The Wallace Collection, Hertford House, London, England
Found in 35 Collections and/or Records:
A Boy as Pierrot, In this work, a young boy is depicted in half-length. He looks out towards the viewer wearing a Pierott costume, complete with a hat and short ruff., c.1780
Vanderbilt photo identifier: SC.MSS.088.FREN.0286; Other stamp identifier: CV Stamp; Public Notes: This work was once attributed to Boucher. The pendant for this piece is titled "Young Girl in a Pearl Necklace."
A Cavalier: Time of Louis XIII, This work depicts a young cavalier during the time of Louis XIII. He wears a mustache, tall riding boots, and a hat on his head. In his left hand, he holds his right glove. His right hand rests on his hip. On his hip is his sword in its sheath., 1861
Vanderbilt photo identifier: SC.MSS.088.FREN.0351; Public Notes:
Allegory of Love, Allegorical scene of the triumph of love, c.1490-1495
Vanderbilt photo identifier: SC.MSS.088.FLOR.8608; Public Notes:
An Idyll: Daphnis and Chloe, The main characters, Daphnis and Chloe, from the pastoral story by the Greek writer, Longus., c. 1500-1501
Vanderbilt photo identifier: SC.MSS.088.ROMG.0023; Public Notes:
Cupid and Captive, In this painting, Cupid lies bound by flowers as his captors lie around him charming him. As the story goes, Cupid prefers the abduction of his captors to freedom so much so that Venus cannot seduce him from his captors., c.1754
Vanderbilt photo identifier: SC.MSS.088.FREN.0038; Other stamp identifier: CV Stamp; Public Notes:
Fragment, Fragment of an altarpiece depicting a man possibly holding a palm of martyrdom.
Vanderbilt photo identifier: SC.MSS.088.FLOR.1331; Public Notes:
Francois I, A portrait of King Francis I of France., c. 1540-1560
Vanderbilt photo identifier: SC.MSS.088.FLEM.0071; Public Notes: This piece is part of the Wallace Collection. It was painted in the style of SC.MSS.088.FLEM.0065.
Girl with Doves, In this work, a young girl is depicted holding a basket in her lap and two doves in her hands. She wears a ribbon tied in her hair and looks directly at the viewer., 1799-1800
Vanderbilt photo identifier: SC.MSS.088.FREN.0196; Public Notes:
Harlequin and Colombine, In this work, Harlequin makes advances to Columbine in a landscape., c.1710
Vanderbilt photo identifier: SC.MSS.088.FREN.0516.1; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu.
Harlequin and Colombine, In this work, Harlequin makes advances to Columbine in a landscape., c.1710
Vanderbilt photo identifier: SC.MSS.088.FREN.0544; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu.
Head of a Girl, Head of a girl in a landscape., c. 1520-1523
Vanderbilt photo identifier: SC.MSS.088.LOMB.1236; Public Notes: This fresco formed part of the decorations in the cabinet room of the chapel in the Villa Pelucca, Gerolamo Rabia's country house at Sesto San Giovanni, near Monza, Italy.
Innocence, In this work, a young girl is depicted half naked and draped in a fabric. She holds a lamb in her lap., 1790-1795
Vanderbilt photo identifier: SC.MSS.088.FREN.0201; Public Notes:
Lady at her Toilet, In this painting, a woman changes at her toilette.
Vanderbilt photo identifier: SC.MSS.088.FREN.0536; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu.
Perseus and Andromeda (Detail), "Perseus and Andromeda was one of a series of six large-scale mythological paintings commissioned from Titian by Philip II of Spain, that were each to represent a scene from The Metamorphoses, an immensely popular epic poem by the Roman poet Ovid. Philip II did not however prescribe which subjects and left the choice to Titian. The commission was a milestone in Titian’s career, and he was conscious that he was creating something unprecedented. He referred to them himself as his Poesie, or poetry, because he wanted them to be the visual equivalent of poetry.
Perseus and Andromeda is perhaps the most dramatic of all Titian’s Poesie. Andromeda is shown chained to a rock as a sacrifice to appease the sea monster, sent by Neptune to punish her mother for claiming that she and Andromeda were more beautiful than the Nereids. The hero Perseus swoops down to rescue her, his powerful vertiginous descent contrasting vividly with her passive vulnerability. Titian demonstrates his skill as a painter of the female nude: Andromeda is posed frontally, her nakedness forming a strong visual antithesis to the armoured body of Perseus.
