe et au début du XIXe siècle, la collection des comtes de Sierstorpff, au château de Driburg en Westphalie, possédait d'importants chefs-d'œuvre, dont une partie a été vendue le 19 avril 1889 chez Rudoph Lepke à Berlin. Parmi eux, citons 'L'Homme à la croisée des chemins entre le vice et la vertu', de Frans Francken II (collection particulière, anciennement en dépôt au Museum of Fine Arts de Boston) ou la 'Vierge à l'enfant et des anges' de Bernard van Orley (New York, Metropolitan Museum). En 1943, la comtesse Contanz Francken-Sierstorpff (1923 - 2006) épouse en premières noces, Hyazinth comte Strachwitz von Groß-Zauche und Camminetz (né en 1920 - date inconnue), fils d'un colonel de l'armée allemande et haut dignitaire du parti nazi. Elle divorce en 1945. Elle se marie ensuite avec l'américain William Dowdell Denson (1913 - 1998) en 1949, qui est le procureur en chef dans les procès des criminels de guerre des camps de concentration nazis (procès de Dachau). En 1740, Pompeo Batoni développe plusieurs compositions de grand format regroupant des allégories des Arts libéraux pour des amateurs. La première, destinée à Vincenzo Maria Riccardi à Florence (Francfort-sur-le-Main, Städel Museum, fig. 2), comprend la Poésie tenant une lyre, la Peinture œuvrant à représenter Apollon sur une toile posée sur un chevalet. Elles sont accompagnées de la Sculpture et de l'Architecture. Une paire est ensuite commandée par le comte Francesco Conti à Lucques (ville dont Batoni est natif) : 'La Peinture, la Sculpture et l'Architecture' sont mises en pendant d'Apollon, la Musique et la Géométrie' (collection privée, une version d'atelier de la seconde est conservée au musée du Louvre). A trente-deux ans, au début de sa maturité, Batoni rompt avec les effets visuels faciles du style Rococo de ses contemporains et avec l'art rocaille français qui commence alors à se diffuser en Italie. Il choisit des sujets nobles qui permettent l'élévation de l'esprit du spectateur. Plastiquement, il prend pour modèle les lignes épurées d'un classicisme renouant autant avec l'Antique qu'avec Raphaël ou Guido Reni, et garde une matière lisse, onctueuse, sans effet appuyée de touche. A la même époque, il peint notre tableau où la représentation de la Peinture est isolée. Anthony Clark et Edgar Peters Bowron (op. cit) suggèrent que Batoni aurait créé une série de quatre tableaux associant la musique, l'architecture et la sculpture. Ces trois originaux seraient perdus mais sont connus par des copies (localisations inconnues). Le sujet n'est pas qu'un prétexte à décrire une belle jeune femme. Elle tient une palette et arbore fièrement ses pinceaux, mais à la différence de la plupart des exemples antérieurs sur ce thème, elle n'est pas au travail devant une toile et un chevalet. Batoni met davantage l'accent sur l'aspect intellectuel et noble de son art. D'une certaine manière, il se place dans la continuité d'un Nicolas Poussin, versé davantage dans l'intellect que dans l'action, tel qu'il se présente dans ses autoportraits. Ce qui n'empêche pas un certain raffinement?: la perle, les tresses blondes qui se rejoignent en une boucle sur sa poitrine, le manteau rouge vif sont peints avec un raffinement destiné au plaisir visuel du collectionneur, de l'amateur, auquel il était destiné. Batoni reprendra la pose de la jeune femme de notre toile et le même cadrage pour son autoportrait de 1765, conservé à Munich. Il peut être considéré comme le dernier grand peintre de Rome au XVIIIe siècle. Au-delà de ses nombreux célèbres portraits des voyageurs du Grand Tour, il a fortement marqué l'évolution de la peinture d'histoire. Sa tendance classicisante trouvera un écho dès les années 1750 à 1770 et le désigne comme le précurseur du néo-classicisme, annonçant Anton Raphaël Mengs, Joseph-Marie Vien et Louis Lagrenée. A la fin de sa vie, la légende raconte qu'il aurait donné sa palette et ses pinceaux à Jacques-Louis David. Lot en importation temporaire L'acquéreur devra acquitter des frais d'importation, soit 5,5% en sus du prix d'adjudication sauf s'il réexporte immédiatement le lot hors de l'Union Européenne. Lot in temporary importation. In addition to the commissions and taxes, and additional import fees of 5,5% of the hammer price will be charged. The import fees can be retroceded to the purchaser on presentation of written proof of exportation outside European Union. Estimation 100 000 - 150 000 €
