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10 articles
Book Review
Die Bronze, der Tod und die Erinnerung. Das Grabmal des Wolfhard von Roth im Augsburger Dom
02/2022 | 1427 | 164
Pages: 214-215
related names
Reviewer:
Williamson, Paul (Williamson, Paul)
Subjects
buildings:
Reviewed Items
subjects:
Die Bronze, der Tod und die Erinnerung. Das Grabmal des Wolfhard von Roth im Augsburger Dom Edited by Gerhard Lutz and Rebecca Müller. 256 pp. incl. 113 col. + b. & w. ills. (Dietmar Klinger Verlag, Passau, 2020), €29.90. ISBN 978–3–86328–174–8. | :
Illustrations
Western art unattributed:
3. The tomb slab of Bishop Wolfhard von Roth (d.1302), signed by Otto and Conrad. Early 14th century. Bronze, 227 by 88 cm. (Augsburg Cathedral).
Article
A competition for the funerary monument of Queen Catherine Opalinska
11/2021 | 1424 | 163
Pages: 1029-1037
related names
Author:
Pénet, Pierre-Hippolyte (Pénet, Pierre-Hippolyte)
Subjects
dates:
subjects:
Illustrations
Attributed works:
1. Design for the funerary monument of Queen Catherine Opalinska, by Jean-Baptiste Il Lemoyne. 1747. Pen and ink wash, 66.5 by 50.2 cm. (Hamburg Kunsthalle).
Attributed works:
10. Design for the funerary monument of Catherine Opalinska, attributed to Jean Joseph Vinache. 1747. Pen and ink wash, 65 by 31.2 cm. (Kunsthalle, Hamburg).
Attributed works:
11. Detail of Elevation of the front facade of the Oratory Church, Paris, by Jean François Blondel, showing the Annunication by Nicolas Sébastien Adam. c.1750. Etching and engraving, sheet 51 by 33 cm. (Bibliothèque nationale de France, Paris).
Attributed works:
12. Design for the funerary monument of Catherine Opalinska, with the flaps raised, by Nicolas Sébastien Adam. 1747. Pen and ink wash, 49.5 by 29 cm. (Kunsthalle, Hamburg; bpk).
Attributed works:
13. The drawing illustrated in Fig.12, with the flaps lowered.
Attributed works:
14. Detail of Catherine Opalinska, Queen of Poland, lying in state, by Charles Nicolas Cochin II. 1747. Etching and engraving, 66.8 by 45.5 cm. (Palais des ducs de Lorraine-Musée lorrain, Nancy).
Attributed works:
15. Funerary monument of Catherine Opalinska, by Jean Charles François. 1756. Etching and engraving, 62 by 47 cm. (Palais des ducs de Lorraine-Musée lorrain, Nancy).
Attributed works:
16. Funerary monument of Catherine Opalinska, by Nicolas Sébastien Adam. 1747–49. Marble. (Notre-Dame-de-Bonsecours, Nancy).
Attributed works:
2. View of Notre-Dame-de-Bonsecours church, Nancy. (© Ville de Nancy).
Attributed works:
3. Catherine Opalinska, by Jean-Baptiste Van Loo. 1727. Oil on canvas, 141 by 112 cm. (Château de Versailles).
Attributed works:
4. Stanislaus Leszczynski, by Jean-Baptiste Van Loo. 1727. Oil on canvas, 133 by 113 cm. (Château de Versailles).
Attributed works:
5. Design for the funerary monument of Catherine Opalinska, by Jean-Baptiste II Lemoyne. 1747. Pen and ink wash, 50.5 by 33 cm. (Kunsthalle, Hamburg).
Attributed works:
6. Design for the funerary monument of Catherine Opalinska, by Jean-Baptiste II Lemoyne. 1747. Pen and ink wash, 66.5 by 50.3 cm. (Kunsthalle, Hamburg).
Attributed works:
7. Funerary monument of Pierre Mignard, by François Bernard Lépicié. 1743. Etching and engraving, 72.5 by 48 cm. (Bibliothèque nationale de France, Paris).
