Cheryl Pope Portrait of a Palm Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Cheryl Pope is an interdisciplinary visual artist that questions and responds to issues of identity as it relates to the individual and the community, specifically regarding race, gender, class, history, power, and place. Her practice emerges from the act and politics of listening. Pope's early work involved performative, often sports-related projects, her more recent body of work continues the artist's examination of systematic social concerns, unexpected material interventions, and simultaneously introduces a novel formal language. While she previously positioned herself as a conduit for the voices of the youth impacted by socio-political turmoil, Pope's more recent work puts forth a personal intimacy yet unseen in the artist's oeuvre. Education BFA 2003 School of the Art Institute Chicago, Masters in Design, Full Merit Scholar, 2010, School of the Art Institute Chicago Select Exhibitions/Awards Pope received her BFA and MA in Design from the School of the Art Institute, Chicago, where she is now an Adjunct Professor. She has been the recipient of several awards and fellowships, including the Public Artist Award, Franklin Works, Minneapolis, MN (2017); Selected Artist, Year of Public Art, Chicago Cultural Center, IL (2017); Mellon Fellowship, Kenyon College, Gambier, OH (2016); and 3Arts Award, Chicago, IL (2015). Pope's work is in the collections of the Museum of Contemporary Art, Chicago; Joan Flasche Artists Book Collection, Chicago; Seattle Art Museum, WA; Honolulu Museum of Art, HI; Museum of Contemporary Art, San Diego, CA; Poetry Foundation, Chicago, IL; DePaul University Art Museum, Chicago, IL; Virginia Museum of Fine Arts, Richmond, VA; United States Embassy, Santo Domingo, Dominican Republic; The Jackson West Memorial Hospital, Miami; The Ulrich Museum of Art, Kansas, where she will have a solo show in the fall of 2022. Gallery Representation Monique Meloche Gallery Chicago Statement about AOAP Submitted Artwork The works submitted are about Love.
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Cheryl Pope Portrait of a Palm 2 Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Cheryl Pope is an interdisciplinary visual artist that questions and responds to issues of identity as it relates to the individual and the community, specifically regarding race, gender, class, history, power, and place. Her practice emerges from the act and politics of listening. Pope's early work involved performative, often sports-related projects, her more recent body of work continues the artist's examination of systematic social concerns, unexpected material interventions, and simultaneously introduces a novel formal language. While she previously positioned herself as a conduit for the voices of the youth impacted by socio-political turmoil, Pope's more recent work puts forth a personal intimacy yet unseen in the artist's oeuvre. Education BFA 2003 School of the Art Institute Chicago, Masters in Design, Full Merit Scholar, 2010, School of the Art Institute Chicago Select Exhibitions/Awards Pope received her BFA and MA in Design from the School of the Art Institute, Chicago, where she is now an Adjunct Professor. She has been the recipient of several awards and fellowships, including the Public Artist Award, Franklin Works, Minneapolis, MN (2017); Selected Artist, Year of Public Art, Chicago Cultural Center, IL (2017); Mellon Fellowship, Kenyon College, Gambier, OH (2016); and 3Arts Award, Chicago, IL (2015). Pope's work is in the collections of the Museum of Contemporary Art, Chicago; Joan Flasche Artists Book Collection, Chicago; Seattle Art Museum, WA; Honolulu Museum of Art, HI; Museum of Contemporary Art, San Diego, CA; Poetry Foundation, Chicago, IL; DePaul University Art Museum, Chicago, IL; Virginia Museum of Fine Arts, Richmond, VA; United States Embassy, Santo Domingo, Dominican Republic; The Jackson West Memorial Hospital, Miami; The Ulrich Museum of Art, Kansas, where she will have a solo show in the fall of 2022. Gallery Representation Monique Meloche Gallery Chicago Statement about AOAP Submitted Artwork The works submitted are about Love.
