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‘So wonderful and glorious a collection, that the like will never again be met with.’ This is how one awed and wistful observer described King Charles’ artworks. As an acquirer of paintings by Europe’s great masters and patron of Rubens and Van Dyck, Charles’s extravagance in amassing his collection only exacerbated the parliamentary disapproval that led to civil war and the King’s own execution. After his death, one of the Commonwealth’s first decrees was to sell off his treasures to raise money for the new regime. After the Restoration, one of Charles II’s first resolutions was to get the collection back. Jerry Brotton tells the remarkable story of the king and his pictures: their acquisition, dispersal and eventual recovery. He reveals a world in which diplomats doubled as art dealers, and in which the king’s plumber could be temporary owner of Bassano’s The Flood. This is a vivid portrait of a tragic king and his decadent court, set against the backdrop of political conflict and civil war, which also offers a new and compelling perspective on art and the evolution of collecting in England.
This book reconstructs in unprecedented detail the physical character of the court of Charles I (1600-1649). Drawing on inventories compiled in the months following Charles's execution, authorities in their fields assess the character and importance of Charles's possessions, including his incomparable paintings, the royal regalia, furnishings, gems and plates from the Jewel House, and pots and pans from the court kitchens.
Set against the backdrop of war, revolution, and regicide, and moving from London to Venice, Mantua, Madrid, Paris and the Low Countries, Jerry Brotton’s colourful and critically acclaimed book explores the formation and dispersal of King Charles I’s art collection. Following a remarkable and unprecedented Parliamentary Act for ‘The sale of the late king’s goods’, Cromwell’s republican regime sold off nearly 2,000 paintings, tapestries, statues and drawings in an attempt to settle the dead king’s enormous debts and raise money for the Commonwealth’s military forces. Brotton recreates the extraordinary circumstances of this sale, in which for the first time ordinary working people were able to handle and own works by the great masters. He also examines the abiding relationship between art and power, revealing how the current Royal Collection emerged from this turbulent period, and paints its own vivid and dramatic picture of one of the greatest lost collections in English history. 'A rip-roaring slice of seventeenth-century England...Readable history at its best' Kate Mosse, author of Labyrinth
The reconstitution of the royal court in 1660 brought with it the restoration of fears that had been associated with earlier Stuart courts: disorder, sexual liberty, popery and arbitrary government. This volume illustrates the ways in which court culture was informed by the heady politics of Britain between 1660 and 1685.
The Letterbooks of John Evelyn, a collection of more than eight hundred letters selected by Evelyn himself, constitutes an essential new resource for scholars of seventeenth-century England.
The Salvator Mundi is the first Leonardo painting to be discovered for over a century. Following its re-emergence, it played a leading role in the landmark Leonardo exhibition at the National Gallery in London in 2011, after which it was purchased by a Russian oligarch. In 2017 it was auctioned by Christie's in New York, fetching the world record price of $450m, and now forms part of the collection of Louvre Abu Dhabi. The Salvator Mundi may be seen as the devotional counterpart to the Mona Lisa, having an extraordinary, communicative presence. The artist has reformed the very traditional subject matter in a number of ways. The elusiveness of Christ's expression suggests his spiritual origins beyond the world of the senses. The traditional sphere of the earth has been transformed into a rock-crystal orb and signifies a crystalline sphere of the heavens. In addition to its spiritual dimension, the image exploits Leonardo's optical knowledge and his growing sense of the illusiveness of seeing. Only the blessing hand is in reasonably sharp focus, with his features softly veiled. The scintillating curls of his hair are characterised in line with his theory that the physics of the curling of hair is analogous to vortex motion in water. This book looks at evidence of Leonardo's Salvator Mundi in the collections of Charles I and Charles II. It explores the appraisal of works by Leonardo at the Stuart courts, and proposes that how works attributed to Leonardo were first encountered and understood in seventeenth-century Britain would shape the wider evolution of Leonardo as a cultural icon. This volume gives a dramatic first-hand account of the modern-day discovery of the painting, from its purchase in a minor New Orleans auction house, to the cleaning of the picture that would disclose it as Leonardo's startling original, and the research processes that would uncover illustrious and obscure former owners. The book presents the definitive study of the new masterpiece.