Francesco Ii Bassano

Italy (Bassano Del Grappa 1549Venezia 1592 ) - Artworks Wikipedia® - Francesco Ii Bassano
BASSANO Francesco II The Lamentation Over The Dead Christ

Sotheby's /Jul 10, 2008
18,852.51 - 25,136.68
40,750.97

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Variants on Artist's name :

Ponte Da Francesco Ii Bassano

Francesco Da Ponte Le Jeune, Dit Francesco Bassano

 

Artworks in Arcadja
116

Some works of Francesco Ii Bassano

Extracted between 116 works in the catalog of Arcadja
Francesco Ii Bassano - The Element Of Fire: Vulcan’’’’s Forge

Francesco Ii Bassano - The Element Of Fire: Vulcan’’’’s Forge

Original
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Lot number: 160
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Description:
Francesco Bassano (Bassano del Grappa c. 1510-1592) The Element of Fire: Vulcan’’’’s Forge oil on canvas, unframed 51 x 61¼ in. (129.5 x 155 cm.) with Leger & Sons, New York, 1931, from whom acquired by John Woodman Higgins (1874-1961), Higgins Armory Museum, Worcester (Mass.). B.B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge (Mass.), pp. 19 and 650, as Leandro Bassano. The Elements were the last of several subject cycles invented by Jacopo Bassano and reproduced in quantity by his workshop. Three sets painted by Jacopo, with the help of his sons, are known: the first is now entirely lost, The Element of Air, formerly in the Kaiser Friedrich Museum, Berlin, having been destroyed during World War II; the second survives in The Element of Earth in the Walters Art Gallery, Baltimore; part of the third set (in the Elements of Water and Fire) is in the John and Mable Ringling Museum of Art, Sarasota. The present picture follows quite closely Jacopo’’’’s version in Sarasota, which similarly shows Vulcan crossing the sky on a dog-drawn chariot. The success of Jacopo’’’’s composition is evident in the number of known replicas produced by Francesco: private collection, Bassano del Grappa; Walker Art Gallery, Liverpool; Liechtenstein collection, Vaduz; Narodowe Muzeum, Warsaw. Federico Zeri formerly considered the present picture to be by Leandro (op. cit.), however the fact that it is now filed in his photo archive under ‘Francesco’’’’ suggests that he revised his opinion at a later date. The steel industrialist John Woodman Higgins was steeped in the arts-and-crafts culture of late-19th century America. From an early age, he had a deep fascination for medieval tales of knights and chivalry, and after World War I started collecting armour through auctions and dealers such as Sir Joseph Duveen. As early as the second half of the 1920s, he was already planning a museum of metal craft, which would be strongly associated with the family’’’’s factory, as he was keen to underline the connection between the metal craft of the past and modern-day technologies. A unique steel and glass structure, the first of its type to be erected in the United States, the museum was built between 1928 and 1931. The present picture was in line with what Higgins was acquiring for the Museum and demonstrates that his collecting extended beyond the acquisition of armour. We are grateful to Professor Enrico Maria Dal Pozzolo and Professor Peter Humfrey for independently confirming the attribution, after inspection of the original. We are also grateful to Professor Bernard Aikema for confirming the attribution on the basis of photographs.
Francesco Ii Bassano - A Shepherd With His Flock And A Woman Feeding Poultry In A Village, With Other Figures Resting By A Cottage

Francesco Ii Bassano - A Shepherd With His Flock And A Woman Feeding Poultry In A Village, With Other Figures Resting By A Cottage

Original
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Gross Price
Lot number: 182
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Description:
Lot Description Francesco Bassano (Bassano del Grappa 1549-1592 Venice) A shepherd with his flock and a woman feeding poultry in a village, with other figures resting by a cottage oil on canvas 31 5/8 x 46 1/8 in. (80.2 x 117.1 cm.) Provenance Anonymous sale [J. Minsham, Bradford]; Christie's, London, 8 December 1930, lot 95, as 'Bassano' (unsold).
Francesco Ii Bassano - The Lamentation Over The Dead Christ