Attributed works:
8. Monument to Alexander VII, by Gian Lorenzo Bernini. 1671–78. Marble. (St Peter’s Basilica, Rome).
Attributed works:
9. Design for the funerary monument of Catherine Opalinska, by Lambert Sigisbert Adam. 1747. Pen and ink wash, 46 by 25.2 cm. (Kunsthalle, Hamburg).
Article
‘Fully armed in plate of war’: making the effigy of the Black Prince
11/2021 | 1424 | 163
Pages: 997-1009
related names
Author:
Barker, Jessica (Barker, Jessica)
Author:
Mcarthur, Graeme (Mcarthur, Graeme)
Author:
Pegues, Emily (Pegues, Emily)
Subjects
media:
Illustrations
Attributed works:
14. The soffit of the tester over the monument to the Black Prince. Late fourteenth century. 440 by 192 by 30 cm. Oak, polychromy and gilding. (© Fitzwilliam Museum, Cambridge).
Attributed works:
15. Detail from La vie du Prince Noir, by the Chandos Herald, showing the Black Prince venerating the Trinity. c.1385. Illumination on parchment, octavo 23.5 by 14 cm. (Senate House, London, MS 1, fol.1; reproduced with the permission of Senate House Library, University of London).
Attributed works:
8. The Black Prince’s funeral achievements, clockwise from top left: sword, helmet, gauntlets. (Photographs by kind permission of Canterbury Cathedral).
Attributed works:
9. Endoscopic view of the interior of the effigy from the bascinet toward the chest cavity and legs. (© Waygate Technologies). a. Join of interlocking teeth connecting the torso piece with the underside of the eventail at the throat; b. Iron interlocking pins at the inside of the chest; c. Tailbone bolt; d. Pin holding the legs together at the thigh; e. Hollow legs; and f. Iron interlocking pins.
Western art unattributed:
1. The tomb of the Black Prince in its setting in the Trinity Chapel, Canterbury Cathedral. (Photograph the authors).
Western art unattributed:
10. Badge of the Black Prince venerating the Trinity. c.1376. Lead, 10.3 by 7.9 cm. (British Museum, London; © The Trustees of the British Museum).
Western art unattributed:
11. Impression of the seal of the Black Prince, affixed to a charter dated 19th July 1362. Wax, diameter 5 cm. (The National Archives, London, E/30/1106; © Lloyd de Beer, reproduced by kind permission from The National Archives, Kew).
Western art unattributed:
12. Tomb of Edward III. c.1386. Gilded brass effigy, Purbeck marble tomb chest and oak tester. (Confessor’s Chapel, Westminster Abbey, London; © Dean and Chapter of Westminster).
Western art unattributed:
13. Detail of Fig.12, showing the face of Edward III. (© Dean and Chapter of Westminster; Alamy).
Western art unattributed:
2. The effigy of the Black Prince on his tomb. c.1386. Gilded brass, with silvered and enamel details. (Trinity Chapel, Canterbury Cathedral; photograph by kind permission of Canterbury Cathedral).
Western art unattributed:
3. Detail of champlevé enamels on the effigy’s sword belt. (Photograph the authors).
Western art unattributed:
4. Drawing of the effigy, indicating names for the armour. (© Matilde Grimaldi).
Western art unattributed:
5. Side view of the effigy and tomb chest of the Black Prince. Gilded brass, enamel and Purbeck marble. (© Michael Freeman; Alamy).
Western art unattributed:
6. Drawing of the effigy, indicating its construction. (© Matilde Grimaldi).
Western art unattributed:
7. The gauntlets on the Black Prince’s effigy. (Photograph the authors).
Book Review
The Cosmatesque Mosaics of Westminster Abbey. The Pavements and Royal Tombs: History, Archaeology, Architecture and Conservation
07/2021 | 1420 | 163
Pages: 634-635
related names
Reviewer:
Donkin, Lucy (Donkin, Lucy)
Subjects
media:
styles:
Reviewed Items
subjects:
The Cosmatesque Mosaics of Westminster Abbey. The Pavements and Royal Tombs: History, Archaeology, Architecture and Conservation By Warwick Rodwell and David S. Neal et al. Two vols, 724 pp. incl. 548. col. + b. & w. ills. (Oxbow Books, Oxford, 2019) £65. ISBN 978–1–78925–234–7. | :
Illustrations
Western art unattributed:
3. Shrine of St Edward the Confessor with the tomb of King Henry III behind on the left. 1240s–50s. Westminster Abbey, London (Courtesy Dean and Chapter of Westminster).
