Follower of Joachim Patinir (Dinant, Belgium, circa 1480 - Antwerp, 1524). XVI - XVII century."Landscape with St. Christopher and Child."Oil on panel.29 x 40,5 cm.It has two handwritten collection numbers in the lower right margin: "44385" and "402".We see the clear influence of Patinir in the importance of the landscape in the scene, where the theme, as the Prado explains to us that also happens with the master, ends up being "a mere pretext to develop the landscape that becomes the main protagonist" of the composition.In fact, the Prado Museum, which is the institution that owns most of his work and which dedicated its first monographic exhibition to him in 2007, highlights Patinir's characteristic broad landscapes, which "present high horizons with extensive countryside in which massifs of pointed rocks stand out, of a fantastic character, mixing the real and the symbolic", characteristics that we also find in the painting we present here.We also recognize in our oil painting "a magnificent study of light and shadows [and] an excellent handling of color in which the delightful range of blues and greens stands out", properties that define Joachim Patinir, who was generously praised by his contemporaries and who "anticipates the great Dutch masters of the 17th century", states the Prado, and develops with great creativity and mastery of execution "a poetic imagination that allows him to express an idealized or pathetic world with deep feeling".With the same theme, we find a panel by Patinir made around 1521 in Antwerp, in his last period, a few years before his death. Today it is exhibited in the Galería de las Colecciones Reales in Madrid (inv. 10014400). This beautiful work, which has more fantastic and symbolic elements than ours, some influenced by Bosch and others from Patinir's own imagination, is similar to our painting, not only because of the iconographic episode captured, but also because of the majesty of the landscape and the solitude of nature reflected in the scenes, in line with the idea of retreat and spiritual rest, as Carmen García-Frías Checa states in her file on the painting for the museum.St. Christopher, the "Cristoforo", related to the symbolism of the bearer, since etymologically it means "the one who carries Christ", is considered the patron saint of travelers, walkers, muleteers, boatmen, sailors, carriers, athletes, drivers, pilots and aviators. His devotion had a great boom after the Middle Ages.As Luis Monreal illustrates in his "Iconography of Christianity", he was a martyr in Lycia during the persecution of Decius. Although there is confusing information about him, his historical existence is certain and surrounded by legends that gave him great popularity. He is presented as a giant of Canaanite origin and it is said that he belonged to the race of the cinocephalans, which evolved and took on a human appearance.Its best-known image is the one presented in our painting as in the one we also analyzed, preserved in the Gallery of the Royal Collections: St. Christopher carrying the Child Jesus on his shoulders, crossing a river with difficulty, in a stooped attitude due to the heavy load of Jesus, who in turn carries the sphere of the world and using the saint a tree trunk as a staff, which sometimes is an entire palm tree, "because according to legend it put leaves and bore fruit".Often, as is also the case in both paintings, a hermitage is shown in the landscape, with a hermit guiding the saint with a lantern, assisting the miraculous transport from the other shore.As a curiosity, a peculiar representation of the saint shows him as a cinocephalus, that is, with a dog's head, similar to the Egyptian god Anubis.Reference bibliography:- Monreal y Tejada, Luis (2000). "Iconography of Christianity".El Acantilado.- Museo del Prado. (n.d.). "Patinir, Joachim". https://www.museodelprado.es/aprende/enciclopedia/voz/patinir-joachim/2d6537b0-55e0-4586-9982-43aa3799ecfe.- García-Frías Checa, Carmen (n.d.). "Paisaje con san Cristóbal y el Niño" (Landscape with St. Christopher and Child). Gallery of the Royal Collections. https://www.galeriadelascoleccionesreales.es/obra-de-arte/paisaje-con-san-cristobal-y-el-nio/113cc965-fed7-4c54-9ba8-faa3caaf679b.
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Workshop of Giuseppe Cesari, Il Giuseppino or the Cavaliere d'Arpino (Arpino, Italy, 1568 - Rome, Italy, 1640)"Rest on the Flight into Egypt"Oil on panel. 33 x 25,5 cm.We attribute our panel to the workshop of Il Cavaliere d'Arpino, although its extremely high pictorial quality suggests that it could well be attributed to the master's hand.In fact, an identical version of the present panel, dated 1597 but executed on copper, is on display in the Museum of Fine Arts of Boston (inv. 34570) and it is indeed attributed to Giuseppe Cesari.On the reverse of the panel, it has two repeated red wax seals with the profile of a Roman emperor with a laurel wreath. Also on the reverse, we see the handwritten words "Baro...ci" and "Roman¿o?" in ink.Particularly curious is what we suppose may be a reference to the painter Federico Barocci, since he and Cesari were contemporary artists. In fact, on 13 August 1603 Pope Clement VIII wrote a letter to Giacomo Sorbolongo, minister to the Duke of Urbino, and orderred the acquisition of the work "The Communion" by Federico Barocci. In the letter he asked him with concern that, out of respect for the Cavaliere d'Arpino, the commission for the work should be concealed from him, as he was the most important artist working for the Pope at the time.
