Few artistic works carry the same name recognition of Raphael paintings, and for good reason. He was born as Raffaello Sanzio in 1483, and Raphael's drawings and paintings can be found all over the world, including in the Louvre in Paris, the Vatican Museum, and the Metropolitan Museum of Art in New York City. He was one of the most influential artists of the Renaissance era and is still celebrated for his portraits, frescoes, Madonnas, and ornate architectural style.
The death of Rafael’s father forced him to take over the family painting business at age 11, but he soon surpassed his father’s artistic talents and accomplishments. Influenced by the likes of Michelangelo and Leonardo de Vinci, he quickly became one of Italy's most sought-after artists. Raphael's artwork includes The Three Graces, The Sistine Madonna, and The School of Athens. Collectors can find antique original paintings for sale at auctions and galleries worldwide.
Two picture plates, 19th/20th century, polychrome miniatures of the Sistine Madonna based on the 1512/13 painting by the Italian artist Raphael (1483–1520), inlaid, 6 x 4 cm, and of the “Sacred Heart of Jesus,” 10 x 6 cm
Frame 25x21cm, Sight Size 12x9cm (Frame 9.84"x8.27", Sight Size 4.72"x3.54") As one of the three masters of the High Renaissance, Raphael was born in Urbino and trained under Perugino. He absorbed compositional skills from Leonardo da Vinci and Michelangelo during his career in Florence and Rome, creating canonical masterpieces such as The School of Athens. His balanced, elegant aesthetic was widely reproduced by later engravers. This antique engraving copies his famous youthful self portrait: the young artist wears a soft black cap and plain dark garments, gazing sideways with calm temperament. Delicate hatching lines build subtle tonal gradations on his face. It is housed in an ornate 19th century European carved gilded wooden frame, decorated with scrolling foliage and fruit carvings at four corners, layered trim and dotted inner borders highlighting the print’s fine detail. Without direct proof of being engraved in Raphael’s lifetime, the work follows auction norms marked "Attributed to Raphael school”, boasting historical documentation value and elegant decorative effect.
Pencil on paper Signed lower left Dimensions (including frame): 48 × 62.5 cm Dimensions (excluding frame): 20 × 28.5 cm Provenance: Private Collection, Tel Aviv Condition: For a detailed condition report, please email: info@hammersite.com
Circle of Raffaelo Sanzio, called Raffael Portrait of a Young Lady Adorned with Pearls and a Palm Frond oil on panel; framed 52.5 x 27.5 cm private property, Austria private property, Austria differential taxation
La tavola raffigura il giovane cardinale Alessandro Farnese, futuro Papa Paolo III, a mezzo busto, con lo sguardo rivolto frontalmente verso l’osservatore e avvolto nella veste cardinalizia rossa che emerge intensamente sul fondo scuro. La costruzione dell’immagine, improntata a un rigoroso equilibrio formale, richiama direttamente la ritrattistica raffaellesca del primo decennio del Cinquecento, in particolare il celebre Ritratto del cardinale Alessandro Farnese conservato presso il Museo e Real Bosco di Capodimonte, databile tra il 1509 e il 1511.L’opera appare strettamente connessa al prototipo napoletano, del quale riprende l’impianto compositivo, la torsione del busto, la fissità solenne dello sguardo e la raffinata definizione fisiognomica del volto. La qualità della stesura, morbida e calibrata nei passaggi luministici, unita alla sobria monumentalità dell’insieme, suggerisce una derivazione diretta dall’ambiente raffaellesco.Secondo la tradizione collezionistica, la tavola sarebbe stata concepita come modello preparatorio o versione di studio per il più noto ritratto ufficiale attribuito a Raffaello. Tale ipotesi si fonda sulla stretta aderenza iconografica e formale con l’esemplare di Capodimonte, uno dei più significativi ritratti cardinalizi del Rinascimento romano.Il dipinto di Napoli, storicamente documentato nelle collezioni Farnese di Parma e successivamente confluito nelle raccolte borboniche, è stato al centro di un articolato dibattito critico relativo sia all’identificazione del personaggio sia all’autografia raffaellesca. Il restauro condotto negli anni Novanta del Novecento ha tuttavia confermato l’elevatissima qualità dell’opera e consolidato l’attribuzione a Raffaello, oggi generalmente accolta dalla critica.La presente tavola si inserisce dunque nel contesto della fortuna e della diffusione dell’immagine di Alessandro Farnese, figura centrale della cultura politica ed ecclesiastica del primo Cinquecento, offrendo una versione di particolare intensità e concentrazione espressiva del celebre prototipo raffaellesco. Entro cornice.
Raffaello Sanzio (Urbino 1483 - Roma 1520) seguace lombardo del XVI secolo Madonna del Velo con San Giuseppe Olio su tela 130 x 102 cm L'opera si ispira a un'invenzione antica di Raffaello, oggi scomparsa. Con la presenza di San Giuseppe, il nostro dipinto risulta essere una variante dell'originale. La sua rappresentazione è atipica e probabilmente ritrae il committente della presente tela. Il naturalismo del suo volto fa propendere l'ipotesi che la tela sia di scuola lombarda, suffragata anche dalle tonalità scure e terrose che ricordano la lezione del Savoldo. Una copia è conservata all'Università di Palermo; si veda: https://musei.unipa.it/it/eventi-e-news/la-madonna-del-velo-presentazione-del-restauro Come specifica la nota dell'università siciliana sopracitata, non è conosciuta la storia del prototipo raffaellesco, non si sa quando e per chi fu realizzato e tantomeno a quando risale la sua scomparsa. L'esistenza di un prototipo antico è data dal cartone con il disegno preparatorio esposto, nel 1870 alla Galleria dell’Accademia di Firenze e nel 1895 alle Gallerie degli Uffizi. Disgraziatamente anche questo cartone è andato perduto durante la Seconda Guerra Mondiale. Vista la stretta affinità, non è escluso che la Madonna del Velo possa essere stata una prima elaborazione di Raffaello della celeberrima Madonna del Diadema Blu conservata nel Museo del Louvre. Raffaello Sanzio (Urbino 1483 - Rome 1520) Lombard follower of the 16th century Madonna of the Veil with Saint Joseph Oil on canvas 130 × 102 cm The work is inspired by an early invention by Raphael, now lost. With the presence of Saint Joseph, our painting represents a variant of the original. His depiction is unusual and likely portrays the patron of the present canvas. The naturalism of his face suggests that the painting is of the Lombard school, a view also supported by the dark, earthy tones reminiscent of Savoldo’s influence. A copy is preserved at the University of Palermo; you should see: https://musei.unipa.it/it/eventi-e-news/la-madonna-del-velo-presentazione-del-restauro As stated in the aforementioned note from the Sicilian university, the history of the Raphaelesque prototype is unknown; it is not known when or for whom it was created, nor when it disappeared. The existence of an ancient prototype is evidenced by the cartoon with the preparatory drawing, exhibited in 1870 at the Galleria dell’Accademia in Florence and in 1895 at the Uffizi Galleries. Unfortunately, this cartoon was also lost during the Second World War. Given the close affinity, it is not excluded that the Madonna of the Veil may have been an early elaboration by Raphael of the famous Madonna of the Blue Diadem, now in the Louvre Museum.
