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Lawrence Alma-Tadema

United Kingdom (1836 -  1912 ) Wikipedia® : Lawrence Alma-Tadema
ALMA-TADEMA Lawrence British The Three Graces

Sotheby's
May 24, 2017
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Artworks in Arcadja
215

Some works of Lawrence Alma-Tadema

Extracted between 215 works in the catalog of Arcadja
Lawrence Alma-Tadema - A Still Life With Cauliflower

Lawrence Alma-Tadema - A Still Life With Cauliflower

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Lot number: 235
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Description:
A still life with cauliflower, a woven basket and beet roots on a table, inscribed 'Jeugdstudie van Alma Tadema' (on the reverse) oil on paper, 24x29 cm Provenance: -Collection Mr. Willem Maris (1844-1910), according to a note by his daughter. -Private collection, Netherlands. Sir Lawrence Alma-Tadema (1836-1912)
Lawrence Alma-Tadema - Love's Jewelled Fetter

Lawrence Alma-Tadema - Love's Jewelled Fetter

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Lot number: 38
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BRITISH LOVE'S JEWELLED FETTER (THE BETROTHAL RING) Sir Lawrence Alma-Tadema, O.M., R.A. 1836 - 1912 signed L Alma Tadema and inscribed Op. CCCXXVIII- (upper left) oil on panel 25 by 17 1/2 in. 63.5 by 44.5 cm Provenance George Mc Culloch, Esq. (commissioned directly from the artist, 1895) Mrs. Coutts Michie (by descent from the above, her father, and sold,Christie's, London, May 28, 1913, lot 112) Wallis & Sons, London H.A. Oliver, Esq.(acquired from the above, May 1914) Sale: Sotheby's, London, June 19, 1990, lot 56, illustrated Private Collection, New York Thence by descent Exhibited London, New Gallery, 1895, no. 73 London, Art Gallery of the Corporation of London, Guildhall, Loan Collection of Pictures by Painters of the British school who have flourished during Her Majesty\’s Reign, April 7-July 14, 1897, no. 117 (lent by George Mc Culloch, Esq.) Glasgow,International Exhibition, 1901, no. 523 (lent by George Mc Culloch, Esq.) London,Royal Academy, Exhibition of Modern Works in Painting and Sculpture forming the Collection of the Late George Mc Culloch, Esq., Winter Exhibition, Fortieth Year,January 4-March 13, 1909, no. 76 London, Royal Academy,Exhibition of Works by the Late Sir Lawrence Alma-Tadema, R.A., O.M.: Winter Exhibition, Forty-Fourth Year,January 6-March 15, 1913, no. 166 (lent by Mrs. Coutts Michie) Literature Athenaeum, London,March 16, 1895, p. 351 Magazine of Art,London,1895, p. 285-7 Henry Blackburn,New Gallery, 1895, pp. 10, 41, illustratedp. 41 Percy Cross Standing,Sir Lawrence Alma-Tadema,O.M., R.A., London, 1905, p. 99 D. Croal Thomson, "The Late Mr. George Mc Culloch,"Art Journal, 1908, p. 44 Rudolf Dircks, "The later works of Sir Lawrence Alma-Tadema,O.M., R.A., R.W.S," Art Journal, Christmas Edition, London, 1910, p. 16, illustrated p.32 Vern G. Swanson,Alma-Tadema: The painter of the Victorian Vision of the Ancient world,London, 1977, p. 140 Vern G. Swanson,The Biography and Catalogue Raisonnéof the Paintings of Sir Lawrence Alma-Tadema, London, 1990, p. 251, no. 366, illustrated p. 454 Rosemary J. Barrow, Lawrence Alma-Tadema, London, 2001, p. 158, illustrated pl. 158 Catalogue Note Love\’s Jewelled Fetter is distinguished by the gem-hued palette of a riotous azalea bush dominating the foreground and a brilliant azure sea extending towards the horizon. Two beautiful patrician women, arranged on a bronze settee upon a marble terrace under floral garlands, overlook a mountainous coast studded with Roman villas. Sir Lawrence Alma-Tadema surely sought to convey a calm Bay of Naples, the area described in ancient sources as a popular resort during the early Empire, where the elite escaped from Rome to theirvilla maritime(luxury villas) nestled among the region\’s cliffs. However, the present work and similar compositions of the period, likeCoign of Vantage(1895, J. Paul Getty Museum, Los Angeles) and Fortunes Favorites (sold in these rooms, November 22, 2016, lot 47),were not directly informed by the artist\’s travel to Italy, butby the large Bavarian lake, Steinberger See, where his friend Georg Ebers, the German Egyptologist, had a villa (Edwin Becker, Edward Morris, Elizabeth Prettjohn, and Julian Treuherz, eds.,Sir Lawrence Alma-Tadema, exh. cat., Van Gogh Museum, Amsterdam; Walker Art Gallery, Liverpool, 1997, p. 255-6; Swanson, p. 252, 253). The present work\’s subject is inspired by the novella, The Amazon (1880, English translation 1884) by Alma-Tadema\’s friend, the historian Carel Vosmaer, in which the main character is a Dutch artist named Siwart Aisma, based on Alma-Tadema himself. When Vosmaer accompanied Alma-Tadema on one of his many trips to Italy he remarked on the painter\’s \“astonishing accuracy, tirelessness and fire: he espied the door grooves, the bolt holes, everything, everything\” (as quoted in Robert Verhoogt, Art in Reproduction, Amsterdam, 2007, p. 497). Not surprisingly, the plot follows the Dutch antiquary\’s obsessive study of Roman sculpture collections, as well as his romance with the poet, Marciana van Buren (Barrow, p. 91). Alma-Tadema\’s scene illustrates a moment where Marciana, shown in violet robes, extends her hand to a companion to examine her ring (the fetter), a token of her and Aisma\’s love. The statue at the upper right of the composition, Spinario, alludes to Aisma\’s interests in classical sculpture while aligning with Alma-Tadema\’s own (he owned a photograph of the sculpture and it appears in multiple compositions). The scene seems to occur under the watchful eye of Aisma, who looms from the portrait hanging above them, inscribed Amo Te Ama Me (I love you, so love me too). The scale and format of the portrait suggests that it is based on a \“Mummy portrait,\” the naturalistic likeness affixed to Egyptian mummies during the Coptic period, dating from the Roman occupation of Egypt. Ebers was particularly interested in \“mummy portraits,\” and Alma-Tadema\’s inclusion here casts a link across time and space, and further evidence of the artist\’s voracious curiosity for the Ancient world. A tour-de-force of nineteenth century painting and among Alma-Tadema\’s most striking compositions, Love\’s Jewelled Fetter was painted during an extraordinary period forthe artist and the same year that he presented Spring (1894, J. Paul Getty Museum, Los Angeles) at the Royal Academy.Unsurprisingly, it drew the attention of the progressive contemporary art collector, George Mc Culloch. Croal Thomson\’s tribute to him, published in The Art Journal, read \“The death of Mr. George Mc Culloch… removed the greatest patron of the artist to-day. From the first time he purchased a picture, this keen lover of the arts of painting and sculpture was imbued with the feeling that, for him, the works of the artists of his own time were most suited to his taste, and no persuasion ever carried him past that conviction.\” He goes on to exhaustively list the artists included in the extraordinary collection, specifying that \“Sir Lawrence Alma-Tadema\’s careful painting is adequately represented by The Sculptor\’s Gallery [1874, Hood Museum of Art, Hanover, New Hampshire] and Love\’s Jewelled Fetter, the latter a brilliant piece of coloring\” (The Art Journal, p. 43-4). Many works in Mc Culloch\’s collection have become some of the most beloved in publicinstitutions around the world, and when his sale took place in 1913, newspapers trumpeted record breaking prices for such celebrated British masterpieces as John William Waterhouse\’s Saint Cecilia (1895, Private Collection), Frederic Lord Leighton\’s Daphnephoria (1874-76, Lady Lever Art Gallery),Edward Burne Jones\’ Love Among the Ruins (1894, Wightwick Manor, West Midlands), George Clausen\’s Ploughing (Aberdeen Art Gallery) as well as continental works such as Jules Bastien-Lepage\’s Pas Mèche (1882, National Gallery of Scotland) and Pauvre Fauvrette (1881, Glasgow Museums).
Lawrence Alma-Tadema - A Silent Greeting

