‎MOORE Henry‎
‎Sculpture‎

‎Collection de 19 reproductions d'intailles et camées en plâtre représentant des sujets classiques, présentés dans une boite en chêne à couvercle. Superbe et rare collection de camées à l’antique formant un musée miniature de l’histoire de l’art et de la sculpture néoclassique.‎

‎Très rare exemplaire complet de ce souvenir du grand Tour, en parfait état de conservation. Rome, c. 1820. Les moulages en plâtre sont bordés de papier plié et doré à la main, montés sur un support de papier bleu, tels qu'émis par Giovanni Liberotti. Une feuille en papier portant en italien la liste des 19 œuvres représentées sur les camées, est collée à l'intérieur du couvercle (telle que parue) avec le nom de l'acheteur Mary Salmon écrit en bas, très bon état de conservation. Dimensions de la boite: 304 x 213 mm.‎

‎[video width="3840" height="2160" mp4="https://www.camillesourget.com/wp-content/uploads/2025/05/Untitled-design.mp4"][/video] Ces camées en plâtre font partie d’une collection réalisée à Rome vers 1820 par Giovanni Liberotti. Ils reproduisent une sélection d’architectures et d’œuvres d’art célèbres visibles à Rome, Florence, Milan, Paris et dans quelques grandes collections particulières. Placés dans des coffrets en bois facilement transportables et accompagnés de légendes, les ensembles de ce type étaient vendus aux riches voyageurs Européens qui visitaient l'Italie dans le cadre du Grand Tour. Rome était la destination ultime et une visite des trésors contenus dans ses nombreux musées complétait l'éducation d'un jeune homme. La collection de boîtes contenant des moulages en plâtre d’œuvres d’art classiques était un passe-temps à la mode et un précieux "aide-mémoire" des mythologies, des dieux et des événements historiques représentés sur les délicats camées. Les Liberotti Impronte ont été commercialisés par Giovanni Liberotti, graveur de gemmes romain qui se spécialisa dans la confection de ces souvenirs. Ils étaient alors vendus par série, représentant les œuvres des sculpteurs de l'époque comme Canova ou Thorvaldsen, ainsi que de peintres comme Léonard de Vinci. Chaque boîte renfermait les camées de plâtre contrecollés en regard de la liste manuscrite des œuvres. Cet ensemble de dix-neuf empreintes en plâtre d'intailles représentant principalement des sujets classiques a été réalisé à Rome vers 1820. Sur la face interne du couvercle se trouve la liste manuscrite des titres des œuvres représentées: 1 - L’Aria, Thorvaldsen 2 - Laocoon, al Vaticano 3 - L’acqua, Thorvaldsen 4 - Michail Angiolo, da una pittura a Firenze 5 - Il trionfo di Alessandro, Thorvaldsen 6 - Raffaele Sancio de Urbino, al Vaticano 7 - Il Marchese, Canova 8 - Il Cav., Thorvaldsen 9 - Il leone de Canova 10 - La Maddalena, Canova a Parigi si vendita 11 - Altro Leone de Canova 12 - Torquato Tasso al Museo Campidaglio 13 - Il Giove 14 - La Minerva nella Galleria a Firenze 15 - Petrarca al campidoglio 16 - La Mercantessa d’amore a Napoli 17 - La Terra elementa del Cav. Thorvaldsen 18 - La Magdelena di Guido a Milano 19 - Il Fuoco elemento Thorvaldsen. Antonio Canova (1757-1822) et Bertel Thorvaldsen (1770-1844), ces géants de la sculpture néoclassique, ont tous deux travaillé à Rome durant cette période. Le sculpteur danois néo-classique Bertel Thorvaldsen fit l'essentiel de sa carrière à Rome où il était connu comme l'un des meilleurs sculpteurs de son temps. On lui doit notamment le tombeau du pape Pie VII à la basilique Saint-Pierre de Rome et le monument du Lion de Lucerne commémorant le massacre des Gardes suisses aux Tuileries. “Both artists re-interpreted themes from the Classical World and used new techniques in the creation of their works Italian Antonio Canova (1757-1822) and Danish Bertel Thorvaldsen (1770-1844) were rivals and created works of art that inspired their contemporaries and generations of artists that followed. Italy and especially the city of Rome played a central role in both sculptors’ lives and careers: Canova arrived in Rome in 1781 and remained until he died in 1822, while Thorvaldsen settled there in 1797 to spend the next 40 years in the city. Their competition was extremely fruitful as they worked on the same themes and subjects from the Classical World. They not only innovated the style of sculpture but also promoted new techniques. Each one had his own large studio employing numerous colleagues and students that gave him space for experimentation. Their careers were accompanied by technical innovations like the use of preparatory plaster models, which gave them the chance to design statues following only their ideas without being dependent on a commissioner.” (Exhibition “Canova and Thorvaldsen. The birth of modern sculpture”, held 2019/2020 in the Gallerie d’Italia in Milan). L'acquéreur du coffret, Mary Salmon, dont le nom est inscrit au bas de la feuille explicative, a vraisemblablement choisi elle-même les différents moulages. Le boîtier en chêne robuste était nécessaire pour protéger le contenu pendant le voyage de retour en Angleterre. Très rare exemplaire complet de ce souvenir du grand Tour, en parfait état de conservation.‎