After Raffaello Sanzio da Urbino (Raphael) (Italian, 1483-1520) Sibyls, from the Hours of Day and Night (12) gouache (bodycolor) over etched outlines on Whatman wove paper lot includes the complete set of the twelve hand-colored (gouache, bodycolor) etchings after Raffaello Sanzio's, Sibyls from the Hours of the Day and Night; in the manner of Michangelo Maestri (1779-1812) hand-colored, and published as a set in Rome and/or Paris, possibly 19th century
Penna e inchiostro bruno, matita nera, pennello e acquerello seppia. Carta vergellata sottile con filigrana "agnello pasquale in cerchio singolo" (Woodward, 48. Roma, 1564). mm 348x257. Al verso, a penna e inchiostro bruno, nota di possesso in antica grafia e sigla con lettere. Il disegno raffigura la scena che vede Venere danzare sotto lo sguardo di Vulcano nella parte sinistra dell'affresco eseguito dalla scuola di Raffaello, su disegni del maestro, tra il 1518 e l'agosto 1519 sulla volta della loggia di Amore e Psiche alla Farnesina. (1) Piccole mancanze di carta agli angoli in alto. Brevi strappi lungo i lati riparati al verso con nastro cartaceo. Lieve traccia d'uso.
[ILLUSTRATED BOOKS]. [RAPHAEL (pseudonym of DA URBINO, Raffaello Sanzio, 1483-1520), after]. [Soffiti delle Loggie del Vaticano]. [Rome, 1776]. Elephant folio. Illustrated with 13 double-page engraved plates of the ceilings of the Vatican Loggias. Text size approximately 26 x 16 1/2" . No title-page or text leaves. Bound in contemporary half brown diced calf, spine ruled in gilt, red gilt morocco lettering label on front board.
Lot de deux huiles sur porcelaine, la "Troisième Heure du Jour" (Ora Terza di Giorno) et la "Quatrième heure de la nuit" (Ora IV di Notte), issue d'une série d'Heures du Jour et de la Nuit d'après Raphaël. Ces figures féminines, appelées Heures, flottant sur un fond noir et représentant les douze heures du jour et de la nuit, ont traditionnellement été attribuées à Raphaël. 15 x 11,5 cm, hors cadre. Inscriptions d'atelier ou de production à l'arrière de l'une des deux " P Z 4".
WORKSHOP OR FOLLOWER OF RAFFAELLO SANZIO DA URBINO(''RAFFAEL'') 1483 Urbino - 1520 Rome STUDY FOR ''THE MEETING OF LEO THE GREAT AND ATTILA'' - VERSO: FULL-FIGURE STUDY OF HESTIA Red chalk on chamois-coloured paper. Visible dimensions: 33 x 26 cm, frame dimensions: 55.5 x 43 cm. Inscription at bottom centre: ''.. Rafaele'', old inventory number at top: ''IS4'' or ''IS2'' on the reverse. Partially slightly stained, lower right edge restored. Framed in passe-partout and behind glass. Provenance: Private collection, Rhineland. RAFFAELLO SANZIO DA URBINO (WERKSTATT ODER NACHFOLGER) (' RAFFAEL') 1483 Urbino - 1520 Rom STUDIE ZU 'DIE BEGEGNUNG VON LEO DEM GROSSEN UND ATTILA' - VERSO: GANZFIGURENSTUDIE DER HESTIA Rötel auf chamoisfarbenem Papier. Sichtmass: 33 x 26 cm, Rahmenmass: 55,5 x 43 cm. Mittig unten bezeichnet: '.. Rafaele', oben alte Inventarnummer: 'IS4' bzw. verso 'IS2'. Partiell leicht fleckig, rechter unterer Rand rest.,. Im Passepartout und hinter Glas gerahmt. Provenienz: Rheinische Privatsammlung.
RAFFAELLO SANZIO DA URBINO (FOLLOWER OF THE 19TH CENTURY) ('RAFFAEL') 1483 Urbino - 1520 Rome BRIDGEWATER MADONNA Oil on canvas (relined). 46 x 34.5 cm (F. 69 x 55 cm). Part. min. old rest., part. min. old retouching. Frame. Provenance: South German private collection. RAFFAELLO SANZIO DA URBINO (RAFFAEL) (NACHFOLGER DES 19. JH.) 1483 Urbino - 1520 Rom BRIDGEWATER MADONNA Öl auf Leinwand (doubl.). 46 x 34,5 cm (R. 69 x 55 cm). Part. min. altrest., part. min. Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.
CIRCLE OR SCHOOL RAFFAELLO SANZIO DA URBINO 1493 Urbino - 1520 Rome MARY WITH THE CHILD JESUS IN THE CLOUDS Oil on solid walnut (?) wood panel (joined in several parts). 133 x 89 cm. Verso: Old London auction number of Christie's auction house ''FK 4SI'' on the panel. Age-related drying cracks and joint lines visible, but overall stable condition. Slight retouching and later reworking. The painting shows the enthroned Madonna with the Christ Child in an idealised vision of heaven. Mary sits on clouds and holds the child close to her; the intimate relationship between mother and son is emphasised by the Madonna's inclined head and the softly rounded, calmly modelled forms of the child. A golden nimbus surrounds both figures, clearly distinguishing them from the cool greenish-grey sky background. In the upper areas of the painting, angel heads executed in grisaille appear, lending the depiction an additional transcendent dimension. The composition is balanced and pyramidal in structure, characterised by calm lines and harmonious proportions. The colour scheme follows the classical canon of the High Renaissance with its interplay of blue, red and gold. The finely modelled faces, the soft sfumato and the idealised yet intimate conception of the mother-child group suggest that the painting was created in the early 16th century. Stylistically, the painting follows the tradition of the Italian High Renaissance and is clearly oriented towards Raphaelite pictorial solutions, as they were widespread in the Roman-Florentine circle through workshop works and successors. The combination of idealised beauty, calm sublimity and emotional restraint corresponds to a pictorial formula that was intended in particular for private devotion. Provenance: Private collection in the Rhineland. RAFFAELLO SANZIO DA URBINO (CIRCLE/SCHOOL) 1493 Urbino - 1520 Rom MARIA MIT DEM CHRISTUSKIND IN DEN WOLKEN Öl auf massive Nussbaum(?)-Holztafel (mehrteilig gefügt). 133 x 89 cm. Verso: Auf der Tafel alte Londoner Auktionsnummer des Auktionshauses Christies 'FK 4SI'. Altersbedingte Trocknungsrisse und Fugenzeichnungen sichtbar, insgesamt jedoch stabiler Erhaltungszustand. Leichte Retuschen und spätere Überarbeitungen. Das Gemälde zeigt die thronende Madonna mit dem Christuskind in einer idealisierten Himmelsvision. Maria sitzt auf Wolken und hält das Kind eng an sich geschmiegt; die innige Beziehung zwischen Mutter und Sohn wird durch die geneigte Kopfhaltung der Madonna sowie durch die weich gerundeten, ruhig modellierten Formen des Kindes betont. Ein goldener Nimbus umgibt beide Figuren und hebt sie deutlich vom kühl grünlich-grauen Himmelsgrund ab. In den oberen Bildzonen erscheinen in Grisaille ausgeführte Engelsköpfe, die der Darstellung eine zusätzliche transzendente Dimension verleihen. Die Komposition ist ausgewogen und pyramidal aufgebaut, geprägt von ruhigen Linien und harmonischen Proportionen. Die Farbgebung folgt dem klassischen Kanon der Hochrenaissance mit dem Zusammenspiel von Blau, Rot und Gold. Die fein modellierten Gesichter, das weiche Sfumato sowie die idealisierte, zugleich jedoch von innerer Nähe bestimmte Auffassung der Mutter-Kind-Gruppe sprechen für eine Entstehung im frühen 16. Jahrhundert. Stilistisch steht das Gemälde in der Tradition der italienischen Hochrenaissance und orientiert sich deutlich an raffaelitischen Bildlösungen, wie sie im römisch-florentinischen Umkreis durch Werkstattarbeiten und Nachfolger verbreitet waren. Die Verbindung von idealisierter Schönheit, ruhiger Erhabenheit und emotionaler Zurückhaltung entspricht einer Bildformel, die insbesondere für die private Andacht bestimmt war. Provenienz: Rheinische Privatsammlung.
