Guillaume Lethiere

(17601832 ) - Artworks
LETHIERE Guillaume Faustulus Découvrant Romulus Et Remus Allaités Par La Louve

Piasa /Dec 12, 2007
8,000.00 - 12,000.00
Not Sold

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Variants on Artist's name :

Guillon-Lethiere Guillaume

 

Artworks in Arcadja
18

Some works of Guillaume Lethiere

Extracted between 18 works in the catalog of Arcadja
Guillaume Lethiere - The Judgement Of Paris

Guillaume Lethiere - The Judgement Of Paris

Original 1812
Estimate:

Price:

Gross Price
Lot number: 51
Other WORKS AT AUCTION
Description:
LOT 51 GUILLAUME GUILLON LETHIÈRE GUADELOUPE 1760 - 1832 PARIS THE JUDGEMENT OF PARIS signed and dated at left: Guillon Lethière R. 1812 oil on canvas 250,000—350,000 USD measurements measurements note 77 7/8 by 110 in.; 198 by 279.4 cm. signed and dated at left: Guillon Lethière R. 1812 Antonio Piccolomini Bellanti, Siena, possibly by whom acquiredfrom the artist;From whom purchased by Sir Robert Keith Dick-Cunningham, Bt.,Prestonfield House, Edinburgh, circa 1837;From whose descendant purchased in 1960 by a collector;By whom anonymously sold, Monaco, Christie's, 7 December 1990, lot342A, where purchased by the present collector. G. Capy, Guillaume Guillon Lethière, peintre d'histoire1760-1832 , Paris 1991, cat. no. 30. This grand and impressive canvas was painted by the artistduring his tenure as the Director of the French Academy in Rome(1807-1816), and the strongly classical character of thecomposition can hardly be coincidental. The subject of the painting—as much of Lethière's corpus —is derived from Homer (althoughthe story was also elaborated on by a number of ancient authors).The artist has chosen to adhere strictly to the classical texts inhis depiction of the event. At the foot of Mount Ida (MountGaragarus in some sources) in Asia Minor, the three goddessesstand, having been guided by Hermes, who is shown flying from thescene as if to suggest he knows that no good will come of what isabout to unfold. The contestants pose by the pool in which theyhave just bathed, while the river god Simois leans on the spring'ssource at the right. The prince/herdsman Paris, appropriatelydressed in his Phrygian cap with his dog by his side, kneels beforethe nude Aphrodite awarding her the prize, while Hera and Athenalook on. Lethière was careful to portray his figures based on classicalprototypes, a source given his position in Rome of which he wasable to take full advantage. The figure of Athena, for example,appears to be based on the so-called Giustiniani Minerva; this ishardly surprising, as the sculpture was then in the collection ofLucien Bonaparte, installed as the centerpiece of the great hall inhis home, the Palazzo Nunez, perhaps a five minute walk from theFrench Academy. Bonaparte had become one of Lethière's biggestpatrons, commissioning from him a number of important paintings andhad probably been responsible for his appointment at the VillaMedici. The two were quite close, and the artist advised him onmany of his acquisitions, even travelling with him to Spain insearch of paintings for his collection.1 A preparatorydrawing for the painting by the artist is in the collection of theMusée Ingres, Montauban (see fig. 1).2 This Judgmentof Paris appears not to be the only version of the subjectpainted by the artist; another even larger canvas is mentioned inthe 1815 sale of the Italian dealer Vittore Zanetti in Manchester,which was paired with a pendant of Homer Singing hisIliad.3 The early provenance of this picture is interesting. It was inthe collection of Antonio Piccolomini Bellanti of Siena, acollector of pictures and patron of the arts. The English pictureand print dealer Samuel Woodburn recorded a visit to his collectionin a letter of 31January 31 1822, when he noted that during a tripto Italy he had visited "Count Piccolomini Bellanti of Sienna,who is an Amateur and shewed me several pictures of goodtaste ." His collection seems to have included paintings of theSienese school, such as the Portrait of a Young Woman byGerolamo di Benvenuto (now National Gallery of Art, Washington, DC,inv. 1939.1.353) as well as a few celebrated works of art,including a supposed portrait of Petrarch's Laura.4Bellanti also seems to have been interested in contemporaryartists, and embraced the then prevailing neo-classical style. In aletter dated 18 March, 1811, the celebrated sculptor BertholdThorvaldsen writes to Bellanti, excited about his imminent Antonio Piccolomini Bellanti, Siena, possibly by whom acquiredfrom the artist;From whom purchased by Sir Robert Keith Dick-Cunningham, Bt.,Prestonfield House, Edinburgh, circa 1837;From whose descendant purchased in 1960 by a collector;By whom anonymously sold, Monaco, Christie's, 7 December 1990, lot342A, where purchased by the present collector. G. Capy, Guillaume Guillon Lethière, peintre d'histoire1760-1832 , Paris 1991, cat. no. 30. This grand and impressive canvas was painted by the artistduring his tenure as the Director of the French Academy in Rome(1807-1816), and the strongly classical character of thecomposition can hardly be coincidental. The subject of the painting—as