Andrea Appiani

(17541817 ) - Artworks Wikipedia® - Andrea Appiani
APPIANI Andrea Portrait Of Napoleon Bonaparte (1769-1821)

Christie's /Jun 17, 2004
83,022.00 - 124,533.00
637,833.80

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Artworks in Arcadja
80

Some works of Andrea Appiani

Extracted between 80 works in the catalog of Arcadja
Andrea Appiani - Cupid And Hymen Accompanied By Amorini

Andrea Appiani - Cupid And Hymen Accompanied By Amorini

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Lot number: 1043
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Andrea Appiani (Milan 1754-1817) Cupid and Hymen accompanied by amorini with inscriptions 'Amore e Imeneo' and 'Andrea Appiani' pen and brown ink 9 1/8 x 7 in. (23 x 17.8 cm.); and three drawings by Appiani(4) Provenance Anonymous sale; Christie's, Rome, 16 October 1970, lot 95, as'Andrea Appiani'.
Andrea Appiani - Cupid Introducing Psyche To Jupiter

Andrea Appiani - Cupid Introducing Psyche To Jupiter

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Lot number: 98
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Black chalk and stumping; signed and dated in lower left margin: Andrea Appiani inv. to a...1792 PROVENANCEWith Aldega-Gordon, New York; acquired in 1995 LITERATURE AND REFERENCES A.L. Clark (ed), Mastery and Elegance, Two Centuries of French Drawings from the Collection of Jeffrey E. Horvitz, Cambridge 1998, p. 84, fig. 9 CATALOGUE NOTEThis drawing relates to a fresco commissioned in 1789 by the Archduke Ferdinand, son of Empress Maria Theresa of Austria, for the Villa Reale, Monza. The villa was designed and built in 1769 by Giuseppe Piermarini (a pupil of Vanvitelli) at the instigation of the Empress, who wanted to create a country estate for her fourth son, close to the main source of imperial power, the Palazzo Reale in Milan. Appiani's frescoes, which depicted episodes from the story of Cupid and Psyche, were intended for the Rotunda that led to the Archduke's apartments. The Horvitz drawing is related to the circular fresco on the vault. A preparatory study for this fresco was sold at Sotheby's London (8 December 1972, lot 42). That sheet was squared for transfer and included a peacock at the lower centre. As the present drawing is dated three years later than the fresco and is executed in a highly finished style, it appears to be have been made in preparation for a print after the vault, whose charming subject must have made it immensely popular. A drawing by Appiani depicting Parnassus, in a comparably finished style, was sold by Christie's in London (9 April 1990, lot 73).
Andrea Appiani - Saint Matthew Holding A Book Seated On A Cloud Surrounded Byangels: A Study For A Pendentive

Andrea Appiani - Saint Matthew Holding A Book Seated On A Cloud Surrounded Byangels: A Study For A Pendentive

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Lot number: 92
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Andrea Appiani (Milan 1754-1817) Saint Matthew holding a book seated on a cloud surrounded byangels: a study for a pendentive black chalk, watermark J.WHATMAN TURKEY MILL 16½ x 13 in. (420 x 331 mm.) Special Notice No VAT will be charged on the hammer price, but VAT at 17.5%will be added to the buyer's premium which is invoiced on a VATinclusive basis Lot Notes A study for one of the four pendentives in the cupola of SantaMaria presso San Celso in Milan painted in 1792-5 depicting theFour Evangelists (A. Zanchi, Andrea Appiani, Bologna, 1995, p. 234,fig. 18). In addition to these Appiani painted the Four Doctors ofthe Church between the Evangelists.
Andrea Appiani - Portrait Of Napoleon Bonaparte (1769-1821)

Andrea Appiani - Portrait Of Napoleon Bonaparte (1769-1821)

