Word: raphaels
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Dates: during 1930-1939
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...group of important drawings acquired at the sale of the Oppenheimer Collection in London through the gift of an anonymous donor. Of these six are Italian, while the others include a medieval monastic drawing, an early North Italian, two distinguished figure studies in silver point by Perugino and Raphael; and heads by Luini and Liberale da Verona. In addition there is a drawing of the Holy Family by Correggio and two Flemish drawings, one by Van Dyck, the other by Rubens...
Giuliano, Due de Nemours was a peace-loving Medici with pensive eyes and a stubby beard, not to be compared, however, with his potent father, Lorenzo the Magnificent. But Giuliano had his picture painted by Raphael once. That picture, once the property of Grand Duchess Marie of Russia, was bought by Manhattan Stockbroker Jules Semon Bache...
...sailed to spend the summer in London with his daughter, wife of Theatrical Producer Gilbert Miller, Mr. Bache's lawyer summoned reporters, gave them news that within a year not only the Grand Duchess Marie but any other resident or visitor in Manhattan will be able to see Raphael's Giuliano de'Medici at almost any time. Banker Bache, for a quarter-century one of the most important art collectors in the U. S., was giving his entire collection to the public and turning over his home at No. 814 Fifth Avenue as a museum to house...
From an anonymous donor, the museum received ten drawings by Luini, Perugino, Raphael, Rubens, Van Dyck, and other old masters from the Oppenheimer Sale of art works in London last summer. Outstanding in a large number of gifts of sculpture were a monumental Japanese figure of the 15th century donated by Mr. and Mrs. Robert Woods Bliss, of Washington, a 13th century Gothic tomb figure in wood from Spain, donated as a memorial to the late Professor A. Kingsley Porter, and a bronze statuette of a champion stallion from Herbert Haseltine, the sculptor...
Another work of great interest is the "Flower Vendor" by Raphael Soyer. It gives a scene of typical New York types, with emphasis on facial expressions and characteristic gestures and dress. Every face is carefully modeled, much attention being paid to individual features. An arresting point in the painting is the incongruity of the shabbily dressed man holding clumsily the luxurious and fragile flowers, whose bright red contrast strongly with the dingy black and brown of his dress. This red and the red of the handkerchief in his pocket put life into the scene and bring the whole into focus...