Giovanni Battista Lampi detto Il Vecchio (Romeno 1751 - Vienna 1830) cerchia di Ritratto di nobiluomo Olio su tela 73 x 59 cm Nato a Romeno, nell'allora principato vescovile trentino, essendo figlio d’arte ricevette le prime lezioni di pittura dal padre e dal cugino Pietro Antonio Lorenzini. Dopo aver studiato a Verona col pittore tiepolesco Francesco Lorenzi, iniziò la sua attività artistica realizzando ritratti e pale a Trento e dintorni. In un secondo tempo si trasferì in Austria, entrando in contatto con l'arciduchessa Maria Elisabetta di Asburgo-Lorena, di cui eseguì un ritratto e grazie alla quale entrò presso la corte viennese. Diventato uno dei pittori più in vista della capitale, Giuseppe II lo nominò professore all'Accademia. La sua fama arrivò a coprire l’intera Europa, e nel 1791 Lampi approdò a Pietroburgo chiamato da Caterina II. Grazie alla protezione della zarina, da lui ritratta più volte, ottenne molti incarichi, tanto da dover rimanere in loco più di sei anni. In questo periodo realizzò una serie di ritratti, caratterizzati dal realismo dei volti, dalla luminosità vitrea delle figure contrastata dai fondali scuri, dallo splendore degli abiti, dall’accurata ricercatezza dei più minuti dettagli e dalla morbidezza cromatica, tanto da essere considerati tra i capolavori della ritrattistica europea del XVIII secolo. Rientrato a Vienna, forte della sua fama, continuò la sua attività, e fu nominato Cavaliere dell'Impero. Giovanni Battista Lampi also called Il Vecchio (Romeno 1751 - Vienna 1830) circle of Portrait of a Nobleman Oil on canvas 73 x 59 cm
RUSSIAN MINIATURE PORTRAIT PRINCE NIKOLAI YUSUPOV, C 1790. Comprising a finely rendered watercolor on ivory depicting a three quarters bust portrait of Prince Nikolay Borisovich Yusupov (1750-1831), circle of noted court artist Giovanni Battista I Lampi (1751 - 1830). The Prince shown wearing a purple velvet jacket and the Imperial Russian Order of St. Stanislav and contained in a period gilt bronze glazed frame with chased banding, gilt swag on ebony plaque below and ribbon tied oak leaf laurel finial. Indistinguishably inscribed in Russian on verso of portrait. Overall height 5.25 inches (13.5cm). Provenance: Sotheby's, London auction of Nov. 25th, 1991, where acquired by the present owner, Dr. Idris Traylor, Lubbock, Texas. Prince Nikolai Borisovich Yusupov (1750-1831) was a Russian nobleman and art collector of the House of Yusupov. He was the eldest son of Prince Boris Grigoryevich Yusupov (1695-1759). He served as a senator (from 1788), diplomat (from 1783 to 1789), Actual Civil Councillor (from 1796), Minister of State Properties (1800–16), a member of the Council of State (from 1823) and Director of Imperial Theatres (1791-1796) under a series of sovereigns, including Catherine the Great, Paul I and Alexander I. He later also served as director of the Hermitage (in 1797), the Kremlin Armoury and the state porcelain and glass factories (c.1792). A patron of the arts and a keen traveler, he spoke five languages and corresponded with Voltaire. As a diplomat, Prince Nikolai travelled throughout Europe, to France and Versailles, where he met Louis XVI and Marie Antoinette, to Germany and Prussia, where he met Frederick the Great, to Austria, where he met Emperor Joseph II, and to Italy. During his journey he purchased a large collection of art for the tsar, acting as a mediator between the tsars and European artists. Yusupov collected for himself alongside collecting for the tsars, and thus his own collection of paintings and objets d'art evolved from the same sources as the Imperial one. His own collection became one of Europe's richest collections and included over 600 paintings, sculptures, works of applied art, more than 20,000 books and porcelain, most of which he put on display in his estate. After 1917 his extensive collection was broken up and passed to several different museums, though the bulk of it is kept in Arkhangelskoye, the Hermitage and the Pushkin Museum. In 1804, Nicholas went to Paris and frequently met Napoleon I, who presented him with a gift of three large tapestries. He also commissioned Sappho and Phaon from Jacques-Louis David in 1809. In 1810 Yusupov bought Arkhangelskoye Estate, where he lived with his wife and family and which he turned into a luxurious palace, park and summer residence in Moscow. Prince Nicholas built his own porcelain factory there, with much of the artisans from France. He died aged 80 and was succeeded by his second and only remaining son, Prince Boris, since their elder son, Prince Nikolai, died in infancy. SHIPPING NOTICE: Jackson's is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction.com or call 1-800-665-6743. Jackson's can expertly pack and ship to meet any of your needs. To ensure quality control Jackson's DOES NOT release to third party shippers.