After Raffaello Sanzio da Urbino, called Raphael, Italian 1483-1520- The Sistine Madonna (The de Brécy Tondo); oil on canvas, tondo, diameter 95 cm. Provenance: (By repute) The Collection of Queen Henrietta Maria (1609-1669). (By repute) Gifted to Sir Richard Wynn, Bt (1588-1649), Gwydir Castle, Llanrwst, North Wales. The Wynne-Eyton Family; By descent to Mrs Violet Hope Fairbairn Wynne-Eyton (1892-1981); The Executors of Mrs Violet Hope Fairbairn Wynne-Eyton, sale, Henry Spencer & Sons of Retford, Nottingham, 3 December 1981, lot 249, as 'After Raphael'; where purchased by George Lester Winward (1933-1997). upon whose death passed to the de Brécy Trust. Exhibited: Bradford, Cartwright Hall Art Gallery, July 2023-January 2024. Literature: Dr M. Lothian, 'The Methods Employed to Provenance and to Attribute Putative Works by Raphael', PhD Thesis, University of Liverpool, 1991. H. Edwards & T. Benoy, 'The de Brécy Madonna and Child tondo painting: a Raman spectroscopic analysis' in 'Analytical and Bioanalytical Chemistry', vol.387, no.3, 2007. H. Edwards, T. Benoy, & W. A. Edwards, ‘Evidence of Pentimenti for the Authentication of Paintings: A Challenge for Analytical Science at the Interface with Art History’, in Peter Vandenabeele and Howell Edwards (ed.), 'Raman Spectroscopy in Archaeology and Art History', 2019, pp.31-45. H. Edwards, 'A Raphael Madonna and Child Oil Painting: A Forensic Analytical Evaluation', 2024. https://www.debrecy.org.uk/. Note: The present work is a modified, later copy of Raphael's 'The Sistine Madonna' in the Gemäldegalerie Alter Meister, Dresden [Gal.-Nr. 93], and is clearly of high quality. It has long been the subject of debate amongst art historians, who have expressed various opinions on the likelihood of the painting's attribution to Raphael, or to his circle. This speculation begun with Murdoch Lothian's PhD thesis of 1992 which noted 'The Tondo [the present work] pre-dates 'The Sistine Madonna'. It is, as yet, not possible to state definitively that Raphael, or his studio, or some unrecognised hand, painted The Tondo but it seems likely, on the evidence of the painting as artefact, that The Tondo and The Sistine Madonna were painted by the same person(s), and that The Tondo was the exemplar'. On undergoing restoration at the National Conservation Centre in 2000, Harriet Owen Hughes described the Tondo as a 'possible Raphael', with later spectroscopic analysis by Professor Howell Edwards establishing the presence of yellow (lead) pigment massicot, effectively dating the work to before c.1700, when the pigment was superseded by Naples Yellow. In 2022, Professor Hassan Ugail, Director of the Centre of Visual computing at the University of Bradford, published research on analysis of the de Brécy Tondo, comparing its colour, texture, tonal values, hue, saturation and brushwork with 32 authentic paintings by Raphael, resulting in a comparison algorithm reporting a similarity value of 99%. Following this, the de Brécy Tondo was exhibited at the Cartwright Hall Art Gallery, Bradford, from July 2023 to January 2024. However, the attribution to Raphael has been disputed and is generally accepted as a later copy. The picture was possibly owned by Queen Henrietta Maria (1609-1669), who may have passed the work for safekeeping to her treasurer and receiver-general, Sir Richard Wynn (1588-1649). For further information, see https://www.debrecy.org.uk/.
Porzellan-Manufaktur Meissen 1710 Meißen Raffael Sanzio da Urbino 1483 Urbino – 1520 Rom Porzellan, glasiert, in polychromen Aufglasurfarben staffiert. Quadratische Bildplatte mit tondoförmigem Motiv. Verso unglasiert, mit der Knaufschwertermarke in Blau. In einem goldfarbenen Stuckrahmen mit Schlagmettalauflage gerahmt, mit einem kreiförmigen Bildausschnitt. Zur Vorlage vgl.: Raffael "Madonna della Seggiola", 1513–1514, Öl auf Holz, Palazzo Pitti, Florenz. Eine weitere Bildplatte mit demselben Motiv vgl.: Sabine Bergmann, Thomas Bergmann: 1350 Gemälde auf Porzellanplatten: Porzellankopien nach Gemälden aus vier Jahrhunderten mit Angabe der Maler der originalen Werke. Möhrendorf 2021. S. 124, KatNr. 364, dort von KPM Berlin. Wir danken Herrn Thomas Bergmann, Erlangen, für freundliche Hinweise. Porzellan-Manufaktur Meissen 1710 Meißen Nach der Erfindung des europäischen Hartporzellans durch Johann Friedrich Böttger 1710 von August dem Starken als erste Porzellanmanufaktur in der westlichen Welt gegründet. Bis 1863 befand sich die gesamte Produktion auf der Meißener Albrechtsburg, um dann in das neu angelegte Fabrikgebäude im Triebischtal umzuziehen. Ihre große Blüte erlebte die Manufaktur in den Jahren um 1720 bis 1750, verbunden mit den Namen Johann Gregorius Höroldt (Malerei) und Johann Joachim Kändler (Plastik). Raffael Sanzio da Urbino 1483 Urbino – 1520 Rom Mit seinem idealistischen Streben nach Schönheit wurde Raffael zum wichtigsten Maler der Hochrenaissance in Italien. Eine erste künstlerische Ausbildung erhielt der talentierte Junge wohl von seinem Vater Giovanni, der aber schon 1494 verstarb – drei Jahre nach Raffaels Mutter. Als Vollwaise kam er somit in die Werkstatt des Perugino, an dessen Werk er sich anfangs orientierte (z.B. Die Vermählung der Maria, 1504, Mailand, Pinacoteca di Brera), aber schon mit 17 Jahren als eigenständiger Meister in seiner umbrischen Heimat arbeitete. Zwischen 1504 und 1508 hielt er sich länger in Florenz auf und kam schließlich 1508 nach Rom, wo er seine bekanntesten Werke schuf: z.B. die Fresken der Vatikanischen Stanzen (1509–1517), die Sixtinische Madonna (1512/13, Dresden, Gemäldegalerie Alte Meister) und natürlich die Transfiguration Christi (1516–1520, Vatikanische Museen).
