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Jean-Leon Gerome

France (1824 -  1904 ) Wikipedia® : Jean-Leon Gerome
GEROME Jean-Leon French Moses On Mount Sinai

Sotheby's
Dec 20, 2017
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Variants on Artist's name :

Gérome Jean-Léon

Gérôme Jean-Léon

Gérôme Jean-Léon

 

Artworks in Arcadja
369

Some works of Jean-Leon Gerome

Extracted between 369 works in the catalog of Arcadja
Jean-Leon Gerome - French Moses On Mount Sinai

Jean-Leon Gerome - French Moses On Mount Sinai

Original
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Gross Price
Lot number: 9
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PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION Jean-Léon Gérôme FRENCH MOSES ON MOUNT SINAI Jean-Léon Gérôme 1824 - 1904 signedJ.L. GEROME(lower left) oil on canvas 29 1/4 by 49 1/2 in. 74.3 by 125.7 cm Sale: Sotheby's, New York,Property of a Southern Private Collector, February 28,1990, lot 34 Borghi & Co., New York Private Collection, United States (purchased from the above in 1991 and sold: Sotheby's, London,May30, 2008, lot 326) Acquired at the above sale Paris, Cercle de L'Union artistique, 1895 Gerald M. Ackerman,The Life and Work of Jean-Léon Gérôme with a Catalogue Raisonné, Paris, 2000, p. 344, no. 437.2,illustratedp. 345 Painted circa 1895-1900, Gérôme\’sinterpretation of Moses on Mount Sinai is an impressive demonstration of his mastery of color and complex compositional elements. The overall effect is a powerful evocation of one of the greatest moments in Jewish history.The setting for Gérôme\’s painting derives from descriptions of theRevelation in the Books ofExodusand Deuteronomy: \“On the third day when it was morning, there was thunder and lightning and a heavy cloud on the mountain, and the sound of the shofar was very powerful, and the entire people that was in the camp shuddered. Moses brought the people forth from the camp toward God, and they stood at the bottom of the mountain. All of Mount Sinai was smoking because the Lord had descended upon it in the fire; its smoke ascended like the smoke of the furnace; and the entire mountain shuddered exceedingly\” (Exodus 19). \“The Lord said to Moses: Ascend to Me to the mountain and remain there, and I shall give you the stone Tablets and the teaching and the commandment that I have written...\” (Exodus 24). Gérôme situates his portrayal at the moment of high drama, when Moses appears with the tablets, and the massed children of Israel are overcome with awe and wonder. While Gérôme clearly imbues the scene with a heightened imagination, it is informed by an understanding of the text and the holy site itself: the artist completed studies of Sinai on expeditions in the 1870s, and the particular characteristics of the mountain are well described.As a whole, the descriptive nature of the work, in conjunction with the splendid massing of the crowds, the precision with which the figures are articulated, the sure handling of the highlights in the drapery, and the effects of clouds and dust, are all splendid characteristics of Gérôme's late style. The present work is a larger version of a paintingen grisaille,which Gérôme executed for reproduction in photogravure.Ultimately the illustration was bound along with ten similar works by Gérôme and other renowned artists of the period inLa Biblia nell'Arte,published in Bergamo in 1917. A preparatory study for the present work, measuring 29 by 45 inches, in color but with a less detailed composition, is in a Private Collection.
Jean-Leon Gerome - Arnaute Buvant