much of Lethière's corpus —is derived from Homer (althoughthe story was also elaborated on by a number of ancient authors).The artist has chosen to adhere strictly to the classical texts inhis depiction of the event. At the foot of Mount Ida (MountGaragarus in some sources) in Asia Minor, the three goddessesstand, having been guided by Hermes, who is shown flying from thescene as if to suggest he knows that no good will come of what isabout to unfold. The contestants pose by the pool in which theyhave just bathed, while the river god Simois leans on the spring'ssource at the right. The prince/herdsman Paris, appropriatelydressed in his Phrygian cap with his dog by his side, kneels beforethe nude Aphrodite awarding her the prize, while Hera and Athenalook on. Lethière was careful to portray his figures based on classicalprototypes, a source given his position in Rome of which he wasable to take full advantage. The figure of Athena, for example,appears to be based on the so-called Giustiniani Minerva; this ishardly surprising, as the sculpture was then in the collection ofLucien Bonaparte, installed as the centerpiece of the great hall inhis home, the Palazzo Nunez, perhaps a five minute walk from theFrench Academy. Bonaparte had become one of Lethière's biggestpatrons, commissioning from him a number of important paintings andhad probably been responsible for his appointment at the VillaMedici. The two were quite close, and the artist advised him onmany of his acquisitions, even travelling with him to Spain insearch of paintings for his collection.1 A preparatorydrawing for the painting by the artist is in the collection of theMusée Ingres, Montauban (see fig. 1).2 This Judgmentof Paris appears not to be the only version of the subjectpainted by the artist; another even larger canvas is mentioned inthe 1815 sale of the Italian dealer Vittore Zanetti in Manchester,which was paired with a pendant of Homer Singing hisIliad.3 The early provenance of this picture is interesting. It was inthe collection of Antonio Piccolomini Bellanti of Siena, acollector of pictures and patron of the arts. The English pictureand print dealer Samuel Woodburn recorded a visit to his collectionin a letter of 31January 31 1822, when he noted that during a tripto Italy he had visited "Count Piccolomini Bellanti of Sienna,who is an Amateur and shewed me several pictures of goodtaste ." His collection seems to have included paintings of theSienese school, such as the Portrait of a Young Woman byGerolamo di Benvenuto (now National Gallery of Art, Washington, DC,inv. 1939.1.353) as well as a few celebrated works of art,including a supposed portrait of Petrarch's Laura.4Bellanti also seems to have been interested in contemporaryartists, and embraced the then prevailing neo-classical style. In aletter dated 18 March, 1811, the celebrated sculptor BertholdThorvaldsen writes to Bellanti, excited about his imminent trip toRome, and invites him on his visit to "scegliere uno dei mieilavori a vostro piacere , siccome sarà di mia sodisfazione ilrilasciarlo nelle mani, d'uno come Voi, intendente dell'Arte,stimandomi fortunate di vederlo unito alla vostra ottima raccolta,dove sarà veduto, e mi farà onore ."5 It is temptingto think that during this trip in 1811, Bellanti may have met andcommissioned the present work from Lethière as well. 1. In 1802-4. The relationship between the two men seems not tohave been restricted to artistic matters; Bonaparte is alleged tohave had an affair with the artist's wife.2. See "Une culture française toute imprégnée d'Italie" inPapiers d'Ingres : collections graphiques du Musée Ingres ,Montauban, 1989, p. 4, reproduced fig. 95.3. Both pictures measured 8 feet by 10 feet 8 inches. The sale isheld in Manchester, 1815, but the catalogue does not provide thedate of sale. A copy of the catalogue is in the British MuseumPrint Room, London.4. Period sources list other paintings in his collection as well,giving Bellanti a profile as an early collector of gold groundpictures. In a letter that the collector wrote in 1817 to CarloLasinio, he offers the famous curator of the Camposanto, Pisa, agroup of pictures from his collection "'Due Dittici alti circacinque terzi di braccio di molta considerazione perche sicurissimidi Duccio di Buoninsegna. Una Circoncisione di N.S. Largo circamezzo B.o di Ugolino da Siena. Due Altri Antichi poco piu grandidel precedente di qualche merito. Una Venere che esce dal Mare(larghezza d'un Br.o e un sesto) bel soggetto, e sicurissimo delSodoma di quattro figure intere. Un Q.o istoriato di cinque figureintiere alto pi' che Braccio, che sarebbe di molto effetto seripulito di Mecherino '."5. Trans: "...to choose one of my works to your taste, as it wouldbe my pleasure to turn it over to hands, of one such as you, ajudge of Art, considering myself luckily to see it joined to yourmost excellent collection, where, it being seen, will do me honor."Ernst Jonas Bencard, Kira Kofoed & Inge Lise Mogensen Bech(eds.): The Thorvaldsen Letter Archives , Thorvaldsen Museum,Copenhagen, letter from Thorvalsen, Rome 18, March 1811 toBellanti.
Guillaume Lethiere - Brutus Condemning His Sons To Death

