MARS, VENUS UND AMOR Öl auf Leinwand. Doubliert. 132 x 124 cm. In dekorativem Rahmen. Nach der römischen Mythologie war Amor der Sohn der Venus, die Göttin der Liebe und der Schönheit, und des Mars, dem Gott des Krieges. Auf dem Gemälde sind die drei vor einem Apfelbaum zu finden: links Venus in weißer Bluse und rotem Samtgewand mit tiefen Dekollete, in ihrer rechten Hand einen Apfel haltend, rechts der muskulöse Mars, der gerade vom Baum einen Apfel pflückt und auf den kleinen nackten, geflügelten Amor niederblickt, der sich mit seinem Arm nach oben streckt, um diesen Apfel zu erhalten. Darstellung ganz nach dem berühmten Vorbild von Paris Bordone. Anmerkung: Das Originalgemälde stammt aus den 1550er Jahren und befindet sich in der Sammlung der Eremitage in Sankt Petersburg. (1411181) (18) Pâris Bordone, 1500 Treviso – 1571 Venice, workshop of MARS, VENUS AND CUPID Oil on canvas. Relined. 132 x 124 cm. Notes: The original painting dates to the 1550s and is held in the collections of the State Hermitage in Saint Petersburg.
Paris Bordon (attribuito a) (Treviso, 1500 - Venezia, 1571) Sacra famiglia con Santa Colomba olio su tela cm 87x99; con cornice cm 115x127 Dipinto rifoderato. Cornice realizzata riadattando cornice del XVII secolo in pioppo dorata a mecca
Property of a Private Collector Workshop of Paris Bordone Treviso 1500 - 1571 Venice Madonna and Child oil on canvas canvas: 29 ⅞ by 24 ¼ in.; 75.9 by 61.6 cm. framed: 41 ⅜ by 35 ½ in.; 105.1 by 90.2 cm.
Paris Bordon (Treviso 1500 - Venezia 1571) bottega di Consegna dell'anello al doge Olio su tela 69 x 50 cm Il presente dipinto risulta essere una ripresa parziale dell'opera di Bordon realizzata tra gli anni '30 e gli anni '40 del XVI secolo. Originariamente fu collocata nella sala dell'Albergo della Scuola Grande di San Marco, mentre oggi è conservata presso le Gallerie dell'Accademia a Venezia. Paris Bordon nacque a Treviso, ma da adolescente si trasferì a Venezia ed entrò nella bottega di Tiziano. Pittore dotato di estrema grazia e delicatezza, ottenne un buon riscontro pur conducendo una vita appartata. Eseguì diverse opere da cavalletto per importanti commissioni private ed ecclesiastiche, nonchè affreschi a Venezia, Treviso, Vicenza e nel bellunese, che in parte vennero distrutti in seguito ai bombardamenti durante la seconda guerra mondiale. Nel 1538 venne invitato in Francia da Francesco I, dove dipinse numerosi ritratti. Le sue opere sono conservate al Louvre di Parigi, Pinacoteca Vaticana, Philadelphia Museum of Art, Kunsthistorisches Museum e in molti altri musei. Paris Bordon (Treviso 1500 - Venice 1571) workshop of The delivering of the ring to the Doge Oil on canvas 69 x 50 cm The painting appears to be a partial recovery of Bordon's artwork created between the 1630s and 1640s. It was originally located in the hall of Scuola Grande di San Marco, while today it is kept in the Gallerie dell'Accademia in Venice.