Titian made several major changes to the composition during the painting process: the figure of Andromeda, for example, was originally placed on the right. Some of these are visible to the naked eye.
Perseus and Andromeda was probably painted in 1554-6 and may have been sent to Philip II in 1556. It is not clear how the painting left the Spanish royal collection but it later belonged to the sculptor Pompeo Leoni and then to Van Dyck, who brought it to London. Having passed through a series of distinguished French collections, it was bought by the 3rd Marquess of Hertford in 1815. The condition of the painting has suffered considerably since the sixteenth century, although the grandeur of the original conception still has the power to impress."
(Wallace Collection, London.), c. 1554-56
Vanderbilt photo identifier: SC.MSS.088.TITI.0446; Public Notes: The back of the print is stamped by the Wallace collection with attendance copyright information. There is also a photographer's stamp from Henry Dixon & Son Ltd., Fine Art Photographers to H.M. King George V. and a handwritten note attributing the work to Tiziano.
Perseus and Andromeda (Detail), "Perseus and Andromeda was one of a series of six large-scale mythological paintings commissioned from Titian by Philip II of Spain, that were each to represent a scene from The Metamorphoses, an immensely popular epic poem by the Roman poet Ovid. Philip II did not however prescribe which subjects and left the choice to Titian. The commission was a milestone in Titian’s career, and he was conscious that he was creating something unprecedented. He referred to them himself as his Poesie, or poetry, because he wanted them to be the visual equivalent of poetry.
Perseus and Andromeda is perhaps the most dramatic of all Titian’s Poesie. Andromeda is shown chained to a rock as a sacrifice to appease the sea monster, sent by Neptune to punish her mother for claiming that she and Andromeda were more beautiful than the Nereids. The hero Perseus swoops down to rescue her, his powerful vertiginous descent contrasting vividly with her passive vulnerability. Titian demonstrates his skill as a painter of the female nude: Andromeda is posed frontally, her nakedness forming a strong visual antithesis to the armoured body of Perseus.
Titian made several major changes to the composition during the painting process: the figure of Andromeda, for example, was originally placed on the right. Some of these are visible to the naked eye.
Perseus and Andromeda was probably painted in 1554-6 and may have been sent to Philip II in 1556. It is not clear how the painting left the Spanish royal collection but it later belonged to the sculptor Pompeo Leoni and then to Van Dyck, who brought it to London. Having passed through a series of distinguished French collections, it was bought by the 3rd Marquess of Hertford in 1815. The condition of the painting has suffered considerably since the sixteenth century, although the grandeur of the original conception still has the power to impress."
(Wallace Collection, London.), c. 1554-56
Vanderbilt photo identifier: SC.MSS.088.TITI.0447; Public Notes: The back of the print is stamped by the Wallace collection with attendance copyright information. There is also a photographer's stamp from Henry Dixon & Son Ltd., Fine Art Photographers to H.M. King George V. and a handwritten note attributing the work to Tiziano.
Perseus and Andromeda (Detail), "Perseus and Andromeda was one of a series of six large-scale mythological paintings commissioned from Titian by Philip II of Spain, that were each to represent a scene from The Metamorphoses, an immensely popular epic poem by the Roman poet Ovid. Philip II did not however prescribe which subjects and left the choice to Titian. The commission was a milestone in Titian’s career, and he was conscious that he was creating something unprecedented. He referred to them himself as his Poesie, or poetry, because he wanted them to be the visual equivalent of poetry.
Perseus and Andromeda is perhaps the most dramatic of all Titian’s Poesie. Andromeda is shown chained to a rock as a sacrifice to appease the sea monster, sent by Neptune to punish her mother for claiming that she and Andromeda were more beautiful than the Nereids. The hero Perseus swoops down to rescue her, his powerful vertiginous descent contrasting vividly with her passive vulnerability. Titian demonstrates his skill as a painter of the female nude: Andromeda is posed frontally, her nakedness forming a strong visual antithesis to the armoured body of Perseus.
Titian made several major changes to the composition during the painting process: the figure of Andromeda, for example, was originally placed on the right. Some of these are visible to the naked eye.