Zoë Zimmer Mirror No. 1 Digital Photo Collage/Giclée Print on Paper Signed Verso 15 x 10cm (5¾ x 3¾ in.) About Artist and Photographer, Zoë Zimmer, was born and raised in London. At fifteen she started modelling, and seven years later transitioned into working as a photographer and graphic artist. Self-taught, she initially started working in fashion and portrait photography while living between London and Los Angeles. Her work has appeared in editorial magazines such as Volt, TWELV, and EXIT, and her portrait work includes Morgan Freeman among others. She has also been featured in various publications such as British Vogue, Tatler, The Observer, The Telegraph and on Dazed Digital. Zoë later turned her focus to working on photo based graphic art and digital collages - which she art directs, shoots, edits and designs herself, and often features self-portraiture - as well as brand collaborations, and album artwork for major labels and recording artists.
Zoë Zimmer Mirror No. 2 Digital Photo Collage/Giclée Print on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Artist and Photographer, Zoë Zimmer, was born and raised in London. At fifteen she started modelling, and seven years later transitioned into working as a photographer and graphic artist. Self-taught, she initially started working in fashion and portrait photography while living between London and Los Angeles. Her work has appeared in editorial magazines such as Volt, TWELV, and EXIT, and her portrait work includes Morgan Freeman among others. She has also been featured in various publications such as British Vogue, Tatler, The Observer, The Telegraph and on Dazed Digital. Zoë later turned her focus to working on photo based graphic art and digital collages - which she art directs, shoots, edits and designs herself, and often features self-portraiture - as well as brand collaborations, and album artwork for major labels and recording artists.
Anastasia Shimshilashvili Oxford Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I was born in Moscow in 1987. I started my art education in 1998 at the Moscow State Academy Art Lyceum of The Russian Academy of Arts. I believe that a large part of my knowledge and skill was developed at the lyceum. The Surikov Art Institute was a logical progression of my academic training. I got admitted into the Faculty of Painting and after my 2nd year, I got accepted into the Department of Monumental Art. There, I learnt various techniques such as making church frescos, mosaics, breadboarding etc. Following graduation, I have focused a substantial amount of my time on teaching fine art to eager students, running a YouTube Art Channel, and recently publishing a 'self-teach' art book based on my teaching methods in Russia. The most important aspect is the character of each personage and tone. I like to work on different pieces with different technologies simultaneously. This way I never get tired of one particular work and I can enjoy diversity during my work. Education MA in Fine Art Faculty of Painting, Surikov Academic Institute of Art, Moscow at 2011 BA Monumental Art Workshop of Monumental Art, Faculty of Painting, V. Surikov Moscow State Academy Art Institute, Moscow, Russian Federation 2009 Architectural Graphics and Drawing Introduction to Architecture and Design. Moscow Architectural Institute, Moscow, Russian Federation 2004-2005 Secondary, Higher Secondary Education Specialisation in Painting and Graphic Art - Studio No.1 under V.E. Elizarov, Moscow State Academy Art Lyceum, Moscow, Russian Federation 1998-2005 Select Exhibitions/Awards Royal Society of British Artists Royal Institute of Painters in Water Colours Saatchi The Other Art Fair The Sunday Times Watercolour Competition The Biennial Ruth Borchard Self-Portrait Prize Figurative ART now New English Art Club Society of Women Artists The Pastel Society Sky Portrait Artist of the Year Sky Landscape Artist of the Year Young Artists of Russia Exhibitions of Moscow Union of Artists
ENRIQUE JARABA JIMÉNEZ (Málaga 1876- Málaga, 1926)."Portrait of a Lady", 1903.Charcoal and chalk on paper.Signed, dated and dedicated in the lower right area.Measurements: 30 x 26 cm; 46 x 42 cm (frame).Enrique Jaraba Jiménez was a Spanish painter highly appreciated for his typically Andalusian scenes and characters, always treated from a perspective in which colour became the main protagonist. He began his training under the tutelage of Martínez de la Vega, Ocon and Moreno Carbonero. He later left Malaga to visit other centres of great artistic importance and to broaden his experience as a painter. He took up residence in Vienna for a period of time, although he returned to Malaga in 1985 to become a teacher at the School of Fine Arts. He cultivated various artistic genres, but excelled as a portraitist. He came to be considered as the most important decorative painter of his time, since thanks to his experience he left academicist painting to one side and introduced impressionism stylistically among his students and his artistic circle. In addition to his facet as a painter, Enrique Jaraba increased his artistic experience by taking part in numerous posters for fairs, Easter Week, etc.