Francesco Ii Bassano - The Lamentation Over The Dead Christ

Original
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Net Price
Lot number: 100
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Description:
FRANCESCO DA PONTE, CALLED FRANCESCO BASSANO IL GIOVANE THE YOUNGER BASSANO DEL GRAPPA CIRCA 1549 - 1592 VENICE measurements note 84 by 126 cm.; 33 by 49 1/2 in. inscribed with an old inventory number lower left: 127 oil on canvas CATALOGUE NOTE The composition is known in a number of versions and variants painted by Jacopo Bassano and his sons. The best known version is a painting today in the Musée du Louvre, Paris, which Arslan dates circa 1580-82 (see E. Arslan, I Bassano, vol. I, Milan 1960, p. 361).
Francesco Ii Bassano - The Lamentation Over The Dead Christ

Francesco Ii Bassano - The Lamentation Over The Dead Christ

Original
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Gross Price
Lot number: 185
Other WORKS AT AUCTION
Description:
FRANCESCO DA PONTE, CALLED FRANCESCO BASSANO ILGIOVANE BASSANO DEL GRAPPA CIRCA 1549 - 1592 VENICE THE LAMENTATION OVER THE DEAD CHRIST 15,000—20,000 GBP 84 by 126 cm.; 33 by 49 1/2 in. inscribed with an old inventory number lower left: 127 oil on canvas The composition is known in a number of versions and variantspainted by Jacopo Bassano and his sons. The best known version is apainting today in the Musée du Louvre, Paris, which Arslan datescirca 1580-82 (see E. Arslan, I Bassano, vol. I, Milan 1960, p.361).
Francesco Ii Bassano - A Kneeling Boy

Francesco Ii Bassano - A Kneeling Boy

Original
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Gross Price
Lot number: 18
Other WORKS AT AUCTION
Description:
Black chalk heightened with white chalk on blue paper; bears attribution in pen on the recto : le Bassan , and in pencil on the backing sheet together with two sets of numbering in brown ink: R. 11 2 d ; 3-2-5. PROVENANCE Bears the mark (L.474), previously associated with Pierre Crozat, and now considered by Nicolas Schwed to be that of Joseph Gulston, London (1745-1786); with Galerie Terrades, Paris; acquired 2001 CATALOGUE NOTE Throughout his drawn oeuvre, Francesco Bassano seems to have favoured the use of black chalk heightened with white chalk, as in the present sheet, to create a suggestion of flickering light. Francesco's father Jacopo had a very personal and highly individual graphic style, and frequently employed colored chalks, a technique that Francesco used only very rarely. Francesco's distinctive drawing style, though close to Jacopo's tradition, is softer and more atmospheric The eldest and most talented of Jacopo Bassano's sons, Francesco collaborated closely with his father until 1579, when he transferred his studio to Venice. There the successful family tradition was to continue for almost a century and a half. Although the workshop, which was active in both Bassano and Venice, did not itself function long after 1650, followers and imitators persisted in Italy and elsewhere until circa 1700. Fewer drawings than paintings by the Bassano family survive, but Jacopo nonetheless seems to have understood the importance of preserving his drawings for the bottega and during the 1560s, when his sons began to learn their trade, he actively sought to maintain his stock of drawings. At this time Jacopo often added dates and inscriptions, and many drawings were pasted onto rolls of canvas, which not only guaranteed their preservation but also ensured that they could easily be consulted for reference. After Jacopo's death in 1592, thirteen such rolls of drawings, as well as a great number of portfolios of loose drawings, were inventoried with the contents of the artist's bottega. The present drawing is stylistically close to many other chalk studies by Francesco, and very similar to a number of figures in paintings by both Jacopo and Francesco, but it cannot be directly linked to any known work.
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