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Anton Von Maron

Austria (1733 -  1808 )
von MARON Anton Portrait Of A Gentleman, Half Length, Wearing A Blue Coat Andwaistcoat, Holding A Hat

Sotheby's
Oct 30, 2008
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Artworks in Arcadja
54

Some works of Anton Von Maron

Extracted between 54 works in the catalog of Arcadja
Anton Von Maron - Portrait Of Two Gentlemen Before The Arch Of Constantine In Rome

Anton Von Maron - Portrait Of Two Gentlemen Before The Arch Of Constantine In Rome

Original
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Price:

Gross Price
Lot number: 109
Other WORKS AT AUCTION
Description:
Anton von Maron (Vienna 1733–1808 Rome) Portrait of two Gentlemen before the Arch of Constantine in Rome, signed and dated lower left: Ant. Maron fe. Rom 1767, oil on canvas, 137 x 100.5 cm, framed

Provenance: Collection Andrea Busiri Vici, Rome; and thence by descent to the present owner Exhibited: Rome, Palazzo delle Esposizioni, il Settecento a Roma, 19th March- 31st May 1959 (as Anton von Maron); Rome, Museo di Roma, Palazzo Braschi, Artisti austriaci a Roma dal barocco alla secessione, March-April 1972 (as Anton von Maron) Literature E. Lavagnino (ed.), Il Settecento a Roma, exibition catalogue 1959, p. 148. no. 373, fig. 72 (as Anton von Maron); B. Skinner, Settecento a Roma Exhibtion, in: The Burlington Magazine, 101/1959, p. 291-295; M. Weingartner, Porträts aus Mengs Schule, in: Römische Historische Mitteilungen, V, 1961-1962, pp. 236-237 (as Anton von Maron); A. Busiri Vici, Ritratti di Nathaniel Dance tra Ruderi e Salotti, in: Capitolium, 1965, p. 384-391; S. Roettgen, \“Antonius de Maron faciebat Romae\” Intorno all\’\’\’\’\’\’\’\’Opera di Anton von Maron a Roma, in Artisti austriaci a Roma dal Barocco alla Secessione, exhibition catalogue, Rome 1972, p. 165, no. 228 (as Anton von Maron); S. Rudolph, La pittura del ´700 a Roma, Milan 1983, fig. 448; A. Busiri Vici, Thomas Jenkins fra l\’\’\’\’\’\’\’\’Arte e l\’\’\’\’\’\’\’\’Antiquariato, in: Rivista l\’\’\’\’\’\’\’\’Urbe, 5-6, September-December 1985, p. 158, ill. no. 1 (as Anton von Maron); A. Ryszkiewicz, Un souvenir polonais du Grand Tour, in: Bulletin du Musée National de Vasovie, XXXI, no. 4, 1990, p. 92, fig.4 (as Anton von Maron); G. Sestieri, Repertorio della Pittura Romana della Fine del Seicento e del Settecento, vol 1, Turin 1994, p. 121; C. v. Schultzendorff, Aufstieg und Niedergang des Dilittanten: Zur Darstellung und Bewertung der \“dilettanti\” in der englischen Malerei und Graphik 1720-1830, Bonn 1999, p. 89; F. Petrucci (ed.), I Volti del Potere ritratti di uomini illustri a Roma dall\’\’\’\’\’\’\’\’Impero Romano al Neoclassicismo, Roma 2004, p. 13-24, fig. 46; A. Lo Bianco, A Negro (ed.), Il Settecento a Roma, exhibition catalogue, Cinisello Balsamo - Milan 2005, p. 239, no. 135, fig. 135; I. Schmittmann, Anton von Maron (1731–1808), Leben und Werk, Munich 2013, p. 257-258, ill. no. 68, tf. 11 (as Anton von Maron) The present signed and dated painting by Anton von Maron was exhibited for the first time in Rome in 1959 (see: Il Settecento a Roma, exhibition catalogue, Rome 1959). Cited in all of the literature on von Maron, this painting was produced in Rome in 1767, by which date the painter was already a member of the Accademia di San Luca. It represents two individuals in front of the Arch of Constantine and it belongs in the category of \‘souvenir\’\’\’\’\’\’\’\’ portraits that were greatly in vogue during the 18th century among the wealthy and discerning participants of the so-called Grand Tour. This work immediately found such success that only a year later, in 1768, the antiquarian James Bryce requested a licence to export it from Italy, listing: \‘…due ritratti pure originali di Monsieur Maron…\’\’\’\’\’\’\’\’ [\‘…two portraits, also originals, by Monsieur Maron…\’\’\’\’\’\’\’\’] (see: A. Ryszkiewicz, \‘Un souvenir polonais du Grand Tour\’\’\’\’\’\’\’\’, in Bulletin du Musée National de Vasovie, XXXI, no. 4, 1990, p. 92). It was mostly the British who undertook the Grand Tour and consequently they established the prerequisites of this educational journey, formulating the objectives of this cursus honorum, fixing the itinerary and instituting the indispensable destinations. Each traveller had differing professional interests: artists, writers, philosophers and scientists, consequently each had somewhat different objectives. However, there was a common interest that induced everyone to visit Rome with its churches, ruins and antiques shops. There was also a fascination with the city\’\’\’\’\’\’\’\’s incomparable archaeological sites, where anyone with a little money could open an excavation. It has not yet been possible to identify the two individuals represented in the present painting, however, it is probably that the comfortably seated figure represents a young English Lord, and the man standing beside him, his guide, or tutor. The nobleman is sumptuously dressed, the pilgrim\’\’\’\’\’\’\’\’s staff rests on his left arm, and beside him are his sword and his dog: the unmissable attributes of British culture and nobility. Next to him, the standing cicerone is intent on pointing something out before them. Beyond, the Arch of Constantine completes and contextualises the whole composition. The scholar Caterina Manca di Villa Hermosa believes, on the basis of comparisons with his portrait in the National Portrait Gallery, London (inv. 213), that the Bear-leader may be identified as the Irish painter James Barry, who was active in Rome from 1766 to 1771 (see Il Settecento a Roma, exhibition catalogue, Rome 2005, p. 239, cat. 135). Anton von Maron, was one of the first artists to pose his sitters en plein air before the monuments and together with Nathaniel Dance and Pompeo Battoni, were the most sought after \‘souvenir\’\’\’\’\’\’\’\’ portraitists of the visiting aristocracy. Other fine examples in this genre include Batoni\’\’\’\’\’\’\’\’s portrait of Sampson Gideon and his tutor Basti, painted in the same year as the present painting (see: A. Ryszkiewicz, op. cit., p. 90, fig. 3), or that by Dance of the Hope brothers with their tutor William Rouet (see: A. Bustri Vici, \‘Ritratti di Nathaniel Dance tra Ruderi e Salotti\’\’\’\’\’\’\’\’, in Capitolium, 1965, p. 384-391, ill. P. 389). Following his formative training at the Vienna Academy of Fine Arts, von Maron established himself in Rome in 1755 and began working in the studio of Mengs, becoming both his pupil, and in 1765, his brother-in-law when he married the master\’\’\’\’\’\’\’\’s sister. When Mengs\’\’\’\’\’\’\’\’ departured for Madrid in 1761, von Maron\’\’\’\’\’\’\’\’s independent career flourished and he became the favoured portraitist of scholars undertaking the Grand Tour. He was in competition with Batoni and adopted similar style and settings for his portraits. In 1766, von Maron was admitted to the Accademia di San Luca, where he became the director. Duke Leopold III, Friedrich Franz von Anhalt-Dessau and Sir William Hamilton were amongst his important patrons.
Anton Von Maron - Portrait Of Prince William Henry