Porzellan-Manufaktur Meissen 1710 Meißen Raffael Sanzio da Urbino 1483 Urbino – 1520 Rom Porzellan, glasiert, in polychromen Aufglasurfarben staffiert. Verso unglasiert, mit der Knaufschwertermarke in Blau sowie mit Bezeichnungen in Blei, diese mit Ausnahme der Nummer "42" undeutlich. In einem neuzeitlichen, neobarocken Rahmen. Zur Vorlage vgl.: Raffael "Sixtinische Madonna", 1512/13, Öl auf Leinwand, Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister, Gal.-Nr. 93. Vgl. eine weitere Bildplatte mit demselben Motiv: Sabine Bergmann, Thomas Bergmann: 1350 Gemälde auf Porzellanplatten: Porzellankopien nach Gemälden aus vier Jahrhunderten mit Angabe der Maler der originalen Werke. Möhrendorf 2021. S. 122, KatNr. 360. Wir danken Herrn Thomas Bergmann, Erlangen, für freundliche Hinweise. Porzellan-Manufaktur Meissen 1710 Meißen Nach der Erfindung des europäischen Hartporzellans durch Johann Friedrich Böttger 1710 von August dem Starken als erste Porzellanmanufaktur in der westlichen Welt gegründet. Bis 1863 befand sich die gesamte Produktion auf der Meißener Albrechtsburg, um dann in das neu angelegte Fabrikgebäude im Triebischtal umzuziehen. Ihre große Blüte erlebte die Manufaktur in den Jahren um 1720 bis 1750, verbunden mit den Namen Johann Gregorius Höroldt (Malerei) und Johann Joachim Kändler (Plastik). Raffael Sanzio da Urbino 1483 Urbino – 1520 Rom Mit seinem idealistischen Streben nach Schönheit wurde Raffael zum wichtigsten Maler der Hochrenaissance in Italien. Eine erste künstlerische Ausbildung erhielt der talentierte Junge wohl von seinem Vater Giovanni, der aber schon 1494 verstarb – drei Jahre nach Raffaels Mutter. Als Vollwaise kam er somit in die Werkstatt des Perugino, an dessen Werk er sich anfangs orientierte (z.B. Die Vermählung der Maria, 1504, Mailand, Pinacoteca di Brera), aber schon mit 17 Jahren als eigenständiger Meister in seiner umbrischen Heimat arbeitete. Zwischen 1504 und 1508 hielt er sich länger in Florenz auf und kam schließlich 1508 nach Rom, wo er seine bekanntesten Werke schuf: z.B. die Fresken der Vatikanischen Stanzen (1509–1517), die Sixtinische Madonna (1512/13, Dresden, Gemäldegalerie Alte Meister) und natürlich die Transfiguration Christi (1516–1520, Vatikanische Museen).
(ARCHITECTURAL) After Raffaello Sanzio d'Urbino, better known as "Raphael" (1483 - 1520). Num III. Engraving with original hand color. Rome: 1772 - 1777, copied From the Loggia di Rafaele Nel Vaticano in Rome. 49 1/2" x 18 3/4" sheet. Having completed the magnificent Stanzia (four private rooms) for Pope Julius II at the Vatican, his successor Pope Leo X commissioned Raphael to decorate the Loggia: For generations of artists, the Loggia was the supreme model of inspiration. It was an art school for all of Europe, and enjoyed immense success. In Saint Petersburg, at the end of the eighteenth century, Catherine of Russia had full-sized reproductions of them made and placed in the immense Hermitage museum. Some of the best artists of the time worked together on the Loggia, a little bit like the construction of the cathedrals, but all of it was done under the direction of Raphael. The biblical scenes are set inside a decorative border of stucco and frescoes inspired by Roman art, mainly by the Domus Aurea and the Colosseum, in a bustle of flowers, fruit, and birds in vibrant colors, against a bright blue sky. (Sandro Magister reviewing Dacos The Loggia of Raphael: A Vatican Art Treasure). BAL RIBA 2710; Berlin Katalog 4068.
(ARCHITECTURAL) After Raffaello Sanzio d'Urbino, better known as "Raphael" (1483 - 1520). Num I. Engraving with original hand color. Rome: 1772 - 1777, copied From the Loggia di Rafaele Nel Vaticano in Rome. 50" 18 1/2" sheet. Having completed the magnificent Stanzia (four private rooms) for Pope Julius II at the Vatican, his successor Pope Leo X commissioned Raphael to decorate the Loggia: For generations of artists, the Loggia was the supreme model of inspiration. It was an art school for all of Europe, and enjoyed immense success. In Saint Petersburg, at the end of the eighteenth century, Catherine of Russia had full-sized reproductions of them made and placed in the immense Hermitage museum. Some of the best artists of the time worked together on the Loggia, a little bit like the construction of the cathedrals, but all of it was done under the direction of Raphael. The biblical scenes are set inside a decorative border of stucco and frescoes inspired by Roman art, mainly by the Domus Aurea and the Colosseum, in a bustle of flowers, fruit, and birds in vibrant colors, against a bright blue sky. (Sandro Magister reviewing Dacos The Loggia of Raphael: A Vatican Art Treasure). BAL RIBA 2710; Berlin Katalog 4068.
AFTER RAFFAELLO SANZIO, CALLED RAPHAEL (URBINO 1483-1520 ROME), 18TH CENTURY. Venus. red chalk, watermark coat of arms23 ½ x 17 7/8 in. (59.5 x 45.5 cm).
AFTER RAFFAELLO SANZIO, CALLED RAPHAEL (URBINO 1483-1520 ROME). A seated woman reading with a child. pen and brown ink, brown wash, heightened with white, on light brown prepared paper7 x 4 ¾ in. (17.8 x 12.1 cm).
