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Onde está a obra-prima, e a que horas se abre a porta.

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  1. Coleção/
  2. Museu Vitória e Alberto/
  3. Two Putti supporting and Architrave
Two Putti supporting and Architrave, possibly John Michael Rysbrack, ca. 1730
Ppossibly John Michael Rysbrack

Two Putti supporting and Architrave

ca. 1730 · Relief · 133 × 127 cm

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Museu Vitória e Alberto

Londres, Reino Unido

SalaSculpture, Room 22, The Dorothy and Michael Hintze Galleries

Exposta ao público. Quem o garante vem indicado abaixo.

Verificado
há 13 dias
Neste estado desde
25 de set. de 2026
Fonte
O museu
No mapaPágina do museu

Sobre a escultura

The exact purpose and original location of this relief is uncertain. It may have formed some part of an interior decoration of a house, possibly that of a doorway or a large chimneypiece. This would tie in with the architectural theme depicted. Alternatively, it could have been a section of a monument. It was said to have come from Carlton House, London. This supposition was based on the recollections of a mason who claimed to have seen the relief in situ. However, this idea has since been discredited as the mason arrived in London some 90 years after the house was demolished. It may however have formed part of a chimneypiece executed by Rysbrack between 1733 and 1736 for John, 4th Duke of Bedford, which was installed in the Great Saloon or Ballroom at Bedford House, London. This chimneypiece is known to have been dismantled in 1800. The present reliew may be identified with that sold at Christie's, Bedford House sale, held between 5-10 May 1800, lot 71.

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Whatever its original location, its style can certainly be associated with John Michael Rysbrack who was active in England in the second quarter of the 18th century. The Museum also possesses two related terracotta sketch models (7717-1863 and 7718-1863). These show only slight differences between the original designs in terracotta and the final marble.

Rysbrack (1694-1770) was born in Antwerp, and trained in the Netherlands, but spent his working life in Britain. He was one of the most important sculptors active in this country in the first half of the 18th century, and specialised in portrait busts and funerary monuments. Although he never visited Italy, many of his works are clearly indebted to classical archetypes. His terracotta models are particularly fine, and are often virtually finished pieces in their own right.

Museu Vitória e Alberto

Pormenores

Número de inventário
A.4-1990

O que mostra

PuttiArchitrave

No catálogo

EsculturaMármoreRococóSéculo XVIIIInglaterra

Fontes

  • Museu Vitória e Alberto
  • Imagem: Museu Vitória e Alberto — © Victoria and Albert Museum, London

Mais obras de possibly John Michael Rysbrack

Todas as obras
Cupids as Caryatids, possibly John Michael Rysbrack, ca. 1730

Cupids as Caryatids

ca. 1730 · Museu Vitória e Alberto

Cupids as Caryatids, possibly John Michael Rysbrack, ca. 1730

Cupids as Caryatids

ca. 1730 · Museu Vitória e Alberto

Na mesma sala · Sculpture, Room 22, The Dorothy and Michael Hintze Galleries, Museu Vitória e Alberto

Página do museu
Model for Wellington Monument: Truth and Falsehood, Alfred George Stevens, 1867-8

Alfred Stevens

Model for Wellington Monument: Truth and Falsehood, 1867-8

Valour and Cowardice, Alfred George Stevens, 1866

Alfred Stevens

Valour and Cowardice, 1866

Pandora, John Gibson, 1856

John Gibson

Pandora, 1856

Eve listening to the voice, Edward Hodges Baily, 1842

Edward Hodges Baily

Eve listening to the voice, 1842

Maternal Affection, Edward Hodges Baily, 1837

Edward Hodges Baily

Maternal Affection, 1837

Catherine, Lady Stepney (d. 1845) as Cleopatra, Richard Cockle Lucas, ca. 1836

Richard Cockle Lucas

Catherine, Lady Stepney (d. 1845) as Cleopatra, ca. 1836

Nicolò Paganini, Henry Westmacott, 1832

Henry Westmacott

Nicolò Paganini, 1832

Cupid kindling the torch of Hymen, George Rennie, ca. 1831

George Rennie

Cupid kindling the torch of Hymen, ca. 1831

Sobre o mesmo tema · Putti

Todas as obras sobre o tema
Bacchanal: A Faun Teased by Children, Gian Lorenzo Bernini, ca. 1616–17

Gian Lorenzo Bernini

Um fauno provocado por crianças, ca. 1616–17

Museu Metropolitano de Arte

Page from the Collection of Niccolò Gaddi (So-Called "Vasari Page"), Florentine 16th century, The "Chief Framer", Raffaellino del Garbo, and Sandro Botticelli, and Filippino Lippi, Sheets probably 1480-1504; mounting & framework c. 1575/1590

Sandro Botticelli

Page from the Collection of Niccolò Gaddi (So-Called "Vasari Page"), Sheets probably 1480-1504; mounting & framework c. 1575/1590

Não exposta · Galeria Nacional de Arte

The Temptation of the Idler (The Dream of the Doctor), Albrecht Dürer, c. 1498

Albrecht Dürer

The Temptation of the Idler (The Dream of the Doctor), c. 1498

Não exposta · Art Institute of Chicago

The Dream of the Doctor (Temptation of the Idler), Albrecht Dürer, 1498/1499

Albrecht Dürer

The Dream of the Doctor (Temptation of the Idler), 1498/1499

Não exposta · Galeria Nacional de Arte

Die Hexe - Witch Riding on a Goat, Albrecht Dürer, c. 1500

Albrecht Dürer

Die Hexe - Witch Riding on a Goat, c. 1500

Não exposta · Instituto de Artes de Minneapolis

Putti Testing a Man's Perception of Depth, Sir Peter Paul Rubens, c. 1613

Peter Paul Rubens

Putti Testing a Man's Perception of Depth, c. 1613

Não exposta · Galeria Nacional de Arte

Hercules Fighting the Fury and the Discord, Christoffel Jegher after Sir Peter Paul Rubens, 1630

Peter Paul Rubens

Hercules Fighting the Fury and the Discord, 1630

Não exposta · Galeria Nacional de Arte

Elderly Man Watching Putti Dissect an Eye, Sir Peter Paul Rubens, c. 1613

Peter Paul Rubens

Elderly Man Watching Putti Dissect an Eye, c. 1613

Não exposta · Galeria Nacional de Arte