Anton Von Maron - Portrait Of Prince William Henry

Original 1743
Estimate:

Price:

Lot number: 179
Other WORKS AT AUCTION
Description:
Lot Description

Anton von Maron (Vienna 1733-1808 Rome) Portrait of Prince William Henry (1743-1805), 1st Duke of Gloucester, half-length, in military dress, his right hand resting on a jousting helmet oil on canvas 34 x 27 ¼ in. (86.4 x 69.2 cm.)

Lot Condition Report

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Provenance

Anonymous sale; Dorotheum, Vienna, 21 April 2010, lot 31, where acquired by the present owner.

Literature

(Probably) J. Ingamells, A Dictionary of British and Irish Travellers in Italy 1701-1800, New Haven and London, 1997, p. 403. A. Cesareo, '"The call him Ilustrissimus and kiss his hand..." Su un Ritratto inedito di William Henry duca di Gloucester ed Edimburgo', in Studi sul Settecento Romano, Palazzi, chiese, arredi e scultura, I, Rome, 2011, p. 305, fig. 3. I. Schmittmann, Anton von Maron (1731-1808), Leben und Werk, Munich, 2013, pp. 413-15, no. UBG4, fig. 152.
View Lot Notes >
Anton Von Maron - Portrait Of A Gentleman, Half Length, Wearing A Blue Coat Andwaistcoat, Holding A Hat

Anton Von Maron - Portrait Of A Gentleman, Half Length, Wearing A Blue Coat Andwaistcoat, Holding A Hat

Original
Estimate:

Price:

Gross Price
Lot number: 159
Other WORKS AT AUCTION
Description:
Measurements note
75.5 by 62 cm.; 19 3/4 by 14 3/8 in.
DESCRIPTION
oil on canvas, in an elaborate carved and gilt wood frame
PROVENANCE
Anonymous sale, New York, Sotheby's, 26 May 2007, lot 57.
CATALOGUE NOTE
We are grateful to Dr. Edgar Peters Bowron for suggesting theattribution to Von Maron on the basis of photographs.
Anton Von Maron - Portrait Of A Gentleman, Half Length, Wearing A Blue Coat And Waistcoat, Holding A Hat

Anton Von Maron - Portrait Of A Gentleman, Half Length, Wearing A Blue Coat And Waistcoat, Holding A Hat

Original
Estimate:

Price:

Lot number: 119
Other WORKS AT AUCTION
Description:
measurements note
75.5 by 62 cm.; 19 3/4 by 14 3/8 in.
oil on canvas, in an elaborate carved and gilt wood frame

PROVENANCE

Anonymous sale, New York, Sotheby's, 26 May 2007, lot 57.

