Jean-Auguste-Dominique Ingres
French painter, 1780-1867
Ingres was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis, Eugène Delacroix. Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art.
Source: Wikipedia
French painter (1780-1867). Letter with 32 signatures from members of the Association des Artistes peintres, sculpteurs, architectes, graveurs et dessinateurs. [Paris]. 20.10.1854. Folio. 2 pp. Bifolium with engraved letterhead.
$ 5,162 / 4.500 €
(45183/BN31393)
As a committee member of the group of artists to Madame Bonjean, who is appointed an honorary member for her generous donation to the Association. The Association des Artistes (called the Fondation Taylor) was created in 1844 by Isidore Justin Séverin Taylor and is today one of the most important institutes supporting artists and their work. Beside Taylor and Ingres, the present letter bears the signatures of e. g. Alexandre des Bar, Edouard Cibot, Léon Cogniet, Alexandre Couder, Alexis Daligé de Fontenay, Adrien Dauzats, Antoine-François Gelée, Jean-Louis Nicolaus Jaley, Charles Victor Eugène Lefebvre, Augustin François Lemaître, Jean-Baptiste Cicéron Lesueur, Mathieu Roland Meusnier, Pierre Justin Ouvrie, Alexis-Joseph Pérignon, François-Édouard Picot, Louis René Lucien Rollet, Georges Rouget, Louis-Henri de Rudder, Louis Soulange-Teissier, Julien Vallou de Villeneuve, and Horace Vernet.
- Rather strong damage to edges and spotty. An extraordinary document of the famous Association des Artistes..
French painter (1780-1867). Autograph letter signed ("JIngres"). Paris. 02.07.1862. 4to. 1 page on bifolium.
$ 4,015 / 3.500 €
(72810/BN46867)
To Alexandre Colonna-Walewski, Minister of State under Napoleon III, thanking "pour présenter à L'Empereur les projets de frontispice".
French painter (1780-1867). Autograph letter signed. Paris. 27.05.1841. 8vo. Single leaf inscribed on one page. Matted and framed.
$ 2,065 / 1.800 €
(74492/BN48518)
Ingres announces to an unnamed recipient that his friend and student Jean-Hippolyte Flandrin (1809-64) will act on his behalf in "making claims" against the recipient concerning a lithographic rendering of Ingres' 1834 painting The Martyrdom of Saint Symphorian, expressing his hope that the affair will be settled amicably: "Mon ami et élève M. Flandrin peintre, veut bien se charger comme mon mandataire de vous faire de réclamations touchant la Lythographie [!] du St Symphorien. - Je pense, Monsieur, que dans votre intérêt cette affaire se terminera à l'amiable".
- It can only be speculated that the recipient was the author of an unauthorized lithograph copy of the painting. On the bottom of the page, Ingres noted that the letter was returned to him four days later by Flandrin. - The small affair was probably an unpleasant reminder for Ingres of the failure of his monumental painting, which had been commissioned ten years earlier by the Bishop of Auton, with the critics during the Salon of 1834, leading to his decision not to exhibit at the Salon ever again or to accept any public commissions. Furthermore, Ingres applied for the position as director of the French Academy in Rome following the Salon and left Paris in December 1834, only returning in early 1841. - Minimally stained..
French painter (1780-1867). Autograph letter signed ("J. Ingres"). Paris. 4to. 1 p. on bifolium.
$ 2,868 / 2.500 €
(91644/BN60965)
To a friend and author, thanking him for one of his works and a dedication: "Je suis extrêmement touché et reconnaissant de l'envoi que vous avez bien voulu me faire de votre bel ouvrage et des trop charmants beaux vers qui l'accompagnent ; j'ai déjà eu le plaisir de lire votre bel et intéressant ouvrage lorsqu'il a paru dans la revue britannique et je suis trop heureux de le posséder; je vous remercie donc, mille fois, Monsieur et ami de cet aimable envoi, ainsi que de la belle lettre que vous avez bien voulu y joindre et qui n'en sera jamais séparée, mais que dans ma juste modestie je ne puis m'approprier qu'une petite partie des beautés qu'elle renferme".
- On Bath stationery. Well preserved..
French painter (1780-1867). 2 autograph letters signed. Paris and n. p. 8vo. Together 2 pp. Together with the lithographed invitation to Ingres's wedding with Delphine Ramel on 15 April 1852 in the name of the bride's parents. 8vo. 1 p. on bifolium.
$ 2,065 / 1.800 €
(95765/BN63559)
In the dated letter, Ingres asks the director of the "Musées nationaux", probably Philippe-Auguste Jeanron, to provide his largely obscure student Jean-Baptiste-Édouard Bal with a ticket to the "museums of painting and sculpture", i. e. the Louvre. - In a very informal letter to an unidentified friend, Ingres gives him "the address of that doorman" of a Madame André and confirms a meeting for the following day "in front of the rotunda". - Delphine Ramel (1808-87) was the daughter of a banker and the niece of Ingres's patron Charles Marcotte d'Argenteuil, who had introduced the couple after the death of his first wife Madeleine Chapelle in 1849.
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Eigenh. Brief mit U.
Autograph ist nicht mehr verfügbar
To his old friend and patron, Amédée David Comte de Pastoret (1791-1857) in Rome, concerning the delivery of a painting: "Monsieur le Comte / au grand contentement de l'auteur le tableau dans son cadre pourra vous être livré demain dans la matinée. Mais, n'est il donc pas possible de differer son encaissement jusqu'au Lundi. La petite caisse vous sera remise en même temps [...]". It is not clear which might be the work in question - probably that of another painter for whom Ingres was acting as an intermediary. All seven Ingres paintings known to have been owned by Pastoret (cf. Tinterow/Conisbee/Naef, Portraits by Ingres, p. 295) are of an earlier date. In 1840 Ingres completed two paintings begun in Rome: "Odalisque avec esclave" for Marcotte and "Antiochus et Stratonice" for the Duke of Orléans (cf. ibid., p. 551). - Includes two old collector's folders.