ALLEGORIE DER POESIE Öl auf Leinwand. Doubliert. 105 x 136 cm. In goldfarbenem Rahmen. In einer großen Parkanlage haben sich mehrere Kinder in eleganter barocker Kleidung niedergelassen und gehen verschiedenen Tätigkeiten nach. In der Mitte ein sitzendes Mädchen in weißem Gewand mit blondem Haar und geröteten Wangen, auf einer kleinen goldenen Lyra spielend. Ein Junge, der neben ihr steht mit einem Ärmeln und rötlichem Mantelüberwurf, sieht sie verliebt an und scheint mit seinen Händen im Takt der Musik zu klatschen. Hinter ihm sitzend ein Junge, auf seinen übereinandergeschlagenen Beinen eine Schriftrolle auf einer Unterlage haltend, in seiner rechten Hand einen Federkiel, seinen Kopf schließlich auf seine linke Hand gestützt und über seine niederzuschreibende Dichtung nachdenkend. Links von ihm liegen am Boden eine Panflöte, ein Tamburin und eine Maske sowie ein Fell. Rechtsseitig, am Boden sitzend, ein weiterer Knabe mit aufgeschlagenem Buch, einen Federkiel in seiner Hand haltend und vor ihm liegend eine Schriftrolle mit den Worten „OeUVRES DE PINDAR“, die auf den griechischen Dichter Pindar (um 518 - nach 446 v. Chr) hinweist. Zudem liegt er halb auf einem geschlossenen Buch mit dem Titel „Horace“, ein weiterer Hinweis auf einen bedeutenden römischen Dichter. Im Hintergrund rechts ein stehender Knabe, der versucht, das junge Mädchen mit seinen ausgestreckten Armen auf einen großen Rundtempel im Hintergrund hinzuweisen. Stimmungsvolle, harmonische Malerei in weichen Farbtönen mit vielen Details, die als Allegorie der Poesie zu verstehen sind. Kleine Rahmenschäden. Anmerkung: Der Künstler wurde von seinem Vater unterrichtet und hatte schon in jungen Jahren Aufträge für Kirchen und öffentliche Gebäude in Aix-en-Provence und Toulon. Nach seinem Studium in Rom ging er nach Paris, wo er zum Mitglied der Königlichen Akademie der Künste gewählt wurde. Er malte mehrere Altarbilder und restaurierte Werke von Francesco Primaticcio (1504-1570) in Fontainebleau. 1737 ging er nach England, wo er durch Portraits bekannt wurde und kehrte schließlich 1742 nach Paris zurück. (14007626) (18) Jean–Baptiste van Loo, 1684 Aix–en–Provence – 1745 ibid., attributed ALLEGORY OF POETRY Oil on canvas. Relined. 105 x 136 cm.
CIRCLE OF JEAN-BAPTISTE VAN LOO (AIX-EN-PROVENCE 1684-1745) Portrait of Louis XV, three-quarter-length oil on canvas 48 x 36 7⁄8 in. (121.9 x 93.6 cm.)
(French 1684-1745) Portrait of General William Hargrave, half length, wearing uniform with a breast plate, inscribed upper left, unsigned, 18th century, oil on canvas, 29-5/8 x 24-1/2 in.; 18th century carved and gilt wood frame, 37 x 32 x 2-3/4 in. Provenance: Sir Henry Sutcliffe Smith, Ingerthorpe Grange (1864-1937); By descent; Sotheby's London, April 12, 1995, Lot 48, sold for $7,680; Property from a Historic South Carolina Plantation Note: The sitter received his first commission as an ensign in 1694, and was promoted to Major General in 1739. He was Colonel of the 7th Fusiliers, which was to become the City of London Regiment.
CIRCLE OF JEAN-BAPTISTE VAN LOO (AIX-EN-PROVENCE 1684-1745) Portrait of a lady, three-quarter-length, seated, with a young boy holding a... oil on canvas 42 5⁄8 x 34 ¼ in. (108.2 x 87 cm.)