CATALOGUE NOTE

We are grateful to Dr. Edgar Peters Bowron for suggesting the attribution to Von Maron on the basis of photographs.
Anton Von Maron - Portrait Of Elizabeth Hervey

Anton Von Maron - Portrait Of Elizabeth Hervey

Original
Estimate:

Price:

Gross Price
Lot number: 21
Other WORKS AT AUCTION
Description:
Anton von Maron (1733-1808)
Portrait of Elizabeth Hervey (1733-1800), wife of the 4th Earl ofBristol, three-quarter-length, seated in a salmon pink dress withlilac bowes, the Giant's Causeway, Co. Antrim beyond
oil on unlined canvas
38¾ x 29½ in. (98.5 x 75 cm.)
Lot Notes
The sitter was the daughter of Sir Jeremyn Davers, Bt., ofRushbrooke Park, and his wife, Margaretta, daughter of the ReverendEdward Green. In 1752, she married Frederick Augustus Hervey(1730-1803), 4th Earl of Bristol, with whom she had three daughtersand two sons, John Augustus, Lord Hervey, and Frederick William,later 5th Earl and 1st Marquess of Bristol.
Elizabeth Hervey's husband, one of the most remarkable andeccentric men of his generation, was an inveterate traveller and apassionate art collector; J. Ingamells, editor of A Dictionary ofBritish and Irish Travellers in Italy 1701-1800, described him as:'a capricious patron of the fine arts, an indiscreet and wittyconversationalist, and an eager student of geology, vulcanology andantiquity' (Dictionary compiled from the Brinsley Ford Archive,London, 1997, p.126). As the third son of Lord John Hervey(1696-1743), eldest son of the 1st Earl of Bristol, FrederickHervey had thought initially of a legal career, but decided to optfor the church. When his elder brother, the 3rd Earl of Bristol,was appointed Lord Lieutenant of Ireland in 1766, he was appointedhis chaplain. His brother later secured for him the Bishoprics ofCloyne (1767) and Derry (1768). Having increased the income fromhis Derry estate to £20,000 a year, Hervey was able to indulge morefully in his passion for travelling and acquiring works of art,which led to increasingly prolonged absences from Ireland.
Frederick Hervey spent a total of eighteen years in Italy over thecourse of five separate visits. Elizabeth accompanied her husbandon his first trip to Italy, between 1765 and 1766, during whichHervey witnessed an eruption of Vesuvius; and his son, John, joinedhim on his second, from 1770 to 1772, when the pair pursuedgeological interests. It was during Hervey's third trip to Italy,between 1779 and 1779, with his wife and youngest daughter, Louisa,that he turned his attentions more seriously to the patronage ofart; gaining himself a reputation as 'one of the eminent and, atthe same time, most open-minded of patrons of the arts' (E.P.Bowron and J.J. Rishel, Art in Rome in the Eighteenth Century,Exhibition Catalogue, Philadelphia Museum of Art, 2000, p.399).Hervey arrived in Italy with his family in September 1777 andvisited Verona, Valdagno, Vicenza, Padua, Bologna and Florence,before travelling to Rome in November. Shortly after his arrival inRome, Hervey commissioned a portrait of himself by Pompeo Batoni(Private Collection) and this portrait of his wife by Anton vonMaron. He also set about acquiring works for the bishopric,commenting: 'I cannot resist the temptation of being extravaganthere especially when it is with a view of beautifying dear Ireland'(Ingamells, op.cit, p.127).
News of Frederick Augustus Hervey's succession to the Earldom, as4th Earl of Bristol, on the death of his elder brother in 1779,reached Rome in January 1780, prompting the Earl-Bishop's (as hewas subsequently known) return to Ireland. After which the couplebecame increasingly estranged. Hervey's income as Bishop of Derryhad already enabled him to build a vast mansion at Downhill on theNorth coast of Co. Londonderry and to embellish his diocese withnew churches, however, he was now able to build two other greathouses, Ballyscullion, in Co. Londonderry (begun in 1787), andIckworth, in Suffolk (begun in 1795). These buildings were designedwith unusual central rotundas, which were largely conceived todisplay the magnificent collections he was assembling on histravels.
Prince Augustus of Saxe-Coburg mentioned seeing a portrait of Mrs.Hervey in Anton von Maron's studio in his diary entry for 7 May1778. The present portrait is one of three known versions of thisportrait type. A portrait of the same composition and format as thepresent picture, signed and dated 1779, is recorded in a privatecollection; a composition of smaller format is in theGemäldegalerie, Vienna. The inclusion of the Giant's Causeway inthe background of both of the larger format versions alludes to thefamily's Irish connections and the sitter's husband's geologicalinterests.
For information on the artist please see lot 20.
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