PARIS BORDON (Treviso 1500 - Venezia 1571) PROMETEO INCATENATO Olio su tela, cm. 102 x 115 PROVENIENZA Famiglia romana PUBBLICAZIONI Seicento Sacro mostra di dipinti da collezioni private, 2012, catalogo mostra, p. 24 CONDIZIONI DEL DIPINTO Rintelo novecentesco. Punti di restauro sparsi sugli incarnati, restauri a rigatino all'angolo in alto a destra CORNICE Cornice in legno dorato con sezione sabbiata, del XIX secolo (cadute di doratura)
BILDNIS EINES JUNGEN EDELMANNES Öl auf Leinwand. Doubliert. 52 x 45,5 cm. Dem Gemälde sind drei Gutachten beigegeben: Dr. Fritz Heinemann, (Experte der venezianischen Malerei), 1966. Mit dessen Datierung des Bildes in die reifere Zeit, um 1550 – 1560. Dr. Hermann Voss (Experte Spätrenaissance Italien), 1967, mit Datierung Mitte 15. Jahrhundert. Giuseppe Fiocco (bis heute unangefochtener Experte für die Malerei der italienischen Renaissance), April 1967. In frontaler Haltung dem Betrachter gegenüber, in nahezu Lebensgröße, im Halbbildnis. Der junge Mann ist durch sein aufwändig gearbeitetes Wams als Mitglied der gehobenen Gesellschaft zu erkennen. Diese Kleidung unter dem schwarzen Seitenmantel mit Puffärmeln weist künstlich eingearbeitete Schlitze auf, fein gesäumt, was seine Fähigkeiten im Fechten andeuten soll, eine damals in ganz Europa verbreitete Mode. Das Gesicht zeigt ihn in einem Alter von etwa 25 Jahren. Der ernste Blick mit braunen Augen ist direkt dem Betrachter entgegengerichtet. Das aschblonde Haar zurückgekämmt, der Bartwuchs kurz und merklich rötlich. Pâris Bordone, auch Pâris Bordon, war Schüler Tizians, bei dem er um 1516 zwei Jahre lang lernte. 38-jährig von Franz I nach Frankreich gerufen, porträtierte er den König, aber auch zahlreiche Persönlichkeiten der Gesellschaft. Nun in höchsten Ehren, erteilten ihm die Fugger in Augsburg den Auftrag, deren Herrschaftssitz auszumalen. Von Augsburg zog Bordone nach Italien zurück. Er arbeitete in Vicenza, Treviso („Anbetung der Hirten“), Crema, Turin und Genua und hinterließ in diesen Städten weltbekannte Werke. Nicht wenige davon („Überreichung des Ringes an den Dogen“, 1535, Akademie Venedig) werden zu den größten Leistungen der Venezianischen Schule gerechnet. Von der Stilistik seines Lehrers Tizian hatte er sich gelöst; sein Kolorit zeigt – auch hier erkennbar – eine Nähe zu Jacopo Palma il Vecchio. Auch in vorliegendem Gemälde lässt die physiognomische Erfassung erkennen, dass der Maler eine hervorragende meisterliche Charakterwiedergabe zu leisten imstande war. Ähnliches lässt sich auch bei Bordones sonstigen Bildnissen erkennen, wie etwa dem „Juwelier mit Dame“ (München, Alte Pinakothek) oder dem Porträt von „Thomas Stachel“, 1540 (Louvre). Auch der schwarze Seidenmantel findet sich der Zeitmode gemäß in mehreren seiner Herrenbildnissen. A.R. Provenienz: Ehemals Sammlung Dr. K.O. Reichel, 1979. (1320142) (11)
BORDONE, PARIS 1500 Treviso - 1571 Venice Title: Figure Study of a Young Man; Hand Studies. Verso: Various studies. Technique: Black chalk, heightened with white on light blue paper. Mounting: Mounted. Measurement: 43 x 27cm. Notation: Numbered upper right: 13. Frame/Pedestal: Mat. Provenance: Private ownership, Germany. Explanations to the Catalogue
Trained in Venice, Paris Bordon was one of the most famous painters of the XVI century. Vasari tells us about his stay in the city and his first apprenticeship with Tiziano. If from the master he learned the scenic construction, the volume, and monumentality of the figures, this painting is imbued with the lesson of another pillar of Venetian painting: Giorgione. The vagueness of the stroke, the attention to the psychology of the shy and elusive Baptist, is combined with a taste for the dark but deep landscape in which the protagonist is immersed. A glimpse of the innovations proposed by Mannerism is evident in the refined but unnatural pose of the Saint, who barely glances at the observer. Bordon was able to learn this elegant and sophisticated style from the works of Rosso Fiorentino and Primaticcio he met in France during his trip in 1538.
