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1357 articles
Article
A Safavid ambassadress in Rome: the last testament of Teresa Sampsonia Shirley
03/2025 | 1464 | 167
Pages: 218–27
related names
Author:
Brown-Hedjazi, Alexandria (Brown-Hedjazi, Alexandria)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Last testament of Teresa Sampsonia Shirley, showing the witness signatures and seals. 1668. (Archivio di Stato di Roma, 30 Notai Capitolini, Officio 23, 1668 Maggio, fol.279r; Photograph the author).
Attributed works:
10. A lady called Teresia Sampsonia Shirley, by John Hoskins. 1620s. Watercolour on vellum. (Harley Gallery, Welbeck Estate, Nottinghamshire; Bridgeman Images).
Attributed works:
2. Teresa, or Teresia Sampsonia, Lady Shirley, by Anthony Van Dyck. c.1622. Oil on canvas, 214 by 129 cm. (Petworth House; © NTPL; photograph Derrick E. Witty).
Attributed works:
3. Sir Robert Shirley, by Anthony Van Dyck. c.1622. Oil on canvas, 214 by 129 cm. (Petworth House; © NTPL; photograph Derrick E. Witty).
Attributed works:
4. Pre-printed template for visitors to the hospital adjoining S. Maria Egiziaca, Rome. 1664. (Archivio del Pontificio Collegio Armeno, fondo S. Maria Egiziaca, Rome, Giustificativi dei pagamenti 1656–1673; courtesy Pontificio Collegio Armeno; photograph C. Santus).
Attributed works:
6. Frontispiece from Girolamo Rocchi: Funerale della Signora Sitti Maani Gioerida della Valle, Rome 1627. (Beinecke Rare Book and Manuscript Library, New Haven).
Attributed works:
7. Sketch of Lady Shirley, by Anthony van Dyck. 1622. Pen and brown ink on paper, 19.9 by 15.1 cm. (British Museum, London).
Attributed works:
9. Detail of Fig.1, rotated 180 degrees, showing the wax seal attached to Sampsonia’s last testament. (Photograph the author).
Western art unattributed:
5. Tombstone of Sampsonia and Robert Shirley, S. Maria della Scala, Rome. (Photograph the author).
Western art unattributed:
8. Detail of Fig.5, showing the Safavid Rampant Lion. (Photograph the author).
Article
Johannes Lutma the Elder: goldsmith, designer, draughtsman
03/2024 | 1452 | 166
Pages: 252–263
related names
Author:
Baarsen, Reinier (Baarsen, Reinier)
Subjects
dates:
media:
places:
styles:
Illustrations
Attributed works:
1. Portrait of Johannes Lutma, by Jacob Adriaensz Backer. c.1646. Oil on canvas, 93 by 73 cm. (Rijksmuseum, Amsterdam).
Attributed works:
10. John Rushout’s coat of arms engraved on the base of the salt cellar in Fig.7.
Attributed works:
11. Design for a condiment dish, attributed to Johannes Lutma. c.1640–50. Black and white chalk on green prepared paper, 27.5 by 19.8 cm. (Rijksmuseum, Amsterdam).
Attributed works:
12. Design for a candlestick, attributed to Johannes Lutma. c.1655–60. Black and white chalk and pink wash on paper, 40.5 by 30.4 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
13. Ewer in ornamental surround, by Jacob Lutma after Johannes Lutma. 1654. Etching and engraving, 22.2 by 17.9 cm. (Rijksmuseum, Amsterdam).
Attributed works:
14. Cup and cover, by Johannes Lutma. 1639 (the knob is a later replacement). Gilded silver, height 32.1 cm. (Walters Art Museum, Baltimore).
