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Jean-Leon Gerome

(1824 -  1904 ) Wikipedia® : Jean-Leon Gerome
GEROME Jean-Leon Bust Of Madeleine Juliette, The Artist's Daughter

Sotheby's /Dec 16, 2015
68,870.53 - 96,418.74
Not Sold

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Variants on Artist's name :

Gérome Jean-Léon

Gérôme Jean-Léon

Gérôme Jean-Léon

 

Artworks in Arcadja
328

Some works of Jean-Leon Gerome

Extracted between 328 works in the catalog of Arcadja
Jean-Leon Gerome - French The Colossus Of Memnon

Jean-Leon Gerome - French The Colossus Of Memnon

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Lot number: 41
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Jean-Léon Gérôme FRENCH THE COLOSSUS OF MEMNON 1824 - 1904 signed and dated J.L. GEROME MDCCCLVII lower center oil on canvas 25½ by 32 in.; 65 by 81 cm Provenance Dijon (1858) Haro (sale, Paris, 1881) Jay Turner Sterling H. Sockley House, Regent's Park, London Arthur Tooth & Sons, London Henry Wyndham French & Co., New York H. Schickman Gallery, New York Joseph J. Dodge, Jacksonville, Florida (by 1972) A Middle Eastern Prince (Sale: Sotheby's Parke Bernet, New York, October 12, 1979, lot 313) Private Collection, California (Sale: Sotheby's, New York, October 24, 1989, lot 65, illustrated) Private Collector, New York (acquired at the above sale) Exhibited Possibly, Paris, Salon, 1857, no. 1161 (as Memnon et Sésostris) Poughkeepsie, New York, Vassar College Art Gallery, Gérôme and his Pupils, 1967, no. 2 New York, Schickman Galleries, The Neglected 19th Century, 1970, no. 19 St. Petersburg, Florida, Museum of Fine Arts: Jacksonville, Florida, Cummer Art Gallery, Remnants of Things Past, 1971, no. 52 Dayton, Ohio, The Dayton Art Institute; Minneapolis, Minnesota, The Minneapolis Institute of Arts; Baltimore, Maryland, The Walters Art Gallery, Jean-Léon Gérôme (1824-1904), 1972-73, no. 5 Literature Théophile Gautier, "Gérôme: Tableaux, Études et Croquis de Voyage," L'Artiste, December 28, 1856, p. 23 Fanny Field Hering, The Life and Works of Jean Léon Gérôme, New York, 1892, p. 66 Jean-Léon Gérôme 1824-1904, exh. cat., Musée de Vesoul, 1981, pp. 106-7, mentioned under no. 122 Gerald M. Ackerman, The Life and Work of Jean-Léon Gérôme with a Catalogue Raisonné, London, 1986, p. 48, 200, no. 73, illustrated Herman de Meulenaere, Ancient Egypt in Nineteenth Century Painting, Belgium, 1992, p. 59, illustrated Gerald M. Ackerman, Jean-Léon Gérôme, monographie révisée, catalogue raisonné mis à jour, Paris, 2000, p. 232, no. 73, illustrated
Jean-Leon Gerome - Woman With A Red Coiled Braid

Jean-Leon Gerome - Woman With A Red Coiled Braid

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Lot number: 56
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JEAN-LÉON GÉRÔME (1824-1904): WOMAN WITH A RED COILED BRAID (TÊTE DE FEMME VUE DE DOS) Oil on canvas, unsigned, lined. 10 x 7 in., 15 x 12 in. (frame). Note: Ackerman suggests that this work is a preparatory study for a figure in either Saint Vincent de Paul from 1847, or Les Pestiférés de Marseille from 1854. Literature: Gerald M. Ackerman, Jean-Léon Gérôme, monographie révisée, catalogue raisonné mis à jour , Paris, 2000, illus. p. 215. Provenance: Sold Sotheby's, Monaco, June 20-21, 1987, Lot 754; Sold Christie's, New York, October 24, 1990, Lot 111. Property from the Estate of Mary S. B. Braga © Stair Galleries. Images, descriptions and condition reports used on this site are original copyright material and are not to be reproduced without permission. For further information telephone 518-751-1000
Jean-Leon Gerome - Washington À Cheval ('washington On His Horseback')

Jean-Leon Gerome - Washington À Cheval ('washington On His Horseback')