(Treviso, 1500 - Venezia, 1571) Caccia al cinghiale di Caledonio Olio su tavola, cm 31X110 Provenienza: Roma, Galleria Bonatti (1948) New York, Galleria Wildenstein & C. (1952) Milano, Finarte, 16-25 marzo 1962, lotto 9 Bibliografia: Archivio Zeri, n. 38912 (come Paris Bordone) B. Berenson, Italian Pictures of the Renaissance. Venetian School, 1957, vol. I, p. 49/vol. II, n. 1127 (come Paris Bordone) G. Canova, Paris Bordon, Venezia 1964, p. 133 (come attribuito a Paris Bordone) F. E. Dabel, Venetian Paintings from Titian to El Greco, New York, Piero Corsini Inc. 1991, pp. 36 - 41 (come Paris Bordone) A. Donati, Paris Bordon, Soncino 2014, pp. 349 ; 340, n. 140 (come Paris Bordone) Il dipinto non raffigura come erroneamente detto la Morte di Adone, ma descrive la caccia al cinghiale Caledonio, che secondo la mitologia greca era di straordinaria possanza e compare in diversi miti come antagonista di grandi eroi. Nato dalla scrofa di Crommio, Caledonio fu mandato da Ares per uccidere Adone quando costui si innamorì di Afrodite. L'artista evoca al meglio la favola pastorale ambientandola in un paesaggio di gusto tizianesco, in parte ancor memore di Palma il Vecchio, connotato da una vivace colorazione e fusione desunta da Giorgione. Infatti, quanto mai emulo dell'artista di Castelfranco è il sentimento cromatico, aspetto che non mancì di osservare il Vasari, ricordando che Paris si mise in animo di volerne per ogni modo seguitarne la maniera, 'e così datosi a lavorare ed a contraffare dell'opere di colui, si fece tale, che venne in bonissimo credito- onde nella sua età di diciotto anni' (Cfr. G. Vasari, Le vite..., a cura di G. Milanesi, VII, Firenze 1881, pp. 461-466). Ed è su questo assunto che possiamo quindi collocare alla giovinezza la nostra composizione, prossima per analogie di stile 'all'Apollo e Dafne' conservato al Seminario Patriarcale di Venezia (cfr. Bonicatti 1964) e con 'la Diana cacciatrice e una ninfa' della Samuel H. Kress Foundation di New York. Ma se l'influenza giorgionesca in Vasari assume una valenza topica, è indiscutibile che in quegli anni il Bordon fu l'artista più vicino per sentimento e ricerca al Tiziano. A evidenziare ulteriormente l'importanza dell'opera è altresì la sua autorevole storia critica e collezionistica che sulla scia degli studi di Bernard Berenson, giunge alla Galleria Wildenstein di New York quando il celebre studioso è in procinto di passare il testimone di consulente del celebre antiquario a Federico Zeri. Bibliografia di riferimento: M. Bonicatti, Per la Formazione di Paris Bordon, in Bollettino d'Arte, 1964, IV, serie III, pp. 249 ; 251
Paris Bordone Italian, 1500-1571 Ecce Homo Oil on canvas 38 3/4 x 38 1/2 inches (98.4 x 97.8 cm) Provenance: Collection of Paul Ganz, New York, 1962 Private collection, Treviso, circa 1968 Literature: G. Mariano Canova, "Nuove note a Paris Bordon," Arte Veneta, XXII, 1968, 174-75, fig, 258 (as an autograph variant of a painting of the same subject in the Cathedral of Padua). W. R. Rearick, "The Drawings of Paris Bordon," Paris Bordon e il suo tempo, Treviso, 1987, 54-55, n. 19. A. Donati, Paris Bordone: catalogo ragionato, Soncino, 2014, 268-69, no. 42.2. C
Attribué à Paris BORDONE (Trévise 1500-Venise 1571) Etude d'homme nu assis de profil Crayon noir et rehauts de craie blanche sur papier bleu 27×33,5 cm de forme irrégulière, Coin droit coupé (Pliures, manques et taches, repentir sur la tête) Marque de collection non identifiée en bas à droite (L.4183)
TREVISO BAPT 1500 -1571 VENICE PORTRAIT OF A BEARDED MAN, HEAD AND SHOULDERS, IN AN INTERIOR oil on canvas, a fragment 15 3/4 by 12 1/4 in.; 40 by 31.2 cm.
