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  • Faringdon Collection - Supposed Portrait of Polly Jones
    status than their original profession of alehouse waiters through the influence of their sister Polly who was an intimate acquaintance of Sir Charles Bunbury the St Johns Lord March Lord Robert Spencer Gilly Williams Lord Palmerston and George Selwyn among others The Kennedy brothers took part in a drunken riot in Westminster which caused the death of a night watchman Both men were convicted of murder and sentenced to be

    Original URL path: http://www.buscot-park.com/gallery/20 (2016-04-30)
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  • Faringdon Collection - The Temptation In the Garden of Eden
    The Temptation In the Garden of Eden 1576 1639 Oil on Panel oak 31 x 52½ ins Signed and Dated Collection Details By descent from Lady Violet Henderson mother of the 2nd Lord Faringdon Copyright The Trustees of the Faringdon

    Original URL path: http://www.buscot-park.com/gallery/21 (2016-04-30)
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  • Faringdon Collection - An Unknown Woman
    1641 It is slightly smaller than the painting catalogued here but the canvas is likely to have been reduced The Buscot portrait may be judged superior Related Drawings A black chalk study for the figure with differences in the background is in the Louvre No 20 021 It was published by Rooses Onze Kunst 1903 II pp 159 repd 160 as a study for the Brussels portrait As the sitter is wearing a black cap it can perhaps be more plausibly associated with the picture now at Buscot Companion Picture The Portrait of an Old Man aged 73 with the sitter s age painted as if incised in the bronze base of the column once in the Crozat collection and now in the Hermitage cf exh cat Dutch and Flemish Paintings from the Hermitage New York and Chicago 1988 No 43 is the pendant of the present picture A study for it in the Louvre No 20 022 is a companion drawing to the study of the woman referred to above The Portrait of a Man aged 73 with the date 1641 painted over the original date 1637 which first appeared in the Baron de Beurnonville sale Paris 9 May 1881 and was in the Thyssen collection size 57 in x 44 in until sold at auction in 1984 and again in 1988 is a pair to the portrait at Brussels cf M Rooses Jordaens 1906 p 110 What appears to be the superior quality of the Buscot painting as well as its closer relationship to the drawing leads to the supposition that it rather than the Brussels version is the pendant to the true original of the Portrait of an Old Man in the Hermitage Background Rooses op cit p 111 writing of the Brussels and Thyssen portraits describes

    Original URL path: http://www.buscot-park.com/gallery/22 (2016-04-30)
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  • Faringdon Collection - A Man Aged Thirty-Four
    on Panel 20 x 15½ ins Inscribed Collection Details Sold by Mrs M Hurst at Christie s 21 November 1947 lot 131 as Mor bt by Agnew and sold to Lord Faringdon the following year Exhibition Details RA Winter Flemish

    Original URL path: http://www.buscot-park.com/gallery/24 (2016-04-30)
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  • Faringdon Collection - Portrait of Pieter Six
    R Voûte Clement de Jonghe exit De Kroniek van het Rembrandthuis 1987 i pp 26 7 figs 4 5 Exhibition Details BI 1824 No 56 1844 No 54 1851 No 89 1863 No 26 RA Winter 1899 No 38 RA Winter Dutch Art 1929 No 93 Rijksmuseum Amsterdam Rembrandt 1932 No 25 Brussels International Exhibition Cinq Siècles d Art 1935 No 761 Arts Council Dutch 17th Century Paintings 1945 No 26 Arts Council Edinburgh Rembrandt 1950 No 26 RA Winter Dutch Pictures 1952 No 165 Companion Picture The portrait of an Unknown Woman at Buscot No 31 at one time called the wife of Burgomaster Six has always been treated as a pair In view of this it is possible as suggested in the 1950 Arts Council Exhibition catalogue that the two portraits may represent husband and wife It seems however more likely that one or other of two unrelated portraits was modified in order to form a pendant Background The identity of the sitter is uncertain Although catalogued by Smith as an unknown man it was referred to by Waagen and until 1929 in the catalogues of the exhibitions at which it was shown as a portrait of Jan Six This identification was refuted by Bode who catalogued it as an anonymous sitter The hypothesis that it represents Clement de Jongh was first put forward by Schmidt Degener in the catalogue of the 1932 Amsterdam Exhibition and this was generally accepted until recently De Jongh a well known publisher of prints in Amsterdam from 1640 until his death in 1679 is the first known collector of Rembrandt s graphic art The identification was based on the similarity to the 1651 etching of de Jongh cf L Munz Catalogue of Rembrandt s Etchings 1952 No 72 repd The features undoubtedly