Perseus and Andromeda was probably painted in 1554-6 and may have been sent to Philip II in 1556. It is not clear how the painting left the Spanish royal collection but it later belonged to the sculptor Pompeo Leoni and then to Van Dyck, who brought it to London. Having passed through a series of distinguished French collections, it was bought by the 3rd Marquess of Hertford in 1815. The condition of the painting has suffered considerably since the sixteenth century, although the grandeur of the original conception still has the power to impress."
(Wallace Collection, London.), c. 1554-56
Vanderbilt photo identifier: SC.MSS.088.TITI.0448; Public Notes: The back of the print is stamped by the Wallace collection with attendance copyright information. There is also a photographer's stamp from Henry Dixon & Son Ltd., Fine Art Photographers to H.M. King George V. and a handwritten note attributing the work to Tiziano.
Perseus and Andromeda (Detail), "Perseus and Andromeda was one of a series of six large-scale mythological paintings commissioned from Titian by Philip II of Spain, that were each to represent a scene from The Metamorphoses, an immensely popular epic poem by the Roman poet Ovid. Philip II did not however prescribe which subjects and left the choice to Titian. The commission was a milestone in Titian’s career, and he was conscious that he was creating something unprecedented. He referred to them himself as his Poesie, or poetry, because he wanted them to be the visual equivalent of poetry.
Perseus and Andromeda is perhaps the most dramatic of all Titian’s Poesie. Andromeda is shown chained to a rock as a sacrifice to appease the sea monster, sent by Neptune to punish her mother for claiming that she and Andromeda were more beautiful than the Nereids. The hero Perseus swoops down to rescue her, his powerful vertiginous descent contrasting vividly with her passive vulnerability. Titian demonstrates his skill as a painter of the female nude: Andromeda is posed frontally, her nakedness forming a strong visual antithesis to the armoured body of Perseus.
Titian made several major changes to the composition during the painting process: the figure of Andromeda, for example, was originally placed on the right. Some of these are visible to the naked eye.
Perseus and Andromeda was probably painted in 1554-6 and may have been sent to Philip II in 1556. It is not clear how the painting left the Spanish royal collection but it later belonged to the sculptor Pompeo Leoni and then to Van Dyck, who brought it to London. Having passed through a series of distinguished French collections, it was bought by the 3rd Marquess of Hertford in 1815. The condition of the painting has suffered considerably since the sixteenth century, although the grandeur of the original conception still has the power to impress."
(Wallace Collection, London.), c. 1554-56
Vanderbilt photo identifier: SC.MSS.088.TITI.0449; Public Notes: The back of the print is stamped by the Wallace collection with attendance copyright information. There is also a photographer's stamp from Henry Dixon & Son Ltd., Fine Art Photographers to H.M. King George V. and a handwritten note attributing the work to Tiziano.
Perseus and Andromeda (Detail), "Perseus and Andromeda was one of a series of six large-scale mythological paintings commissioned from Titian by Philip II of Spain, that were each to represent a scene from The Metamorphoses, an immensely popular epic poem by the Roman poet Ovid. Philip II did not however prescribe which subjects and left the choice to Titian. The commission was a milestone in Titian’s career, and he was conscious that he was creating something unprecedented. He referred to them himself as his Poesie, or poetry, because he wanted them to be the visual equivalent of poetry.
Perseus and Andromeda is perhaps the most dramatic of all Titian’s Poesie. Andromeda is shown chained to a rock as a sacrifice to appease the sea monster, sent by Neptune to punish her mother for claiming that she and Andromeda were more beautiful than the Nereids. The hero Perseus swoops down to rescue her, his powerful vertiginous descent contrasting vividly with her passive vulnerability. Titian demonstrates his skill as a painter of the female nude: Andromeda is posed frontally, her nakedness forming a strong visual antithesis to the armoured body of Perseus.
Titian made several major changes to the composition during the painting process: the figure of Andromeda, for example, was originally placed on the right. Some of these are visible to the naked eye.
Perseus and Andromeda was probably painted in 1554-6 and may have been sent to Philip II in 1556. It is not clear how the painting left the Spanish royal collection but it later belonged to the sculptor Pompeo Leoni and then to Van Dyck, who brought it to London. Having passed through a series of distinguished French collections, it was bought by the 3rd Marquess of Hertford in 1815. The condition of the painting has suffered considerably since the sixteenth century, although the grandeur of the original conception still has the power to impress."