Pompeo Girolamo Batoni (1708-1787) Studies of two left hands and a right foot red chalk 20 x 15cm Provenance: Sir Bruce Ingram (L.1405a; from a sketchbook that he owned, which also contained sketches by Reynolds and Copley), From whom acquired in 1953 by Michael Ingram, By whose executors sold, London, Sotheby's, The Ingram Collection: Drawings and Watercolours from the Collection of the Late Michael Ingram, 8 December 2005, lot 52, Where acquired by Alan Barlow (1926-2005), Thence by descent to the present owner 43 x 36cm framed
Pompeo Batoni (Lucca 1708 - Roma 1787), Seguace di, Vergine leggente XVIII secolo olio su tela cm 64x50,5 Alcuni difetti Il ritiro o la spedizione avverrà dal luogo in cui si trova (Roma)
Property from the Estate of Marilyn Schiff Pompeo Batoni Lucca 1708 - 1787 Rome Portrait of Stephen Beckingham (1730 or 1731-1813) signed, dated, and inscribed on a label on the stretcher: Stephen Beckingham / Pompeo Batoni Pinxit / Romae 1752 oil on canvas canvas: 38 ¾ by 28 ¾ in.; 98.4 by 73.0 cm. framed: 48 ½ by 38 ½ in.; 123.2 by 97.8 cm.
Pompeo Batoni (ambito di) (Lucca, 1708 - Roma, 1787) Ritratto del comandante di galere Giovanni Ferretti in armatura cm 74x62; con cornice 90,5x79La famiglia Ferretti, patrizia in Ancona, è originaria di Castelferretti è una frazione del Comune di Falconara Marittima. I Ferretti ricevettero onori e cariche cavalleresche nei secoli : Commendatori del S.M. Ordine di Santo Stefano di Toscana, Cavalieri del Sovrano Militare Ordine di Malta, Cavalieri Aurati, di San Michele di Francia, di San Giacomo di Spagna, dei vari Ordini cavallereschi dei Pontefici e dei Re d'Inghilterra e di altri Sovrani europei. Anche il nobiluomo Giovanni Ferretti effigiato in questo dipinto - come recita la dicitura manoscritta in inchiostro bruno (le prime due righe sono cancellate quasi nello stesso periodo) apposta al retro tela e del seguente tenore " Il Cav. Giovanni Ferretti che fù fatto Capitano di Galera da N.S. nell'Anno 1757 fece fare il presente Ritratto in Ancona l'Anno 1762" - è insignito di una Croce del Sovrano Ordine di Malta in oro e smalto bianco. Il capitano è ritratto a tre quarti in armatura e con un mantello azzurro ripreso sulla spalla da un gioiello con al centro un grande rubino. Indossa un anello e vestiti sontuosi con pizzi sotto la corazza. Ai due lati del volto sono raffigurate due galere in mare e un porto con faro. Cornice dorata a due ordini di modanature.
porcelain, blue bindenschild mark, pink/purple bground with gold décor, with birds of prey handles, central with magnificent figure scenery - Venus presents Aeneas the weapons of Volcano after original by Pompeo Girolamo Batoni (1708-1787), H 78 cm x W 46.5 cm x D 34 cm, lid knob glued, gold abrasion
Porcelaines BATONI Pompeo Girolamo (1708 - 1787). D'après. "Marie-Madeleine pénitente" peint sur plaque de porcelaine de Berlin. D'après une œuvre originale par Pompeo Batoni. Voir au dos une marque en creux KPM surmontée d'un sceptre et numéroté 12 7/8 - 7 5/8. Travail allemand. Epoque : XIXème. Dim. : +/- 20,3x33,2 cm.
Pubblicazione: Francesco Petrucci, 'Pittura di Ritratto a Roma, Il Settecento', Andreina & Valneo Budai Editori 2008, p. 163. Esposizione: 'Ritratto Barocco, dipinti del '600 e del '700 nelle raccolte private', Villa d'Este, Tivoli 3 luglio - 2 novembre 2008. Olio su tela, dimensioni 99x74,5 cm.