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Lot number: 1
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Jean-Léon Gérôme (Vésoul, Haute-Saône 1824-1904 Paris) Washington à cheval ('Washington on his horseback') Signed 'J. L. GEROME', numbered 'K459' and with foundry inscription 'SIOT.FONDEUR.PARIS' Bronze, dark brown patina 31 7/8 in. (80 cm.) high, 29 ½ in. (75 cm.) wide Provenance Geraldine Rockefeller Dodge (1882-1973). The Geraldine Rockefeller Dodge Collection; Sotheby's, New York, 20 February 1976, lot 51, where acquired by the following Private collection, and by descent to present owner. THE PROPERTY OF A LADY Literature G. Ackerman, La vie et l’’’’œuvre de Jean-Léon Gérôme, Courbevoie, 1986, p. 326-327, S56. E. Papet, Jean-Léon Gérôme (1824-1904), Musée d’’’’Orsay, Paris, 2010, p. 316. Revue de l’’’’art ancien et modern, ‘Les Salon de 1901: La Sculpture’’’’ , Paris, 1901, p. 425. Lot Notes Jean-Léon Gérôme was one of the most influential French artists of the 19th century, whose grand official commissions and paintings in the academic style were among the most celebrated and discussed of the period. Despite his late initiation into the discipline, Gérôme enjoyed great success as a sculptor creating individual figures and monumental allegorical and historical groups of great complexity and elaborate decoration. This expansion of his artistic ambitions into the third dimension furthered his celebrity among his contemporaries and secured for him the reputation as one of the most versatile artists of the Belle Époque. From the late 1890s, Gérôme began work on a series of equestrian portraits of historical figures from Antiquity through to the 19th century, taking a keen interest in ‘reviewing all of the great conquerors of the earth’’’’ (E. Papet, Jean-Léon Gérôme (1824-1904), Musée d’’’’Orsay, Paris, 2010, Paris, p. 316). In addition to the present bronze, conceived in 1901, the artist also realized groups of Bonaparte entering Cairo (1897), Tamerlane (1898), Frederick the Great (1899) and Caesar crossing the Rubicon (1900) and in all displayed careful attention to the detail of the finishing of fabrics, fringe and other regalia. In a further discussion of Gérôme’’’’s creative method, Papet delves into the sculptor’’’’s painstaking research of uniform, textiles and armors when composing his ambitious polychrome portrait of the 12th century Mongol warrior Tamerlane. Similarly, so to fully understand a figure’’’’s historical context, he would have been heavily influenced by both contemporary and historic renderings of Washington’’’’s American Revolution exploits. In addition to Jonathan Trumbull’’’’s 1792 portrait of General George Washington at Trenton and Scottish painter John Faed’’’’s George Washington taking the Salute at Trenton, reproductive engravings of Washington at Monmouth, in which the General is depicted pacifying ranks of soldiers in a similar salute, made it possible for highly trained French sculptors such as Gérôme to create an historically accurate three-dimensional figure of America’’’’s founding father. However, Gérôme’’’’s interpretation of Washington should not be considered a superficial attempt to copy popular images of the 18th century, but rather a commentary on equestrian portraits of revolutionary figures begun in Antiquity and most certainly culminating in Jacques-Louis David’’’’s iconic Napoleon Crossing the Alps of 1801. First exhibited in at the Salon in 1901 (fig. 3), Gérôme’’’’s Washington à cheval was lauded by critic Gustave Babin, who reveled in the artist’’’’s triumphant reference to ‘le geste pacificateur de Marc-Aurèle classique’’’’ (Revue de l’’’’art ancien et modern, ‘Les Salon de 1901: La Sculpture’’’’, Paris, 1901, p. 425). While several of his equestrian groups are known in numerous sizes and editions, the present lot would appear to be one of the few extant of the larger of two casts (80 cm.) by the Parisian fondeur Siot-Decauville. It is, thus, a fine and rare testament to the supremacy of the subject and virtuoso skill of the sculptor.
Jean-Leon Gerome - Bust Of Madeleine Juliette, The Artist's Daughter

Jean-Leon Gerome - Bust Of Madeleine Juliette, The Artist's Daughter

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Lot number: 90
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Jean-Léon Gérôme 1824-1904 FRENCH BUST OF MADELEINE JULIETTE, THE ARTIST'S DAUGHTER signed: JL. GEROME and titled: MADELEINE partially tinted white marble 66cm., 26in. Catalogue Note Madeleine Juliette was the fifth and final child born to the painter Jean-Léon Gérôme and his wife Marie in 1875. In 1863 Gérôme had married the daughter of the art publisher and dealer, Adolphe Goupil. The marriage cemented a relationship that had significant financial benefits for both artist and publisher. The prints produced and sold by Goupil after Gérôme’’s Salon canvasses made Gérôme a household name and increased the prices for the original paintings, which Goupil also sold. In the year of his marriage, Gérôme was Goupil’’s most reproduced painter. Encouraged by his father-in-law, Gérôme turned to sculpture in 1878, at the age of 55. He surprised his contemporaries by bringing a youthful passion to this new medium, introducing hyper-realism and polychromy with an innovative fervour. The present bust recalls motifs from some of Gérôme’’s best-known sculptural works. The graceful twisting figure at the base of the portrait is reminiscent of the Hoop Dancer, held in the hand of Gérôme’’s Tanagra of 1890, which was later produced as a separate statuette. The head of Tanagra was also produced as a separate sculpture and its ‘broken’’ truncation is repeated in the bust of Madeleine. Gérôme returns to sculptural tropes he used in his famous portrait bust of Sarah Bernhardt, begun in 1895 and completed with polychromy in 1901. There Gérôme uses a small figure of Tragedy at the base to characterise the subject, substituted in the portrait of Madeleine by the graceful antique dancer. Sarah Bernhardt has a string of putti climbing her right shoulder, where roses entwine the base of the present bust and climb Madeleine’’s left shoulder. This marble was not the first likeness of Madeleine created by Gérôme. A portrait of his youngest daughter as a child with her dolls was painted around 1883 (sold Sotheby’’s New York, 22 RELATED LITERATURE L. des Cars, D. de Font-Reaulx and E. Papet, The Spectacular Art of Jean-Léon Gérôme (1824-1904), exh. cat., Musée d’’Orsay, Paris, 2010, pp. 291-296, nos. 168–172 and 187
Jean-Leon Gerome - Bacchante À La Grappe

Jean-Leon Gerome - Bacchante À La Grappe

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Lot number: 4
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Jean-Léon GEROME (1824-1904) «Bacchante à la grappe» Sculpture en bronze à patine dorée. Fonte d'édition ancienne de SIOT. Signé «J. L. Gérome» et marque de fondeur «Siot Paris» H: 35 cm Bibliographie: G. M. Ackerman, «The Life and Work of Jean-Léon Gérôme», Paris 1986, page 319. Bronze sculpture with golden patina. SIOT old cast iron. Signed «J.G. Gérome» and smelter's stamp «Siot Paris»
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