"Madonna del Pesce", veränderte Variante nach dem Gemälde von Raffaello Sanzio (1483-1520). Öl/Lwd. (doubliert), verso bez. "Curt Agthe renov. Berlin 1916". 36x 26 cm. In Empire-Rahmen (best.), 1. Hälfte 19. Jh.
Raffaello Sanzio da Urbino - Imagines Veteris ac Novi Testamenti a Raphaele Sanctio Urbinate in Vaticani Palatii xystis mira picturae elegantia expressae [...] Roma, Giovanni Giacomo De Rossi; A cura di Jo. Jacobi de Rubeis Titolo, dedica e 53 tavole, interamente incise Legatura in piena pelle screziata, dorso elaborato e punzonato in oro con titolo e tagli in oro Folio oblungo (mm. 43,8 x 33) Le splendide tavole mostrano gli affreschi delle logge vaticane, un corridoio del Palazzo Apostolico, decorato a fresco intorno al 1519 dalla numerosa équipe di artisti di Raffaello (52 tavole numerate), nonché l'affresco di Raffaello del Profeta Isaia nella Basilica di Sant'Agostino a Roma (un'unica tavola non numerata alla fine) Le tavole furono disegnate e incise da Cesare Fantetti e Pietro Aquila Condizioni ottime LITERATURE: BIBLIOGRAFIA: Kat. der Ornamentstichslg. Berlino 4062. Ebert 18630. Thieme/B. II, 51 e XI, 254f. BL-XVII secolo
Virgin with Child and Saint John the Baptist Oil on panel Ø cm. 70. Framed Private collection. The painting is an antique copy of Raphael Sanzio's The Alba Madonna, currently housed in the National Gallery of Art, Washington, D.C. Extensive restoration and repainting.
CIRCLE OF RAFFAELLO SANZIO, CALLED RAPHAEL (ITALIAN 1483-1520)PORTRAIT OF GULIANO DE MEDICI, DUKE OF NEMOURS Oil on poplarInscribed with identifying inscription (along upper edge); with red wax seal (verso)65 x 50cm (25½ x 19½ in.)Provenance: Florentine Private CollectionSale, Pandolfini Casa d' Aste, Florence, 26 November 2019, lot 21We are grateful to Professor Tom Henry for having written the following essay on 24 November 2020.There are a number of portraits of Giuliano de' Medici (1479-1516), Pope Leo X's younger brother and Duke of Nemours, but no unanimity exists regarding which of these is Raphael's original. That such a picture existed is clear from letters written within a year of the picture being painted (further discussed below), and after the sitter's death Raphael's painting spawned numerous copies, including Vasari's fresco in the Palazzo Vecchio (which was based on knowledge of Raphael's original then in the possession of Ottaviano de' Medici in Florence), and a panel attributed to Alessandro Allori in the Gallerie degli Uffizi, Florence (inv. 1890, n. 775). One version, rediscovered in the nineteenth century in Florence and now in the Metropolitan Museum of Art (inv. 49.7.12, Img X), was widely accepted as a work by Raphael in the nineteenth and early twentieth centuries but was increasingly dismissed as a copy or as a workshop replica of a lost original. The version in New York is painted on a fine canvas, and does not appear to be a transfer from a wooden support. It has suffered very extensive abrasion throughout, and there are large areas of retouching. Further comment on its compromised condition is offered by the current author in his entry on the New York picture when it was displayed in Madrid and Paris in 2012-13 (as Raphael and Workshop).It remains to be clarified what the original looked like. The version in New York is, in fact, an outlier amongst the various versions. It shows the sitter's hands resting on a table, the top of the figure's left arm and a view beyond of the Castel Sant'Angelo and the ramparts (the Passetto) that link this building to the Vatican palace. I am only aware of one, weak, copy after this composition in its entirety, i.e. also including the Castel Sant'Angelo and a section of the Borgo Alexandrina. A second group of pictures again show the seated figure half-length, holding a letter, and it was this model that Allori followed in his later sixteenth-century copy. Notably these half-length versions all frame the figure as in the New York version. A final group only shows the head and shoulders of the sitter, always against a green curtain. The most likely scenario is that this final group is a reduced version of the larger prototype, but one cannot be sure that this was the case; and de Maffei (1959) argued that the head and shoulders format was the original solution (when promoting a version, then in a private collection, as Raphael's original). Vasari's frescoed copy in the Palazzo Vecchio could have depended on any one of these compositions. Later in the century the composition was developed as a three-quarter length by Pieter de Witte (Pietro Candido) in another painting in the Uffizi.The early references to the picture do not help to resolve the issue. On 19 April 1516, one month after the de facto ruler of Florence Giuliano de' Medici had died, Pietro Bembo wrote to Cardinal Bibbiena and noted in passing that the portraits of the late Duke and of Baldassare Castiglione (probably a lost picture and not the portrait of Castiglione in the Louvre) 'parrebbono di mano d'uno de garzoni di Raphaello' in comparison to Raphael's portrait of Antonio Tebaldeo (also lost). This is clear evidence that Raphael, or his workshop, had painted a portrait of the Duke, perhaps to coincide with Giuliano's appointment as Captain-General of the Church in June 1515 or on the occasion of his marriage to Philiberte de Savoie in January 1515, at which time he was created duc de Nemours. That the sitter is shown with a beard apparently confirms a date in 1515 as a medal dated to this year shows that Giuliano grew a beard when he moved from Florence to Rome, where he was recorded between 31 March and 7 July 1515.During this period there is a reference in Giuliano's household accounts to one 'Raphael of Urbino' as a salaried retainer. It is quite possible that Raphael could have received a salary of this type from the Pope's brother (a position recently restated by Carmen Bambach in her discussion of Leonardo's position in Giuliano's retinue), but in the absence of any other corroborating evidence it should be acknowledged that this individual could be a different person.Raphael was one of the very greatest portrait painters of his age, and we know a good deal about his Roman portrait practice. As the letter referred to above suggests, and as corroborated by other correspondence, e.g. regarding the portrait of Isabel de Requesens in the Louvre, Raphael frequently relied on assistants when painting portraits. This was more commonly the case in formal, commissioned portraits and does not seem to have occurred with the (more intimate) portraits of his friends. His Roman portraiture comprises Cardinals and papal courtiers, as well as portraits of Popes Julius II and Leo X, formal portraits of members of the Medici family and of a Neapolitan beauty for King Francois Ier, as well as more intimate portraits of private citizens and friends (both male and female). The majority of these are at least half-length and include one or both of the sitter's hands.Turning to the current painting nothing in its technique undermines the conclusion that it is a work from the first half of the sixteenth century. The picture is painted on a single poplar plank, which has a vertical grain. There is no evidence that the picture has been cut down (gesso drips are visible on the edges), and yet it is painted right up to the edges all round. It is somewhat unusual not to find an unpainted area where a panel has not been cut. The choice of panel and its preparation are otherwise typical of the period. In this period Raphael painted portraits both on canvas and on wood, and very little can be concluded from the choice of support. Formal portraits of important sitters rather than