DIE HEILIGE FAMILIE Öl auf Leinwand. Doubliert. 89 x 68,3 cm. In vergoldetem Rahmen. Darstellung der Heiligen Familie. Zentral im Bild ist Maria dargestellt, die sich liebevoll ihrem Kind zuwendet und es mit ihren Armen umfängt. Das Jesuskind dreht sich ihr entgegen und legt zärtlich seine Ärmchen um ihren Hals. Diese Figurengruppe ist durch ihre Dreieckskomposition und die hellere Beleuchtung in ihrer Bedeutung deutlich hervorgehoben. Links wird Josef vom Bildrand angeschnitten. Er blickt gütig auf Maria mit dem Jesuskind, stört aber deren Innigkeit weder formal noch in seiner, sehr zurückhaltenden, Farbigkeit. Seinen Kopf stützt er auf ein Buch. Bei seiner Darstellung wurde vor allem auf seine Physiognomie Wert gelegt, während die Darstellung der Maria vor allem durch ihr helles Inkarnat und die idealisierten Gesichtszüge besticht. Das Gewand Mariens ist in zahlreichen, kunstvoll drapierten Falten angelegt. Rest. Anmerkung: Das Originalgemälde von Pompeo Girolamo Batoni befindet sich in den Kapitolinischen Museen in Rom. (1370011) (19) Pompeo Girolamo Batoni, 1708 Lucca – 1787 Rome, after THE HOLY FAMILY Oil on canvas. Relined. 89 x 68.3 cm. The original painting by Pompeo Girolamo is held at the Capitoline Museums in Rome.
J. Cook (18th century) after Pompeo Girolamo Batoni (1708 - 1787 ): Portrait of Augustus Henry Fitzroy (1735-1811), 18th century, Etching Technique: Etching on Paper, mounted on Paper Inscription: Signed by the artist below the image in the printing plate and inscribed with the sitter's name. Date: 18th century Description: After an original by Pompeo Girolamo Battoni (1708 Lucca - 1787 Rome). Half-portrait in half-profile, the right hand pushed into the uniform jacket. In the background a wide hilly landscape can be seen. Keywords: 18th century, Classicism, Portraits, Germany,
Pompeo Girolamo Batoni (Italian, 1708–1787) Double-Sided Study Sanguine on faded blue paper Sheet size: 15 3/4 x 10 in. (40 x 25.4cm) Qty: (1) Provenance Private Collection, Texas. In overall fair condition. Sheet has been adhered to a larger (18 x 12 in.), newer sheet along all four edges; the edges of the original sheet have been trimmed slightly unevenly. Larger/newer sheet is hinged to mat along length of left edge (when viewing recto). We notice moderate to heavy creasing throughout, the most pronounced of which runs laterally across the breadth of the image (approximately 6 inches from bottom of original sheet). Other areas of creasing are visible along center-right edge (approximately 2 1/2 inches in length) and along bottom edge (2 inches). Scattered dime-sized areas of soiling in upper left corrner (when viewing recto), in addition to what appears to be a 1 x 1-inch area of water/moisture damage. There is a 1/8-inch tear lower left (roughly 1 inch to the left of the bottom-most hand) and another, also 1/8 inch, near the center-right edge. From verso, scattered areas of creasing and soiling (corresponding to those described above) are noticeable. See Specialist's pictures for more details. To request additional images please contact Raphael Chatroux at rchatroux@freemansauction.com
STUDIO OF POMPEO BATONI (LUCCA 1708-1787 ROME) Portrait of the Hon. Thomas Barrett-Lennard, later 17th Baron Dacre... oil on canvas each: 29 1/8 x 24 3/8 in. (74 x 61.7 cm.) (2)
POMPEO GIROLAMO BATONI (LUCCA 1708-1787 ROME) Portrait of Sir Henry Mainwaring (1726-1797), half-length, in a green coat and... oil on canvas 38 5/8 x 28 5/8 in. (98 x 72.5 cm.)