PROPERTY FROM A PRIVATE COLLECTION TREVISO BAPT 1500 -1571 VENICE MADONNA AND CHILD WITH ST ANTHONY ABBOT AND A YOUNG MALE DONOR inscribed on a cartellino lower right: Paris bordonus tarivisinus f. oil on panel, transferred to canvas 61.6 by 82.9 cm.; 24 1/4 by 32 5/8 in.
PARIS BORDONE TREVISO BAPT 1500 -1571 VENICE MADONNA AND CHILD WITH ST ANTHONY ABBOT AND A YOUNG MALE DONOR inscribed on a cartellino lower right: Paris bordonus tarivisinus f. oil on panel, transferred to canvas 61.6 by 82.9 cm.; 24 1/4 by 32 5/8 in.
Circle of Paris Bordone (Treviso 1500-1571 Venice) An Allegory of Maximillian II inscribed 'MAXIMILI·D·G·ROM·IMP·' (on the armorial, center left) oil on canvas laid down on panel 34 3/8 x 50¼ in. (87.3 x 127.6 cm.)
Paris Bordone (Treviso 1500-1571 Venice) An Allegory of Faith inscribed 'P. BERNARDI DE GASTALDIS ANN. XLIIII MENSES-X AGENTIS ANNO DNI M. D. LIIIII NONO -NOVENBRE (on the plinth, lower left) oil on canvas 26¼ x 21 5/8 in. (66.5 x 55 cm.)
Paris BORDONE (Trévise 1495 - Venise 1570) Le Mariage de la Vierge Toile 73 x 99 cm Paris Bordone s'inscrit parmi les peintres les plus importants de Venise et de la Terra Ferma du second tiers du XVIème siècle. Dans notre tableau, les personnages ont le mouvement élégant typique des tableaux de Paris Bordone. La délicatesse des tons et les couleurs vénitiennes sont marqués par Giorgione et le Titien. La Vierge s'incline dans une attitude très similaire de celle du chef - d'aeuvre de Paris Bordone représentant l'Annonciation, au musée des Beaux - Arts de Caen. Dans notre tableau, inédit, les plissés des drapés et le mouvement du visage sont à rapprocher aussi d'une autre Annonciation, connue du peintre et conservé à la Pinacoteca Nazionale de Sienne. L'attitude du Saint Joseph qui se penche en avant se retrouve dans le Christ visitant le doge Pietro Orseolo en prison, conservé à la National Gallery de Londres; tandis que les autres personnages appartiennent au répertoire typique du peintre, formé dans l'atelier du Titien. Le tableau a probablement été exécuté dans les années 1540. Il semblerait que ce soit aussi à cette période qu'il entreprend son voyage, en France et notamment à Paris (voir Paris Bordone e il suo tempo, atti del convegno internazionale di studi, Trevise, 1985).
Paris Bordone (Treviso 1500-1571 Venezia) Umkreis/Cerchia Der Selbstmord der Lukrezia, il suicidio di Lucrezia, Öl auf Leinwand, 98 x 151 cm, gerahmt, (Wo)
The Madonna and Child with Saints Anthony Abbot and Francis signed 'O.PAR/BOR.' (lower left) oil on canvas 27 x 343/4 in. (68.6 x 88.2 cm.) PROVENANCE T.C. Felton, Boston. Robert and Bertina Manning, New York. LITERATURE B. Berenson, Italian Pictures of the Rennaisance, Venetian School, London, 1957, I, p. 47. G. Canova, Paris Bordon, Venice, 1964, pp. 85, fig. 122. EXHIBITION Boston, Museum of Fine Arts, November 1882. New York, Finch College Museum of Art, A Loan Exhibition of Venetian Paintings of the Sixteenth Century (catalogue by R. Manning), 30 October-15 December 1963, no. 16, illustrated. NOTES The Saint Francis recalls the figure of the same saint in the 'Giovanelli Sacra Conversazione', a composition also signed by Bordone and now in the Los Angeles County Museum of Art, Los Angeles.