(1684 Aix-en-Provence -1745 ebenda) Porträt Ludwig XV. als König von Frankreich und Navarra Das künstlerisch herausragende Gemälde ist eines von mehreren Porträts des jungen Königs (1710 - 1774) von Jean-Baptiste van Loo, ausgeführt wahrscheinlich kurz nach seiner Volljährigkeit im Jahr 1723, als er die vollständige Kontrolle über die Regierung übernahm. Es handelt sich um eine dreiviertellange Adaption des berühmten, ganzfigurigen, großen Staatsporträts, das 1723 entstand und sich in zwei Versionen im Schloss von Versailles und im Louvre in Paris befindet. Die ursprüngliche Komposition hat der Künstler hierbei nicht zuletzt wegen des kleineren Formats sowohl vereinfacht als auch reduziert. Es zeigt Ludwig XV. als königlichen Oberbefehlshaber über die Armeen vor einem Landschaftshintergrund ohne Krone und Zepter. Er trägt einen silber-gold glänzenden Kürass über einer ockerfarbenen Jacke, darüber einen hermelingefütterten, hellblauen Mantel, das blaue Band des angesehenen, elitären Ordens vom Heiligen Geist und um die Hüften geschlungen ein großes, weißes, seidenes Tuch. Den bestickten Mantel und den Kommandostab, auf den er seine rechte Hand stützt, sind mit den Fleur-de-lys des französischen Königswappens verziert. Gleichzeitig fertigten Jean-Baptiste van Loo und seine Werkstatt bereits 1723 in königlichem Auftrag erste Repliken, so dass das Porträt hierdurch und in weiteren Kopien schnelle, weite Verbreitung in Frankreich und Europa fand. Jean-Baptiste van Loo stammte aus einer angesehenen, ursprünglich niederländischen Künstlerfamilie von Malern, die seit der 2. Hälfte des 17. Jh. in Frankreich tätig war. Jean-Baptiste lernte zunächst bei seinem Vater Louis Abraham van Loo (1653 - 1712); in Rom wurde er von Benedetto Luti (1666 - 1724) auch zum Maler religiöser und mythologischer Themen ausgebildet. Über Turin, wo er Herzog Karl Emmanuel II. von Savoyen und seinen Hof porträtierte, ging er 1719 nach Paris zurück. Dort nahm ihn die Königliche Akademie der Künste als Mitglied auf, fortan wandte er sich zunehmend der Bildnismalerei zu und wurde ein angesehener, gefragter Porträtist der Aristokratie. Nachhaltig beeinflusste er besonders seinen jüngeren Bruder Charles André van Loo (1705 - 1765) gen. Carle van Loo. 1737-1742 war Jean-Baptiste van Loo in London tätig, wo er ebenfalls als Porträtmaler reüssierte. Es entstanden dort u. a. Bildnisse des Schatzkanzlers Sir Robert Walpole (in der National Portrait Gallery in London) und des Prinzen und der Prinzessin von Wales. Öl/Lwd. doubl.; 134 cm x 99 cm. Originaler, vergoldeter Regence-Prunkrahmen, den oberhalb das Wappen Frankreichs mit der Königskrone ziert, unterhalb eine Kartusche mit dem königlichen ligierten "LL"-Monogramm. Zu den vergleichbaren Gemälden zählt u.a. eine weitere Version in der Royal Collection (Inv.-Nr. RCIN 404738) und ein Porträt, das am 08.07.2009 von Sotheby's in London versteigert wurde (Lot 43). Oil on canvas, relined. Original frame.
Segundo original de Jean-Baptiste van Loo (1684-1745) - Oficina Francesa do séc. XVIII Retrato de Luís de França (enquanto Delfim) Óleo sobre tela Dim. aprox.: 80 x 63 cm.
(Aix-en-Provence, 1684 - 1745) Ritratto di Jeanne-Agnes Berthelot de Pleneuf, marchesa de Prie Olio su tela, cm 81X65 La resa delle vesti e la posa suggerirebbero una data di esecuzione alla maturità dell'artista, verosimilmente negli anni successivi al suo soggiorno in Inghilterra e quando nel 1742 è attestata la sua presenza a Parigi. Sono gli anni in cui Van Loo riscuote uno straordinario successo come ritrattista, dedito a raffigurare monarchi e aristocratici, permettendosi uno stile di vita sontuoso. Durante la sua notevole carriera e in un'epoca in cui il successo di un ritrattista dipendeva esclusivamente dal mecenatismo reale, l'artista eseguì i ritratti non soltanto di Luigi XV, della regina Maria Leszczynska, di re Stanislao di Polonia e di re Carlo Emanuele di Sardegna, ma anche del primo ministro Horace Walpole e del principe di Galles (futuro re Giorgio III) e di sua moglie Carlotta von Mecklenburg-Strelitz. Oltre a questi illustri personaggi, Loo ritraeva figure cadette e nobili mostrando la medesima verve descrittiva, coniugando la caratterizzazione del personaggio, grazie alle sue doti di osservatore, con un elegante colorismo.