Attributed works:
15. Design for a cup, attributed to the workshop of Johannes Lutma. c.1640–60. Black chalk, and brown wash, heightened in white, on blue paper, 41.9 by 25.5 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
16. Design for a ewer, attributed to the workshop of Johannes Lutma. c.1655–60. Black and white chalk on paper, 41.5 by 30.2 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
17. Design for a ewer, attributed to the workshop of Johannes Lutma. c.1655–60. Black and white chalk on paper, 41.3 by 31.9 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
18. Design for a ewer, attributed to the workshop of Johannes Lutma. c.1655–60. Black, white and red chalk on paper, 43.3 by 29.8 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
19. The watermark in the drawing in Fig.20.
Attributed works:
2. Pair of salt cellars, by Johannes Lutma. 1639. Silver, partly gilded, height 24 cm. each. (Rijksmuseum, Amsterdam).
Attributed works:
20. Design for a cup, attributed to the workshop of Johannes Lutma. c.1655–60. Black and red chalk and brown wash, heightened in white, on paper, 41.3 x 31.2 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
21. Design for a cup, here attributed to Joahnnes Lutma. c.1655–60. Red chalk and brown wash, heightened in white, on paper, 40.3 by 28.6 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
22. Design for a helmet, here attributed to Johannes Lutma. c.1655–60. Watercolour, black chalk, heightened in white, on pale brown paper, 17 by 20.9 cm. (Rijksmuseum, Amsterdam).
Attributed works:
3. Design for a cup, by Paulus van Vianen. c.1610. Black chalk, grey and pink wash, 58.7 by 29.4 cm. (Staatliche Graphische Sammlung, Munich).
Attributed works:
4. Design for a salt cellar, attributed to Adam van Vianen. c.1610–27. Black chalk, pen and brown ink and brown wash on paper, 20.2 by 13.2 cm. (Nationalmuseum, Stockholm).
Attributed works:
5. Design for a ‘bekerschroef’, attributed to Johannes Lutma. c.1635–40. Black and white chalk over a sketch in graphite, on yellow prepared paper, 19.5 by 12.4 cm. (Sir John Soane’s Museum, London; courtesy of the Trustees).
Attributed works:
6. A goldsmith or sculptor carrying a basket of statues, by Johannes Lutma. 1615. Red and black chalk, pen and brown ink on paper, 12.3 by 9.2 cm. (Rijksmuseum, Amsterdam).
Attributed works:
7. Salt cellar, by Johannes Lutma. 1648. Partly gilded silver, height 36.2 cm. (Fishmongers’ Company, London).
Attributed works:
8. Design for a salt cellar, by Johannes Lutma. c.1648. Black and white chalk on pale brown paper, 35.8 by 28.5 cm. (Cooper Hewitt, Smithsonian Design Museum, New York).
Attributed works:
9. Lutma’s inscription on the back of the drawing in Fig.8.
Exhibition Review
Willem van de Velde and Son
03/2022 | 1428 | 164
Pages: 293-295
related names
Reviewer:
Tedbury, Imogen (Tedbury, Imogen)
Subjects
dates:
dates:
subjects:
Reviewed Items
subjects:
Willem van de Velde and Son National Maritime Museum, Amsterdam 1st October 2021–27th March 2022 | :
Illustrations
Attributed works:
12. The burning of the Royal James (later in the day), designed by Willem van de Velde the Elder and woven by Thomas Poyntz. 1685–88. Wool and silk, 330 by 457 cm. (National Maritime Museum, Amsterdam).
Attributed works:
13. The Gouden Leeuw on the River IJ at Amsterdam, by Willem van de Velde the Younger. 1686. Oil on canvas, 179.5 by 316 cm. (Amsterdam Museum, Amsterdam; exh. National Maritime Museum, Amsterdam).
Attributed works:
14. Van de Velde joining the Dutch fleet, 27 August 1664, by Willem van de Velde the Elder. North Sea, 1664. Pencil and grey wash on paper, 29 by 101.5 cm. (Royal Museums Greenwich, London; exh. National Maritime Museum, Amsterdam).
Book Review
Maioliche di Savona e Albisola a Firenze (1650–1700). By Marco Spallanzani
09/2019 | 1398 | 161
Pages: 785-786
related names
Reviewer:
Thornton, Dora (Thornton, Dora)
Subjects
dates:
media:
Illustrations
Attributed works:
3. Plate with an infantryman, knights and four Medici coats of arms. Savona, 1660–90. Maiolica, diameter 35 cm. (Museo Nazionale Bargello, Florence).