Technik: Kupferstich auf Papier, hinter Glas, gerahmt, Signatur: unsigniert, gestochen von Quirin Mark (1753-1811) nach einem Gemälde von Pompeo Battoni; der Großfürstin von Russland,späteren Kaiserin Maria Fjodorowna, geborenen Prinzessin Sophie Dorothee von Württemberg (1759-1828) gewidmet, Verlag: Artaria & Co. Verlag, Wien, Maße: 64,5 x 53 cm, Zustand: (stock-)fleckig
Technik: Kupferstich auf Papier, hinter Glas, gerahmt, Signatur: unsigniert, gestochen von Quirin Mark (1753-1811) nach einem Gemälde von Pompeo Battoni; der Großfürstin von Russland,späteren Kaiserin Maria Fjodorowna, geborenen Prinzessin Sophie Dorothee von Württemberg (1759-1828) gewidmet, Verlag: Artaria & Co. Verlag, Wien, Maße: 64,5 x 53 cm, Zustand: (stock-)fleckig
After Pompeo Batoni (Italian, 1708-1787) Achilles at the Court of Lycomedes Oil on canvas 51 x 40 inches (129.5 x 101.6 cm) PROVENANCE: Doyle, New York, October 14, 2015, lot 60A (as Neoclassical School, Achilles Drawing the Sword); Private collection, acquired from the above. In the days preceding the Trojan War, the sea nymph Thetis, mother of Achilles, predicted her son's doom on the battlefield. According to Roman poet Statius, as envoys from the leaders of Greece closed in, Achilles agreed to hide on the island of Skyros, disguised as a woman amongst the daughters of King Lycomedes. The envoy, Odysseus of Ithaca, and the cleverest man in Greece, arrived in Skyros bearing gifts for the king's daughters. Among the jewels, clothing, and silks were hidden a sword, a shield, and a helmet. The great warrior could not resist the sword, and in drawing it from the scabbard, revealed himself. Persuaded by Odysseus, he agreed to depart for Troy, ultimately finding both the destruction foreseen by his mother, and the eternal glory he so craved. The present work highlights the moment that, in his feminine guise, Achilles draws the fateful sword. Batoni's original work from 1745 currently resides in the collections of the Uffizi Gallery, Florence. Property from a Private North Texas Collection HID01801242017
Die büßende Magdalena Nach dem Original in der Gemäldegalerie Alte Meister in Dresden, später Kriegsverlust. Rückseitig gestempelt: Copie nach N. 454. Lwd. (rep. Riss). 122×188 cm. R. Aus dem Bestand des ehem. Schlosshotels „Vier Jahreszeiten“, vorm. „Gehrhus“ in Berlin-Grunewald. (60028)
Pompeo Girolamo Batoni (Lucca 1708 - Roma 1787) cerchia di Ritratto di Sir Edward Dering (?) Olio su tela 82 x 66 cm L’opera mostra analogie con lo stile di Girolamo Batoni, vero principe della ritrattistica romana del Settecento. Verosimilmente, il ritratto in esame fu realizzato da un pittore romano di abilità tale da imitare lo stile del famoso artista lucchese. Il personaggio, che pare proprio essere il nobile inglese Sir Edward Dering, fu ritratto ben due volte da Batoni. Per approfondire, si vedano le foto 75 e 76 a pagina 396 del volume II del testo di Francesco Petrucci, Pittura di Ritratto a Roma, il 700. Un altro elemento a favore della nostra ipotesi attributiva è il volto della duchessa Giacinta Orsini Boncompagni Ludovisi (foto 63 e 64 alle pagg. 390 e 391 del volume II del testo di Francesco Petrucci intitolato Pittura di Ritratto a Roma, il 700), la quale fu immortalata da Batoni con il viso nella medesima posizione e con la stessa espressione sorridente. Girolamo Batoni si trasferì a Roma nel 1727, dove si applicò nell’esecuzione di copie da Raffaello e Annibale Carracci nella bottega di Francesco Ferdinandi. Negli anni trenta cominciò ad ottenere commissioni di prestigio, soprattutto per opere di soggetto religioso. Nel decennio successivo si specializzò nel campo della ritrattistica, un genere assai remunerativo grazie ai nobiluomini stranieri che soggiornarono a Roma per il Grand Tour. Pompeo Girolamo Batoni (Lucca 1708 - Rome 1787) circle of Portrait of Sir Edward Dering (?) Oil on canvas 82 x 66 cm The artwork shows similarities with the style of Girolamo Batoni, the true prince of Roman portrait of the 18th century. Probably, this portrait was made by a Roman painter of such skill as to imitate the style of the famous artist from Lucca. The character, who seems to be the English nobleman Sir Edward Dering, was portrayed twice by Batoni. For further information, you should see the photos 75 and 76 on page 396 of volume II of the text by Francesco Petrucci, Pittura di Ritratto a Roma, il 700. Another element for our attribution hypothesis is the face of the Duchess Giacinta Orsini Boncompagni Ludovisi (photos 63 and 64 on pages 390 and 391 of volume II of the text by Francesco Petrucci entitled Pittura di Ritratto a Roma, il 700), which was immortalized by Batoni with her face in the same position and with the same smiling expression.