friends are more often on panel, but even here there are exceptions. The X-radiograph of this picture does not show any significant changes, but this is also not uncommon. Infra-red reflectography shows some faint drawn lines, including, strikingly, some that differ from the picture as painted (Img X). These are not easy to interpret but include an alternative (frontal) version of this portrait, and apparently a second alternative in profile, unless this is identified as the rough profile of a different individual. It is difficult to know what weight to attach to this underdrawing. Since copies generally copy a divergent underdrawing calls out for an explanation and if the profile is accepted as an alternative version of the same sitter then it raises the possibility of an artist trying one pose and then eventually selecting another. The evidential value is less if the underdrawing is unrelated, suggesting no more than that the panel might have been considered for a different purpose before settling on the image that is now visible. The underdrawing does not - in this case - have any direct attributional value. There is such a degree of variation in the underdrawing found on paintings agreed to be by Raphael that the simple lines here do not suggest Raphael was involved in the underdrawing of this panel. The drawing of the profile also has a hesitancy (a dragged and almost broken line) that might suggest it was traced and not drawn freehand. That said it does have some resemblance to the sitter as painted which is potentially significant.Eventually assessment of the picture comes down to a close examination of its surface. The execution is of a very high quality, aspects of which require one to consider the possibility that this portrait could be by Raphael perhaps working in conjunction with his workshop as he was known to do in the field of portrait-painting (as discussed above). Amongst the reasons to give this picture serious consideration is the inscription, which is elegantly spaced and carefully adapted to fit around the sitter's hat. The Latin inscription in yellow paint reads: IVLIANVS MED. LEONIS X. FRATER (Giuliano de' Medici, brother of [Pope] Leo X). The hat also conveys much more information than is found in other versions. It is made of an unidentified black fur (the top edge where it overlaps the green curtain makes this clear), and its segmented brim is held up (instead of falling flat as a wide brim) by three (now vestigial) metal clips. The hat also has a folded paper label but no writing can be discerned (as is also the case on all of the other versions). The painting of the face is of striking quality, especially the shading and half- tones around the nose and mouth, and also the highlights and catchlights visible in the eyes which had a rare vivacity. The figure's beard and hat extend over the green background, and in an unexpected passage it seems as though some chest hair has been suggested on his body. There are also weaker areas: the fashionable hairnet and the back of the head are painted with less attention and the grey sleeves (which in other versions have quite a lot of information) are coarse and limited. Some of these discrepancies could be explained in the context of Bembo's comment about the extent of workshop involvement in Raphael's painting.Having reviewed all these elements where does this leave the current painting It is plainly a high quality sixteenth-century painting. The inscription is particularly fine and the divergence from the underdrawing is unusual in a copy. The most likely conclusion is that the original composition was half length and included the sitter's hands (as known in multiple versions and as was also the case in the majority of Raphael's Roman portraits) and that it may or may not have shown a view of the Castel Sant'Angelo. If this was the case then it follows that the current picture is a reduced version of Raphael's original. However it does not follow from this conclusion that the current picture should be thought of as a copy. It is increasingly clear that Raphael was open to the production of versions and replicas, and organized his workshop in order to be able to produce these as needed. Cartoons were kept in the workshop to facilitate this practice when required. Given the quality of this version it is perfectly plausible to think of it as either a reduced replica produced in Raphael's workshop or as a very early (Florentine) copy after the original or made from such a reduction. If one examines the second proposal that it might have been painted in Florence, then the period c.1515-40 would seem to be the only possibility stylistically and it is not directly comparable with the obvious comparators from this period (Andrea del Sarto copying Raphael's Portrait of Leo X in Naples, or portraits of the Medici by Bronzino). The picture sits more happily as a secondary production of the Raphael workshop, and I suspect this picture was painted in Rome in the second half of the 1510s or the first half of the 1520s on the basis of a cartoon for the original (larger) portrait by Raphael and his workshop. It is not recognizably by any of the leading names in the workshop (Giulio Romano, GianFrancesco Penni or Giovanni da Udine), but we know that the workshop was very large and contained many talents whose intention was to reproduce Raphael's style. There has historically been a resistance to the notion that replicas were produced in Raphael's workshop, but this should be revised bearing in mind the evidence that in February 1519 Raphael explained that he had sent the cartoon of the portrait of Dona Isabel de' Requesens to Alfonso d'Este, the Duke of Ferrara, adding that this cartoon could form the basis of a replica to be executed locally, or that a replica could be executed in Rome and sent on (Shearman 2003, I, pp. 392-3, 438-9).I was able to study the picture in person in October 2020 in the company of Simon Gillespie and Majo Prieto, and I am grateful to them and to the owner for the documentation they have provided me with.SUMMARY BIBLIOGRAPHY (for portraits of Giuliano de' Medici)G. Vasari, Le Vite ..., Florence [1550 and 1568], eds. R. Bettarini and P. Barocchi, Le Vite ... nelle redazioni del 1550 e 1568, Florence 1966-87, IV, p. 189.J. D. Passavant, Rafael von Urbino und sein Vater Giovanni Santi, Leipzig, 1839, II, under no. 114, pp. 175-77.J.-D. Passavant, Raphael d'Urbin et son père Giovanni Santi, Paris, 1860, II, under no. 107, pp. 145-46.J. A. Crowe and G. B. Cavalcaselle, Raphael: His Life and Works, II, London, 1885, pp. 321-23.O. Fischel, 'Porträts des Giuliano de' Medici, Herzogs von Nemours', Jahrbuch der königlich preuszischen Kunstsammlungen, 28 (1907), pp. 117-130.O. Fischel, Raphael, London, 1948, pp. 114, 365.F. de' Maffei, 'Il ritratto di Giuliano, fratello di Leone X, dipinto da Raffaello', L'arte, 1959, pp. 309-36.L. Dussler, Raphael: A Critical Catalogue of his Pictures, Wall-Paintings, and Tapestries, London, 1971, p. 41.K. Langedijk, The Portraits of the Medici, 15th-18th Centuries, II, Florence, 1983, pp. 1047-51. Raffaello a Firenze: dipinti e disegni delle collezioni fiorentine, exh. cat., Palazzo Pitti, Florence, 1984, pp. 231-233.J. Shearman, Raphael in Early Modern Sources (1483-1602), New Haven and London 2003, pp. 201-3, 220, 240-41.J. Meyer zur Capellen, Raphael: A Critical Catalogue of His Paintings, Vol. 3 The Roman Portraits, ca. 1508-1520, Landshut, 2008, pp. 14-16 and under no. A22, pp. 183-188T. Henry and P. Joannides, Late Raphael / El Último Rafael / Raphaël, les dernières années, exh. cat., Madrid (Museo del Prado) and Paris (Musée du Louvre) 2012, under no. 72, pp. 262-65.