ALLEGORIE DER POESIE Öl auf Leinwand. Doubliert. 105 x 136 cm. In goldfarbenem Rahmen. In einer großen Parkanlage haben sich mehrere Kinder in eleganter barocker Kleidung niedergelassen und gehen verschiedenen Tätigkeiten nach. In der Mitte ein sitzendes Mädchen in weißem Gewand mit blonden Haaren und geröteten Wangen, auf einer kleinen goldenen Lyra spielend. Ein junger, neben ihr stehen Ärmeln und rötlichem Mantelüberwurf sieht sie verliebt an und scheint mit seinen Händen im Takt der Musik zu klatschen. Hinter ihm sitzend ein Junge, auf seinen übereinandergeschlagenen Beinen eine Schriftrolle auf einer Unterlage haltend, in seiner rechten Hand einen Federkiel, seinen Kopf schließlich auf seine linke Hand gestützt und über seine niederzuschreibende Dichtung nachdenkend. Links von ihm am Boden eine Panflöte, ein Tamburin und eine Maske sowie ein Fell liegend. Rechtsseitig, am Boden sitzend, ein weiterer Knabe mit aufgeschlagenem Buch, einen Federkiel in seiner Hand haltend und vor ihm liegend eine Schriftrolle mit den Worten „OeUVRES DE PINDAR“, die auf den griechischen Dichter Pindar (um 518 - nach 446 v. Chr) hinweist. Zudem liegt er halb auf einem geschlossenen Buch mit dem Titel „Horace“, ein weiterer Hinweis auf einen bedeutenden römischen Dichter. Im Hintergrund rechts ein stehender Knabe, der versucht, das junge Mädchen mit seinen ausgestreckten Armen auf einen großen Rundtempel im Hintergrund hinzuweisen. Stimmungsvolle harmonische Malerei in weichen Farbtönen mit vielen Details, die als Allegorie der Poesie zu verstehen sind. Kleine Rahmenschäden. Der Künstler wurde von seinem Vater unterrichtet und hatte schon in jungen Jahren Aufträge für Kirchen und öffentliche Gebäude in Aix-en-Provence und Toulon. Nach Studium in Rom ging er nach Paris, wo er zum Mitglied der Königlichen Akademie der Künste gewählt wurde. Er malte mehrere Altarbilder und restaurierte Werke von Francesco Primaticcio (1504-1570) in Fontainebleau. 1737 ging er nach England, wo er durch Portraits bekannt wurde und kehrte schließlich 1742 nach Paris zurück. (1321171) (3) (18) Jean-Baptiste van Loo, 1684 Aix-en-Provence – 1675 ibid., attributed ALLEGORY OF POETRY Oil on canvas. Relined. 105 x 136 cm.
(Aix-en-Provence, 1684 - 1745) Ritratto di gentiluomo Olio su tela, cm 79,5X64 Provenienza: Torino, Galleria Zabert Torino, Collezione privata Bibliografia: Gilberto Zabert. Galleria di dipinti antichi Torino, Il Ritratto e la figura in Europa dal XV al XIX secolo, cat. n. 15, Torino 1980, n. 24 La resa delle vesti e la posa aulica suggerirebbero una data di esecuzione alla maturità dell'artista, verosimilmente negli anni successivi al suo soggiorno in Inghilterra quando nel 1742 è attestata la sua presenza a Parigi. Allude a questa datazione anche la parrucca, la cui moda è oramai in piena diffusione. Sono gli anni in cui Van Loo riscuote uno straordinario successo come ritrattista internazionale, dedito a raffigurare monarchi e aristocratici, permettendosi uno stile di vita sontuoso. Durante la sua notevole carriera e in un'epoca in cui il successo di un ritrattista dipendeva esclusivamente dal mecenatismo reale, l'artista eseguì i ritratti non soltanto di Luigi XV, della regina Maria Leszczynska, di re Stanislao di Polonia e di re Carlo Emanuele di Sardegna, ma anche del primo ministro Horace Walpole e del principe di Galles (futuro re Giorgio III) e di sua moglie Carlotta von Mecklenburg-Strelitz. Oltre a questi illustri personaggi, Loo ritraeva figure cadette e nobili mostrando la medesima verve descrittiva, coniugando la caratterizzazione del personaggio, grazie alle sue doti di osservatore, con un elegante colorismo.
Oil on canvas, edges relined. 47.2 x 38.1 cm. Framed. We are thankful to Alastair Laing, London, and Gui Rochat, New York, for the information they have kindly provided for cataloguing this lot.
Circle of Jean-Baptiste van Loo (Aix-en-Provence 1684-1745) Portrait of Henry Fiennes Pelham-Clinton, 2nd Duke of Newcastle-under-Lyne, half-length, wearing the sash of the Order of the Garter oil on canvas 71.8 x 55.8cm (28 1/4 x 21 15/16in). For further information on this lot please visit the Bonhams website
(Aix-en-Provence, 1684 - 1745) Ritratto di gentiluomo Olio su tela, cm 79,5X64 Provenienza: Torino, Galleria Zabert Torino, Collezione privata Bibliografia: Gilberto Zabert. Galleria di dipinti antichi Torino, Il Ritratto e la figura in Europa dal XV al XIX secolo, cat. n. 15, Torino 1980, n. 24 La resa delle vesti e la posa aulica suggerirebbero una data di esecuzione alla maturità dell'artista, verosimilmente negli anni successivi al suo soggiorno in Inghilterra quando nel 1742 è attestata la sua presenza a Parigi. Allude a questa datazione anche la parrucca, la cui moda è oramai in piena diffusione. Sono gli anni in cui Van Loo riscuote uno straordinario successo come ritrattista internazionale, dedito a raffigurare monarchi e aristocratici, permettendosi uno stile di vita suntuoso. Durante la sua notevole carriera e in un'epoca in cui il successo di un ritrattista dipendeva esclusivamente dal mecenatismo reale, l'artista eseguì i ritratti non soltanto di Luigi XV, della regina Maria Leszczynska, di re Stanislao di Polonia e di re Carlo Emanuele di Sardegna, ma anche del primo ministro Horace Walpole e del principe di Galles (futuro re Giorgio III) e di sua moglie Carlotta von Mecklenburg-Strelitz. Oltre a questi illustri personaggi, Loo ritraeva figure cadette e nobili mostrando la medesima verve descrittiva, coniugando la caratterizzazione del personaggio, grazie alle sue doti di osservatore, con un elegante colorismo.