José Campeche (San Juan, Puerto Rico, 1751-1809)"San Juanito"Oil on panel. Signed. With a carved wood frame of the 18th century.Size: 29 x 21 cm.Frame size: 60 x 54,5 cm. Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum keeps some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to being one of the most exalted and outstanding Hispanic-American painters of the late 18th century."
*KATHLEEN MURIEL SCALE (MURIEL HARDING-NEWMAN) (1913-2006) 'William Otway McCannell FRSA RBA (1883-1969) the sitter depicted bust-length before blue and black drapery, signed "Scale" in pencil upper right, oil on linen laid on panel, 61cm x 51cm (unframed)Note: This work would have been executed whilst K.M. Scale was studying at Farnham School of Art in the 1930s.William Otway McCannell was a British painter, illustrator, writer and Principal of Farnham School of Art, where Scale studied. McCannell's daughter Ursula (1923-2015) was the youngest member to be elected to the Women's International Art Club at aged 14, then three years later became the youngest artist to exhibit at the Royal Academy (1940).Overall dimensions: 61cm x 51cm
*LEO DAVY (1924-1987) 'Untitled' circa 1984, oil on board, 127cm x 182.9cmLeo Davy was born in 1924 in Shipley, Yorkshire, the seventh of nine surviving children to an art teacher and painter father and a mother who was the daughter of a painter. At the age of just ten he won a national drawing competition and in 1939 he studied at the Kingston School of Art, under Reginald Brill, before moving on the Slade School of Fine Art between 1942 and 1945, then evacuated to Oxford due to the Blitz, where he studied alongside such future stars as Kyffin Williams. Davy was included in a mixed summer show at the important contemporary gallery Gimpel-Fils in 1950 alongside avant-garde artists of the day, including Patrick Heron, William Gear, Alan Davie and William Scott.Davy was strongly dedicated to the development of abstraction. It was through his panel paintings and works on paper that he reduced and refined scenes of everyday life into his own carefully considered abstract vision, applying thinck paint and washes to form blocks of colour, often quite angular. He settled in a dilapidated cottage in North Cornwall in 1968 with his wife, where he lived and worked until his sudden death in 1987. Davy was a self-imposed outsider, as David Duncan remembers: Davy was 'a man of very few words, in fact would only speak if spoken to'. Although Davy's main intent was to isolate himself and to follow an independent line of philosophical enquiry through his painting, his art was an essential means of communication to the rest of the world. As Davy proclaimed in 1946, at the age of 20, 'I only want to paint what only I can paint.' .Framed dimensions: 131cm x 206cm
*MARY LOHAN (b. 1954) 'Foggy Morning, Mountjoy Square' signed and titled verso, oil on panel with impasto, 37cm x 37cmBorn in Dublin in 1954, Mary Lohan studied painting at NCAD. Painter of land and seascape, she now uses a heavy impasto style that often overhang the edges of their supports. She won the Taylor De Vere Award at the RHA Annual Exhibition in 1991 and 1st Prize at the 1992 Claremorris Open Exhibition. She has exhibited at the National gallery, IMMA and the Taylor gallery and her works are represented in both public and private collections. She was elected a member of Aosdána in 2001.Framed dimensions: 60cm x 60cm
ELIZABETH ADELA STANHOPE-FORBES (1859-1912) Town Scene probably Holland, circa 1884, oil on panel, 31cm x 23.5cmProvenance: The Stanhope-Forbes Estate, Maud Forbes, and thence by descent The Belgrave Gallery, Duke Street, St. James's, London Deceased estate, DorsetExhibited: Pictures by Stanhope and Elizabeth Forbes, Newlyn Orion Gallery, 1981Framed dimensions: 48cm x 40.5cm
*KATHLEEN MURIEL SCALE (MURIEL HARDING-NEWMAN) (1913-2006) 'Blue Eyes' bust-length portrait study of a woman wearing a blue beaded necklace and standing before an exotic river landscape, signed "K.M. Scale Harding-Newman, 1999" lower right, oil on panel, 44cm x 42cmFramed dimensions: 62cm x 59.5cm
A pearl and jade bracelet, three rows of cultured pearls, diameter from approximately 4.1 to 4.3mm, plain yellow spacer bar, length 17cm, strung to a push-in clasp with a carved jade panel (untested), and a 5.5mm pearl, unmarked, tested as 9ct gold and silver, weight 15.8, presented in a Liberty box
