11.  DOMENICO ZAMPIERI dit IL DOMENICHINO (1581-1641), attribué

Persée délivrant Andromède

 

Huile sur cuivre appliqué sur panneau, attribué à Domenico Zampieri.

L’attribution a été donnée par Diane De Grazia dans une lettre datée du 12 juin 2007 au précédent propriétaire.

Dimensions : 45,5 x 39 cm
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Perseus liberating Andromeda, oil on copper mounted on panel 45,5 x 39 cm

We are very grateful to Diane De Grazia suggesting an attribution to Domenichino in a letter dated 12th June 2007 to the previous owner.

Born in Bologna, Domenico Zampieri, known by the diminutive Domenichino after his shortness, was an Italian Baroque painter of the Bolognese School of painters. Domenichino’s work, developed principally from Raphael’s and the Carracci’s examples, mirrors the theoretical ideas of his friend Giovanni Battista Agucchi, with whom the painter collaborated on a Treatise on Painting. The portrait of Agucchi in York used to be attributed to Domenichino, but is now thought to be by Annibale Carracci, another friend.

It represents what would become known as classic-idealist art, which aims to surpass the imperfections of nature by developing an « Idea of Beauty » (idea del bello) through the study and imitation of the best examples of ancient and Renaissance art. Imitation in this sense is not copying but a creative process inspired by rhetorical theory whereby revered models are not only emulated but surpassed.

 

25 000 – 30000 EUR

12.  SERGIUS HRUBY (Vienne 1869-1943)

 » Die Anbetung der Natur « , 1932

 

L’Adoration de la Nature
Aquarelle sur papier signé et daté 32 pour 1932 en bas à droite.
Dimensions : 27,5 x 26,5 cm
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Adoration of Nature 1932, watercolour over pencil 27,5 x 26,5 cm, signed and dated with inscription.

Hruby was a renowned austrian symbolist painter and brilliant graphic artist and illustrator, designer and decorative painter. He was particularly influenced by the Art Nouveau or Jugendstil aesthetic, in style of Alphonse Mucha and Gustav Klimt.

 

3 000 – 6000 EUR

13.  ALFRED STEVENS (1823-1906)

Elégante au bouquet

 

Huile sur toile signée en haut à droite.
Dans son encadrement d’origine et d’époque.
Provenance : Collection privée Belgique, succession.

Dimensions : 52 x 45 cm

Peintre de genre, de portraits, de paysages et de nombreuses marines, il est l’élève de Navez à Bruxelles et de Roqueplan à Paris. Ses premiers tableaux datent de 1848 et il expose à Paris où il fait carrière et vit la plupart de son temps.

Au départ, Stevens peint des femmes et plus particulièrement les parisiennes du Second Empire. Son dessin est précis, sa peinture claire et lumineuse, sa pâte assez nourrie. Il achète à Manet plusieurs toiles et c’est d’ailleurs dans son atelier que Durand-Ruel voit ses deux premières toiles qu’il achètera. Stevens restera comme un artiste important de son époque
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Elegant with flowers, oil on canvas 52 x 45 cm, signed upper right.
In its original and period frame.

Provenance: Private collection, Belgium, succession.

Alfred Émile Léopold Stevens was a Belgian painter, known for his paintings of elegant modern women. After gaining attention early in his career with a social realist painting depicting the plight of poor vagrants, he achieved great critical and popular success with his scenes of upper-middle class Parisian life. In their realistic style and careful finish, his works reveal the influence of 17th-century Dutch genre painting.

 

5 000 – 10000 EUR

15.  JOHAN BAECK (c.1600-1655)

Le musicien napolitain

 

Huile sur toile, par Johan Baeck.
Dimensions : 75,5 x 60 cm

Littérature comparée :
– Benedict Nicolson : Caravagisme en Europe. Oxford, 1979, vol. 1, p. 58,
– Peter Huys Janssen : Johan Baeck, peintre et soldat d’Utrecht. Dans : Hoogsteder-Naumann Mercury, Vol. 9 (1989), pages 31-41.
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Neapolitan Musician, oil on canvas.

Comparative literature:
– Benedict Nicolson: Caravaggism in Europe. Oxford, 1979, vol. 1, p. 58;
– Peter Huys Janssen: Johan Baeck, Painter and Soldier of Utrecht. In: Hoogsteder-Naumann Mercury, Vol. 9 (1989), pp. 31-41.