English school, ca.1820."Portrait of a gentleman.Oil on canvas.Measurements: 72 x 59 cm; 96 x 81 cm (frame).Male portrait, of three quarters, on neutral background. It represents a man of middle age and aristocratic bearing. The painter delves into the character's psychology in a realistic language. His angular features emphasise the severity of his character. The starched collar enhances the haughtiness of his features, modelled with a clear light that also brings out the right textures of the pleated blouse.
FERDINAND DE BRAEKELEER II (Belgium, 1792 -1883)."Profile of a Lady.Oil on mahogany panel.It has a period frame with damage.It presents repainting, faults and losses of the pictorial surface.Measurements: 44 x 34,5 cm; 59 x 50 cm (frame).The intensity of this female portrait is reflected in the volumetry of the monumental body, especially the neck, which stands out for its dimensions and the reflection it gives off with respect to the dark tonalities that make up the rest of the composition. The work bears a certain resemblance to the composition of the gesture found in the painting by Eugène Delacroix entitled The Orphan", which was executed in 1853.Ferdinand Henri Jean de Braekeleer is part of a family of Flemish painters from Antwerp that has many members, which can sometimes lead to confusion in attributions. In fact, he is the eldest son of Ferdinand de Braekeleer (known as the Old Man), the brother of Henri de Braekeleer (1840-1888), who was the most prominent painter in the family. Following in the aesthetic footsteps of his family, the Younger, he painted genre scenes in the Flemish style of past centuries, such as the small canvas Family. He also painted 17th-century interiors, portraits and views of the city. He took part in the Antwerp Salon of 1849. In 1852 he founded a gallery in New York where he sold the works of the Belgian school, the Belgian Painting and Statuary Gallery. In New York he exhibited a painting entitled Le plunder1 at the National Academy of Design in 1853. Ill, he returned to Antwerp to die there.
JOSE MARIA LÓPEZ MEZQUITA (Granada, 1883 - Madrid, 1954)"Portrait of a child.Oil on canvas.Signed in the lower right corner.Size: 39 x 49 cm; 66 x 57 cm (frame).An outstanding painter of the late 19th and early 20th century, José María López Mezquita was a full member of the San Fernando Royal Academy of Fine Arts in Madrid and an honorary member of the National Academy of Fine Arts in Paris. He began his training under the guidance of José Larrocha, and in 1897 he entered the San Fernando School of Fine Arts, where he was a disciple of Cecilio Pla. Shortly afterwards the Infanta Isabella of Bourbon awarded him a scholarship which enabled him to further his studies in France, Belgium, Holland, England and Italy. He won first medals at the National Fine Arts Exhibitions in Madrid in 1901 and 19010, and was a candidate for the medal of honour in the 1915 and 1924 editions. He was awarded the third medal at the Paris Salon of 1903, and the second medal at the International Exhibition of Barcelona in 1907 and at the International Exhibitions of Munich (1909) and San Francisco (1915). He was also awarded the top prize at the Buenos Aires International of 1910, the Barcelona International of 1911 and the Panama International of 1916. In 1952 he was awarded the prize of honour of the Círculo de Bellas Artes in Madrid. López Mezquita is currently represented in the Prado Museum and the Fine Arts Museums of Granada and Álava, among others.