Jean-Baptiste van Loo (Aix-en-Provence 1684-1745 Aix-en-Provence) Portrait of a nobleman in his armament oil on canvas; 91 x 72.5 cm wax seal on the reverse Provenance German collection
Circle of Jean-Baptiste Van Loo (French, 1684-1745) Circle of Jean-Baptiste Van Loo (French, 1684-1745) Portrait of Horatio, 1st Lord Walpole of Wolverton, PC (1678-1757), half length, in long grey wig, blue jacket and gold waistcoat Oil on canvas 73 x 62cm Provenance: West Acre High House, Norfolk; Cheffins, 'West Acre High House', 24 November 2010, Lot 520, where acquired by the vendor; Wood Hall, Arkesden, Essex. Horatio Walpole was the son of Robert Walpole of Houghton Hall, Norfolk. Jean-Baptiste Van Loos original painting of Horatio Walpole is in the Norwich Castle Museum, Norfolk. Horace Walpole entered Parliament in 1702, remaining a member for fifty-four years. In 1715, when his brother, Sir Robert, became first Lord of the Treasury, he was made Secretary to the Treasury, and in 1716, having already had some experience of the kind, he went on a diplomatic mission to The Hague. He left office with his brother in 1717, but he was soon in harness again, becoming secretary to the lord-lieutenant of Ireland in 1720 and Secretary to the Treasury a second time in 1721. In 1722 he was again at The Hague, and in 1723 he went to Paris, where in the following year he was appointed envoy extraordinary and minister plenipotentiary. He got on intimate terms with Fleury and seconded his brother in his efforts to maintain friendly relations with France; he represented Great Britain at the congress of Soissons and helped to conclude the treaty of Seville (November 1729). He left Paris in 1730 and in 1734 went to represent his country at The Hague, where he remained until 1740, using all his influence in the cause of European peace. He was in 1739 a founding governor for London's most fashionable charity of the time, the Foundling Hospital. After the fall of Sir Robert Walpole in 1742, Horatio defended his conduct in the House of Commons and also in a pamphlet, 'The Interest of Great Britain steadily pursued'. In 1724 he engaged Thomas Ripley to design him a new house at Wolterton in Norfolk to replace one that had burnt down. Wolterton Hall was completed in 1742. In 1756 he was created Baron Walpole of Wolterton and he died 5 February 1757 at his house in Whitehall.
Oil on canvas. Jean-Baptiste van Loo specialized mainly in painting portraits. He was born in Aix-en-Provence and received his basic education in painting from his father Louis-Abraham van Loo. He worked mainly in Rome and Turin, and later in Paris and in England, where he painted many portraits. His works are characterized by realism and expressive colors, both of which can be seen in this painting. Based on his ornate clothing, the man is a member of a higher social class, he stands sideways and his hand resting comfortably behind his jacket flap. His shirt is decorated with ruffles, other layers are embroidered in gold and bright colors.
Oil on canvas. Jean-Baptiste van Loo specialized mainly in painting portraits. He was born in Aix-en-Provence and received his basic education in painting from his father Louis-Abraham van Loo. He worked mainly in Rome and Turin, and later in Paris and in England, where he painted many portraits. His works are characterized by realism and expressive colors, both of which can be seen in this painting. Based on his ornate clothing, the man is a member of a higher social class, he stands sideways and his hand resting comfortably behind his jacket flap. His shirt is decorated with ruffles, other layers are embroidered in gold and bright colors.