Towards the end of the 16th century a revolution took place in music. Starting in Florence and Rome, a hitherto unknown way of making music was established, which gave priority to solo singing – accompanied by only one instrument – instead of the old complicated polyphony. The new fashion quickly found its way into the Roman aristocratic palaces, which became venues for celebrated performances. Marchese Vincenzo Giustiniani reports in his « Discorso sopra la musica, » written in 1628, that the two Neapolitan basses Giulio Cesare Brancaccio and Giovanni Andrea were the most acclaimed stars. Their special style of performance, probably understood as typically Neapolitan, was widely imitated.

This profound change in musical performance practice was also reflected in painting. Giustiniani was not only a passionate music lover. We also know him as an influential patron of Caravaggio. It is therefore not surprising that the new importance that music acquired in painting around 1600 ultimately emanated from pictorial creations that Caravaggio commissioned from his patron. With his Lute Player (Hermitage, St. Petersburg), Caravaggio introduced for the first time in the 1590s the type of half-figure musician painting that was so frequently varied by his successors and finally began its triumphal march across the Alps to become the most popular subject of Dutch painting par excellence in the 1620s and 1630s.

So far, only six paintings can be attributed to the Utrecht painter. However, his pictorial themes and painting style indicate that he was a student of Jan van Bijlert, and in any case that he loved music and the effective chiaroscuro of Caravaggism. In subject matter, style and composition, it has much in common with a painting by Jan van Bijlert of a Company of Musicians. The close resemblance suggests that Baeck may have been a pupil of Van Bijlert, who should be regarded as one of Utrecht’s major painters in the 1630s.

 

18 000 – 22000 EUR

16.  ANTONIO BALESTRA (1666-1740), attribué

Venus, Satyre et Cupidon

 

Huile sur toile rentoilée.
Provenance : Collection privée Nice France
Restaurations anciennes
Dimensions : 75,5 x 105 cm
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Oil on re-lined canvas 75.5 x 105 cm.
Provenance: Private collection Nice France.

An Italian Rococo painter born in Verona, Balestra trained in Venice under the direction of Antonio Belluci before entering Carlo Marata’s studio in Rome. He works between Rome and Venice where the opulent Serenissima Republic allows him a fruitful production both for religious orders and for secular patronage.

In 1726, Balestra returned definitively to his native town where he founded a school of painting which would be attended in particular by Giambattista Cignaroli, Giuseppe Nogari, Pietro Rotari and Johan Richter. His most famous work will remain the diptych « Saint Cosimo and Saint Damian exhibited in the transept of the Basilica of Santa Giustina in Padua.

 

3 000 – 6000 EUR

17.  SICILE, ITALIE 17-18 ème SIECLE

Paire de bustes d’Empereurs

 

D’époque Baroque, en bois sculpté à double patine, les bustes sont représentés en tenue d’apparat romaine, revêtus d’une toge. Les visages en laque foncée, en contraste avec la dorure.

Reposent sur des socles au décor de volutes et de fleurs de lys. Usures et manques.

Dimensions : 71 x 43 x 21 cm
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Sicily, 17-18th Century, Emperors busts.

From the Baroque period, in carved wood with a double patina, the busts are represented in Roman ceremonial clothes, wearing a toga. The faces in dark lacquer, in contrast with the gilding.

Rest on a terrace decorated with volutes and fleur-de-lis. Wear and losses.

Dimensions: 71 x 43 x 21cm

 

8 000 – 12000 EUR

18.  CESAR (1921-1998)

« Picasso », 1997

 

Importante sculpture en bronze soudé à trois patine, numérotée 3/6 avec cachet de fondeur Bocquel.

Certificat ders archives Denyse Durand-Ruel, enregistré sous le numéro 5534.

Publication :
« César, Portraits-Autoportraits » à la Galerie Claude Bernard, Paris, 1998, photo de l’oeuvre en couverture.

Dimensions : 56 x 28 x 34 cm
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« Picasso », 1997

Important welded bronze sculpture with three patinas, numbered 3/6 and Bocquel foundry stamp.

Certificate from the Denyse Durand-Ruel archives, registered under number 5534.

Publishing:
« César, Portraits-Autoportraits » at the Galerie Claude Bernard, Paris, 1998, photo of the work on the cover.