(Wallace Collection, London.), c. 1554-56
Vanderbilt photo identifier: SC.MSS.088.TITI.0450; Public Notes: The back of the print is stamped by the Wallace collection with attendance copyright information. There is also a photographer's stamp from Henry Dixon & Son Ltd., Fine Art Photographers to H.M. King George V. and a handwritten note attributing the work to Tiziano.
Perseus and Andromeda (Detail), "Perseus and Andromeda was one of a series of six large-scale mythological paintings commissioned from Titian by Philip II of Spain, that were each to represent a scene from The Metamorphoses, an immensely popular epic poem by the Roman poet Ovid. Philip II did not however prescribe which subjects and left the choice to Titian. The commission was a milestone in Titian’s career, and he was conscious that he was creating something unprecedented. He referred to them himself as his Poesie, or poetry, because he wanted them to be the visual equivalent of poetry.
Perseus and Andromeda is perhaps the most dramatic of all Titian’s Poesie. Andromeda is shown chained to a rock as a sacrifice to appease the sea monster, sent by Neptune to punish her mother for claiming that she and Andromeda were more beautiful than the Nereids. The hero Perseus swoops down to rescue her, his powerful vertiginous descent contrasting vividly with her passive vulnerability. Titian demonstrates his skill as a painter of the female nude: Andromeda is posed frontally, her nakedness forming a strong visual antithesis to the armoured body of Perseus.
Titian made several major changes to the composition during the painting process: the figure of Andromeda, for example, was originally placed on the right. Some of these are visible to the naked eye.
Perseus and Andromeda was probably painted in 1554-6 and may have been sent to Philip II in 1556. It is not clear how the painting left the Spanish royal collection but it later belonged to the sculptor Pompeo Leoni and then to Van Dyck, who brought it to London. Having passed through a series of distinguished French collections, it was bought by the 3rd Marquess of Hertford in 1815. The condition of the painting has suffered considerably since the sixteenth century, although the grandeur of the original conception still has the power to impress."
(Wallace Collection, London.), c. 1554-56
Vanderbilt photo identifier: SC.MSS.088.TITI.0451; Public Notes: The back of the print is stamped by the Wallace collection with attendance copyright information. There is also a photographer's stamp from Henry Dixon & Son Ltd., Fine Art Photographers to H.M. King George V. and a handwritten note attributing the work to Tiziano.
Perseus and Andromeda (Detail), "Perseus and Andromeda was one of a series of six large-scale mythological paintings commissioned from Titian by Philip II of Spain, that were each to represent a scene from The Metamorphoses, an immensely popular epic poem by the Roman poet Ovid. Philip II did not however prescribe which subjects and left the choice to Titian. The commission was a milestone in Titian’s career, and he was conscious that he was creating something unprecedented. He referred to them himself as his Poesie, or poetry, because he wanted them to be the visual equivalent of poetry.
Perseus and Andromeda is perhaps the most dramatic of all Titian’s Poesie. Andromeda is shown chained to a rock as a sacrifice to appease the sea monster, sent by Neptune to punish her mother for claiming that she and Andromeda were more beautiful than the Nereids. The hero Perseus swoops down to rescue her, his powerful vertiginous descent contrasting vividly with her passive vulnerability. Titian demonstrates his skill as a painter of the female nude: Andromeda is posed frontally, her nakedness forming a strong visual antithesis to the armoured body of Perseus.
Titian made several major changes to the composition during the painting process: the figure of Andromeda, for example, was originally placed on the right. Some of these are visible to the naked eye.
Perseus and Andromeda was probably painted in 1554-6 and may have been sent to Philip II in 1556. It is not clear how the painting left the Spanish royal collection but it later belonged to the sculptor Pompeo Leoni and then to Van Dyck, who brought it to London. Having passed through a series of distinguished French collections, it was bought by the 3rd Marquess of Hertford in 1815. The condition of the painting has suffered considerably since the sixteenth century, although the grandeur of the original conception still has the power to impress."
(Wallace Collection, London.), c. 1554-56
Vanderbilt photo identifier: SC.MSS.088.TITI.0452; Public Notes: The back of the print is stamped by the Wallace collection with attendance copyright information. There is also a photographer's stamp from Henry Dixon & Son Ltd., Fine Art Photographers to H.M. King George V. and a handwritten note attributing the work to Tiziano.
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