Null 重要的SPENCER & PERKINS支架壁炉钟。伦敦,约1750年。
漆木和鎏金铜器。
有音乐自动装置。
有9个钟的报时和移动的数字。
尺寸:67…
描述

重要的SPENCER & PERKINS支架壁炉钟。伦敦,约1750年。 漆木和鎏金铜器。 有音乐自动装置。 有9个钟的报时和移动的数字。 尺寸:67 x 37 x 24厘米。 乔治二世时期制造的英国支架钟。它的外壳是由漆木制成的,有镀金的青铜应用,有浮雕的装饰图案。它有一个建筑结构,侧翼装饰着女性人物的托架,其风格介于希腊和埃及的遗产之间。它有9个铃铛,包括鼓膜上描绘的乡村场景中的运动人物。铜制的还有立面四角的镂空格子,侧面和阶梯状穹顶的衬里,以及脚和装饰侧面的花串。珐琅表盘上有斯宾塞和帕金斯的签名,并有黑色的罗马数字。它伴随着两个用于报时功能的小表盘。 英国支架钟主要因其机制而闻名,但也因其装饰而闻名。这种类型的时钟起源于20世纪60年代,当时钟摆被应用于时钟,取代了以前的 "foliot "调节器或平衡装置。这一变化使得有必要为机械装置提供一个外壳,以保护它免受可能改变其运动的冲击。这就是在英国被称为托架的手表的起源,即便携式手表。这些是短小的表壳,里面有一个夹在两块厚板之间的机械装置,并包含了作为每列火车的驱动力的轮毂和蜗牛的组合。这些钟最初是要放在一个支架上的,因此它们的英文名字叫 "支架"。这个支架是一个独立的部件,通常是在同一时间制造的,其装饰与时钟相匹配。然而,后来,底座和时钟开始被分开制作。 英国人发展了一种有别于欧洲其他国家的制表技术,其基础是由专门的工场生产出技术上非常完美的产品。表壳是由橱柜制造商制作的,他们丰富了手表的内容,使其成为真正的珠宝。因此,在整个18世纪,英国的钟表都是英国橱柜制造业风格演变的证据,从威廉和玛丽以及安妮女王模式开始,经过奇彭代尔和赫普尔维特风格,最后回归到古典主义的亚当、谢拉顿和最后的摄政时期。至于支架钟的具体类型,它在整个18世纪都保持着优雅和庄严的外观,而到了该世纪末,表壳将变得更大,更有纪念意义。即使在17世纪,其制造材料通常是乌木或玳瑁,结合青铜应用。从1670年起,橄榄木和胡桃木也很常见,后来开始使用黄铜。从1720年代起,这些木材被桃花心木所取代,因为桃花心木更适合新的品味。另一方面,表盘通常在前板上刻有数字,或加入银色的小时刻度。后来,其他元素也被添加进来,如位于中央弧线一侧的秒针,或日期,这将被包含在表盘上。甚至还包括月相的表盘。

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重要的SPENCER & PERKINS支架壁炉钟。伦敦,约1750年。 漆木和鎏金铜器。 有音乐自动装置。 有9个钟的报时和移动的数字。 尺寸:67 x 37 x 24厘米。 乔治二世时期制造的英国支架钟。它的外壳是由漆木制成的,有镀金的青铜应用,有浮雕的装饰图案。它有一个建筑结构,侧翼装饰着女性人物的托架,其风格介于希腊和埃及的遗产之间。它有9个铃铛,包括鼓膜上描绘的乡村场景中的运动人物。铜制的还有立面四角的镂空格子,侧面和阶梯状穹顶的衬里,以及脚和装饰侧面的花串。珐琅表盘上有斯宾塞和帕金斯的签名,并有黑色的罗马数字。它伴随着两个用于报时功能的小表盘。 英国支架钟主要因其机制而闻名,但也因其装饰而闻名。这种类型的时钟起源于20世纪60年代,当时钟摆被应用于时钟,取代了以前的 "foliot "调节器或平衡装置。这一变化使得有必要为机械装置提供一个外壳,以保护它免受可能改变其运动的冲击。这就是在英国被称为托架的手表的起源,即便携式手表。这些是短小的表壳,里面有一个夹在两块厚板之间的机械装置,并包含了作为每列火车的驱动力的轮毂和蜗牛的组合。这些钟最初是要放在一个支架上的,因此它们的英文名字叫 "支架"。这个支架是一个独立的部件,通常是在同一时间制造的,其装饰与时钟相匹配。然而,后来,底座和时钟开始被分开制作。 英国人发展了一种有别于欧洲其他国家的制表技术,其基础是由专门的工场生产出技术上非常完美的产品。表壳是由橱柜制造商制作的,他们丰富了手表的内容,使其成为真正的珠宝。因此,在整个18世纪,英国的钟表都是英国橱柜制造业风格演变的证据,从威廉和玛丽以及安妮女王模式开始,经过奇彭代尔和赫普尔维特风格,最后回归到古典主义的亚当、谢拉顿和最后的摄政时期。至于支架钟的具体类型,它在整个18世纪都保持着优雅和庄严的外观,而到了该世纪末,表壳将变得更大,更有纪念意义。即使在17世纪,其制造材料通常是乌木或玳瑁,结合青铜应用。从1670年起,橄榄木和胡桃木也很常见,后来开始使用黄铜。从1720年代起,这些木材被桃花心木所取代,因为桃花心木更适合新的品味。另一方面,表盘通常在前板上刻有数字,或加入银色的小时刻度。后来,其他元素也被添加进来,如位于中央弧线一侧的秒针,或日期,这将被包含在表盘上。甚至还包括月相的表盘。