    Original URL path: http://www.buscot-park.com/gallery/25 (2016-04-30)
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  • Faringdon Collection - The Fall of Troy
    mother of the 2nd Lord Faringdon Background Conflagration scenes by night were painted by Jan Brueghel the Elder and his school eg Schoubroeck The present painting which is reminiscent of the Valkenborch family of artists may depend on the picture by Brueghel in the Alte Pinakothek Munich repd in catalogue Deutsche und Niederländische Malerei zwischen Renaissance und Barock 1961 p 66 No 832 of which a number of variants and

    Original URL path: http://www.buscot-park.com/gallery/26 (2016-04-30)
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  • Faringdon Collection - Battle Scene
    According to a label on the back Miss Sulivan who married the 12th Earl of Carnwath by descent to Lady Violet Henderson daughter of the 14th Earl and mother of the 2nd Lord Faringdon Companion Picture No 30 Background Formerly

    Original URL path: http://www.buscot-park.com/gallery/27 (2016-04-30)
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  • Faringdon Collection - Portrait of the Marchesa Veronica Spinola-Doria
    Christopher White Peter Paul Rubens 1987 p 47 and col pls 16 and 66 She was originally identified as the Marchesa Brigida Spinola Doria and now as Veronica Spinola Doria The other signed and dated 1606 of a woman with subtly different features but in an identical white and gold dress differing only in the ornaments of her hair and in the presence of a rich gold and enamel chain in place of the simple rope of pearls worn by the present sitter is at Kingston Lacy NT Dorset Corpus Rubenianum No 42 exh cat The Treasure Houses of Britain National Gallery of Art Washington 1985 6 No 496 with col pl Known from the time of her acquisition by William Bankes in 1840 as a member of the Grimaldi family she has been identified beyond reasonable doubt by Michael Jaffé as the Marchesa Caterina Grimaldi and her sister shown with a dwarf in the pendant at Kingston Lacy as the Marchesa Maria Grimaldi It is only a third portrait of a standing woman dressed in white and gold in the National Gallery of Art in Washington also once full length but reduced to a three quarter length that can be firmly identified from an inscription on the verso as the Marchesa Brigida Spinola Doria painted at the age of 22 in 1606 in the year following her marriage to Giacomo Massimiliano Doria Corpus Rubenianum No 41 Colin Eisler Paintings from the Samuel H Kress Collection European Schools excluding Italian 1977 pp 101 3 and figs 95 6 The similarity of the features and dress in the Washington painting has encouraged the proposition that it is her younger sister Veronica who is the sitter in the portraits at Karlsruhe dressed in black whilst she was still unmarried and at Buscot in white after her marriage to Giacomo s brother Giancarlo Doria on 2 June 1608 It must however be admitted that the arguments for this identification are very tenuous In view of the fact that the first record of the Buscot picture is in the Palazzo Grillo Cattaneo more thought should perhaps be given to whether the Karlsruhe picture might not rather be the portrait of Ginevra Grillo that her husband Paolo Agostino Doria had commissioned from Rubens along with another of himself on which the artist had apparently begun working since Paolo Agostino Doria wrote to Rome in 1606 to find out what progress he had made on them Corpus Rubenianum Nos 39 and 40 The portraits here and at Karlsruhe and Kingston Lacy have tended to be discussed somewhat in isolation from one another as though they were autonomous pictures of an equal standard It is however exceptional for Rubens to have simply adopted the same compositional formula for portraits of two different sitters or even of the same sitter differently clad It seems fairly certain that it was with the signed and dated portrait of the Marchesa Caterina Grimaldi at Kingston Lacy that Rubens created the prototype

    Original URL path: http://www.buscot-park.com/gallery/28 (2016-04-30)
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