(Aix-en-Provence, 1684 - 1745) Ritratto di gentiluomo Olio su tela, cm 78X66,5 Il dipinto si caratterizza per la elegante e raffinata veste dell'effigiato, descritta con minuzia e atta a caratterizzarne lo stato sociale. Una datazione precisa dell'opera è difficile da stabilire, ma può essere collocata alla maturità, in eseguito al suo soggiorno in Inghilterra o prima del suo arrivo a Parigi nel 1742, oppure ad Aix-en-Provence, dove l'artista aveva acquistato il magnifico Pavillon de Vendôme, uno dei più bei palazzi della città. Allude a ciò anche la parrucca che pare secondo la moda degli anni Quaranta del Settecento e non nello stile della régence, come si nota nelle opere di Van Loo eseguite in Francia. Il pittore, formatosi in ambito familiare, frequentò la bottega di Benedetto Luti a Roma e nella Città Eterna gli vennero commissionati non pochi dipinti pubblici, come a esempio la 'Flagellazione di Cristo' per la chiesa di Santa Maria in Monticelli. A Torino lavorò per il duca di Savoia, Carlo Emanuele II, e per vari membri della sua corte. Poi si trasferì a Parigi, dove fu ammesso all'Académie Royale de Peinture et de Sculpture. Nel 1737 soggiornò in Inghilterra, dove eseguì alcune delle sue opere migliori.
Segundo original de Jean-Baptiste van Loo (1684-1745) - Oficina Francesa do séc. XVIII Retrato de Luís de França (enquanto Delfim) Óleo sobre tela Dim. aprox.: 80 x 63 cm.
Jean-Baptiste van Loo (French, 1684-1745) Portrait of a gentleman (formerly identified as the Marquis de Dreux-Brézé), circa 1720-30 Oil on canvas 32 x 25-1/2 inches (81.3 x 64.8 cm) PROPERTY OF A TEXAS MUSEUM PROVENANCE: Baron Arthur de Rothschild (1851-1903), Paris and Château de Vindrins, Vindrins (Oise), collection no. 22 (label stamped COLLECTION / de Monsieur le BARON / ARTHUR de ROTHSCHILD and annotated No 22, on which is also a red wax seal bearing the owner's coat of arms, is affixed to the painting's stretcher);(1) Newhouse Galleries, New York, as of 1955 (as Nicolas de Largillière), inv. 60742 (label verso);(2) William Lewis Moody III (1894-1992), San Antonio, Texas, acquired from the above as Nicholas de Largillière; Presented by the above to the present owner, December 1969. LITERATURE: Christie's Monaco, Tableaux anciens et du XIXème siècle, December 4, 1992, n.p., cited under entry for lot 543. The supposition that the person here depicted is the Marquis de Dreux-Brézé, stated since the portrait appeared on the New York art market in the 1950s, is without any foundation. In ancien régime France, it was unthinkable for a member of the noble class to be depicted without any orders or distinguishing official garb. This would have been especially so in the case of Michel de Dreux, Marquis de Brézé (1699-1754), who in 1720 was named Grand-Maître des Cérémonies de France, succeeding his father. A more likely candidate for an image of this court functionary is a full-length official portrait by Louis Michel van Loo (1707-1771), the son of Jean Baptiste van Loo, which was last recorded in a Christie's Monaco sale, December 4, 1992, lot 54 (See LITERATURE). By contrast with the latter painting is the present work by Jean Baptiste van Loo, which represents a man, perhaps in his thirties, who confronts the viewer with a confident air and parted lips, as if in conversation. His eyes look straight forward, whereas his head turns slightly to the right, suggesting a certain reserve. A neutral background highlights the brilliantly characterized face, with its warm tones and subtle chiaroscuro. The bulk of the subject's chest extends almost the entire width of this half-length depiction and is further emphasized by his plain, black tunic. By contrast is the foreground flourish of yellow-lined, crimson drapery, which provides drama and distinction to this image. On the other hand, the untied blue ribbon that descends from the sitter's white collar adds an air of informality (and implied activity) and is masterfully painted. Jean Baptiste van Loo first studied painting with his father, Abraham Louis van Loo (1656-1712) of Nice, whose own father and grandfather were likewise painters. Jean Baptiste eventually trained his own brother, Carle Vanloo (as he preferred to spell his surname), and went on to father three accomplished artists, Louis Michel, François and Charles Amédée. Early in his career he gained a reputation for supplying religious pictures for churches at Aix-en-Provence and Toulon. His talents as a portraitist were equally well-regarded, as in the prestigious commission