16th century manufacturing. Tapestry fragment depicting the Death of Ananias, taken from a cartoon by Raffaello Sanzio (1483-1520) (cm 348x282) (defects, losses and old restorations) Provenance: Private collection, Varese In late 1514 and early 1515, Pope Leo X commissioned Raphael to create preparatory cartoons for a series of tapestries intended for the Sistine Chapel. These cartoons were sent to Brussels and woven in the workshop of Pieter van Aelst. By 1519, seven of the ten tapestries arrived in Rome and were exhibited on 26 December of the same year, on the occasion of the solemnity of Saint Stephen; the Death of Ananias arrived a few months later. The tapestry presented here is probably part of this same series. IT Manifattura del XVI secolo. Frammento di arazzo raffigurante la Morte di Anania, tratto da un cartone di Raffaello Sanzio (1483-1520) (cm 348x282) (difetti, mancanze e vecchi restauri) Provenienza: Collezione privata, Varese Tra la fine del 1514 e l'inizio del 1515, Papa Leone X commissionò a Raffaello la creazione di cartoni preparatori per una serie di arazzi destinati alla Cappella Sistina. Questi cartoni furono inviati a Bruxelles e tessuti nella bottega di Pieter van Aelst. Entro il 1519, sette dei dieci arazzi giunsero a Roma e furono esposti il 26 dicembre dello stesso anno, in occasione della solennità di Santo Stefano; la Morte di Anania arrivò qualche mese più tardi. L'arazzo qui presentato fa probabilmente parte di questa stessa serie. La scena trae ispirazione da un passaggio degli Atti degli Apostoli (V, 1 e successivi), ed è attribuita quasi interamente a Raffaello Sanzio, con il probabile contributo di Giulio Romano e altri. Al centro della composizione, San Pietro, con un'espressione grave e imperturbabile, provoca la morte di Anania, un personaggio in basso, attraverso un gesto evidente. Anania era un cristiano che aveva simulato la donazione completa dei suoi beni alla comunità , nascondendo una parte. Questo episodio, legato alle esperienze di comunione delle prime comunità cristiane, simboleggiava chiaramente l'unità della Chiesa. La folla circostante è sconvolta dall'evento, mentre alcuni si rivolgono a San Paolo, accanto a Pietro, che indica il cielo, sottolineando il carattere divino della punizione. A sinistra, altri personaggi evidenziano il ruolo caritatevole della Chiesa, offrendo elemosine ai bisognosi. L'impostazione scenografica dell'opera fu molto apprezzata da Goethe e Grimm. Consapevole del confronto con Michelangelo nella Cappella Sistina, Raffaello concepì i disegni con un'intensità drammatica crescente, dove le figure dominano il paesaggio o l'architettura di sfondo, contrapponendosi in gruppi o come personaggi isolati, per facilitare la comprensione delle azioni. Gli schemi sono semplificati, e i gesti e la mimica dei personaggi sono enfatizzati per renderli più eloquenti e "universali". Tuttavia, a differenza di Michelangelo, la monumentalità non deriva dal tormento plastico delle figure, ma da equilibri attentamente studiati che bilanciano la composizione e i sussulti spirituali dei protagonisti, nonostante le volute asimmetrie.
Title: "moses Receives The Tablets Of Law". Includes Coa On The Reverse. In Used Condition With Slight Wear To The Frame. Frame Measures Approximately 19.75in X 21; Image Measures Approximately 5.5in X 7in. Nr30485 Eds
Title: "Jacob Returns To Canaan". Includes Coa On The Reverse. In Used Condition With Slight Wear To The Frame. Frame Measures Approximately 20.5in X 21.75in; Image Measures Approximately 6.25in X 7.5in. Nr30485 Eds
GemäldepaarDER BETHLEHEMITISCHE KINDERMORD Öl auf Leinwand. Jeweils 74 x 60 cm. Das kirchliche Fest am 28. Dezember – der Tag der unschuldigen Kinder – erinnert an die im Matthäusevangelium überlieferte Legende vom angeblichen Ereignis des Kindermordes zu Bethlehem (Mt 2,13 – 23). Die Erzählung, für die historische Beweise fehlen, macht König Herodes verantwortlich, der jedoch bereits vier Jahre vor Christi Geburt starb. In Frage käme also einer der Söhne desselben Namens, Herodes Archelaos oder Herodes Antipas. Die Legende – ein mythischer Topos, der bereits in der ägyptischen Exodussage auftritt – hat im Christentum Fuß gefasst und wurde in der Kunst tausendfach thematisiert. Die Renaissance hat das Thema neu in Darstellung gebracht. Vor allem der Entwurfszyklus des Raphael, beauftragt 1520 für die Galleria degli Arazzi im Vatikan, schuf eine neue Sicht in der Darstellung; nach dem Tod Raphaels von Malern wie Giulio Romano (um 1499 – 1546) fertiggestellt. Diese Vorbilder der „Scuola Nova" des Raphael beeinflussten die Kunstwelt der Renaissance. Der Stil des Manierismus fand in diesem Thema die Möglichkeit, vielfältige Körperhaltungen neu in Szene zu setzen. Jacob Binck (1500 – 1569) etwa, Marcantonio Raimondi (um 1480-vor 1534) aber auch Ugo da Carpi (um 1450/80 – 1532) oder Nicolas Beatrizet (1515 – 1565) schufen Kupferstiche zum Thema, Maler wie Cornelis van Haarlem (1562 – 1638) griffen es um 1590 erneut auf. Wiederholungen nach den Raphael-Motiven in Öl sind kaum bekannt geworden. Das vorliegende Gemälde ist eine dieser höchst seltenen, in Öl ausgeführten Darstellungen des bethlehemitischen Kindermordes nach dem Zyklus von Raphael, hier als Grisaille/Camaieumalerei in Brauntönen. Eine vergleichbare, etwas kleinformatigere Ausführung in Öl auf Holz (44 x 29 cm, ebenfalls in Grisaille) wurde am 17. Oktober 2017 unter Lot 218 im Dorotheum versteigert, als Umkreis von Raffaello Sanzio. A.R. (1451204) (11)
RAFFAELLO SANZIO DA URBINO (RAFFAEL) (FOLLOWER OF THE 17TH/18TH CENTURY) 1483 Urbino - 1520 Rome BRIDGEWATER MADONNA Oil on canvas. 46 x 38 cm (F. 65.5 x 57 cm). Part. min. old rest., part. min. old retouching, slight loss of colour. Frame. Provenance: South German private collection.RAFFAELLO SANZIO DA URBINO (RAFFAEL) (FRANZÖSISCHER NACHFOLGER DES 18. JH.) 1483 Urbino - 1520 Rom BRIDGEWATER MADONNA Öl auf Leinwand. 46 x 38 cm (R. 65,5 x 57 cm). Part min. altrest., part. min. Atretuschen, leichte Farbverluste. Rahmen. Provenienz: Süddeutsche Privatsammlung.