Clemency implores Justice Oil on canvas, cm. 121x192. With ancient frame. The painting bears the signature and date in the right margin at the base of the column: "P. BATONI PINXIT / ROMAE ANNO 1765 [or 1768]". Published in the catalogue of the Zeri Photo Library, card no. 61483 (Fondo Fototeca Zeri, busta 576, fasc. 6 "Pompeo Batoni: allegories). Due to its historical-artistic importance, the work is under restriction by the Italian State. PROVENANCE: A. Flaashaar collection, Berlin (1952); Sotheby's sale, London 16 November 1955, lot 115 (as Batoni, with card by Hermann Voss); Conte Leonardo Vitetti collection, Rome; Sotheby's sale, Florence 29 September 1983, lot 236 (as Batoni); private collection, Rome. EXHIBITIONS: Rome 1959: Il Settecento a Roma, edited by G. Briganti and N. di Carpegna, p. 53, n. 42; Lucca, 1967: Pompeo Batoni, L. Belli Barsali, n. 39, fig. 39, p. 143. LITERATURE: I. Belli Barsali, Pompeo Batoni, in La Provincia di Lucca, 1964, VIII, p. 77 (as Batoni); Pompeo Batoni, catalogue of the exhibition edit by I. Belli Barsali, Lucca 1967, II ed. 1985, n. 39, pp. 114-115 (as Batoni); A. Busiri Vici, Le “donne” del Batoni, exhibition review in Lucca (1967), Roma 1968, fig. 22, p. 18 (as Batoni); L. Salerno, Pompeo Batoni, recenzione della mostra di Lucca (1967), in “Palatino”, 12, 4, 1968, p. 489 (as Batoni); I. Belli Barsali, Batoni Pompeo Gerolamo, in Dizionario Biografico degli Italiani, Roma 1970, vol. VII, p. 200; C. Brandi, Quando lo Stato dovrebbe acquistare un dipinto, in “Corriere della sera”, 25 novembre 1983 (as Batoni); A. Clark, Pompeo Batoni. A complete catalogue of his work, Londra, 1985, p. 298, n. 283 (as ateliér of Batoni); E. P. Bowron, Pompeo Batoni. A complete catalogue of his paintings, Londra 2016, vol. II, pp. 399-400 (as ateliér of Batoni).
Pompeo Girolamo Batoni (Italian, 1708-1787) Portrait of Edward Solly, half length, in a blue coat and cream waistcoat, standing beside a table oil on canvas 98.7 x 73.7cm (38 7/8 x 29in). For further information on this lot please visit the Bonhams website
ALLEGORIE DES TAGES UND DER NACHT Öl auf Leinwand. Doubliert. 96,5 x 76,5 cm. In bergiger Landschaft die Darstellung zweier Frauen: links, nach oben ragend eine schöne, hell strahlende dunkelblonde nackte Frau mit dünnem weißem Tuch über ihren Schultern herabhängend, ihren linken Arm nach oben haltend, in dem eine Art Sonne mit Gesicht erkennbar ist. Vor ihr kniend eine junge Frau in rotem Untergewand, in dunkelblauem, fast ins Schwarze übergehendem Mantel und dunkelbraunen Haaren, die Andere aufmerksam anblickend. Zu ihrer linken am Boden ein Nachtvogel erkennbar. Der Künstler hat hier auf interessante Art und Weise die beiden Frauen als Allegorien des hellen Tages und der dunklen Nacht wiedergegeben. Vereinzelt rest., kleine Retuschen und vereinzelt Kratzsp. (1320515) (18)
Antique plaque after Pompeo Girolamo Batoni (1708-1787, Italian). Copper religious figural plaque titled "La Sainte Famille" mounted on onyx. Inscribed on lower margin. Dimensions: 9.5 X 6.5 X .5 in. Condition: Good overall condition having average surface wear. Estate fresh to the market. Shipping: MIDDLEMANBROKERS INC. offers in-house ground contiguous USA domestic shipping, excluding New Mexico, for $35 plus insurance. Gallery will refer third party shippers for international buyers. Purchaser pick up available upon request. Got something to sell? Contact us at MMBAUCTION.COM
A pen and ink wash sketch with white highlights on grey laid paper, scene with soldiers in helmets and figures in robes. Attributed to Pompeo Batoni (Italy, 1708-1787). Sketch 7.75” x 6.25”, Overall 18.75” x 17”.