‎Emerging Naturalism: Contexts and Narratives in European Sculpture 1140-1220‎

‎, Brepols - Harvey Miller, 2020 Hardcover, 436 pages, 156 b/w ill. + 18 colour ill., 220 x 280 mm, Languages: English. ISBN 9782503574486.‎

‎For many decades, specialists in Romanesque and Early Gothic art and architecture have questioned the usefulness of traditional stylistic terminology. It is regarded as having limited relevance insofar as it fails to reflect the complexity and plurality of the period under discussion. Nor does it embrace functional, formal or iconographic specificities. Despite these deficiencies, we still have no better way of referring to the art of the period than Romanesque, Late Romanesque or Early Gothic which we make yet more cumbersome by adding a geographical or political term. Of the various media which were affected by artistic innovation in Europe during the second half of the 12th century, particular attention has been paid to stained glass, manuscript illumination, metalwork and enamel. Monumental sculpture was equally subject to profound change during the period, in addition to developing in directions that were largely independent of other media. As a result, late Romanesque sculpture extends across the period from 1140 to 1220, from Saxony to Galicia, though it is still impossible to encapsulate in a single statement what this complex network represented. However, the attainment of a compelling naturalism does seem to have been a shared aspiration among Latin European sculptors. Emerging Naturalism: Contexts and Narratives in European Sculpture 1140?1220 offers a panoramic analysis of this artistic landscape, focused on a central issue in medieval European artistic production. To narrow this field of study, the book concentrates on the innovations and solutions adopted in the great church workshops of western Europe. Gerardo Boto Varela teaches art history at the Universitat de Girona (Spain), is leader of the international research group Templa, and scientific editor of the journal Codex Aquilarensis. Revista de Arte Medieval. His research concentrates on spatial, pictorial, and liturgical aspects of Spanish ecclesiastical architecture from the tenth to thirteenth centuries, as well as on dynastic tombs and memorial culture in Medieval Iberia. Marta Serrano Coll teaches art history at the Universitat Rovira i Virgili in Tarragona (Spain) and specializes in Medieval architecture and sculpture, particularly in Catalonia. Her research interests include the display of power through artworks and royal patronage in the Iberian Peninsula during the Middle Ages. In addition, she has published in the field of Romanesque sculpture and hagiographical studies. John McNeill teaches at Oxford University?s Department of Continuing Education, and is Honorary Secretary of the British Archaeological Association, for whom he has edited and contributed to volumes on Anjou, King?s Lynn and the Fens, the medieval cloister, and English medieval chantries. He was instrumental in establishing a biennial International Romanesque Conference Series and has a particular interest in the design of medieval monastic precincts. Table of Contents