RAFFAELLO SANZIO DA URBINO (FOLLOWER OF THE 19TH CENTURY) ('RAFFAEL') 1483 Urbino - 1520 Rome BRIDGEWATER MADONNA Oil on canvas (relined). 46 x 34.5 cm (F. 69 x 55 cm). Part. min. old rest., part. min. old retouching. Frame. Provenance: South German private collection.RAFFAELLO SANZIO DA URBINO (RAFFAEL) (NACHFOLGER DES 19. JH.) 1483 Urbino - 1520 Rom BRIDGEWATER MADONNA Öl auf Leinwand (doubl.). 46 x 34,5 cm (R. 69 x 55 cm). Part. min. altrest., part. min. Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Luis Zoellner (1769 - 1860 ) after Raffael: Raffaello Sanzio da Urbino (1483 Urbino - 1520 Rom): Portrait de Jeanne D'Arragon, Joan I of Castile, also called Joan the Mad (1479 Toledo - 1555 Tordesillas), half-figure, seated, in three-quarter portrait to the left, imposingly and sumptuously dressed, c. 1837, Lithography Technique: Lithography on Paper Inscription: Unterhalb der Darstellung signiert, darunter beschriftet mit: "Portrait de Jeanne d'Arragon | L'original, qui etoit autrefois dans la Galerie du Comte de Fries, se trouve dans celle de Mr. Le Chevalier | Baron de Speck Sternbourg à Leipsic". Date: c. 1837 Keywords: Jeanne D'Arragon, Joan the Mad, Spanish Queen, Trastámara, Titular Queen, Castile, León, Aragón, 19th century, Renaissance, Portraits, Spain, Size: Paper: 40,3 cm x 32,2 cm (15,9 x 12,7 in), Depiction: 32,8 cm x 27,2 cm (12,9 x 10,7 in)
After Raffael: Raffaello Sanzio da Urbino (1483 Urbino - 1520 Rom): The Judgement of Solomon, Biblical scene, King Solomon, 1690, Etching Technique: Etching on Paper Watermark: - Unidentifiable characters - Undeterminable watermark - Date: Date: 1690 Description: Illustration of the biblical story of the wise judgement of King Solomon. To be found in Le Blanc 1854-1890, I.395.2. Verso inscribed in old pen: "Cattin No 143". | Watermark: "A[...]R" under lily Keywords: 17th century, Baroque, Religious, France, Size: Paper: 28,8 cm x 25,9 cm (11,3 x 10,2 in)
(1483-1520) nach. Apparuerunt ei tres viri... Abraham. - Portantes Arcam sacerdotes stabant... Jordanis. 2 Bl. Radierungen auf Bütten mit WZ-Fragm. (1) v. Nicolas Chaperon (1612-ca.1656) aus der sog. Raffael-Bibel bei P. Mariette, 17. Jh.Blgr. 24,6 x 27,4 bzw. 24,3 x 28,2 cm. Mit den Monogr. beider Künstler, der Verlegeradr., lat. Titel u. Nr. 15 bzw. 37 i.d. Platte. Nr. 15 mit Rändchen um die Plattenkante, Nr. 37 auf Einfassung beschnitten, auf Papier mont. u. dort mit St. Dr. Steigelmann u. hs. Nr. 139. Tls. Alters- u. Gebrauchssp. - ╔Dabei: Rom.╗ De l'arc de Septimius Severe à Rome. Base de Colonnes - Corniche & Base des Piedestaux. S. 205/206 aus: Les édifices antiques de Rome. Kolor. Radierung v. Jean Lepautre (1618-1682) n. Antoine Babuly Desgodetz (1653-1728), 17. Jh. 32 x 20, Blgr. 43,5 x 28,5 cm. Mit Klebestreifen hinter Passep. fixiert. - Leicht gebr.
Title: Samuel Anoints David King. Includes Coa. Frame Measuring Approximately 24 By 24 Inches. Artwork Measuring Approximately 10 By 12 Inches. Nr30485 Ja
SEGUACE DI RAFFAELLO SANZIO, XVII SECOLO (Urbino 1483 - Roma 1520) MADONNA DELLA TENDA Olio su tavola, cm. 67 x 55. PROVENIENZA Famiglia emiliana Il dipinto, realizzato nel XVII secolo, riprende il prototipo della famosa Madonna della tenda di Raffaello, databile ai primi anni del secondo ventennio del XVI secolo, ed attualmente custodita presso la Alte Pinakothek di Monaco CONDITION REPORT Supporto ligneo integro, al retro presente un grosso gancio forgiato in ferro battuto coevo. Alla luce di wood si notano diversi interventi di restauro integrativo, che interessano il viso della Madonna. In particolare una linea verticale attraversa l'occhio ed il naso, le labbra e la linea di contorno del viso all'altezza del naso. Il Bambino ed il S. Giovannino, sono interessati da minute integrazioni sparse sui visi, così come il fondo. L'opera è in buono stato generale di conservazione CORNICE Cornice in legno dorato a bordi modanati, del XIX secolo (cadute di doratura)
Carl Heinrich Rahl sen. (1779 Hoffenheim at Sinzheim - 1843 Vienna) after Raffael: Raffaello Sanzio da Urbino (1483 Urbino - 1520 Rom): St Margaret with a slain dragon, 19th century, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Raphael pinxit. / C. Rahl del. & sculpt.". Lower middle inscribed in the printing plate: "Die heilige Margaretha.". Lower middle further inscription: "Ihrer Majestät der Kaiserin Königin Caroline Auguste". Lower right additional inscription: "alleruntertänigst gewidmet von Carl Rahl". Date: 19th century Description: St Margaret of Antioch after defeating a dragon with her mouth wide open. According to the saint's legend, Margaret defeated the dragon through the power of her faith. Keywords: St Margaret, Margaret of Antioch, dragon, victory, martyr, emergency helper, patron saint, patron saint of women giving birth, pregnant women, pregnancy, consecrated virgin, 19th century, Romanticism, Religious, Germany, Size: Paper: 39,0 cm x 24,7 cm (15,4 x 9,7 in), Depiction: 32,4 cm x 21,3 cm (12,8 x 8,4 in)
![Raffaello Sanzio [cerchia di], Venere che danza e putto (Banchetto nuziale di Amore e Psiche, Villa Farnesina, 1518-1519) 1570.](https://image.invaluable.com/housePhotos/Gonnelli/34/811934/H4780-L435687280.jpg)
![[ILLUSTRATED BOOKS]. [RAPHAEL (pseudonym of DA URBINO, Raffaello Sanzio, 1483-1520), after]. [Soffiti delle Loggie del Vaticano]. [Rome, 1776].](https://image.invaluable.com/housePhotos/Potter_Potter/11/811611/H4052-L435180611.jpg)
![RAFFAELLO SANZIO DA URBINO - IMAGINES VETERIS AC NOVI TESTAMENTI A RAPHAELE SANCTIO URBINATE IN VATICANI PALATII XYSTIS MIRA PICTURAE ELEGANTIA EXPRESSAE [...]](https://image.invaluable.com/housePhotos/ArtRite/77/803577/H21113-L422052007.jpg)