Book Review
L’arte del dissenso: Pittura e libertinismi nell’Italia del Seicento. By Dalma Frascarelli
07/2019 | 1396 | 161
Pages: 604-605
related names
Reviewer:
Lo Bianco, Anna (Lo Bianco, Anna )
Subjects
dates:
Reviewed Items
subjects:
L’arte del dissenso: Pittura e libertinismi nell’Italia del Seicento By Dalma Frascarelli. 280 pp. incl. 50 col. ills. (Giulio Einaudi Editore, Turin, 2016), | :
Illustrations
Attributed works:
1. Flight into Egypt, by Adam Elsheimer. 1609. Copper, 31 by 41 cm. (Alte Pinakothek, Munich; Bridgeman Images).
Exhibition Review
The Art of the Building Site: Construction and Demolition from the 16th to the 21st Century. Cité de l’architecture et du patrimoine, Paris
03/2019 | 1392 | 161
Pages: 238-241
related names
Reviewer:
Cellauro, Louis (Cellauro, Louis)
Reviewer:
Richaud, Gilbert (Richaud, Gilbert)
Subjects
Illustrations
Attributed works:
10. Napoleon III visiting the Louvre, by Nicolas Gosse. 1854. Canvas, 23 by 34 cm. (Musée du Louvre, Paris; exh. Cité de l’architecture et du patrimoine, Paris).
Attributed works:
11. El Escorial under construction. 1576. Pencil and wash on paper, 50.5 by 77.3 cm. (Hatfield House, Marquess of Salisbury, Hertfordshire; exh. Cité de l’architecture et du patrimoine, Paris).
Attributed works:
12. Plug-in city (2000) – monumental experience, by Alain Bublex. 2003. Chromogenic print, 180 by 180 cm. (Centre Pompidou, Paris; exh. Cité de l’architecture et du patrimoine, Paris).
Exhibition Review
Up for attribution: Guercino’s ‘trial versions’ and a new catalogue raisonné
03/2019 | 1392 | 161
Pages: 206-213
related names
Author:
Stone, David M. (Stone, David M.)
Subjects
collectors and dealers:
dates:
places:
styles:
Reviewed Items
subjects:
N. Turner: The Paintings of Guercino: A Revised and Expanded Catalogue Raisonné (Ugo Bozzi Editore, Rome) | :
Illustrations
Attributed works:
1. David on the battlefield pointing to the head of Goliath, by Guercino. 1657. Canvas, 200 by 144 cm. (North Holland Regional Water Board, Heerhugowaard; on loan to Museum Boijmans Van Beuningen, Rotterdam).
Attributed works:
10. Detail of Fig.12, showing the pattern in Absalom’s breeches.
Attributed works:
11. Detail of Fig.12, showing the central assassin’s hand and sleeve.
Attributed works:
12. Absalom commanding the assassination of Amnon, here attributed to the studio or a follower of Guercino after a lost work by Guercino of 1628. Canvas, 140 by 176 cm. (Private collection).
Attributed works:
13. Opposite top Joseph and Potiphar’s wife, here attributed to the studio of Guercino (perhaps Matteo Loves), after a lost work by Guercino of 1631. Canvas, 121 by 171 cm. (Zanasi Foundation, Modena).
Attributed works:
14. Opposite bottom Joseph and Potiphar’s wife, here attributed to the studio of Guercino after a lost work by Guercino of 1631. Canvas, 122.7 by 166.8 cm. (Location unknown; formerly Vittorio Frascione, Florence).
Attributed works:
15. Above left Detail of Fig.13, showing the face of Potiphar’s wife.
Attributed works:
16. Above right Detail of Fig.14, showing the face of Potiphar’s wife.
Attributed works:
2 and 3. Fragments from All saints in glory, by Guercino. 1613. Canvas, each 49 by 66 cm. (Location unknown; formerly art market, Paris).
Attributed works:
4. Landscape with a dog running and a man at a well, and Orpheus and Eurydice, by Guercino. c.1617. Detached fresco frieze. (Pinacoteca Civica, Cento).