he received in about 1712 to paint Antoine de Grimaldi, Prince of Monaco, and his family, a picture now in the Musée des Beaux-Arts, Saint-Lô. Similar work brought him to Genoa, where he remained for eight months, and Turin, where he was patronized by Victor Amadeus II, Duke of Savoy. It was in the latter capital that Van Loo became known to the Prince de Carignan, who paid for the painter's additional training (as well as that of Carle Vanloo), which took place in 1714, under Benedetto Lutti, in Rome. After that stay, Jean Baptiste returned to Turin. Carignan thereupon invited him to transfer, in about 1719, to Paris, where the prince had settled definitively. Van Loo gained much success in the French capital. In late 1722, he obtained associate membership (agréé) in the Académie Royale de Peinture et de Sculpture. One year later, he completed an equestrian portrait of the young king, Louis XV, with the assistance of Charles Parrocel (Musée national du Château de Versailles), which received much acclaim. The complete collapse of John Law's Mississippi Company, which led to France's economic downturn, ruined Van Loo's finances, and he was forced to take on multiple portrait commissions to obtain solvency. Eventually, in 1731, he obtained full membership (reçu) in the Académie Royale, producing Diana and Endymion (Musée du Louvre, Paris) as his diploma piece. The present portrait was presumably painted in Paris; it certainly dates prior to 1737, when Van Loo moved to London. There his portraiture took on a new cast, becoming "sufficiently free from flamboyancy to satisfy the English taste for unaffected realism." (S. West, "Loo, van: [2] Jean-Baptiste van Loo," www.oxfordartonline.com http://www.oxfordartonline.com). There, he developed a lucrative practice, executing likenesses of the royal family and Britain's prime minister, Sir Robert Walpole. Van Loo returned to France in October 1742, dividing his time between his native Aix-en-Provence and Paris, where he trained his three painter sons. He died on September 19, 1745. The present work can be compared with several portraits by Van Loo dating from his English sojourn, such as that of Colley Cibber and His Daughter (lost; known from an engraving by Edward Fisher, 1758); the 2nd Duke of Grafton (The Duke of Grafton collection); Sir Robert Walpole, 1st Earl of Orford (Lyme Hall); George Wade (United Service Club, London); and Sir Charles Hanbury Williams (Lady Hanbury Williams collection). (For illustrations of those works, see respectively J. Kerslake, National Portrait Gallery: Early Georgian Portraits, London, 1977, II, pls. 149, 274, 602, 831, 891.) NOTES: (1) Arthur de Rothschild was the son of Nathaniel de Rothschild, of the British branch of the famous banking and collecting family, and Charlotte de Rothschild, of the French branch. Evidencing slight interest in the family firm, he spent most of his life in Paris (see www.family.rothschildarchive.org http://www.family.rothschildarchive.org). (2) According to annotation on photograph, Frick Art Reference Library, New York (see Largillière "supply" photos). The painting was still owned by Newhouse Galleries in early 1967; see their advertisement in Burlington Magazine, CIX, January 1967, p. ix. HID04901242017
Attribué à Jean-Baptiste Van Loo Aix-en-Provence, 1684 - 1745 Portrait de gentilhomme en flûtiste Huile sur toile La flûte annotée ''Peltier'' (?) à plusieurs reprises Portrait of a flute player, oil on canvas, attr. to J. B. Van Loo h: 92,50 w: 74 cm Provenance : Collection particulière, Normandie Commentaire : La simplicité de l''instrument et l''impossibilité de lire la partition placée sous la main droite du modèle nous indiquent que notre toile est un portrait de gentilhomme en tenue de fantaisie dans son intérieur, représenté avec son instrument de prédilection. La mode de la fourrure venant de l''Est et du Nord de l''Europe est particulièrement vivace en France dans les années au cours desquelles nous datons notre portrait, c''est à dire au cours des années 1730. Nous remercions Madame Beverly Wilcox pour son aide à la rédaction de cette notice.
Französische Schule, um 1730, Umkreis von Jean-Baptiste van Loo (16841745) Louise Charlotte de Foix, comtesse de Sabran et de Forcalquier Pastell auf Papier 63.5 x 51 cm (Lichtmass)
(École française) - [Attribué à van LOO, Jean-Baptiste (1684-1745)].- Portrait d'un homme de qualité. DESSIN ORIGINAL, crayon sanguine, papier vergé non filigrané, 14,3 x 12,5 cm, monté sous fenêtre, sous passe-partout.