RAMON NADAL HORRACH (Palma de Mallorca, 1913 - 1999)."Landscape", 1945.Oil on canvas.Signed and dated in the lower right-hand corner.Measurements: 65 x 84.5 cm; 82 x 99 cm (frame).Ramon Nadal trained with Llorenç Cerdà and Francesc Rosselló at the School of Arts and Crafts in Palma de Mallorca, and was introduced to the world of art thanks to his father. At the age of just thirteen he held his first exhibition, which was held at the La Veda gallery in Palma. In 1940 he took part in the founding of the Círculo de Bellas Artes in Palma, where he would later exhibit his works on several occasions. He mainly worked in oil painting, and his work encompasses practically all genres (figure, still life, portrait, etc.), although he is especially known for his landscapes. He belongs to the Mallorcan post-impressionist movement, and is noted for the consistency of his drawing. Throughout his career his work was recognised on several occasions, especially the Medal of Honour of the Círculo de Bellas Artes de Palma in 1952 and the City of Palma Prize the following year. Likewise, since 1964 he was a full member of the Royal Academy of Sant Sebastià. Some outstanding young artists were trained in his studio, such as Alicia Alcover, Miguel Llabrés, Antoni Alzamora, Juan Segura, Josep Manresa Clar and his nephew, Francisco Gaita. There is currently a street in Palma de Mallorca that bears his name, and his works form part of several collections, including that of the Can Prunera Museum in Sóller (Mallorca).
Philippine school; 19th century."Portrait of a lady.Oil on canvas.It presents breakage and slight faults on the pictorial surface.Measurements: 37 x 30 cm; 44,5 x 38 cm (frame).Portrait of female bust, in which the protagonist turns slightly her face directing her look towards an unspecified point that is outside the surface of the painting. The young lady is notable for the delicacy and fineness of her features, her white skin, which lends luminosity to the scene, and her neat dress, adorned with lace and matched by the floral headdress she wears in her hairstyle. All these features speak of a lady who belongs to high society. The dominant colour range revolves around the sober, restrained tones typical of the portrait painting of the time. This portrait painting followed the aesthetic patterns of the West, which had a great influence on the academic school that developed in the Philippines.In the 19th century, portraiture became the genre par excellence of Spanish painting and, in the case in point, of the Philippine colonists, as a result of the new social structures established in the Western world. While official circles gave preponderance to other artistic genres, such as history painting, and the incipient collectors encouraged the profusion of genre paintings, portraiture monopolised the demand for painting intended for the more private sphere, as a reflection of the value of the individual in the new society. This genre embodies the permanent presence of the image of its protagonists, to be enjoyed in the privacy of a studio, in the everyday warmth of a family cabinet or presiding over the main rooms of the house.
JOSÉ MONGRELL TORRENT (Valencia, 1870 - Barcelona, 1937)."Parrot".Oil on cardboard.Signed in the lower right corner.Size: 51 x 41 cm; 80 x 66 cm (frame).José Mongrell studied at the School of Fine Arts of San Carlos in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He gained artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master what helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others.
LUIS TABERNER Y MONTALVO (Madrid, 1844-1900)."Puttis".Oil on canvas. Re-coloured.With restorations.Signed in the lower left corner.Measurements: 49 x 82 cm.Trained at the School of Fine Arts of San Fernando in Madrid, Luis Taberner regularly attended the National Exhibitions of Fine Arts, where he presented, in 1871, the work "El propagandista". The Prado Museum documents that he was also present at the Madrid Horticultural Exhibition of 1881 with the painting entitled "Unas orzas". The Spanish art gallery continues, "A genre painter and skilful portraitist, his works include the Portrait of King Alfonso XII and those of Emilio Arrieta, Francisco A. Barbieri, Manuel Fernández Caballero and Francisco López Dóriga y Bustamante. He also practised decorative painting, of which numerous oil sketches have survived.