Lawrence Alma-Tadema - A Silent Greeting

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Price: Not disclosed
Lot number: 85
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Description:
.. Lodge after Sir Lawrence Alma- Tadema, Watercolour, 'A Silent Greeting ' , Ascribed , titled and signed lower right with date '1/07'. 7 3/4 x 5 3/4" CONDITION: Please Note - we do not make reference to the condition of lots within descriptions. All lots are 'sold as seen' . Please contact us for more information.
Lawrence Alma-Tadema - Study For Merry Music

Lawrence Alma-Tadema - Study For Merry Music

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Lot number: 28
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PROPERTY OF A GENTLEMAN Sir Lawrence Alma-Tadema, O.M., R.A. STUDY FOR MERRY MUSIC; STUDY FOR SERIOUS MUSIC 1836-1912 Quantity: 2 both inscribed and signed l.r.: Pour Leblotte/ L. Alma-Tadema both black chalk each 14 by 34cm., 6 by 14in. Provenance Christopher Wood, London; Christie's, London, 5 June 2006, lot 97, where purchased by the present owner Exhibited Campbell Wilson and Christopher Wood, English Romantic Art 1850-1920, 2005, no.34 Literature Vern G. Swanson, Biography and Catalogue Raisonnee of Sir L. Alma-Tadema, 1980, no.178 Catalogue Note These are sketches for the three panels painted in 1873 by Tadema for the underside of the lid of a John Broadwood & Sons pianoforte which was in Tadema's possession until 1912.
Lawrence Alma-Tadema - British The Three Graces

Lawrence Alma-Tadema - British The Three Graces

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Lot number: 1
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Description:
Sir Lawrence Alma-Tadema, O.M., R.A. BRITISH THE THREE GRACES 1836-1912 inscribed by Anna Alma Tadema (the artist's daughter) L. Alma-Tadema aat (upper center) oil on canvas in five parts (mounted on panel, the largest diamond shaped, with four roundels), in a decorative frame designed by the artist Top left: The Three Graces of the State: Law, Order and Authority Top right: The Three Graces of the Home: Mother, Wife and Child Bottom left: The Three Graces of Religion: Faith, Hope and Charity Bottom right: The Three Graces of Art: Painting, Sculpture and Architecture central canvas: 25 3/4 by 26 in.; 65.4 by 66 cm framed: 34 1/2 by 34 1/2 in.; 87.6 by 87.6 cm
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