JEAN-BAPTISTE VAN LOO (AIX-EN-PROVENCE 1684 - 1745). PORTRAIT DE JEUNE HOMME À LA VESTE BLEUE. Toile anciennement ovale mise au rectangle (?). 65,5 X 54 CM (25 9/16 X 21 ¼ IN.). Signée en bas à gauche : Vanloo. Dans un cadre à vue ovale. PORTRAIT OF A YOUNG MAN IN A BLUE JACKET, CANVAS, SIGNED, BY J. B. VAN LOO
Jean-Baptiste van Loo (1684-1745) Conversation galante entre deux pélerins sur le chemin de Saint-Jacques huile sur toile signée et datée 1727 110x143 cmDans son cadre d'époque en bois sculpté et doré.,
Oil on canvas, relined Presumably France, 18th century Workshop of Jean-Baptiste van Loo (1684-1745) – French portrait painter The attribution of the painting has been examined by Alastair Laing on the basis of professional photographs Dimensions: 100 x 81 cm Beautiful gilt stucco frame: 137 x 118 cm Good condition Finely rendered variation of a full-length portrait of the young King Louis XV, presented with his cuirass and the blue ribbon of the Order of Saint-Esprit Estimate by Auctionata Expert: 24,000 Euro Louis XV (1710-1774) was the successor to the legendary ‘Sun King’, Louis XIV of France, and is today especially remembered due to his famous as well as infamous relationship with the Marquise de Pompadour (1721-1764), probably the most glamorous of all mistresses. The present painting shows a variation of the full-length portrait, Jean Baptiste van Loo and Charles Parrocel (1688-1752) were commissioned to paint in 1723. That portrait, which shows the Monarch sitting on a horse’s back (Versailles, Inv. 3749), quickly became the official type of representation of the King and was therefore reproduced by van Loo and his workshop in various full-length, three-quarter or half-length versions (see Constans, Claire: Les Peintures, 2nd edn., Paris 1995, no. 5066 -5068; it documents other versions of the portrait at the Musée Cheret in Nice and the Musée de Perpignan). Besides, the King’s portrait was often published in form of engravings and etchings, e.g. by Daullé, Petit or Larmessin. The present workshop painting is a high-quality example of the three-quarter portraits that are much rarer than the others. The Monarch is presented with a shimmering metallic cuirass and a pompous expression. In contrast to the original composition the sitter’s right arm is slightly bent, whereas the hand embraces the rod. The work also unveils Jean-Baptist van Loo’s typical handling of textures, such as the luminous fabrics in blue, white and yellow gold. Condition: The painting is in good condition, consistent with age. The canvas is relined. Inspection under UV light reveals areas of retouching, especially to the edges, as well as scattered retouchings to the sitter and the background. The stretcher measures 100 x 81 cm. The beautiful gilt stucco frame is well-preserved and only shows a few marks. It measures 137 x 118 cm. Jean-Baptiste van Loo (1684-1745) Jean-Baptiste van Loo was born in Aix-en-Provence and grew up in an artist’s family. He received his artistic training from his father, Louis-Abraham van Loo (1653-1712). Van Loo was first active as a decoration painter, before he went to Rome to study under Benedetto Luti. He was then primarily commissioned as a church painter. Back in Paris, van Loo was soon admitted to the Académie Royale de Peinture et de Sculpture. In 1737 he worked in England for a short time and was able to establish himself as a portrait painter, mainly on behalf of the aristocracy. Besides, he also painted several portraits of the young French King Louis XV., before his son, Louis-Michel van Loo (1707-1771), continued to be active as the King’s portrait painter, from around 1753. (cbo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
FOLLOWER OF JEAN-BAPTISTE VAN LOO (FRENCH 1684-1745) Philip V, King of Spain, oil on canvas 97 x 80 cm (38 x 31 1/2 in.) PLEASE NOTE If you will be bidding live on auction day, please note that Session I of the Auction (Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 234. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 2:00 PM New York Time and goes from Lot 500 through Lot 657. We sell approximately 70 lots per hour.
JEAN BAPTISTE VAN LOO (attributed) French (1684-1745) "Portrait of Nicholas Hammond, Secretary to the Governor of the Windward Islands" oil on canvas, unsigned. 30 x 24 3/4 Provenance: Private collection, Rhode Island.
LOO, JEAN-BAPTISTE VAN (1684 Aix-en-Provence 1745) Gallant scene with a pilgrim on the Way of St. James and a young lady. 1727 (?). Oil on canvas. Signed centre bottom and dated: Van Loo fis faciebat 1727 (?). 110 x 143 cm. LOO, JEAN-BAPTISTE VAN (1684 Aix-en-Provence 1745) Gallante Szene mit einem Jakobspilger und einer jungen Dame. 1727 (?). Öl auf Leinwand. Unten mittig signiert und datiert: Van Loo fis faciebat 1727 (?). 110 x 143 cm. Der Künstler dieses Gemäldes ist nicht eindeutig zu bestimmen, da aus der Malerfamilie van Loo mehrere Künstler hervorgingen und diese oft zusammen tätig waren. Die Bezeichnung 'fis' in der Signatur des hier angebotenen Gemäldes deutet möglicherweise auf eine Zusammenarbeit von Jean-Baptiste van Loo und seinem Sohn Louis-Michel (Toulon 1707 - 1771 Paris) hin. Die Kleidung der Figuren entspricht der Mode um 1727-28.
