Vicente Palmaroli Y Gonzalez

(18341896 ) - Artworks
PALMAROLI Y GONZALEZ Vicente In The Studio

Sotheby's /Apr 20, 2005
91,961.07 - 137,941.60
Not Sold

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Variants on Artist's name :

Palmaroli, Vicente

 

Along with Vicente Palmaroli Y Gonzalez, our clients also searched for the following authors:
Hendrik Pieter Koekkoek, Henri Joseph Harpignies, Henri Charles A. Baron, Marcus C. Stone, Hippolyte-Camille Delpy, Frederick Morgan, John Atkinson Grimshaw
Artworks in Arcadja
45

Some works of Vicente Palmaroli Y Gonzalez

Extracted between 45 works in the catalog of Arcadja
Vicente Palmaroli Y Gonzalez - La Sonata

Vicente Palmaroli Y Gonzalez - La Sonata

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Lot number: 171
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Description:
LOT 171 VICENTE PALMAROLI SPANISH, 1834 - 1896 LA SONATA 6,000—8,000 GBP measurements 34 by 40.7cm., 13½ by 16in. Description signed V Palmaroli lower right oil on panel PROVENANCE Wallis, London Ny Carlsberg Glyptotek, Copenhagen (inv. no. 979; purchased from the above by 1910) Sale: Winkel & Magnussen, Copenhagen, 1943, lot 161 LITERATURE AND REFERENCES Rosa Pérez y Morandeira, Vicente Palmaroli, Madrid, 1971, pp. 32-33, discussed; p. 53, no. 29, catalogued; pl. 29, illustrated
Vicente Palmaroli Y Gonzalez - A Secret Love

Vicente Palmaroli Y Gonzalez - A Secret Love

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Lot number: 83
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Description:
Vicente Palmaroli y Gonzales (Spanish, 1834-1896) A Secret Love signed 'V. Palmaroli' (lower right) oil on panel 54½ x 25¾ in. (138.4 x 65.4 cm.) Lot Notes Vicente Palmaroli y Gonzáles began his artistic training underhis father Cayetano Palmaroli, a painter and lithographer. Aftergraduating from the Academia de Bellas Artes in Madrid, he won agrant to study in Rome in 1857. His subject matter ranged fromhistory painting to portraits but it was his genre scenes that weremost praised by the public. By 1882, he was serving as the directorof the Spanish Academy in Rome. In the present work, Palmaroli,inspired no doubt by the anceint world, depicts two classicalfigures. He possessed a great sensitivity to rendering the humanfigure and has carefully considered the way the drapery of theirtogas fall on the body of the man and woman.
Vicente Palmaroli Y Gonzalez - On The Beach

Vicente Palmaroli Y Gonzalez - On The Beach

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Lot number: 105
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LOT 105 VICENTE PALMAROLI Y GONZÁLEZ SPANISH, 1834-1896 ON THE BEACH 100,000—150,000 USD measurements 30 by 19 3/4 in. alternate measurements 76.2 by 50.1 cm signed V. Palmaroli (lower right) oil on panel . CATALOGUE NOTE Early in his career, Palmaroli followed in the tradition of most other successful painters of his generation; he took the mandatory trip to Rome. However, it was in Paris where he found his greatest commercial success, so much so that he received commissions faster than he could complete his paintings (C. González and M. Marti, Spanish Painters in Paris, London, 1989, p. 199). In 1873, Palmaroli took a studio on the elegant Rue Laroche; this was also the setting for evening get-togethers with fellow Spanish artists, together with such well known personalities as Jean-Léon Gérôme and Alfred Stevens. Most likely, our painting dates to the late 1870s, as it is very close in subject and style to Alfred Stevens’s paintings of fashionable ladies from this period. Like Stevens, Palmaroli shows a stunning woman – not a beauty in the traditional sense of the word – but someone who is characterized by her style. She is dressed in the latest fashion – a beautiful ruffled skirt trimmed in lace with an embroidered bodice, and to shield herself from the wind and sand, is wrapped in a vibrantly colored velvet chenille shawl. Palmaroli’s works were avidly collected by America’s robber barons in the decades following the Civil War. We are grateful to Valerie Steele for her assistance in preparing this catalogue entry
Vicente Palmaroli Y Gonzalez - In The Studio

Vicente Palmaroli Y Gonzalez - In The Studio

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Lot number: 127
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Description:
provenance william henry vanderbilt, new york sale, parke-bernet, new york, the william h. vanderbiilt collection , april 18-19, 1945, lot 165 de koenigsberg collection, rio de janiero sale, parke-bernet, new york, october 5, 1950, lot 40, illustrated paul moro, inc., new york acquired by the parents of the present owner from the above, 1962 (thence by descent) exhibited the metropolitan museum of art, new york, extended loan of the william h. vanderbilt collection, circa 1902-1907 literature and references edward strahan, the art treasures of america , philadelphia, 1879, vol. ii, p. 114, and in the 1977 facsimile edition, vol. iii, p. 108 catalogue note throughout the nineteenth century, the opulence of the successful artist's studio was often matched by the home décor of their wealthiest collectors. as with palmaroli's view in the studio , the high style, chic accents, and beautiful models reflect a magnified reality of the artist's life. the scene seduces with both its vision of a lazy day of playing music as well as its minute details and saturated colors. with repeated viewings, new elements of the studio emerge, from the complicated patterns of the oriental rugs hanging on the wall to the soft fur of the bear rug thrown across the floor. the studio is full of artist's props: a mannequin dressed in an imposing suit of armor, an open sketchbook set against a potted palm, and an artist's palette nestled against a set of stacked canvases. the young girl, as beautiful as her surroundings, dressed in white, plays a selection from verdi's nabucco , the composer's first successful opera, which premiered in 1842. she is accompanied by a model strumming a mandolin while two others follow the tune with open sheet music. in its mix of asian, spanish, and baroque decoration, the highly styled elements of palmaroli's works made them an essential acquisition by the most important american collectors. in particular, studio scenes such as this one, and equally accomplished compositions such as alfred steven's in the studio (1889, gift of mrs. charles wrightsman, the metropolitan museum of art, new york) were seen as fitting reflections of great taste. it is no surprise, then, that the present painting's first owner was william henry vanderbilt. vanderbilt displayed the work in his new york mansion, in a gallery specially designed for the perfect display of masterpieces, as well as at the equally impressive biltmore, another of the family's homes in asheville, north carolina.
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