JOSÉ MARÍA FENOLLERA (Valencia, 1851 - Santiago de Compostela, 1918)."Orientalist Lady".Oil on canvas. Relined.It has faults and restorations.Signed in the middle right area.Measurements: 55 x 47 cm.Portrait of lady of oval format, in which the artist shows us the profile of a young woman who adopts a romantic and self-absorbed gesture. As for the clothing, the headscarf, the jewellery she wears and even the fan suggest a regional costume.José María Fenollera trained academically in his native city, studying at the renowned San Carlos School of Fine Arts. Later, thanks to a scholarship granted by the Diputación Provincial de Valencia, he was able to travel to Rome, together with Pinzo and Sorrolla. After finishing his time in the Italian capital, he moved to Paris, where he studied photoengraving. On returning to Spain, he began working at the Royal Tapestry Factory, for whom he painted several cartoons. In 1887 he moved to Santiago de Compostela, where he had obtained a teaching post at the city's School of Fine Arts. His work was strongly linked to regionalism, although the area in which he was most popular with critics was portraiture. In fact, he even painted portraits of the most important personalities of the time, such as Cardinal Pavá.
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958)."El somriure (Portrait of the dancer Isabel Rodríguez), 1914.Plaster.Mark of Godard Pere Fondeur, Paris.Signed.Bronze copy published in "Josep Clarà, els anys de París, 1900-1931. L'ànima vibrant", with texts by Eva Vázquez, Mercè Doñate, Lluís Muntada, Mariàngela Villalonga and Manuel Loosveldt.Size: 35 x 24 x 26 cm.Josep Clarà began his training at the Olot School of Drawing with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After completing his studies, he went to Paris in 1890, where he worked in the studio of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, Rodin's advice helped him to overcome the modernist influences of his early works. In 1907 he presented "Torment" at the Salon des Artistes Français, a work that shows a Rodinian influence which in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favour of greater clarity and serenity. The following year he presented what was to be the first of his goddesses, a work which finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan enabled him to produce his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and gave him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the Ruins of Life" (San Isidro Cemetery, Madrid) and "Monument to the Catalan Volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the Grand Prix in Paris in 1925. At the end of the same year he was appointed a member of the San Fernando Academy of Fine Arts in Madrid. Clarà also produced heads and portraits, in which he displayed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself of all sentiment, as can be seen in his first "Static" of 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honour at the Barcelona International Exhibition (1929). In 1930 Clarà travelled to Greece; two years later he left his Paris residence and settled permanently in Barcelona. In 1934 he won the Damià Campeny Prize for "Desnudo de muchacha" ("Nude of a Girl"). In 1936 he created one of his best works, for its synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the Grand Prize at the 1954 Hispano-American Biennial. In 1946 he produced a "Saint Benedict" (Montserrat) which led him towards the study of the seated figure. Thus, his last works were mainly seated maternities and reclining figures. In 1969 the museum that bears his name was inaugurated in Barcelona, where a large part of his work is conserved. His work can also be found in the Museu Comarcal de la Garrotxa in Olot and the Museu Nacional d'Art de Catalunya, among others.
French school; second quarter of the 19th century."Portrait of a gentleman.Oil on canvas.It conserves its original canvas.Measurements: 51 x 40 cm; 70 x 60 cm (frame).Portrait of a gentleman who appears before the spectator in profile, although he seems to direct his sight slightly in such a way that he links with the gaze of the one who observes the piece. The work is executed with a rapid, sometimes sketchy brushstroke, although the artist does not lose interest in capturing the details, giving great importance to the hair and features of the subject.The work is clearly inspired by the portraits of Anton van Dyck, a key Flemish Baroque painter and one of the most important portraitists of the 17th century. The son of a cloth and silk merchant, which undoubtedly influenced his appreciation of textiles, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen, who had spent several years in Italy and developed a markedly Italianate style. This period of Van Dyck's training coincided with Rubens' return from Italy, after which he produced a series of altarpieces for the churches of Antwerp, bringing with him a whole new visual language in its ambition, drama and colour, which fitted in well with the Counter-Reformation religiosity of the Spanish Netherlands. It is not surprising therefore that Van Balen's brilliant pupil soon joined the circle of Rubens. By 1620 Van Dyck was already his principal assistant, although he had his own independent studio in the city. During these years he devoted himself mainly to religious works and in 1620 he was invited to London to work for King James I. In February 1621 he was already in London. In February 1621 he returned to Antwerp and in October he left for Italy. During these months in his native city he began to emerge as a brilliant portraitist, with works such as the portrait of "Frans Snyders and his Wife" (Frick Collection, New York) and "Isabella Brant", the wife of Rubens (National Gallery, Washington). In Italy Van Dyck spent six years in Genoa, from where he visited Rome and Venice, always studying the works of earlier masters, particularly Venetians and especially Titian, whose influence would be evident throughout the rest of his career. He also visited Sicily, where he painted the portrait of the viceroy Manuel Filiberto of Savoy. In Genoa the Flemish artist became the most sought-after portraitist by the local aristocracy and in 1627 he returned to Antwerp with a solid reputation and was soon appointed painter to the Archduchess Isabella. However, he did not abandon religious painting, to which he devoted himself in particular between 1628 and 1630, during Rubens' absence from Antwerp. His religious works reveal characteristics typical of Counter-Reformation art, such as the profound religious sentiment and the reflection of the mystical fervour that pervaded the painter's own personality. In 1632 he moved to London again, this time at the request of King Charles I.
JEAN JANSEM (Bursa, Turkey, 1920- Saint-Aignan, France, 2013)."Portrait of a woman.Watercolour and ink on paper.Signed in the lower right corner.With Cannes Gallery label on the back.Size: 63 x 48 cm; 84 x 70 cm (frame).A French-Armenian painter who settled in the Parisian suburb of Issy-les-Moulineaux in 1931, Jean Jansem began his studies in painting with free classes at Montparnasse (1934/36). He later studied at the Ecole des Arts Décoratifs. He had solo exhibitions in Paris, New York, Chicago, London, Tokyo, Rome, Brussels, Lausanne, Beirut, etc. He was also elected President of the Salon of the Union of Young Artists in 1956. This is a work in which Jean Jansem's introspective language is expressed in all its essence. The human figure is at the centre of his work, with an evident spiritual expression.
JEAN JANSEM (Bursa, Turkey, 1920- Saint-Aignan, France, 2013)."Portrait of a woman.Watercolour and ink on paper.Signed in the lower right corner.With Cannes Gallery label on the back.Size: 63 x 48 cm; 84 x 70 cm (frame).A French-Armenian painter who settled in the Parisian suburb of Issy-les-Moulineaux in 1931, Jean Jansem began his studies in painting with free classes at Montparnasse (1934/36). He later studied at the Ecole des Arts Décoratifs. He had solo exhibitions in Paris, New York, Chicago, London, Tokyo, Rome, Brussels, Lausanne, Beirut, etc. He was also elected President of the Salon of the Union of Young Artists in 1956. This is a work in which Jean Jansem's introspective language is expressed in all its essence. The human figure is at the centre of his work, with an evident spiritual expression.
VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Portrait of a lady.Oil on canvas.With restorations.Signed in the lower right area.Measurements: 89 x 70 cm.Portrait of a lady with a long bust, the work follows the precepts established by the genre of the portrait during all the history of art; the neutral background that monumentalizes the figure, the position in the foreground and the strict frontality among other characteristics. However, it is worth noting the pose of the sitter, who is shown before the viewer with her arms crossed, clasping her hands and leaning slightly to one side, which shows how tired she is from hours of posing before the artist and leaves the viewer with an anecdotal element that describes the sitter's personality. Palmaroli was a vigorous portraitist who knew how to delve deeply into the psychology of the sitter and recreate the minute details of her clothing. With a virtuoso brushstroke, he expressed the plasticity of the clothes and the brilliance of the adolescent flesh tones in a veristic language. The son of an Italian lithographer, Palmaroli entered the School of Fine Arts at the San Fernando Academy in Madrid in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetic of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Rome Academy. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.