Jean-Leon Gerome - Arnaute Buvant

Original 1856
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Net Price
Lot number: 19
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Jean-Léon Gérôme 1824 Vesoul - 1904 Paris Arnaute buvant. 1856. Öl auf Holz, parkettiert. Vgl. Ackerman 116. Links oben signiert und datiert. 24 x 17,8 cm (9,4 x 7 in). Verso zweifach mit der handschriftlichen Inventarnummer 'B.V-C. 28384' der Galerie Boussod, Valadon & Cie, Paris. [CB]. PROVENIENZ: Sammlung Petr (Pierre) Botkine (1865-1933), russischer Diplomat u. a. im Konsulat in Brüssel. Galerie Boussod, Valadon & Cie, Paris (Nachfolge von Adolphe Goupil & Cie, Paris). Sammlung Baron H.[?] de Westenholz, Hamburg (1905 bei Vorgenannter erworben, siehe Geschäftsbuch der Galerie, Digitalisat Dealer Stock Books, Getty Research Center, Los Angeles - es handelt sich hierbei wohl um Albert Wilhelm Westenholz [1879-1939]). Privatsammlung Süddeutschland. „Wir mieten ein Segelboot und verbringen vier Monate auf dem Nil, malen und lassen und treiben, von Damiette bis nach Philae. Dann kehren wir nach Kairo zurück, wo wir vier weiter Monate in einem der Häuser Sulaiman Pashas verbringen, der uns alles überlassen hat.\“ Jean-Léon Gérôme, Tagebucheintrag, 1855/56, zit. nach: Gérard-Georges Lemaire, Orientalismus, Potsdam 2010, S. 238. Jean-Léon Gérômes orientalische Bildsujets beinhalten vor allem Harems- und Sklavenmarkt-Darstellungen, Alltagsszenen, Landschaften und religiöse Zeremonien sowie Szenen des Ägyptenfeldzuges Napoleon Bonapartes. Dieser Kolonialisierungsfeldzug (1798-1801) wurde von zahlreichen mitreisenden Zeichnern und Malern bildlich dokumentiert und - trotz des militärischen Scheiterns - künstlerisch glorifiziert, woraus eine jahrzehntelange Ägyptenbegeisterung in Kunst, Architektur, Kunsthandwerk, Musik und Theater in Frankreich, später auch in England und Deutschland resultierte. Wie zahlreiche Künstler der nachfolgenden Generationen wird auch Gérôme von dieser Ägyptomanie erfasst. Nach den akademisch-klassizistischen Anfangsjahren wendet er sich Mitte der 1850er Jahre mit seiner ersten Ägyptenreise dem Orientalismus zu. Jedoch distanziert er sich 'von den Konventionen eines romantisch-visionären Orients und entwickelt einen unpersönlichen ethnographischen Hyperrealismus, der sich auf den während der Reisen angehäuften Vorrat von Zeichnungen, Skizzen und Fotografien stützt. Seine feinmalerisch-glatte Behandlung der Bildoberfläche und quasi-fotografisch exakte Wiedergabe von Details erzeugen den Eindruck größter Wirklichkeitsnähe und demonstrieren in Konkurrenz zur Fotografie eine neuartige, am Empirischen orientierte Definition von Wirklichkeit der Malerei.' (AKL). Dies wird auch bei dem hier angebotenen Gemälde deutlich, das eines der beliebtesten Motive des Künstler zeigt: einen Arnauten. Dieses aus dem Türkischen entlehnte Wort bezeichnet albanische Söldner des osmanischen Reiches, die Ende des 18. Jahrhunderts zum Kampf gegen die französischen Truppen nach Ägypten kamen und dort eine neue Heimat fanden. Gérôme gibt akkurat jedes noch so kleine Detail der charakteristischen Tracht wieder und zeigt damit seine tiefe Faszination für die stolzen und selbstbewussten Arnauten. Die wohl bekannteste Variante des Themas ist Gérômes Gemälde 'Arnautes jouant aux échecs', das sich heute in der Wallace Collection in London befindet. Das Hauptwerk Jean-Léon Gérômes 'Un combat de coqs' (Hahnenkampf) von 1847 ist derzeit in der Ausstellung 'Gut. Wahr. Schön. Meisterwerke des Pariser Salons aus dem Musée d'Orsay' der Kunsthalle München zu sehen (noch bis Januar 2018). Aufrufzeit: 24.11.2017 - ca. 16.13 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten. ENGLISH VERSION Jean-Léon Gérôme 1824 Vesoul - 1904 Paris Arnaute buvant. 1856. Oil on panel, cradled. Cf. Ackerman 116. Upper left signed and dated. 24 x 17.8 cm (9.4 x 7 in). Verso twice with the hand-written inventory number 'B.V-C. 28384' of Galerie Boussod, Valadon & Cie, Paris. [CB]. PROVENANCE: Collection Petr (Pierre) Botkine (1865-1933), Russian diplomat, among others, at the consulate in Brussels. Galerie Boussod, Valadon & Cie, Paris (successor of Adolphe Goupil & Cie, Paris). Collection Baron H.[?] de Westenholz, Hamburg (acquired from aforementioned in 1905, cf. gallery's account book, Digitalisat Dealer Stock Books, Getty Research Center, Los Angeles - this presumably is Albert Wilhelm Westenholz (1879-1939)). Private collection Southern Germany. Jean-Léon Gérômes oriental subjects predominantly comprise harem- and slave market scenes, everyday scenes, landscapes and religious ceremonies as well as scenes from Napoleon Bonaparte\’s campaign in Egypt. The French campaign in Egypt and Syria (1798-1801) was well documented by numerous accompanying drawers and painters. Even though the campaign failed, it was glorified in arts, which led to a fascination for Egypt in France that was reflected in arts, architecture, arts and crafts, music and theater over decades. A little later it also spilled over to England and Germany. Just as it was the case with many artists from the following generations, the Egyptomania also caught on with Gérôme. After his early years had been coined by an academic Classicism, he turned to Orientalism after his first journey to Egypt in the mid 1850s. However, we would soon distance himself 'from the conventions of a romantic-visionary picture of the Orient and develop a rather impersonal ethnographic Hyperrealism based on scores of drawings, sketches, photographs he had made on his journeys. His fine and smooth treatment of the image surface and the almost photographic account of details create an impression of an utmost reality and demonstrate, in competition with photography, a new definition of a reality of painting with an empirical orientation.' (AKL). This becomes obvious in our painting, which shows one of the artist\’s most favorite motifs: the Arnaut. The word, borrowed from Turkish, describes an Albanian soldier in service of the Osman army. In the late 18\up6 th century they fought against the French troops in Egypt, where they eventually found a new home. Gérôme rendered even the smallest detail of the costume with great accuracy, showing his deep fascination for the proud Arnauts. The best known version of the theme is Gérôme\’s painting 'Arnautes jouant aux échecs', today in possession the Wallace Collection in London. Called up: November 24, 2017 - ca. 16.13 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Jean-Leon Gerome - La Femme Au Voile