Original 1769
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Lot number: 29
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Andrea Appiani (Milan 1754-1817) Portrait of Napoleon Bonaparte (1769-1821), as First Consul, three-quarter-length, holding a sabre oil on canvas 39 x 31¾ in. (99 x 80.8 cm.) THE DORIS DUKE COLLECTION SOLD TO BENEFIT THE DORIS DUKE CHARITABLE FOUNDATION Provenance Joseph Bonaparte, who is said to have taken the portrait to America. J. Coleman Drayton. Henry Hooker, New York. James van Alen, Rushton Hall, Kettering, England, and by descent to Margaret Louise van Alen Bruguiere, Wakehurst, Newport, Rhode Island; Christies, London, 5 December 1969, lot 53. Literature A. Zanchi, 'Appiani ritrovato' in Stile, no. 76, March 2004. Exhibited Philadelphia, Academy of Fine Arts, 1911 (according to the label on the reverse). Engraved Francesco Bartolozzi, colored etching, inscribed: 'N. BONAPARTE' and 'A. Appiani pinxit'. Anonymous engraving. T. W. Harland, engraving, inscribed 'Appiani'. Lot Notes Until recently, the present lot was thought to be lost and known only through engravings. It was almost certainly painted shortly after Napoleon defeated the Austrian army at Marengo, on 14 June 1800, and proclaimed Milan as the capital of the Cisalpine Republic. It is very close to the portrait of Napoleon as First Consul, dated 1803 and given the same year to the Duke Melzi d'Eril, but commissioned in 1800 (Bellagio, villa Melzi, the Gallarati Scotti collection). As in the Melzi painting, Napoleon is depicted three-quarter-length, with a stippled pearl-grey background typical of Lombard paintings, against which the embroidery of his uniform and the intricate folds of his sash stand out. This uniform, known as the 'Marengo uniform', is today part of the collection of the Musée des Invalides, Paris, where it is on display in the Salle Consulat (fig. 1). It was given by Napoleon to General Bertrand who subsequently gave it to Napoleon III. The sabre he is holding, called 'à la Mameluk' is also at the Invalides (fig. 2). The uniform and the sabre were specifically requested by Jacques-Louis David, when, at the end of 1800, he painted the famous equestrian portrait of Bonaparte crossing the Alps at the Grand-Saint-Bernard pass (Musée National du Château de Malmaison - fig. 3). Andrea Appiani, arguably the chief exponent of Italian Neo-Classical painting, trained in the traditions of history painting and portraiture. He first entered the studio of Carlo Maria Giudici, where he received instruction in drawing, and then joined the class of the fresco painter Antonio de' Giorgi. He also frequented the studio of Martin Knoeller, and studied anatomy with the sculptor Gaetano Monti. In 1776 he entered the Accademia delle Belle Arti di Brera to follow the painting courses of the Florentine Giuliano Traballesi, but it was his move to Paris in 1801 that gave him the opportunity to absorb the lessons of Davidian neo-classicism. He was particularly admired for his fine frescoes in the royal palace in Milan. He also executed portraits of many of the leading figures of his day. Appointed painter to the Emperor and awarded the Légion d'Honneur and the Order of the Iron Crown, he painted Napoleon as First Consul, then Emperor, on several occasions throughout the decade (between 1806 and 1808 he painted 16 portraits of the Emperor and of the Beauharnais family). In 1804 Appiani went to Paris for the coronation of Napoleon where he met Jacques-Louis David. This portrait of the victorious general of Marengo was in the collection of Joseph Bonaparte, the eldest brother of Napoleon, who placed him on the throne of Naples in 1806 and on the throne of Spain in 1808. When the Empire fell in 1814, he emigrated to the United States and his fabulous collection was shipped en bloc to Point Breeze, Bordentown, New Jersey, where he settled. We are grateful to Dr. Alessandra Zanchi and to Dr. Maria Elisa Tittoni for independently confirming the attribution to Appiani on the basis of a color transparency (respectively written communication, 22 January 2004, and verbal communication, 8 April 2004).
Andrea Appiani - Portrait Of Napoleon Bonaparte

Andrea Appiani - Portrait Of Napoleon Bonaparte

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Lot number: 65
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ANDREA APPIANI (Milan 1754-1817) Portrait of Napoleon Bonaparte (1769-1821), half-length, his hands resting on the hilt of a sword, before a landscape oil on canvas 32¼ x 25 3/8 in. (82 x 64.5 cm.) Provenance Bernard Franck; his sale, Hôtel Drouot, Paris, 22-23 February 1935, lot 59. Lot Notes Andrea Appiani was Napoleon's slightly older contemporary and among the best-known north Italian painters of his day, trained in the traditions of great history painting and portraiture. He first entered the studio of Carlo Maria de Giudice and then the Florentine Giuliano Traballesi but it was his move to Paris in 1801 that gave him an opportunity to absorb the lessons of Davidian neo-classicism. He was particularly admired for his fine frescoes in the royal palace in Milan and executed portraits of many of the leading figures of his day. Appointed painter to the Crown, he painted Napoleon as First Consul, then Emperor, on several occasions throughout the decade, including an early portrait of Bonaparte as First Consul executed in 1803 (collection of the Duke of Lodi, Villa Melzi, Bellagio) and another from two years later, depicting Napoleon in his robes as Emperor and King of Italy (Kunsthistorische Museum, Vienna). The present work is in an Empire frame with a medallion of Napoleon inserted.
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