Attributed works:
5. Detail of Fig.4, showing a man at a well.
Attributed works:
6. Detail of Fig.4, showing Orpheus and Eurydice.
Attributed works:
7. Absalom commanding the assassination of Amnon, here attributed to the studio of Guercino after a lost work by Guercino of 1628. Canvas, 140 by 175 cm. (Pinacoteca Nazionale, Bologna; on loan to Palazzo della Prefettura, Bologna).
Attributed works:
8. Detail of Fig.7, showing the pattern in Absalom’s breeches.
Attributed works:
9. Detail of Fig.7, showing the central assassin’s hand and sleeve.
Book Review
Van Dyck’s Hosts in Genoa: Lucas and Cornelis de Wael’s Lives, Business Activities and Works. By Alison Stoesser
02/2019 | 1391 | 161
Pages: 170-171
related names
Reviewer:
Standring, Timothy J. (Standring, Timothy J.; Standring, T. J.)
Subjects
dates:
places:
Illustrations
Attributed works:
5. Lady talking to her gardners, by Cornelis de Wael. Canvas, 26 by 38 cm. (Private collection).
Article
Philip and Peter Paul Rubens in Rome: newly discovered documents concerning their early careers
02/2019 | 1391 | 161
Pages: 120-127
related names
Author:
Paolini, Cecilia (Paolini, Cecilia)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Philip Rubens, by Peter Paul Rubens. c.1610–11. Panel, 68.6 by 52.7 cm. (Detroit Institute of Arts).
Attributed works:
2. Laocoön and his sons, by Peter Paul Rubens. Black chalk and bistre on paper, 47.5 by 47.5 cm. (Biblioteca Ambrosiana, Milan).
Attributed works:
3. Bust of Seneca, by Cornelis Galle after Peter Paul Rubens. Engraving, 30.9 by 19 cm. From L. Annaei Senecae philosophi opera by Justus Lipsius, 2nd ed., Antwerp 1615. (The British Museum, London).
Attributed works:
4. The crowning with thorns, by Peter Paul Rubens. 1602. Panel, 224 by 180 cm. (Cathedral of Notre-Dame-du-Puy, Grasse, Bridgeman Images).
Attributed works:
5. Archduke Albert VII of Austria, by Peter Paul Rubens. c.1618. Canvas, 105 by 74 cm. (Kunsthistorisches Museum, Vienna).
Attributed works:
6. Opposite Peter Paul Rubens, Philip Rubens, Justus Lipsius and Joannes Woverius (‘The Four Philosophers’), by Peter Paul Rubens. c.1611–12. Panel, 164 by 139 cm. (Palazzo Pitti, Florence).
Article
Benavides’s ‘Scipio’ ensemble and collaborative entrepreneurial action in Brussels tapestry around 1660
02/2019 | 1391 | 161
Pages: 112-119
related names
Author:
Brosens, Koenraad (Brosens, Koenraad)
Author:
Slegten, Astrid (Slegten, Astrid)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Detail of Fig.3.
Attributed works:
2. A table showing all the known extant tapestries of the Benavides Deeds and triumph of Scipio series.
Attributed works:
3. Conference between Scipio and Hannibal before the Battle of Zama, from the Deeds and triumph of Scipio series, by the Van Leefdael, Van der Strecken, Reydams and Leyniers consortium. 1660–61. Wool, silk, and gold- and silver-wrapped thread, 471 by 842 cm. (Fondation Toms Pauli, Lausanne).
Attributed works:
4. Sol from the Deeds and triumph of Scipio series, by the Van Leefdael, Van der Strecken, Reydams and Leyniers consortium. 1662. Wool and silk, 180 by 147 cm. (Fondation Toms Pauli, Lausanne).
Attributed works:
5. The continence of Scipio from the Deeds and triumph of Scipio series, by the Van Leefdael, Van der Strecken, Reydams and Leyniers consortium. 1660–61. Wool, silk, and gold- and silver-wrapped thread, 471 by 557 cm. (Fondation Toms Pauli, Lausanne).
Attributed works:
6. Capture of the camp and mercy for the vanquished from the Deeds and triumph of Scipio series, by the Van Leefdael, Van der Strecken, Reydams and Leyniers consortium. 1660–61. Wool, silk, and gold- and silver-wrapped thread, 481 by 794 cm. (Fondation Toms Pauli, Lausanne).
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