Book Review
Stone Fidelity: Marriage and Emotion in Medieval Tomb Sculpture
04/2021 | 1417 | 163
Pages: 381-382
related names
Reviewer:
Fehrmann, Antje (Fehrmann, Antje)
Subjects
subjects:
Reviewed Items
subjects:
Stone Fidelity: Marriage and Emotion in Medieval Tomb Sculpture By Jessica Barker. 354 pp. incl. 33 col. + 63 b. & w. ills. (Boydell Press, Woodbridge, 2020),  50. ISBN 978–1–78327–271–6. | :
Article
John Flaxman’s funerary monument for the 1st Earl of Mansfield in Westminster Abbey
04/2020 | 1405 | 162
Pages: 276-287
related names
Author:
Jenkins, Susan (Jenkins, Susan)
Subjects
artists:
dates:
media:
museums and institutions:
places:
Illustrations
Attributed works:
1. The monument to the 1st Earl of Mansfield (foreground), in the north transept aisle, Westminster Abbey, London, by Frederick Evans. Photograph (detail), c.1915–30. (  Country Life; Bridgeman Images).
Attributed works:
11. Model for the monument to the 1st Earl of Mansfield, by John Flaxman. c.1795–96. Bronzed plaster, height 85.5 cm. (Sir John Soane’s Museum, London).
Attributed works:
12. The monument to William Murray, 1st Earl of Mansfield, by John Flaxman. Completed 1801. Marble, height 468 cm. (Westminster Abbey, London;   The Dean and Chapter of Westminster).
Attributed works:
13. Lord Mansfield’s monument, by Thomas Williamson and Thomas Sutherland after François Huët-Villiers. Aquatint, 29 by 20 cm. (From R. Ackermann: The History of the Abbey Church of St Peter’s Westminster, London 1812, II, plate 56).
Attributed works:
2. Sketch plan of the west aisle of the north transept, Westminster Abbey, showing the original position of the monument to the 1st Earl of Mansfield and the position to which it was moved in 1933. (Westminster Abbey, London;   The Dean and Chapter of Westminster).
Attributed works:
3. Design for the monument to the 1st Earl of Mansfield, by John Flaxman. 1793. Pen, ink and wash on paper, 19.4 by 15.8 cm. (Kunsthalle, Hamburg).
Attributed works:
4. Design for the monument to the 1st Earl of Mansfield, by John Flaxman. 1793. Pen, ink and wash on paper, 24.7 by 18.5 cm. (Scone Palace, Perthshire).
Attributed works:
5. Design for the figure of Justice on the monument to the 1st Earl of Mansfield, from a sketchbook by John Flaxman. c.1793. Pencil on paper, 10.5 by 8.25 cm. (Victoria and Albert Museum, London).
Attributed works:
6. Design for the monument to the 1st Earl of Mansfield, from a sketchbook by John Flaxman. c.1793. Pencil on paper, 10.5 by 8.25 cm. (Victoria and Albert Museum, London).
Attributed works:
7. William Murray, 1st Earl of Mansfield, by Francesco Bartolozzi after Joshua Reynolds. 1786. Stipple engraving, 48.5 by 36.1 cm. (British Museum, London).
Attributed works:
8–10. Designs for the monument to the 1st Earl of Mansfield, by John Flaxman. c.1795–96. Pencil, pen, ink and wash on paper; frontal view, 22 by 14.2 cm.; from left, 22.8 by 17.7 cm.; from right, 22 by 15.5 cm. (UCL Art Museum, University College London).
Article
A Bernini workshop drawing for a tomb monument
11/2017 | 1376 | 159
Pages: 886-892
related names
Author:
Mormando, Franco (Mormando, Franco)
Subjects
collectors and dealers:
dates:
media:
styles:
Illustrations
Attributed works:
10. Design for the tomb monument of a military officer, here attributed to the workshop of Gian Lorenzo Bernini. c. 1669 (Princeton University Art Museum, Princeton, New Jersey, acc. 216-85, Museum Purchase, gift of Charles Scribner III, in honour of Professor Irving Lavin).