Guillaume Lethiere - Brutus Condemning His Sons To Death

Original 1811
Estimate:

Price:

Gross Price
Lot number: 101
Other WORKS AT AUCTION
Description:
oil on canvas

PROVENANCE
Don Maxime del Campo, Chile (died 1935); R.E. Gravel, Detroit; Anonymous sale, New York, Sotheby's, 22 May 1997, lot 68, where acquired by the present owner.

CATALOGUE NOTE
The present work would appear to be a complete oil sketch for a larger finished canvas of the subject, painted in 1811 and exhibited at the Salon of 1812 (no.583), formerly in the collection of Louis XVIII and now in the Musée du Louvre, Paris (inv. no. 6228). Lethière intended to paint a series of four works, each depicting a great event from Roman history. In the end, however, he only painted Brutus Condemning his Sons to Death and The Death of Virginia, also in the Louvre. In 1812 when the larger finished version of the present work was exhibited at the Salon, Lethière had been Director of the Académie de France in Rome for five years, a position he attained with the help of Lucien Bonaparte, younger brother of Napoleon and Prince of Canino, to whom Lethière had been appointed artistic adviser in the early 19th century. Bonaparte's generosity may have arisen from his having not only conducted an illicit affair with Lethière's wife, but also from having provided her with an illegitimate son. Lethière's apparent tolerance of both his wife's and patron's behaviour, furthermore, may stem from the fact that he himself was illegitimate, the son of a white government official and a freed black slave.
Guillaume Lethiere - Portrait Of Paul Joseph Notré

Guillaume Lethiere - Portrait Of Paul Joseph Notré

Original
Estimate:

Price:

Gross Price
Lot number: 269
Other WORKS AT AUCTION
Description:
LOT 269 GUILLAUME GUILLON-LETHIÈRE GUADELOUPE 1760 - 1832 PARIS PORTRAIT OF PAUL JOSEPH NOTRÉ Black chalk and stumping, heightened with white chalk 194 by 163 mm; 7 5/8 by 6 3/8 in
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