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School of VAN DYCK (Antwerp, 1599 - London, 1641); second third 17th century. "Virgin and Child. Oil on canvas. Re-tinted. It has repainting on the pictorial surface and perforation of the canvas. It has a 19th century frame. Measurements: 121 x 105 cm; 138 x 121 cm (frame). In the present work the painter, belonging to the school of Van Dyck, in fact follows the model of the master's painting entitled Virgin and Child (1630-632) which is currently in the Royal Collection (England). This representation of the Virgin and Child is indebted to Titian's Virgin and Child with Saints Stephen, Jerome and Maurice of c.1520 (now in the Louvre) which Van Dyck had seen in Italy. Van Dyck removed the three saints and instead focused on the Virgin and Child, eliminating the narrative features of the original and creating a pure, devotional image. The artist concentrates exclusively on the two figures, who, while absorbed in the everyday playfulness of children's games, present this divine union. The Virgin and Child are positioned facing the viewer, and the artist succeeds in conveying the naturalness of the gesture of the child, who leans on his mother and looks at a point outside the painting. Since the end of the Middle Ages artists have insisted on depicting, in an increasingly intense manner, the bond of affection that united Christ with his Mother and the close relationship between them; this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterises a large part of artistic production. Throughout the history of art it is common for many works to be executed by disciples, copying the original model of the master under his supervision. In this way, it was common that when the work had already taken shape it was intervened by the master, who would retouch the important areas or correct the mistakes of his pupils. The Virgin's hand under the arm of Jesus, the eyes and certain incarnations reveal a clear virtuosity. Van Dyck opened a personal workshop as a teenager, at the age of sixteen, together with his young friend Jan Brueghel the Younger. It is worth noting that Van Dyck worked closely with Rubens, to whom he became an assistant, abandoning his independent workshop. In the studio of Rubens, by then a painter known throughout Europe, Van Dyck made his name known among the aristocracy and the wealthy bourgeoisie and came into contact with classical culture and court etiquette. Anton Van Dyck was a key painter of the Flemish Baroque and one of the most important portraitists of the 17th century. He began his training with the Romanist painter Van Balen in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I. In London he enjoyed greater freedom and abandoned religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training by travelling around Italy, where he was impressed by Bolognese painting and the works of Titian, where he developed his mature, refined and elegant style and established his own type of portraiture, which became a model for Western painting. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. He dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, then returned to London for health reasons and died shortly afterwards at his home in the English capital. Anton Van Dyck is represented in major museums all over the world.

Attributed to WILLIAM JAMES (doc. London 1746-1771). "The Grand Canal of Venice, with a procession entering Santa Maria della Salute", 18th century. Oil on canvas. Original frame. Measurements: 75 x 126 cm; 86 x 137 cm (frame). We are in front of a Venetian veduta endowed with unusual virtuosity, both at compositional, technical and formal level. A wide panoramic view opens onto the great canal, flanked by the campanile of St Mark's Square and the Doge's Palace on the left, and the imposing church of Santa Maria della Salute on the right. Gondolas and boats of all kinds ply the canal. Precise detailing and narrative zeal are combined in the individualised description of the gondolas that cross the canal (some are humble, others are covered in gold, etc.), as well as the variety of characters (villagers, nobles, ecclesiastics making their way in procession towards the church door, etc.). A limpid sky illuminates the immense scene, giving shape to every detail: the sculpted figures in the niches, the rhythmic vibration of the water, the liturgical costumes... The art of the miniaturist harmonises with that of the landscape painter, following in the footsteps of the great master and inventor of the Venetian vedutismo genre, Canaletto (1697-1768). Canaletto lived in London between 1746 and 1756, thanks to the English consul Smith, who was responsible for the dissemination of the Grand Tour among the British. William James (active in London between 1746 and 1771) was a pupil of Canaletto's during this period, learning his style at first hand and producing several veduti without having visited the city. The present canvas shows numerous similarities with paintings by Canaletto such as Il gran Canal verso il bacino di san Marco and The Grand Canal with Santa Maria della Salute in the English Royal Collection. Similarly, the canvas by William James in the Francesco Borgogna Museum (Vercelli) entitled "Canal Grande e la chiesa della Salute" bears a close compositional resemblance, both in the variety of details and in the way it captures the clear, Mediterranean atmosphere.Few details of William James's career have survived (from Edward Edwards's compendium "Anecdotes of painters" 1808). We do know, however, that he was a pupil of Canaletto in London and exhibited in the English capital between 1761 and 1771 and that in 1766 he was a member of the Society of Artists, and it has also been possible to link his name with a number of paintings (both Venetian and London-themed) held in private collections around the world and important institutions such as the Dixon Gallery and Gardens in Tennessee.