Johann Baptist Lampi the Elder Romeno 1751 - 1830 Vienna Three Graces Oil on canvas, relined 111 x 84 cm, with frame 123 x 97 cm Inscribed & annotation on reverse "Eigentum Lampi Johann Baptist pinxit 1787".
Johann Baptist Lampi the Younger Daniel Mecséry de Tsoor (1759-1823) probably 1815-20 oil on canvas 112 × 91 cm signed on the lower right (partly indistinct): Lampi / fil... / pi... according to the consignors, family-owned since the 19th century 2015 Ingolstadt, Bayerisches Armeemuseum Margot Hamm / Evamaria Brockhoff et al. (ed.), Napoleon und Bayern. Katalog zur Bayerischen Landesausstellung 2015, exhibition catalogue, Bayerisches Armeemuseum, Ingolstadt 2015, p. 210-212, with ill. (as Johann Baptist Lampi d.Ä.)
Johann Baptist Lampi the Elder Romeno 1751 - 1830 Vienna Three graces Oil on canvas, relined 111 x 84 cm, with frame 123 x 97 cm Inscribed & annotation on reverse "Eigentum Lampi Johann Baptist pinxit 1787".
PRINCE PLATO ALEKSANDROVICH ZUBOV (1767 – 1822) Very finely painted miniature, oil on metal, around 1800 24 x 19.5cm The painting is similar in style and delicacy to the portrait of the prince by Jan Baptist I.VON LAMPI (1751-1830), which is in the Tretyakov Gallery.
Brustportrait der Kaiserin Katharina II. von Russland, genannt "Katharina die Große". Öl/Lwd. (alt doubliert und rest., starke Farbverluste, rest.-bed.), 72x 55,5 cm (im Oval). R. Beigegeben: Gutachten von Paul Hübner, Freiburg i. Br. vom 29. Juni 1951, der das Werk als eigenhändige Arbeit Lampis einstuft.
ÉCOLE RUSSE VERS 1800, SUIVEUR DE JOHANN BAPTIST VON LAMPI (1751-1830) Portrait d'Alexandre Bezborodko (1747-1799) Huile sur cuivre 34,5 x 28 cm. (13 1/2 x 11 in.)
18th C. European after Johann Baptist I von Lampi (Austrian-Italian, 1751- 1830). Oil on canvas portrait of Catherine the Great, ca. 1790s. A striking oval portrait of Empress Catherine II - best known as Catherine the Great (1729-1796) of Russia. In this portrait she is depicted as a mature woman wearing a grand necklace of Saint Andrew. According to Fabian de Montjoye, at least three other similar versions are known. One was given to General Alexandre Yermolov (1754-1834) who was Catherine the Great's lover from 1785-1786 and is owned by the Champeaux family. Another was given to French miniaturist Ferdinand de Meys (active 1780-1805) and is with M. Fautrat in Senlis. Lampi was an esteemed portraitist of aristocrats, and it has been said that Lampi was to Vienna what Largilliere (1656-1746) was to Paris. Catherine the Great reigned as Empress of Russia after her husband Peter III (1728-1762) was deposed following a conspiracy, and her reign is generally viewed as the pinnacle of Russian nobility. A striking portrait of the legendary Catherine the Great set in a lovely gold-tone wooden frame. Size of painting: 24.5" L x 18.875" W (62.2 cm x 47.9 cm) Size of frame: 19.875" L x 24.25" W (50.5 cm x 61.6 cm) In this bust-length portrait, Catherine the Great looks out with a steadfast gaze, her radiant visage comprised of a powdered complexion, rouged cheeks, rose red pursed lips, a double chin signifying her wealth and elite status, and engaging blue eyes, all crowned by an elaborate beaded hair ornament adorning her updo with long banana curls gracing her shoulders. She wears luxurious vestments decorated with finely tatted lace and a lustrous necklace of Saint Andrew. The gold tone frame, though not original to the painting, is still of considerable age and complements the portrait beautifully. Johann Baptist Lampi the Elder was an Austrian-Italian artist who specialized in history paintings and portraits. Upon receiving an enticing offer from the Tsar, he settled in the Russian Empire after the final partition of Poland. Born at Romeno in Tyrol, he was the son of the artist Matteo (Mattia) Lampi, who painted frescoes in Romeno. Johanne Baptist Lampi the Elder studied under his father in Verona and then Salzburg. In 1773, he relocated to Trento where he honed his skills painting portraits and miniatures. He then travelled to Innsbruck followed by Vienna, where Emperor Joseph II honored him with a professorship at the Vienna Academy in 1786. In addition, the court of King Stanislaw II Augustus invited Johann Baptist I von Lampi to Warsaw the same year, where he worked until the military partitions of Poland were complete. He then moved to St. Petersburg in 1791 where the Czar knighted him. Johann Baptist Lampi the Elder was very successful in Russia and earned a fortune painting portraits of aristocrats including Empress Catherine II and Empress Maria Fedorovna. In 1797, he returned to Vienna and became an honorary citizen in 1799. Both of his sons - Johann Baptist the Younger and Franciszek Ksawery Lampi - were accomplished artists as well. See Jean-Baptiste Lampi's portrait of Catherine the Great at the Kunsthistorisches Museum, ca. 1780s (accession number GG_7131). Provenance: private Naples, Florida, USA collection; acquired from Fabian de Montjoye, Paris, France in 2005 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168910