Dimensions: 56 x 28 x 34 cm

 

40 000 – 80000 EUR

19.  HARRY MARINSKY (1909-2008)

« Tragicomedie »

 

Sculpture en bronze doré à quatre faces figurant des visages aux expressions différentes, deux souriant, deux pleurant. Pivotant sur une base en métal noir. Epreuve d’artiste, édition sur 10
Dimensions : h. 20 cm
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Four-sided gilt bronze sculpture depicting faces with different expressions, two smiling, two crying. Rotating on a black metal base. Artist’s proof, edition of 10
Dimensions: h. 20cm

Harry Marinsky was born in London to Russian parents who worked in high fashion. The family moved to the United States when he was only three years old. He attended the Technical High School in Providence where first encountered sculptural art and learned how to cast in sand and plaster. A scholarship allowed the budding artist to attend the Rhode Island School of Design in his home town of Providence as well as the Pratt Institute in New York City. As a consequence of his training he was well versed in both fine art and commercial design.

His first public exhibition was at the Montrose Gallery in New York as part of the « 30 American Artists » group exhibition in 1940. First critical acclaim for Marinsky’s sculpture followed in 1945 for a group of seven figures titled « One War – One Peace ». The group depicts the horrors of war and what remained after its wake. Included in the group is Rape which shows a woman with a skeletal frame being raped while a thin child falls to the ground beneath her and her attacker.

In 1946 Marinsky left New York City for the rural town of Rowayton in Connecticut. The change in pace allowed him to pursue varied interests in landscape design, architecture, and gardening while still working as a painter and sculptor.

In 1969, Harry Marinsky was called by Richard Nixon to participate in the renovation of the Oval Office at the White House.

 

1 000 – 1500 EUR

20.  FRANCOIS SABLET (1745-1819)

Portrait d’un révolutionnaire

 

Huile sur sa toile d’origine présentée dans son cadre de l’époque.
Signé en bas à gauche de la main.
Dimensions : 23,5 x 20 cm
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Portrait of a revolutionary, oil on unlined canvas 23,5 x 20 cm. In his original period frame. Signed on the lower left of the hand.

Swiss painter, Jean-François Sablet was born in Morges. He studied with his father, the painter and picture dealer Jacob Sablet (1720–1798), before moving to Paris in 1772. There, he and his younger brother Jacques-Henri Sablet (1749–1803) both studied at the Académie royale de peinture et de sculpture as pupils of Joseph-Marie Vien. Jean-François studied at the Académie in 1768–1773 and Jacques-Henri in 1772–1775. Although their careers did not follow a similar course, the attribution of their works has frequently been confused.

In 1791 Jean-François left Paris for Rome to join his brother Jacques-Henri. While there he concentrated on landscapes, also depicting people in local costume. In February 1793 Jean-François Sablet was obliged to leave Rome with the rest of the French community and by October was in Paris as a member of the Revolutionary Commune des Arts. He produced a number of Revolutionary portraits, including Joseph-Agricol Viala, William Tell and Lycurgus (all untraced), but spent most of his time quietly in Normandy.

In 1802 he worked in Paris for the printmakers Francesco Piranesi (1758-1810) and his brother Pietro Piranesi (1773-after 1807), the sons of Giovanni Battista Piranesi. In 1805 he established himself in Nantes, producing small-scale portraits of the city’s notables with sometimes scathing sincerity. In 1812 he decorated the Le Palais de la Bourse in Nantes, with six large grisailles depicting the Visit of Napoleon to Nantes in 1808.

 

6 000 – 8000 EUR

21.  ECOLE SUPREMATISTE

 

Sculpture en bronze à patine dorée, signée des initiales A.A.M probablement pour Adolphe-Marcel Magana.

Numéroté 2/6 avec cachet du fondeur Guyot. Repose sur une base en bois noirci.

Provenance : Achetée par l’actuel propriétaire en 1989 chez Guy Loudmer.

Dimensions totales : 22 x 18 x 11 cm
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Golden patina bronze sculpture, signed with the initials A.A.M probably for Adolphe-Marcel Magana.

Numbered 2/6 with Guyot foundry mark. On a blackened wooden base.

Provenance: Purchased by the current owner in 1989 from Guy Loudmer.

Dimensions with base: 22 x 18 x 11 cm

 

1 500 – 3000 EUR