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Giulio Romano

Italy (1499 -  1546 ) Wikipedia® : Giulio Romano
ROMANO Giulio Design For A Pitcher

Sotheby's
Jan 28, 2015
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Variants on Artist's name :

Pippi Giulio

Gianuzzi De' Giulio Di Pietro

Romain Jules

 

Artworks in Arcadja
216

Some works of Giulio Romano

Extracted between 216 works in the catalog of Arcadja
Giulio Romano - Madonna And Child (study For The Hertz Madonna)

Giulio Romano - Madonna And Child (study For The Hertz Madonna)

Original
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Gross Price
Lot number: 117
Other WORKS AT AUCTION
Description:
Giulio Pippi, called Giulio Romano MADONNA AND CHILD (STUDY FOR THE HERTZ MADONNA) ROME 1499 - 1546 MANTUA Black chalk and stumping, and heightened with white chalk or bodycolor over stylus indications; bears old attribution in pen and brown ink, lower left:Raffael da Reggio 278 by 210 mm; 11 by 8 1/4 in
Giulio Romano - Madonna And Child With The Infant Saint John The Baptist

Giulio Romano - Madonna And Child With The Infant Saint John The Baptist

Original
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Price:

Gross Price
Lot number: 34
Other WORKS AT AUCTION
Description:
Circle of Giulio Romano (Rome 1499–1546 Mantua) Madonna and Child with the Infant Saint John the Baptist, oil on panel, 62 x 49.8 cm, unframed Provenance: Private European collection This painting depicts the Madonna holding her Child to whom Saint John the Baptist, on the left, is handing a scroll with the writing “Ecce Agnus Dei”, a reference to the future Passion of Christ. The composition derives from the famous Raphael prototype, the so-called Madonna of the Rose, painted in 1517 and currently in the Museo del Prado (no. inv. P00302). The present painting is also set indoors, with the same green curtain on the right, but unlike the original there is no Saint Joseph on the left overlooking the group in the foreground. In his place, there is a shelf in the background holding a few books and a candle. The colour palette is also different compared to the Raphael prototype. The subject was chosen multiple times in Raphael’’’’’’’’s workshop which, after his death, was inherited by his most talented disciple Giulio Romano, whose entourage probably painted this panel. Giulio Romano also made a painting inspired by the Raphael prototype; it was the so-called Madonna di Novar, in the National Gallery of Scotland, Edinburgh. In this case, the scene is set in a courtyard and Saint Joseph is visible in the background under an archway holding a lantern and leading a donkey. In the present painting, Saint John is holding a yarn-winder cross, instead of the more conventional type found in the other two compositions mentioned above. This detail seems to be found only in the work of Leonardo and his disciples, showing how the anonymous artist also drew examples beyond those within Raphael and Giulio Romano’’’’’’’’s entourages.
Giulio Romano - A Roman Officer With Mounted Musicians

Giulio Romano - A Roman Officer With Mounted Musicians

Original
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Gross Price
Lot number: 4
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Description:
Lot Description

Giulio Pippi, called Giulio Romano (Rome 1499-1546 Mantua)

A Roman Officer with mounted musicians, one on an ass

with inscription 'Julio Romano'

pen and brown ink, brown wash

9½ x 10½ in. (24 x 26.5 cm.)

Provenance

N. Hone (L. 2793).

Count Moritz von Fries, his blindstamp (L. 2903).

Probably T. Thane (L. 2461), partly erased.

The Earl of Harewood; Christie's, London, 6 July 1965, lot 139 (withdrawn).

Pre-Lot Text

THE PROPERTY OF THE 7th EARL OF HAREWOOD\’\’\’\’S WILL TRUST, SOLD BY ORDER OF THE TRUSTEES

(LOTS 4, 25, 26, 38, 45, and 46)

Harewood House was built from 1759 for Edwin Lascelles (1712/13-1795), later 1st Baron Harewood, by the architect John Carr (1723-1807). With interiors by the fashionable Robert Adam (1728-1792), the house sits in one thousand acres of Lancelot \‘Capability\’\’\’\’ Brown (1716-1783) gardens. \‘I would not exceed the limits of expense that I have always set myself\’\’\’\’, Edwin Lascelles wrote to Adam in the 1760s, \‘Let us do everything properly and well, mais pas trop\’\’\’\’ (N.R. Jones, The Architecture of England, Scotland and Wales, West Port and London, 2005, p. 133). In spite of Baron Harewood\’\’\’\’s valiant attempt at economy, when construction finished in 1772, Harewood, with its imposing Palladian façade, elegant Neo-classical interiors and bespoke Chippendale furniture, was the very apogee of mid-eighteenth century extravagance. The house remained in its original Palladian form until 1843, when Henry Lascelles, the 3rd Earl of Harewood, employed the services of Sir Charles Barry (1795-1860) to make extensive renovations. Barry, then at the height of his career and simultaneously engaged with the designs for the Palace of Westminster, adapted Carr\’\’\’\’s design, adding an extra storey, a terrace and dressed the southern façade with the unmistakable trappings of the Italian Palazzo.