Attributed works:
11. Sepulchral monument to Cardial Domenico Pimentel, by Ercole Ferrata, after a design by Gian Lorenzo Bernini. 1655-56 (S. Maria sopra Minerva, Rome; photograph Scala, Florence).
Attributed works:
12. Preliminary design for the tomb of Cardinal Domenico Pimentel, for S. Maria sopra Minerva, Rome, by Gian Lorenzo Bernini. 1655-5 (Morgan Library and Museum, New York).
Attributed works:
13. Tomb of Pope Alexander VII, designed by Gian Lorenzo Bernini. 1672-78 (St Peter's Basilica, Rome; photograph Scala/Art Resource).
Attributed works:
14. Design for a tomb to Doge Giovanni Cornaro, by Gian Lorenzo Bernini. 1653-56 (Courtauld Galler, London).
Attributed works:
16. Catafalque for the duc de Beaufort, by Gian Lorenzo Bernini. 1669 (Photograph Conway Library, Courtauld Institute of Art, London).
Attributed works:
17. Daniel, by Gian Lorenzo Bernini. c. 1655 (Musei Vaticani, Rome).
Attributed works:
18. Tommaso Rospigliosi, by Ercole Ferrata. 1669-70 (Musei Capitolini, Rome; photograph William Skinner).
Attributed works:
Design for the tomb of Pope Innocnt X, S. Agnese in Agone, Rome, by Gian Lorenzo Bernini. c. 1666-69 (The Royal Collection Trust; © Her Majesty Queen Elizabeth II 2016).
Book Review
Römische Grabmäler der Hochrenaissance. Typologie – Ikonographie – Stil
08/2012 | 1313 | 154
Pages: 581
related names
Reviewer:
Jong, Jan de (Jong, Jan de)
Subjects
dates:
places:
Reviewed Items
subjects:
Römische Grabmäler der Hochrenaissance. Typologie – Ikonographie – Stil | author: Götzmann, Jutta
Article
A neglected papal commission in Naples Cathedral: the tomb of Cardinal Alfonso Carafa
11/2011 | 1304 | 153
Pages: 712-717
related names
Author:
Caldwell, Dorigen (Caldwell, Dorigen)
Subjects
dates:
places:
subjects:
Illustrations
Attributed works:
1. Tomb of Cardinal Alfonso Carafa, by Nanni di Baccio Bigio (Giovanni Lippi) and Giovanni Domenico Bersaglia. 1567–68. Coloured marbles and Carrara marble. (Naples Cathedral).
Attributed works:
10. Aedicular altar. 2nd century AD. Coloured marble, with the statue of St Anastasius, by Francesco Moderati. c.1717. Marble. (Pantheon, Rome).
Attributed works:
11. Detail of the façade of S. Croce, Bosco Marengo, by Nanni di Baccio Bigio. 1567.
Attributed works:
2. Tomb of Pope Paul IV, by Pirro Ligorio, Girolamo da Cassignuola and Tommaso della Porta. 1566–67. Coloured marbles. (Carafa Chapel, S. Maria Sopra Minerva, Rome).
Attributed works:
3. Detail of Fig.1.
Attributed works:
4. Detail of Fig.1.
Attributed works:
5. Tomb of Cardinal Ascanio Sforza, by Andrea Sansovino. c.1507. Marble. (Choir of S. Maria del Popolo, Rome; courtesy of Alinari Archives, Florence).
Attributed works:
6. Tomb of Baldo Far­ratino, by Ippolito Scalza. c.1564. Marble. (Amelia Cathedral).
Attributed works:
7. Tomb of Cardinal Paolo Cesi, by Guglielmo della Porta. c.1567. Bronze and coloured marbles. (Cesi Chapel, S. Maria Maggiore, Rome).
Attributed works:
8. Tomb of Cardinal Federico Cesi, by Guglielmo della Porta. c.1567. Bronze and coloured marbles. (Cesi Chapel, S. Maria Maggiore, Rome).
Attributed works:
9. Entrance portal of S. Croce, Bosco Marengo, by Nanni di Baccio Bigio. 1567. Coloured marbles.
Article
Rouen (July 1903)
07/1903 | 4 | 1
Pages: 104-105
related names
Author:
Dubosc, Georges (Dubosc, Georges)
Subjects
styles: