Photo 13 Jun AFTER JOOS VAN CRAESBEECK, “Men in a Tavern,” 17th Century, Dutch School, Oil on Panel, 17” x 22”. 

AFTER JOOS VAN CRAESBEECK, “Men in a Tavern,” 17th Century, Dutch School, Oil on Panel, 17” x 22”. 

Photo 13 Jun PIERRE BISIAUX (1924-Present), “Still Life with Flower Vase, Bottle & Newspaper,” Signed,Mid 20th Century, French, Oil on Canvas, 39.5” x  28.5”.
-SOLD-

PIERRE BISIAUX (1924-Present), “Still Life with Flower Vase, Bottle & Newspaper,” Signed,Mid 20th Century, French, Oil on Canvas, 39.5” x  28.5”.

-SOLD-

Photo 13 Jun EMILIO BAZ VIAUD (MEXICO, 1918-1991), “Cat on Wicker Chair,” Early 20th Century, Oil on Canvas, 27.75” x 20”.
A painter born in Mexico City, Viaud applies meticulous brushwork in a “tromple-l’oeil” style that critics have mentioned recall the great Dutch and Renaissance Masters, such as Durer and Boticelli. While briefly dappling in abstract painting in the 1970’s, he is chiefly recognized for the works he created which predate 1955. Exhibiting his first show in 1951, Viaud was a pupil of the artist Manuel Rodriguez Lozano after having studied architecture alongside his painterly interests. After having been featured alongside figures like Siqueiros and Diego Rivera in several group exhibitions, Viaud is an increasingly evaluated figure in 20th century Latin art. 

EMILIO BAZ VIAUD (MEXICO, 1918-1991), “Cat on Wicker Chair,” Early 20th Century, Oil on Canvas, 27.75” x 20”.

A painter born in Mexico City, Viaud applies meticulous brushwork in a “tromple-l’oeil” style that critics have mentioned recall the great Dutch and Renaissance Masters, such as Durer and Boticelli. While briefly dappling in abstract painting in the 1970’s, he is chiefly recognized for the works he created which predate 1955. Exhibiting his first show in 1951, Viaud was a pupil of the artist Manuel Rodriguez Lozano after having studied architecture alongside his painterly interests. After having been featured alongside figures like Siqueiros and Diego Rivera in several group exhibitions, Viaud is an increasingly evaluated figure in 20th century Latin art. 

Photo 7 Jun ROBERT WALTER WEIR (American, 1803-1889)The Two Marys at the Sepulcher, 1865Oil on canvas35 x 47-3/8 inches (88.9 x 120.4 cm)Signed and dated lower left: Robt. W. Weir. / 1865LITERATURE:I. Weir, Robert W. Weir, Artist, New York, 1947, p. 115.
  Member of the Hudson River School, Weir was an important element of 1920s social and cultural life of New York City. This painting along with many others are imbued with a genuine sense of sorrow as Weir’s wife and unborn child died in child-birth. After this event, many of his subjects were religious scenes like this one that draw from his training as a landscape painter.

ROBERT WALTER WEIR (American, 1803-1889)
The Two Marys at the Sepulcher, 1865
Oil on canvas
35 x 47-3/8 inches (88.9 x 120.4 cm)
Signed and dated lower left: Robt. W. Weir. / 1865

LITERATURE:
I. Weir, Robert W. Weir, Artist, New York, 1947, p. 115.

Member of the Hudson River School, Weir was an important element of 1920s social and cultural life of New York City. This painting along with many others are imbued with a genuine sense of sorrow as Weir’s wife and unborn child died in child-birth. After this event, many of his subjects were religious scenes like this one that draw from his training as a landscape painter.

Photo 7 Jun CONTINENTAL SCHOOL (Early 18th Century)Mythological Scene of a Tomb in a Landscape with Classical Ruins, circa 1700Oil on panel16-1/4 x 22-1/2 inches (41.3 x 57.2 cm)PROVENANCE:Koberg &…Kayser (partial label verso);Königliche Sächsische Gemäldegalerie, Dresden (Wax seals verso).

CONTINENTAL SCHOOL (Early 18th Century)
Mythological Scene of a Tomb in a Landscape with Classical Ruins, circa 1700
Oil on panel
16-1/4 x 22-1/2 inches (41.3 x 57.2 cm)

PROVENANCE:
Koberg &…Kayser (partial label verso);
Königliche Sächsische Gemäldegalerie, Dresden (Wax seals verso).

Photo 7 Jun After JACOPO DA PONTE BASSANO (Italian, 1510-1592)The Adoration of the Shepherds, 17th centuryOil on cradled panel12 x 16-3/4 inches (30.5 x 42.5 cm)
After the original work in the collection of the Galleria Corsini, this work is a beautiful 17th c. Italian copy on wood panel.

After JACOPO DA PONTE BASSANO (Italian, 1510-1592)
The Adoration of the Shepherds, 17th century
Oil on cradled panel
12 x 16-3/4 inches (30.5 x 42.5 cm)

After the original work in the collection of the Galleria Corsini, this work is a beautiful 17th c. Italian copy on wood panel.


Photo 7 Jun JOHANN GEORG MEYER (German, 1813-1880)Fidelity (possibly a depiction of the poet Friedrich von Schiller, his wife and son), 1845Oil on canvas42-1/2 x 32 inches (108.0 x 81.3 cm)Signed and dated lower right: Meyer von Bremen. 1845Inscribed verso: "Fried v. Schiller, Franfort [sic] am Main" (possibly an identification of the subject)
The artist was a talented portrait and genre painter in addition to being an accomplished printmaker. Bremen was trained under C.F. Sohn and W. von Schadow and his work is in important collections including the Metropolitan Museum of Art.

JOHANN GEORG MEYER (German, 1813-1880)
Fidelity (possibly a depiction of the poet Friedrich von Schiller, his wife and son), 1845
Oil on canvas
42-1/2 x 32 inches (108.0 x 81.3 cm)
Signed and dated lower right: Meyer von Bremen. 1845
Inscribed verso: "Fried v. Schiller, Franfort [sic] am Main" (possibly an identification of the subject)

The artist was a talented portrait and genre painter in addition to being an accomplished printmaker. Bremen was trained under C.F. Sohn and W. von Schadow and his work is in important collections including the Metropolitan Museum of Art.

Photo 7 Jun JEAN-BAPTISTE-ANTOINE-EMILE BERANGER (French, 1814-1883)Woman Flower Painter at the Easel (probably a portrait of his sister Suzanne-Estelle Beranger-Apoil), 1856Oil on wooden panel25 x 20-3/4 inches (63.5 x 52.7 cm)Signed and dated lower left: Emile Beranger 1856

JEAN-BAPTISTE-ANTOINE-EMILE BERANGER (French, 1814-1883)
Woman Flower Painter at the Easel (probably a portrait of his sister Suzanne-Estelle Beranger-Apoil), 1856
Oil on wooden panel
25 x 20-3/4 inches (63.5 x 52.7 cm)
Signed and dated lower left: Emile Beranger 1856

Photo 7 Jun 1 note JOSÉ VILLEGAS Y CORDERO (Spanish, 1844-1921)The Young Prince, 1880Oil on canvas78-1/2 x 49-1/2 inches (199.4 x 125.7 cm)Signed and dated lower left: VILLEGAS / HISPALI / MDCCLXXX

JOSÉ VILLEGAS Y CORDERO (Spanish, 1844-1921)
The Young Prince, 1880
Oil on canvas
78-1/2 x 49-1/2 inches (199.4 x 125.7 cm)
Signed and dated lower left: VILLEGAS / HISPALI / MDCCLXXX

Photo 7 Jun Follower of PIETER BRUEGHEL (Flemish, 1515-1569)The Fight Between Carnival and Lent, 17th centuryOil on canvas35 x 53 inches 
PROVENANCE:Parke-Bernet, New York, March 13, 1957, lot 13;Finch College Museum of Fine Art, New York, no. 4783.
This oil painting by a masterful 17th century artist, The Fight Between Carnival and Lent, depicts the contrast between Southern Netherlandish liturgical seasons of Carnival and Lent sometime in the 16th century. Leading a procession through town, a personification of Carnival presided over a large feast. 
 
At left, rotund Carnival sits on an empty beer barrel on wheels who points large skewered poultry at the svelte nun, who represents Lent. The nun offers her baker’s shovel of herrings, the traditional meal eaten during her season. The beehive atop her head symbolizes the Catholic Church.
 
Beyond the figures are two buildings, which buttress the contrast between these two times of year. The tavern behind Carnival speaks to the secular and the Church behind Lent brings to mind the Holy.

Follower of PIETER BRUEGHEL (Flemish, 1515-1569)
The Fight Between Carnival and Lent, 17th century
Oil on canvas
35 x 53 inches 

PROVENANCE:
Parke-Bernet, New York, March 13, 1957, lot 13;
Finch College Museum of Fine Art, New York, no. 4783.

This oil painting by a masterful 17th century artist, The Fight Between Carnival and Lent, depicts the contrast between Southern Netherlandish liturgical seasons of Carnival and Lent sometime in the 16th century. Leading a procession through town, a personification of Carnival presided over a large feast.

 

At left, rotund Carnival sits on an empty beer barrel on wheels who points large skewered poultry at the svelte nun, who represents Lent. The nun offers her baker’s shovel of herrings, the traditional meal eaten during her season. The beehive atop her head symbolizes the Catholic Church.

 

Beyond the figures are two buildings, which buttress the contrast between these two times of year. The tavern behind Carnival speaks to the secular and the Church behind Lent brings to mind the Holy.


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