DECORATIVE INTERIORS GROUP OF MIRRORS & INLAID/CARVED OLIVE WOOD to include a walnut triple dressing mirror, 58cms H, 84cms W, a further modern gilt highlighted wall mirror with bevelled glass, 46 x 35.5cms, two-tier fretwork wall shelf with inlaid panels, 49cms H, similar easel portrait stand and folding book rack along with a Russian lacquer work box, 7cms across
CIRCA 1800 & LATER PORTRAIT MINIATURES & ONE OTHER to include an oval study of a gentleman on ivory slip, unsigned with gilt surround against a black frame, 7.25 x 6.75cms, 14 x 11cms overall, probably English, circular portrait of a lady on ivory slip having flowers to her hair, signature indistinct, French 19th century, 6.5cms diameter, having a gilt surround in a dished black frame, 13 x 13cms overall, along with a circular format print of Madonna and child behind a gilt mount in a brass frame with easel back, 6.5cms diameter, 11.5 x 11.5cms overall
19TH CENTURY IVORY SLIP PORTRAIT MINIATURES (2) with a Georgian sand picture miniature of a church all having gilt metal frames to include a small circular format of a woman with pink headband and pearls in her hair, 2.75cms diameter overall, oval example of a woman in red bodice, 5 x 4.5cms overall, the sand picture in brooch form, indistinct title label verso, 5.5 x 4.75cms overall
18TH & 19TH CENTURY PORTRAIT MINIATURES (4) - all having gilt metal frames to include a circular portrait of a Tudor style woman with neck ruff, unsigned, the frame has a pendant/brooch with openwork scrolls, 4cms diameter, 5.25cms diameter overall, oval format portrait of a gentleman, unsigned, 6 x 4.5cms overall, oval format portrait miniature of a lady with red sash and ribbon, indistinct signature to the right, W???, the twist fashion frame with hanging loop, 5.5 x 4.25cms overall, the three all painted on ivory slips, the final item in oval format, printed portrait study of a Georgian period lady with tiara, mounted to metal in a rope twist brooch, 6 x 5cms overall
18TH CENTURY PORTRAIT MINIATURE OF CATHERINE II (Catherine the Great) Empress of Russia, painted seven years into her reign on rectangular ivory slip, the Empress depicted standing outdoors wearing a fur edged blue cloak and pearl jewellery, initialled in Russian/Bulgarian Cyrillic, dated 1769, 11.5 x 9cms set in a gilt brass frame with Imperial eagle crest surmount and hanging loop, 16.5 x 11cms overall
MIXED COLLECTABLES GROUP - two vintage boxes and contents, ETC, to include a dome top walnut glove box with brass mounts, 25.5cms L, Japanese papier mache box having musicians and people to an interior setting, 18cms across, white metal profile portrait of a gentleman within a metal frame, the bust inscribed J Herbert Fecitt, 8.5 x 5.5cms, silver shield shaped badge with enamel decorated coat of arms, Chester silver chain fob, small bone box and contents, 8.5cms L, pair of binoculars Stanhope, a Memory of Eastbourne and further trinket miniatures, Hohner Marine Band mouth organ, three white metal figurines of an elephant, squirrel and penguin and other collectables
19th Century French dark patinated and gilt bronze mantel clock, the column case surmounted by a seated figure of a cherub and decorated with grapevines, birds, swags, portrait medallion etc., the enamel dial with Arabic and Roman numerals, the two train movement with outside count wheel, signed Henri Picard (1831 - 1864), 18.25ins high
Late 19th / early 20th Century Chinese hardwood frame, housing a photographic portrait of a lady posed by a mirror, 11.25ins x 8.5ins, together with a Chinese watercolour on rice paper of figure wearing a blue dragon decorated robe, 7ins x 4.5ins, together two Chinese painted composition figures
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283287 Los(e)/Seite