Beginning in the eighteenth century with Edwin Lascelles\’\’\’\’ close collaboration with cabinet maker Thomas Chippendale (1718-1779), Harewood\’\’\’\’s vast collection reflects the diverse and discerning taste of successive generations. Edward Lascelles (1740-1820), later Viscount Lascelles and the 1st Earl of Harewood, who succeeded Edwin in 1796, acquired a great many portraits by contemporary English masters, among them paintings by Thomas Gainsborough (1727-1788), Sir Joshua Reynolds (1723-1792) and Thomas Lawrence (1769-1830). The first Earl\’\’\’\’s son, also Edward Lascelles (1764-1812), later Viscount Lascelles, was a talented amateur water-colourist, and it was no doubt due to his passion that Harewood acquired a fine collection of English watercolours. Several views of the house and its gardens by J.W.M. Turner and Thomas Girtin, the latter favoured by the family, were executed in situ, with both artist visiting the estate on numerous occasions.

The major part of the collection of Old Master drawings was only assembled in the early twentieth century by Henry Lascelles (1882-1947) who would become the 6th Earl of Harewood in 1929. Advised by the distinguished Renaissance scholar and dealer, Tancred Borenius (1885-1948), Lascelles acquired, via the dealer Agnew, important drawings at the Pembroke (1917), Poynter (1918) and Northwick (1921; the drawings by Cossiers, Claude, and Watteau in the present sale [lots 38, 45, and 46] were acquired at that auction ) sales. Very few acquisitions are documented after 1921 with the notable exception of a magnificent study by Pietro da Cortona in the 1936 Oppenheimer sale and of the two drawings by Giovanni Battista Tiepolo included in the present sale bought at auction in 1938. The collection, which was never large in number, constituted mostly of Italian drawings with a predilection for the Venetian school (it included, for example, major sheets by Carpaccio, Titian, and Veronese). Forty drawings from Harewood were sold in these rooms on 6 July 1965 (lots 115-148).

View Lot Notes >
Giulio Romano - Design For A Pitcher

Giulio Romano - Design For A Pitcher

Original
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Price:

Gross Price
Lot number: 14
Other WORKS AT AUCTION
Description:
Giulio Pippi, called Giulio Romano

ROME 1499 - 1546 MANTUA

DESIGN FOR A PITCHER

Pen and brown ink and wash, the outer edges silhouetted

350 by 221 mm; 13¾ by 8 2/3 in

Read Condition Report Read Condition Report

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Saleroom Notice

Provenance

Private Collection, Italy,

sale, Milan, Sotheby's, 8 May 2002, lot 1284,

where acquired by the late Jan Krugier

This sensitive, elegantly modeled drawing is a characteristic example of Giulio's designs for tableware. Others are in various collections, including the British Museum and Christ Church, Oxford. Frederick Hartt believes these drawings were made soon after Giulio's arrival in Mantua in 1524 and before he started work on the Palazzo Te in 1536.

1

1
F. Hartt, Giulio Romano, New Haven 1958, vol. I, pp. 86-88

The original drawing has been silhouetted around the outer edge of the pitcher and then laid down on paper, which in turn has been hinge mounted. The drawing itself is in good condition with only some minor areas of surface dirt to the sheet. The pen and wash medium is fresh throughout. Sold in a modern carved and giltwood frame. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Giulio Romano - The Muses Dancing With Apollo

Giulio Romano - The Muses Dancing With Apollo

Original
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Net Price
Lot number: 680
Other WORKS AT AUCTION
Description:
Giulio Romano (1499-1546)
(Italian, 1499-1546) The Muses Dancing with Apollo, late 19th century copy after a painting held by the Pitti Palace, signed verso " L. Galli" and inscribed and stamped with retailer's name "Louis Pisants Picture Galleries..Florence..", oil and gilding on panel, 13-3/4 x 31-1/4 in.; fine carved and gilt wood and composition frame,
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