Jean-Leon Gerome - La Femme Au Voile

Original 0195
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Lot number: 1012
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Lot# 1012 Jean Leon Gerome (1824-1904 French) "La Femme Au Voile", standing woman with veil Gilt and polychrome-patinated bronze Signed to base: J. L. Gerome, stamped verso: 0195, with circular foundry mark: Siot Decauville / Fondeur / Paris 33.75" H x 16" W x 8.25" D Provenance: Private Estate, Southern California Condition: Overall good condition with scattered scuffs, scratches, wear and abrasions to patination commensurate with age. Click here to return to previous menu
Jean-Leon Gerome -  The Mandolin Player

Jean-Leon Gerome - The Mandolin Player

Original 1858
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Lot number: 54
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Description:
Jean-Léon Gérôme (French, 1824-1904) The Mandolin Player signed and dated \\\‘J.L. GEROME/1858.\\\’ (centre left) oil on canvas 16 ¼ x 11 3/8 in. (41.2 x 29 cm.) Gérôme was an indefatigable traveller. He seemed always to be on the go, even into his seventies. They were often long trips, sometimes of several months. One wonders how he got so much work done. When his studio assistant, the sculptor Decorchemont, suggested he should slow down a bit, he replied, 'You really think that I have the time to slow down at my age?' Gérôme's most important teacher was Paul Delaroche (1797-1856), who was a supreme master of stance, posture, placement and contrapposto. Delaroche taught Gérôme how to see and project the frame and muscles under the skin and clothing of figures to show the tensions of the inner balance that supported a pose. It is that developed talent which underlies the strong presence of the figure in this picture. From the 1870s single-figures in Oriental costumes and settings becomes a steady part of Gérôme's production. The present figure can be identified as an Arnaut, a term often used for an Albanian soldier, an irregular soldier in the Turkish army. They were recognisable by their pleated skirts, somewhat of a national Albanian costume. After Egypt became independent from Turkey, there were evidently plenty of them in Cairo who earned a living by various jobs: as guards, animal keepers, and models for foreign painters. Gérôme's first oriental costume picture was of an Arnaut in bright sunlight with a rifle on his shoulder, leading a corvé of recruits across the desert, perhaps for service in the army or for work on the Suez canal. It is carefully painted, with strong plein air effects -- particularly complex on the Arnaut's skirt; for this difficult effect, Gérôme worked from a photograph of the skirt shot on a sunlit roof, perhaps that of his own house. In its simple, straightforward subject matter -- with neither a story nor a moral -- this is a modest work; but it perfectly illustrates the attention to detail that defined the artist as an 'ethnographic' Orientalist painter, and is animated by the engaging pose of the figure. This, combined with the finesse of the detailing are familiar properties in Gérôme's studio collection, with loving attention paid to the silvered decoration on the pistol handle and the glints of light on the copper of the hookah. The costume gets great attention too; the colourful shawl banded on the soldier's head, the especially fine sheen of the sleeves and the pleated Arnaut skirt, which the painter never failed to draw and paint freshly throughout his life, always with a different fall of the pleats, and different modulations of light and shadow on the multitudinous folds. We are grateful to Graydon Parrish for his assistance in authenticating and cataloguing the present lot.
Jean-Leon Gerome - La Femme Au Voile

Jean-Leon Gerome - La Femme Au Voile

Original 0195
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Lot number: 1075
Other WORKS AT AUCTION
Description:
Lot# 1075 Jean Leon Gerome (1824-1904 French) "La Femme Au Voile", standing woman with veil Gilt and polychrome-patinated bronze Signed to base: J. L. Gerome, stamped verso: 0195, with circular foundry mark: Siot Decauville / Fondeur / Paris 33.75" H x 16" W x 8.25" D est: : Private Estate, Southern California. Condition: Overall good condition with scattered scuffs, scratches, wear and abrasions to patination commensurate with age.
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