Emerging Naturalism and a New Medieval Morphology ? Herbert L. Kessler I.Shaping Late Romanesque Sculpture. Balance and Perspective The Attainment of a Compelling Naturalism in Sculpture c. 1200 ? Gerardo Boto Varela What is So-Called Late Romanesque Sculpture? ? Xavier Barral i Altet II. Late Romanesque / Early Gothic Sculpture in European Cathedrals (1140?1220) The Role of Burgundy in the Development of the First Column-Statues ? Marcello Angheben Late Romanesque Sculpture and the Cathedrals of South-Western France ? Quitterie Cazes An Enigma Put Aside. The Origin and Interpretation of a Decontextualized Capital from Saint Trophime at Arles ? Juan Antonio Ola eta Around and After 1200. Old and New Concepts of Monumental Sculpture in the German Territories of the Holy Roman Empire ? Claudia R ckert Sculpture and Liturgy: Monuments and Art Histories of Southern Italy (c. 1150?1250 and Beyond) ? Elisabetta Scirocco Old Testament Sacrifice and Thirteenth-Century Tithe: Cain and Abel in the Architectural Sculpture of the Holy Roman Empire ? Stephanie Luther Late Romanesque Sculpture in England. How Far Can the Evidence Take Us? ? John McNeill The Gothic Last Judgment Portal c. 1210. Visual Strategies and Communicative Function ? Bruno Boerner Aesthetics and the Imitation of Antiquity in Early Gothic Sculpture ? Laurence Terrier Aliferis III. Sculptural Visualisations in the Cathedrals of the Iberian Kingdoms (1160?1220) The Reception of Burgundian Models in the Second Half of the Twelfth Century and the Naturalist Redefinition of Romanesque Sculpture in Castile ? Marta Poza Yag e Master Mateo and the Cathedral of Santiago at the End of the Twelfth Century ? Ram n Yzquierdo Peir Late Romanesque Sculpture in the Kingdoms of Leon and Castile: Continuity or Change? ? Jos Luis Hernando Garrido & Antonio Ledesma Romanesque Sculpture in Portuguese Cathedrals: Models, Continuity and Adaptation ? Carla Varela Fernandes & Paulo Almeida Fernandes The Meaning of the Romanesque Sculpture in the C mara Santa at the Cathedral of Oviedo ? C sar Garc a de Castro Vald s Images and Stories: The Transformation of Space in the Cathedrals of the Ebro Valley ? Esther Lozano L pez The Vault Corbels in the Cloister of Tarragona Cathedral: Shaping a New Pictorial Corporeality that Goes Beyond the Late Romanesque ? Gerardo Boto Varela & Marta Serrano Coll‎

‎Dictionnaire portatif des beaux-arts, ou Abrégé de ce qui concerne l’Architecture, la Sculpture, la peinture, la Gravure, la Poésie & la Musique.‎

‎A Paris, Chez Jean-Th. Herissant, 1759. In-8 de VIII, 686, [1 f.], 19 pp. Plein veau fauve moucheté, dos lisse orné, pièce de titre maroquin rouge, tranches marbrée. ‎

‎ Mors frottés, légères épidermures aux coiffes. ‎

‎Leiko Ikemura: Skulptur Malerei Zeichnung / Sculpture, Painting, Drawing,‎

‎Bilingue allemand/anglais, exposition à Recklinghausen - Kaiserslautern - Ulm, 2004-2005, édité par Recklinghausen, Kunsthalle, 2004, 189 pp., relié, jaquette avec de très légères traces d'usage, bon état.‎

‎Sculpture et peinture Baroques, ‎

‎Albin Michel, L'art dans le monde, 1974, 276pp., relié toile, boîtier avec petites rousseurs, dos insolé, état très correct.‎