Giovanni Battista Lampi, detto Il Vecchio (Romeno 1751 - Vienna 1830) cerchia Ritratto di Giovanni Alessandro Brambilla, barone di Carpiano Olio su tela 54 x 68 cm Nato a Romeno, nell'allora principato vescovile trentino, essendo figlio d’arte riceve le prime lezioni di pittura dal padre e dal cugino Pietro Antonio Lorenzini. Dopo aver studiato a Verona col pittore tiepolesco Francesco Lorenzi, inizia la sua attività artistica realizzando ritratti e pale a Trento e dintorni. In un secondo tempo si trasferisce in Austria, entrando in contatto con l'arciduchessa Maria Elisabetta di Asburgo-Lorena, di cui esegue un ritratto e grazie alla quale entra presso la corte viennese. Diventato uno dei pittori più in vista della capitale, Giuseppe II lo nomina professore all'Accademia. La sua fama arriva a coprire l’intera Europa, e nel 1791 Lampi approda a Pietroburgo chiamato da Caterina II. Grazie alla protezione della zarina, da lui ritratta più volte, ottiene molti incarichi, tanto da dover rimanere in loco più di sei anni. In questo periodo realizza una serie di ritratti, caratterizzati dal realismo dei volti, dalla luminosità vitrea delle figure contrastata dai fondali scuri, dallo splendore degli abiti, dall’accurata ricercatezza dei più minuti dettagli e dalla morbidezza cromatica, tanto da essere considerati tra i capolavori della ritrattistica europea del XVIII secolo. Rientrato a Vienna, forte della sua fama, continua la sua attività, ed è nominato Cavaliere dell'Impero. Come riportato esattamente nell'incisione di Jakob Adam il pittore ritrae il chirurgo di corte Alessandro Brambilla nel 1783 (data iscritta nella versione incisa del ritratto). Giovanni Battista Lampi, known as Il Vecchio (Romanian 1751 - Vienna 1830) circle Portrait of Giovanni Alessandro Brambilla, Baron of Carpiano Oil on canvas 54 x 68 cm
Ref19C121121 This half-length portrait depicts the Austrian statesman Count Johann Philipp Cobenzl facing the viewer and gesturing with his right hand, as if in conversation with a counterpart. He is shown in front of a softly falling, velvety green drapery, which provides only a narrow view of the grey-green wall behind it. The sitter presents himself with a powdered wig and in sumptuous clothing: He wears a purple velvet jacket above a lace shirt and above it a bright red collar. Special care has been taken in the reproduction of the badges of the orders with which the sitter is decorated. The most important is the Order of the Golden Fleece, which Cobenzl received in 1792 and which he wears here suspended from its characteristic collar. Beneath it is the insignia of the Leopold Order, which was only founded by Emperor Franz I in 1808. The red ribbon on his shoulder and the upper of the two badges, a red-enamelled eight pointed star with the motto “Integritati et Merito”, also belong to this order. The star with the "Grand Aigle" below it indicates membership to the Legion of Honour, which was founded in 1802 upon the proposal of Napoléon Bonaparte, the First Consul of the French Republic, and for which Napoleon, as Emperor, donated appropriate insignia two years later. Johann Philipp Count Cobenzl (1741-1810) had a varied career at the Habsburg imperial court. From 1779 to 1792 he served as Austrian Vice-Chancellor, then for almost a year as Foreign Minister. As Austrian envoy, Count Cobenzl was active in Paris from 1801 to 1805, that is, at the time of Napoleon's rise as emperor, which may explain his acceptance into the Legion of Honour. Johann Baptist Lampi was one of the most successful portrait painters of the Central and Eastern European nobility in the late 18th and early 19th centuries. Born in South Tyrol, the artist first worked for over two decades in numerous different cities, including Vienna, Salzburg, Verona and Warsaw. This was followed by a five-year stay in St. Petersburg as court painter to the Russian Tzarina Catherine II, after which he finally settled in Vienna in 1797 and remained there for the rest of his life. "Upon his return to Austria, Lampi brought with him honours and tributes that few other artists in Europe could boast of" (Roberto Pancheri: Johann Baptist Lampi d. Ä. und die Porträtmalerei in Wien zwischen Ancien Régime und Vormärz, in : Exhib. cat. "Europa in Wien. Der Wiener Kongress 1814/15", Vienna, Belvedere 2015, p. 156-65, here p. 157). It was in Vienna, where Lampi portrayed the Emperor and other members of the imperial family, that our impressive portrait was probably made. We are grateful to Dr. Roberto Pancheri, Trento, for confirming the attribution on the basis of digital photographs.
JOHANN BAPTIST LAMPI (THE ELDER) 1751 Romeno - Vienna 1830 (circle) PORTRAIT DES FÜRSTEN ALEXANDER ANDREEWITSCH BESBORODKO A PORTRAIT OF THE DUKE ALEXANDER ANDREEVITCH BEZBORODKO Öl auf Leinwand, maroufliert. 70 cm x 58 cm (R. 78,5 cm x 66,5 cm). Rahmen. Stark besch. Oil on canvas, on carton mounted, 70 by 58 cm (F. 78,5 by 66,5 cm), intenselly damaged, framed. JOHANN BAPTIST LAMPI (DER ÄLTERE) 1751 Romeno - 1830 Wien (Umkreis) PORTRAIT DES FÜRSTEN ALEXANDER ANDREEWITSCH BESBORODKO Öl auf Leinwand, maroufliert. 70 cm x 58 cm (R. 78,5 cm x 66,5 cm). Rahmen. Stark besch.
Detailed oil portrait study on paper. Unsigned. Attribution verso. Dimensions: (Paper) H 11.25" x W 8.5" Condition: Paper with some edge tears and some handling wear.
oil on canvas 85 x 67 cm executed after 1796 Provenance: Bukowskis, Stockholm Private collection холст, масло 85 x 67 см. после 1796 Провенанс: Bukowskis, Стокгольм Частная коллекция
This half-length portrait depicts the Austrian statesman Count Johann Philipp Cobenzl facing the viewer and gesturing with his right hand, as if in conversation with a counterpart. He is shown in front of a softly falling, velvety green drapery, which provides only a narrow view of the grey-green wall behind it. The sitter presents himself with a powdered wig and in sumptuous clothing: He wears a purple velvet jacket above a lace shirt and above it a bright red collar. Special care has been taken in the reproduction of the badges of the orders with which the sitter is decorated. The most important is the Order of the Golden Fleece, which Cobenzl received in 1792 and which he wears here suspended from its characteristic collar. Beneath it is the insignia of the Leopold Order, which was only founded by Emperor Franz I in 1808. The red ribbon on his shoulder and the upper of the two badges, a red-enamelled eight pointed star with the motto “Integritati et Merito”, also belong to this order. The star with the "Grand Aigle" below it indicates membership to the Legion of Honour, which was founded in 1802 upon the proposal of Napoléon Bonaparte, the First Consul of the French Republic, and for which Napoleon, as Emperor, donated appropriate insignia two years later. Johann Philipp Count Cobenzl (1741-1810) had a varied career at the Habsburg imperial court. From 1779 to 1792 he served as Austrian Vice-Chancellor, then for almost a year as Foreign Minister. As Austrian envoy, Count Cobenzl was active in Paris from 1801 to 1805, that is, at the time of Napoleon's rise as emperor, which may explain his acceptance into the Legion of Honour. Johann Baptist Lampi was one of the most successful portrait painters of the Central and Eastern European nobility in the late 18th and early 19th centuries. Born in South Tyrol, the artist first worked for over two decades in numerous different cities, including Vienna, Salzburg, Verona and Warsaw. This was followed by a five-year stay in St. Petersburg as court painter to the Russian Tzarina Catherine II, after which he finally settled in Vienna in 1797 and remained there for the rest of his life. "Upon his return to Austria, Lampi brought with him honours and tributes that few other artists in Europe could boast of" (Roberto Pancheri: Johann Baptist Lampi d. Ä. und die Porträtmalerei in Wien zwischen Ancien Régime und Vormärz, in : Exhib. cat. "Europa in Wien. Der Wiener Kongress 1814/15", Vienna, Belvedere 2015, p. 156-65, here p. 157). It was in Vienna, where Lampi portrayed the Emperor and other members of the imperial family, that our impressive portrait was probably made. We are grateful to Dr. Roberto Pancheri, Trento, for confirming the attribution on the basis of digital photographs.
Innenmaß: 24 x 17,5 cm. Rahmenmaß: 34 x 28 cm. Rechts unten signiert. Dreiviertelportrait der auf einem Sessel würdevoll aufrecht sitzenden Kaiserin, Prinzessin von Württemberg, Mutter des Zaren Alexander I, vor zur Seite gerafftem, rotem Vorhang, der links den Blick ins Freie leitet. Sie trägt ein weißes, an den Ärmeln gerüschtes Kleid und eine hellblaue Weste mit Schmuckkette, an der das Miniaturbildnis ihres Gatten hängt, einen Orden sowie eine rote Schärpe. Unter oktagonalem Rahmen, hinter Glas, in einem größeren, insbesondere an den Ecken verzierten, rechteckigen Holzrahmen. (12211421) (18)
Johann Baptist Lampi (1751-1830)-attributed, Portrait of a gentleman in Austrian Uniform in front of cloudy sky oil on canvas in original frame on the reverse old paper labels with description
Johann Baptist Lampi I (Romeno 1751-1830 Vienna) Portrait of a lady, half-length, traditionally identified as Baroness... oil on canvas 30 ¼ x 24 5/8 in. (76.8 x 62.6 cm.)
Circle of Johann Baptist von Lampi the Elder (Austrian, 1751-1830), oil on canvas, unsigned, inscribed "Molet(?) af Lampi... " on verso, 27"h x 22"w (sight), 31"h x 26"w (frame)
FOLLOWER OF GIOVANNI BATTISTA LAMPI (AUSTRO-ITALIAN, 1751-1830) Count Peter Zavadovsky (1739-1812), a favourite of Empress Catherine the Great On ivory; oval, 89 mm. high, gilt-metal frame
Johann Baptist Lampi, the Elder (1751-1830), Circle Portrait of Grigory Aleksandrovich Potemkin (1739 - 1791) Oil / Canvas, doubled, around 1792 69 x 53,5 cm (Frame: 83 x 68,5 cm) Empress Catherine the Great asked Johann Baptist Lampi the Elder to paint a portrait of Potemkin. Shortly before Poetmkin`s death he made an unfinshed sketch, which was the basis for the portrait after the death of the prince. The copper-engraver of the Russian court, James Walker (1748-1808), made an etching of this motif. In the last auction this painting was purchased by a "Fake"-Bidder, who didn`t paid.
*Johann Baptist Lampi the Elder (1751-1830), Circle Portrait of Grigory Aleksandrovich Potemkin (1739 - 1791) Oil / Canvas, doubled, around 1792 69 x 53,5 cm (Frame: 83 x 68,5 cm) Empress Catherine the Great asked Johann Baptist Lampi the Elder to paint a portrait of Potemkin. Shortly before Poetmkin`s death he made an unfinshed sketch, which was the basis for the portrait after the death of the prince. The copper-engraver of the Russian court, James Walker (1748-1808), made an etching of this motif. Provenance: South-German Collection
Huile sur toile marouflée sur toile "Portrait du Prince von Kaunitz-Rietberg". Attribué à Giovanni Battista Lampi. Ecole italienne. (Voir ancienne étiquette manuscrite au dos). Dim.:69.5x50.5cm.
JOHANN BAPTIST LAMPI I (ROMENO 1751-1830 VIENNA) Portrait of Count Franz Peter Friedrich von Diesbach (1739-1811), half-length signed, inscribed and dated ‘Kamer Schlüssel / für / den kais. konigl. würdlichen Kamer / herrn Grafen Franz von Dierbach / in Paris / Lampi Fecit / 1788.’ (lower left) and inscribed ‘TERESIA PIA FELIX AUGUSTA’ (lower left, on the coin) oil on canvas 40 7/8 x 32 5/8 in. (103.8 x 82.9 cm.)
Johann Baptist Lampi der Ältere (1751-1830), Portrait of an aristocrat, probably Russian, oil on canvas, in original gilded and carved collector's frame.
AFTER JOHANN BAPTIST VON LAMPI THE ELDER (GERMAN 1751-1830) PORTRAIT OF CATHERINE THE GREAT colour mezzotint 30cm x 22cm (12in x 8.75in) and four further prints of Russian monarchs (5)
Johann Baptist von Lampi, 1751 Romeno – 1830 WienKAISERPORTRÄT Gouache auf Elfenbein. Sichtmaß: 7,5 x 6 cm. Seitlich rechts signiert „ J. Lampi“. Hinter Glas gerahmt. (10618739) (14)
Oil on canvas, relined Austria, late 1790s Attributed to Johann Baptist I von Lampi (1751-1830) – Austrian portrait and history painter Dimensions: 74 x 55.5 cm Frame: 86.5 x 68.5 cm Very good condition Portrait of the young Holy Roman Emperor Franz II, wearing the uniform of the Austrian chevau-legers; the painting is attributed to Johann Baptist I von Lampi, court painter and famous portraitist of various high aristocrats and monarchs Object is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. Estimate by Auctionata Expert: 9,000 Euro Condition: The painting is in very good condition, consistent with age. There are light marks, where the frame has rubbed. Inspection under UV light reveals a few scattered areas of retouching to the hair and to the temples of the sitter, to the collar of the uniform and also to the background. The canvas is relined and the stretcher measures 74 x 55.5 cm. The frame shows small traces of use and measures 86.5 x 68.5 cm. (cbo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Watercolor and gouache on ivory Russia, 19th century Johann Baptist v. Lampi d. Ä. (1751-1830), after – Austrian portrait- and historical painter On right side inscribed by unknown hand ‘Duschese de Gisors’ Dimensions: 13.5 x 9.5 cm Frame: 17 x 11.5 cm Good condition Object is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. Estimate by Auctionata Expert: 1,000 Euro Portrait of Sophie Dorothee von Württemberg (1759-1828) as Tsar Maria Feodorowna of Russia; the portrait on ivory is a copy of a today lost portrait of Johann Baptist von Lampi d. Ä. who has portrayed the Tsar several times Condition: The colored surface is partial slightly rubbed. The denomination ‘Duchesne de Gisors’ was added later by an unknown hand. One part in the center of the upper edge is visibly retouched and probably showed another inscription originally. In the upper left part the ivory plate is cracked hardly visible. Under inspection in ultraviolet light is extensive retouching in the back recognizable as well as further overpainting on the dress and the eyes can be found. The dimensions of the gauzy ivory plate are 13.5 x 9.5 cm und the frame measures 17 x 11.5 cm. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Johann Baptist Ritter von Lampi (1751-1830)-attibuted, Portrait of Count Zinzendorf, in standing position by a table with documents, a globe and an armchair, wearing the order and cape of the German Order in the background landscape view. Oil on canvas.Count Karl von Zinzendorf und Pottendorf (January 5, 1739 - January 5, 1813) was a Saxon-Austrian civil servant. He served the government of Austria in a variety of capacities, including as governor of Trieste, and rose to high rank at the Habsburg court. His massive diary, written daily over a period of about 66 years, is an important historical documentary source for his era, both in politics and in the arts.
Johann Baptist Lampi L'ancien (Rome 1751 Vienne 1830) attribué à « Portrait de Charles-Louis d'Autriche-Teschen (1771-1847), Archiduc d'Autriche, en armure, manteau d'hermine rouge portant le collier de l'Ordre de la Toison d'Or. » Huile sur toile de forme ovale, 61 x 48 cm Cadre en bois doré. Biographie : Charles-Louis d'Autriche (Florence, 5 septembre 1771 - Vienne, 30 avril 1847), archiduc d'Autriche, duc de Teschen, grand maître de l'ordre Teutonique (1801-1805), fils de Léopold II, empereur du Saint Empire (1747-1792) et de son épouse Marie-Louise de Bourbon, infante d'Espagne. C'est aussi le frère de François Ier, empereur d'Autriche. À la mort de son oncle (1822), Charles hérite du duché de Teschen. Il commence sa carrière militaire lors des guerres de la Révolution française. À peine âgé de 21 ans, le prince Charles reçoit le commandement de l'avant-garde de l'armée autrichienne sous les ordres du prince de Cobourg. Dans la seconde campagne, le jeune prince seconde avec talent les opérations du général Clerfayt. En 1795 il sert sur le Rhin, et les années suivantes, il est commandant en chef de toutes les forces autrichiennes sur ce front. Il conduit les opérations contre Jourdan et Moreau en 1796. Tombant sur Jourdan il le bat dans les batailles d'Amberg et de Würzbourg, le repoussant au-delà du Rhin et lui infligeant de lourdes pertes. Il se tourne alors sur l'armée de Moreau, qu'il défait et expulse d'Allemagne. Reçu triomphalement à Vienne, le prince Charles fut nommé généralissime des armées autrichiennes. Il rencontre alors son plus redoutable adversaire : le général Bonaparte, de deux ans son aîné, victorieux lors de la campagne d'Italie, qui allait franchir les Alpes nordiques et se précipiter sur Vienne. En 1797 il est envoyé pour arrêter la marche victorieuse de Bonaparte en Italie. Il engage avec lui sa première bataille sur les rives du Tagliamento, le 16 mars 1797, et lui oppose une résistance vigoureuse. Peu de jours après, au combat livré sur le col de Larvis, le prince affronte la mort avec un courage héroïque, et ne cède devant Masséna qu'après les efforts les plus opiniâtres. Le général Bonaparte offre la paix à son rival par une lettre célèbre qui témoigne de son admiration pour le prince. Quelques mois après, la paix de Campo-Formio était signée. Les victoires françaises le font bientôt rappeler au commandement de l'armée autrichienne, qui se trouvait alors désorganisée. La bataille de Hohenlinden oblige l'archiduc vaincu à demander l'armistice à Steyr, le 25 décembre. Sa popularité est cependant telle que la diète de Ratisbonne, réunie en 1802, propose d'ériger une statue en son honneur et de lui donner le titre de sauveur de la patrie, mais le héros de 31 ans refuse ces preuves ostentatoires de reconnaissance. Après la Paix de Presbourg, il est nommé chef du conseil aulique de guerre et généralissime des armées (Generalfeldmarschal). Profitant de son prestige - il est le seul général s'étant montré capable de battre les armées françaises - il lance des réformes de grande envergure qui remplacent les méthodes désuètes du XVIIIe siècle. La nouvelle armée est surprise, en pleine réorganisation, par la guerre de 1809. Les premiers succès sont neutralisés par les revers de la bataille d'Abensberg, Landshut et Eckmühl. Après l'évacuation de Vienne, ont lieu les terribles batailles d'Aspern-Essling et Wagram, à l'issue desquelles les Autrichiens, bien que vaincus, infligent à l'Empereur des Français une perte de plus de 50 000 hommes. Au combat sanglant d'Aspern, le courage de l'archiduc fait l'admiration de tous : chaque fois que l'archiduc voyait ses soldats fléchir, il sautait à bas de son cheval, saisissait un drapeau et les ramenait au combat. Le Chancelier prince de Metternich convainc alors l'Empereur de signer la paix de Schönbrunn. La nouvelle armée autrichienne a montré qu'elle était un adversaire plus redoutable que l'ancienne, face à l'armée trop hétérogène de Napoléon. Elle ne succombe qu'après une lutte désespérée. Cependant à la fin de la campagne, Charles, désavoué, renonce à toutes ses charges militaires. Sa dernière bataille est celle de Wagram. Il vécut dans la retraite, emportant avec lui le renom d'un grand capitaine. Comme son illustre rival Napoléon, il a retracé avec la plume les grandes choses qu'il avait exécutées avec l'épée, en consacrant une partie de ses loisirs à la composition de plusieurs ouvrages militaires fort estimés. L'archiduc Charles qui, mandataire de l'Empereur des Français, avait conduit à l'autel sa nièce, la jeune archiduchesse Marie-Louise d'Autriche devenue l'épouse de Napoléon, servit de guide et de protecteur au fils du grand homme qu'il avait combattu. Il entoura de soins et de conseils le duc de Reichstadt qui lui témoignait les sentiments d'une affection toute filiale. Heinrich Friedrich Füger (Heilbronn 1751-1818 Vienne) et son collègue Johann Baptist Lampi l'Ancien étaient les artistes les plus importants de la fin du 18ème siècle dans la monarchie autrichienne. Lampi peignit plusieurs portraits de nobles en armure lors de son séjour en Pologne entre 1788 - 1791 (Ksawery Branicki avec ses fils en 1791, Alupka, Schloßmnuseum,, Stanislaw Szczesny Potocki et ses fils vers 1788-1790, Varsovie, Musée Narodowe). Mais plus importants encore sont les portraits de la famille impériale que Jean Baptiste Lampi réalisa en 1808 au Château Laxenburg. Il travaille avec un grand réalisme. Comparé aux rares portraits de l'archiduc Karl réalisés à l'époque et après 1810, le portrait que nous présentons séduit par sa présence physique et émotionnel. Bibliographie : Encyclopædia Britannica, Charles-Louis d'Autriche-Teschen, 1911 Charles Mullie, Charles-Louis d'Autriche-Teschen, Biographie des célébrités militaires des armées de terre et de mer de 1789 à 1850, 1852 Catalogue de l'exposition 2001, Un ritrattista nell`Europa delle corti G
Oil on canvas Austria, 1824 Johann Baptist II von Lampi (1775-1837) - Austrian portrait and history painter On the reverse with former inscription 'Gemalt von Ritter v. Lampi Sohn. K. K. Mahler 1824.' This work is accompanied by a certificate by Dr. Robert Keil, Vienna, dated 04/06/2003 Dimensions: 78.5 x 63.5 cm Frame: 115.5 x 98 cm Good condition Fine Biedermeier half-length portrait of a lady in front of a landscape; similar portraits of the artist fetch up to €40,000 at international auctions Johann Baptist II von Lampi was a specialist in half-length portraits, which he usually plotted against a cloudy sky or scenic landscapes. The present lady's portrait is a decorative example of the painter's artistic output and impresses with regard to many details, such as the fine shades below the left arm and the delicate contrasts of the fabrics. Condition: The paint surface shows fine craquelure, under UV light inspection it reveals scattered areas of retouching to the chin, the neck and the dress of the figure, as well as to the lower edge. The canvas shows a number of restored tears on the reverse. The overall impression is, however, good considering the age. The stretcher measures 78.5 x 63.5 cm. The decorative stucco frame shows a number of smaller marks, especially in the upper left corner. The framed overall dimensions are 115.5 x 98 cm. Johann Baptist II von Lampi (1775-1837) Johann Baptist II von Lampi followed the example of his father, Johann Bapist I Lampi (1751-1830), and became one of the most considerable painters of the Biedermeier period. He was born in Trento and studied at the Academy of Fine Arts in Vienna, from 1786 to 1794, where he became a student of Hubert Maurer (1738-1818) and Heinrich Füger (1751-1818). Like his father, he moved to St. Petersburg in 1796, where he became an honorary member of the local Academy of Arts. Back in his hometown of Vienna, he gained popularity as a talented portrait painter and from 1813 he regularly exhibited his works as a member of the Viennese Academy. Examples of his works are preserved, for instance, at the Belvedere in Vienna and at the Hermitage in St. Petersburg. (cbo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Attribué à Giovanni Battista LAMPI (1751 - 1830) Portrait de Giovanni Battista Tensi, marchand de tissus Sur sa toile d'origine 82 x 67 cm Au revers de la toile, une inscription : Giovan Battista Tensi / qm Gio Batta fu dipinto / in Ratisbona A° 1780./ con etta di Anni 30. Restaurations et petits manques
Erzherzog Karl in Rüstung mit Hermelinumhang. Öl auf Leinwand, im Oval. 61 x 48 cm. Um 1810. Im Vergleich zu anderen Portraits des Erzherzogs Karl besticht dieses Werk durch seine außergewöhnliche physische und emotionale Präsenz. Wahrscheinlich entstand das Bildnis kurz nach der bedeutenden Schlacht bei Aspern im Mai 1809, in der Napoleon seine erste Niederlage erleiden musste. Dieser durch Erzherzog Karl herbeigeführte Sieg war von einer außerordentlich starken Symbolkraft geprägt, da damit die Unbesiegbarkeit Napoleons gebrochen war. Genau diese Kraft, Besonnenheit und Beharrlichkeit des Siegers von Aspern, der hier überzeitlich in einer historischen Rüstung dargestellt ist, drückt dieses außergewöhnliche Bildnis Lampis aus.
JOHANN BAPTIST LAMPI I (ROMENO, TRENTO 1751-1830 VIENNA) PORTRAIT OF A NOBLEMAN, HALF-LENGTH, IN A BLUE VELVET JACKET AND WHITE STOCK, WEARING THE SASH OF THE ORDER OF SAINT STANISLAUS AND A RED MANTLE, BEFORE A DRAPED CURTAIN SIGNED, INSCRIBED AND DATED 'EQUES DE LAMPI PINXIT. AE. 1804.' (LOWER RIGHT, ON THE STONE LEDGE) OIL ON CANVAS 45 X 36 3/8 IN. (104.3 X 92.4 CM.)
Lampi, Johann Baptist von d. Ä.- zugeschrieben Graf Platon Alexandrowitsch Zubow (Romeno 1751-1830 Wien) Rundes, halbfiguriges Bildnis eines Herrn in blauem Rock mit Zopfperücke. Lithographie. Rücks. bez. Ø 5,5 cm, unter Glas ger. - Graf Zubow war der letzte Liebhaber der Zarin Katharina II.
ALOIS GUSTAV ROCKSTUHL (RUSSIAN, 1798-1877) AFTER GIOVANNI BATTISTA LAMPI (ITALIAN, 1751-1830) An important miniature of Maria Feodorovna (1759-1828), née Sophia Dorothea of Württemberg, full-length, in white silk dress and red surcoat, wearing a blue sash and a cameo of Empress Catherine II as Athena with diamond surround, a paintbrush in her right hand, standing next to a stone plinth draped with red velvet cloth set with an easel supporting a sketch-book containing a drawing of eight of the empress's children, next to a bust of her husband, Tsar Paul I of Russia (1754-1801) and books, a lyre in front of the plinth, stone urn, set in Pavlosk Park, St Petersburg signed (partly in Russian cyrillic) and dated 'Lampi 1795. Rokshtul. 1863.' (lower left, on the stone plinth) and signed, dated and inscribed in French on the backing paper 'Maria Feodorovna Imperatrice peint d'après Lampi 17[..] par A. Rockstuhl peintre de S. M. 1863.' on ivory rectangular, 3¾ x 2¾ in. (97 x 71 mm.), gilt-metal mount
RUSSIAN SCHOOL AFTER GIOVANNI BATTISTA LAMPI (ITALIAN, 1751-1830) Catherine II (1729-1796), Empress of Russia 1762-1796, known as Catherine the Great, in ermine robes, wearing the diamond-encrusted chain of the Imperial Russian Order of St Andrew, a tiara and laurel leaves in her upswept hair on ivory oval, 2 1/8 in. (60 mm.) high, gilt-metal mount