POMPEO BATONI (LUCCA 1708-1787 ROME) Saint Louis de Gonzague sanguine et craie blanche, inscrit dans un ovale, mise au carreau à la sanguine 19,4 x 17,1 cm (7 5/8 x 6 3/4 in.)
Berlin Porcelain Historical Plaque of 'Saint Mary Magdalene' KPM, Early 20th Century After a, presumably lost, painting by Pompeo Girolamo Batoni (Italian 1708-1787); verso with an impressed scepter above 'K.P.M.' above 'Sz' above an artisan mark above the engraved numbers '497-263' along the bottom near l.l.; possibly signed 'Wagner' l.r. in glaze.
Ecole romaine du XVIIIème siècle, entourage d'Anton Raphael MENGS Vierge à l'Enfant avec Saint Joseph Toile rectangulaire à vue ovale 105 x 90 cm - 41.33 x 35.43 in. Oil on canvas Porte une ancienne attribution à Pompeo Batoni
Antique plaque after Pompeo Girolamo Batoni (1708-1787, Italian). Copper religious figural plaque titled "La Sainte Famille" mounted on onyx. Inscribed on lower margin. SHIPPING MIDDLEMANBROKERS INC. will offer in-house continental USA shipping for $35 plus insurance. Gallery will refer a local shipper for international buyers. Purchaser pick up available upon request. Got something to sell? Contact us at MMBAUCTION.COM.
Dresden Porcelain Plaque of 'Saint Mary Magdalene' Meissen, Late 19th Century After a, presumably lost, painting by Pompeo Girolamo Batoni (Italian 1708-1787),;verso with inverted underglaze blue crossed swords mark m.c. above an inverted ink notation Samuel T. Shaw/Grand Union Hotel/new york city/u. [s.] of america/july 23(rd) 1890 extending up from l.c. and a rotated partially illegible crayon notation. Unexamined outside of frame, minor contact wear between frame and plaque along sides and particularly concentrated with minor surface deterioration through lower portions, a few isolated minor surface scratches, scattered residue accretion throughout, and a few minor surface imperfections, blemishes and cavities; otherwise, in apparently good condition. Plaque: 15-3/16 x 23-7/8 in (38.6 x 60.6 cm); Framed: 18-5/8 x 27-1/2 in (47.3 x 69.8 cm) Provenance: Sold in these rooms, Estate Auction: Winter 1985, December 6-8, 1985, Lot 1056
Pompeo Girolamo Batoni (1708 Lucca - 1787 Rom) Umkreis: Two study heads, c. 1770, Charcoal Technique: White heightened Charcoal on Paper (brown) Date: c. 1770 Description: Two study heads: Two portraits of women, one with a headscarf. Keywords: Study, Heads, Sketch, Woman, Female, 18th century, Classicism, People, Italy, Size: 16,0 cm x 21,8 cm (6,3 x 8,6 in) Condition: Good condition. Minimally stained in margin and with smaller box pleats.
Pompeo Girolamo Batoni (1708 Lucca - 1787 Rom) Umkreis: Two portrait studies, c. 1770, Charcoal Technique: White heightened Charcoal on Paper (grey) Watermark: Partially visible. Letters/Digits - three letters - GFA - free, with supplementary mark - crown - 1780 | watermarks online reference: DE0960-WanhalJ1_6 Date: c. 1770 Description: Two study heads: head of a clergyman and female ideal, probably after a statue of Venus Verso: File study Keywords: Study, Heads, Sketch, 18th century, Classicism, People, Italy, Size: 19,8 cm x 24,8 cm (7,8 x 9,8 in) Condition: Good condition. A little bit stained at margins, lower right with a smoothed crease.
A vintage Russian hand-painted porcelain decorative plate features a mythological scene to the center after Pompeo Girolamo Batoni (Italian, 1708–1787) original oil painting on canvas, Hercules at the Crossroads, 1748. The borders are decorated with iridescent shades. Marked in green, Kalinin Kuznetsovo-Tverskoy porcelain factory, on verso. Circa: 1928-1929