Jean-Baptiste van Loo (Aix-en-Provence 1684-1745) Portrait of a lady, traditionally identified as Margaret "Peg" Woffington (1720-1760), half-length, in a blue dress with lace wrap, cuffs and bonnet, behind a stone ledge with a bird's cage oil on canvas 36 x 27 7/8 in. (91.2 x 70.8 cm.) in a contemporary carved giltwood frame
Jean-Baptiste van Loo (Aix-en-Provence A seated female nude red and white chalk 10 ½ x 14 in. (26.3 x 35.7 cm.); and A seated male nude by Daniel Nikolaus Chodowiecki (1726-1801)
Loo, Jean-Baptiste van Aachen 1684 - 1745 - successor Portrait of Charles Lennox, 2nd Duke of Richmond and Lennox (1701 - 1750). Oil on canvas. Relined. 76 x 63cm. Framed. The prototype of this image, based on a work by Jean Baptiste Van Loo, was engraved by John Faber the younger (c.1695 - 1756). Loo, Jean-Baptiste van Aachen 1684 - 1745 - Nachfolge Porträt des Charles Lennox, 2nd Duke of Richmond and Lennox (1701 - 1750). Öl auf Leinwand. Doubliert. 76 x 63cm. Rahmen. Die Vorlage nach Jean Baptiste Van Loo wurde gestochen von John Faber d.J. (c.1695 - 1756).
JEAN-BAPTISTE VAN LOO (French, 1684-1745). PORTRAIT OF CHARLES LENNOX, 2ND DUKE OF RICHMOND (1701-1750), circa 1740. Oil on canvas Click here to view supplemental information for this lot. - Framed, 30 1/4 in. x 25 1/4 in.
LOO, JEAN-BAPTISTE VAN (after, 1684-1745). Portrait of a lady with a bird. Oil/canvas/canvas. An inverted variation after Loo's portrait of Jeanne-Agnès Berthelot de Pléneufs, the fancy woman of the French Prime Minister Henri de Bourbon, prince de Condé. 80,5 x 65 cm
JEAN-BAPTISTE VAN LOO AIX-EN-PROVENCE 1684 - 1745 PORTRAIT OF WILLIAM MURRAY, 1ST EARL OF MANSFIELD (1705-1793), HOLDING A BOOK AND A QUILL oil on canvas 91.5 by 71 cm.; 36 by 28 in.
Oil on canvas. Unsigniert. Auf dem Rahmen mit der Inventarnr. "10006" des Museums Bautzen versehen. Im prunkvollen französischen Rahmen des 18. Jahrhunderts, geschnitzt und vergoldet. Sichtleiste mit zentriertem Taustab, unterkehltem, kreispunzierten Karnies mit geschweiftem Außenrand, Akanthusblattwerk und betonten Mitten und Ecken.Doubliert. Malschicht angeschmutzt und gesamtflächig mit Krakelee. Verletzungen des Malträgers mit Verlusten der Farbschicht entlang der ausgestreckten rechten Hand des Königs, im oberen Bereich der Krone und im Brustkorb in Höhe des Herzens. Kleines Einschußloch u.re. Die größeren Fehlstellen verso gesichert, zwei kleinere recto.Provenienz: Restitution 2010; Museum Bautzen; Schloßbergung der DDR; Privatbesitz Herrenhaus Weidlitz.Im zarten Alter von nur fünf Jahren fiel die königliche Regentschaft über Frankreich im Jahr 1715 an Ludwig XV, den Urenkel des verstorbenen Sonnenkönigs. Bis zu seiner Volljährigkeit mit Erreichen des 13. Lebensjahres wurde das Land in einer Interimsherrschaft von dem Herzog von Orléans regiert, bevor Ludwig endgültig den Thron bestieg. Dieses sehr feinsinnige Portrait des jungen Monarchen zeigt Ludwig wohl kurz nach seiner offiziellen Thronbesteigung und Salbung im Jahr 1723.Das Original aus der Hand Jean-Baptiste van Loos ist leider verschollen; im Salon de l'Abondance im Schloß Versailles und in den Gemächern der Königin im Palast des Grand Trianon in Versailles bei Paris befinden sich jedoch zwei berühmte Wiederholungen. Die hier aufgeführte Arbeit entspricht in Ausstattung und Physiognomie der Ausführung im Schloß Versailles, die dem Original wohl am nächsten kommt.
Attributed to Jean Baptiste Van Loo (Aix-en-Provence 1684-1745) Portrait of Frederick Lewis (1707-1751), Prince of Wales, half-length, in robes of state and wearing collar and star of the Order of the Garter oil on canvas 29½ x 24½ in. (75 x 62.3 cm.)
Portrait of a lady, half-length, in a blue ermine-lined robe and a blue ribbon in her hair, in a painted oval oil on canvas 75.8 x 63.2cm (29 7/8 x 24 7/8in)
three-quarter length standing, wearing a blue, embroidered dress, with an ermine lined cloak, a cushion and coronet beyond oil on canvas, held in a British Rococo carved and gilded frame
![(École française) - [Attribué à van LOO, Jean-Baptiste (1684-1745)].- Portrait d'un homme de qualité. DESSIN ORIGINAL, crayon sanguine, papier vergé non filigrané, 14,3 x 12,5 cm, monté sous fenêtre, sous passe-partout.](https://stageimg.invaluable.com/housePhotos/Godts/95/584195/H4709-L90927073.jpg)