A reclining bearded man sleeping on his arm, perhaps for a Drunkness of Noah black and white chalk on light brown paper 93/8 x 113/8 in. (238 x 288 mm.) PROVENANCE A late 18th Century English mount with inscription 'P. Veronese'. NOTES Professor Bernard Aikema has kindly confirmed the attribution of this drawing. He compares the drawing to sheets in the Bremen Kunsthalle and in the Ashmolean Museum, Oxford (H. Tietze and E. Tietze-Conrat, The Drawings of the Venetian Painters, New York, 1944, nos. 386 and 405, pl. LXXXVII, also reproduced in W.R. Rearick, 'The Drawings of Paris Bordone', Paris Bordone e il suo tempo, Treviso, 1985, figs. 13 and 7). The second drawing is a study for the seated boy in the foreground of The fisherman bringing the ring to the Doge in the Accademia, Venice (G. Mariani Canova, 'Paris Bordone, profilo biografico e critico', Paris Bordone, exhib. cat., Treviso, Palazzo dei Trecento, 1984, p. 42, illustrated). There is also a comparable drawing in the Uffizi for the figure of Christ (H. Tietze and E. Tietze-Conrat, op. cit., no. 396, pl. LXXXVI and W.R. Rearick, op. cit., fig. 17), which is preparatory to The Baptism of Christ in the Brera, Milan, G. Mariani Canova, op. cit., p. 39, illustrated. Roger Rearick dates the two drawings closest to the present sheet, those in Bremen and Florence, to 1547 and 1550 respectively.
The Rest on the Flight into Egypt with the Infant Saint John the Baptist, Saint Elizabeth and Saint Catherine oil on canvas 38 x 55 in. (96.7 x 139.7 cm.) PROVENANCE Possibly Ca Venier, Venice, before 1660 (see Boschini, below) Acquired by Alexander Baring, 1st Lord Ashburton (1774-1848) or his son, William Baring, 2nd Lord Ashburton (1799-1864), by whom bequeathed to his widow Louisa, Lady Ashburton (d. 1905) and by descent LITERATURE (Possibly) M. Boschini, La Carta del Navagar, Venice, 1660, p. 334. G.M. Canova, Paris Bordon, Venice, 1964, p. 48, fig. 120. EXHIBITION London, Royal Academy, Italian Art and Britain, 1960, no. 57. Washington, National Gallery of Art, The Treasure Houses of Britain, Five Hundred Years of Patronage and Art Collecting, 3 November 1985-16 March 1986, no. 500. On loan to the National Museum of Wales, Cardiff, 1990-2000. NOTES Paris Bordon, often known outside his native Veneto as Bordone, was the contemporary of a glittering constellation of Venetian masters, Titian and Palma, Pordenone, Tintoretto and Veronese among others. The Aretine Giorgio Vasari, despite his essentially Florentine perspective, recognised Bordon's importance and his vita remains a key source for our knowledge of the artist's career. Bordon was born in Treviso, north of Venice on the terra firma in 1500. His mother took him to Venice where the early, Giorgionesque, pictures of Titian made an overwhelming impression. Experience of Pordenone, of Palma, or Moretto and others enriched Bordon's vocabulary. He received major commissions in Venice and, inevitably, Treviso; he worked in Lombardy, first at Cremona and subsequently at Milan. The great altarpiece in the church of S. Maria presso S. Celso at Milan, painted for Carlo da Rho in the late 1540s, is one of the high points of Venetian cinquecento painting and perfectly expresses the qualities that secured invitations to work at Fontainebleau, and for the Fuggers at Augsburg. This charged canvas probably dates from the later 1540s, but if the probable Venier provenance is taken into account, perhaps from before Bordon's departure for Milan in 1548. It is a brilliant - and particularly well preserved - interpretation of a quintessentially Venetian idea, the Sacra Conversazione . The painter set out to fuse three themes: the Rest on the Flight into Egypt, which had a long iconographic tradition; the Madonna with the Christ Child and the Infant Baptist, a subject that had, as it were, been codified by Raphael; and the Mystic Marriage of Saint Catherine, which was immensely popular in the cinquecento. The theme of the Sacra Conversazione had been important to Bordon from the outset of his career. An early, strongly Tizianesque example The Holy Family with Saint Catherine is in the Hermitage (Canova, fig. 3). This is followed by the Glasgow Madonna and Child, with Saints Jerome and Anthony Abbot and a Donor ( ibid., fig. 6), which has, in Grabski's worlds 'un ritmo di figure absolutamente musicale' (S. Grabski, 'Rime d'Amore di Paris Bordon', in Paris Bordon e il suo Tempo, Treviso, 1985, p. 206), and by a second and structurally even more sophisticated and evidently later picture, also at Glasgow, the Madonna and Child with Saints George, John the Baptist and Mary Magdalen (Canova, fig. 14). The latter may be of the 1530s, as is the very much larger - and also now rather worn - Holy Family with Saints Jerome and Catherine at the Palazzo Rosso, Genoa ( ibid., fig. 25). This Northampton picture marks the artist's return to the theme, which he also explored in the less ambitious Holy Family with the Baptist ( ibid., fig. 121), formerly at Bridgewater House and sold most recently at Christie's, New York, 26 May 2000, lot 76: that picture was originally on panel and thus may prove to have been painted during one of Bordon's absences from the Veneto. The Northampton picture is resonant of the vision Bordon shared with his older contemporaries, Titian and Palma, but the structure demonstrates that he had also absorbed much from Salviati, Moretto and others. The vibrant colour at once declares the painter's personal taste; and none of his contemporaries knew better how to convey the texture of flattering drapery: indeed, it is not wholly fanciful to speculate whether, over three centuries later, Fortuny studied pictures by him. Bordon's figures are bathed in strong, clear light and set as if in silhouette against the deep landscape, tenebrous under an evening sky touched with pink. Saint Catherine's chiselled profile directs us to the pensive Virgin, who looks down towards the Child: Saint Joseph is far in the middle distance. The suggestion that the picture is that recorded in the Ca Venier at Venice by Boschini was made by the late Sir Ellis Waterhouse in the catalogue of the 1960 Royal Academy exhibition. Its history is otherwise undocumented until the nineteenth century, when it was owned by a member of a banking dynasty with an almost inexhaustible appetite for old masters, William Baring, 2nd Lord Ashburton (1799-1864). Ashburton came from a dynasty of bankers which, in Francis Haskell's words, 'sustained a highly developed interest in the Old Masters through several generations' (F. Haskell, Rediscoveries in Art, Some Aspects of Taste, Fashion and Collecting in England and France, London, 1976, p. 72). His grandfather, Sir Francis Baring, bought superb Dutch pictures. Sir Francis' elder son, Thomas, was an outstanding collector, both of Dutch and Italian pictures, and his second son, Alexander who was created Lord Ashburton in 1835 was lavish in his expenditure on pictures, buying both in London and abroad. His pictures were divided between The Grange, his neo-classical mansion in Hampshire, Bath House in London, the collection in which greatly impressed Dr. Waagen (G.F. Waagen, Works of Art and Artist in England, London, 1838, II, pp. 265-86). The collection was inherited and apparently expanded, by the 2nd Lord Ashburton who, as a gout-ridden 59-year-old, married Louisa Stewart-Mackenzie in 1858. On Ashburton's death in 1864 the Grange passed to his brother, but its contents, together with Bath House and all it contained, including such masterpieces as Mantegna's Adoration of the Magi and Dosso Dossi's Pan and Echo (both now at Malibu, The J.P. Getty Museum) passed to his widow Louisa, Lady Ashburton, a close friend of Browning, Carlyle and other luminaries of the late Victoria era (for a biography, see V. Surtees, The Ludovisi Goddess, Wilton, 1984). She died in 1902 and the picture passed then to the family of their daughter, who married William Compton, 5th Marquess of Northampton in 1883.