A pair of emerald and diamond ear pendants, each with an articulated drop set with round brilliant cut diamonds and calibré cut emeralds, terminating in a pierced fan style panel set with round brilliant cut diamonds with a border of calibré cut emeralds, estimated approximate total diamond weight 1.30ct, length 5cm, width 2cm, post and scroll fittings, unhallmarked, stamped '750', weight 13.4gOverall condition: GoodOne calibré cut emerald missingScroll fittings secure
An Art Deco diamond panel ring, central claw set old European cut diamond, diameter approximately 5.3mm, estimated approximate weight 0.50ct, further set with six table cut diamonds, two transitional brilliant cuts, and a border of brilliant cut diamonds, estimated approximate total diamond weight 1.60ct, head dimensions 15.7 x 12.5mm, size O, unmarked, tested as a 9ct gold shank and an 18ct gold head, weight 4.1g
A modern diamond set panel ring, central rubover set round brilliant cut diamond, estimated approximate weight 0.45ct, further set with six baguette cut diamonds, and surrounded by grain set round brilliant cut diamonds, estimated approximate total diamond weight 1.20ct, head dimensions 18 x 14mm, size P, unhallmarked, stamped '18CT', weight 6.5g
An Art Deco style diamond set ring, oval shaped panel, with a central row of three round brilliant cut diamonds, surrounded by two rows of eight cut diamonds, estimated approximate total diamond weight 0.40ct, head dimensions 18.3 x 11.8mm, size L½, hallmarked Birmingham, 18ct gold, weight 4.3g
A modern emerald and diamond panel ring, central rubover set round brilliant cut diamond, estimated approximate weight 0.20ct, surrounded by a pierced oval shaped panel set with graduated round faceted emeralds, and a border of round brilliant cut diamonds, estimated approximate total diamond weight 0.60ct, head dimensions 28 x 17.5mm, size N½, hallmarked Sheffield, 18ct gold, weight 7.4g
A Victorian diamond bracelet/brooch, the panel set with a central old mine cut diamond, estimated approximate weight 0.75ct, assessed colour H/I, assessed clarity SI1/SI2, surrounded by graduated old mine and rose cut diamonds, estimated approximate total diamond weight 3.30ct, dimensions 4 x 2.5cm, pin and hook fitting with safety chain, together with fittings either end allowing for the detachable four row curb style bracelet, length 14cm, unmarked, tested as 9ct gold and silver, gross weight 22.2g, casedOverall condition: GoodBracelet is kinked in multiple places - attention requiredChipping to the girdle of the centre stone - noticeable with the naked eyeMinor chipping to other diamonds, consistent with age - visible with a 10x loupeHeavy wear/scratches and tarnishing to mount, consistent with agebrooch fitting opens and closes positivelybracelet clasps open and close positively
A Victorian mosaic brooch, oval shaped, with a central mosaic panel depicting a pastoral scene, floral scroll border, dimensions 6.1 x 5.3cm, pin and hook fitting, unmarked, tested as 15ct gold with a 9ct gold fitting, weight 26.8gOverall condition: Fair to goodTwo obvious fractures to the blue glass - see further imagesFurther scratches and minor chipping to the blue glassVerso - Obvious signs of glueHeavy wear/scratches and minor denting to mountPin opens and closes positively
JEAN-JACQUES HENNER (1829-1905) A profile portrait of Dorothy Tennant head and shoulders, signed and dated 1880, oil on panel, 26.5cm x 21cmProvenance: The Estate of Henry Morton Stanley (1841-1904), thence by descent.Note: This work dates to the period in which Dorothy Tennant studied painting under Henner in Paris following her graduation from the Slade.
NORTH EUROPEAN SCHOOL, 16th century style, A portrait of a lady wearing a jewelled collar and a headdress studded with jewels, oil on panel, the reverse with the remains of a wax seal, probably 17th/18th century, 37.5cm x 29cmProvenance: Brigadier General E.S. Herbert of Agates Meadow, Finchampstead, Berkshire, and thence by descent to the vendor. A private Dorset collection.
A GROUP OF FIVE H & R DANIEL RIBBED SHAPE SERVING DISHES including an oval dessert dish in pattern D318, two shell shaped dishes, one in pattern 4871 the other in pattern 4806, an oval dish in pattern 4795, decorated with a landscape panel, and another oval dish, in pattern 4881, a coastal landscape to the centre, the oval dishes 28cm wideProvenance: The Beardmore Collection, nos. 2173, 1958 and 1956.
A DUTCH WALNUT AND MARQUETRY TALL CHEST OF DRAWERS 19th century, the six drawers decorated with flowers issuing forth from cornucopias, each side panel inlaid with urns filled with flowers, terminating on stepped bracket feet, 159cm high x 99cm long x 49cm wideProvenance: The Estate of Henry Morton Stanley (1841-1904), thence by descent.
A VICTORIAN GLASS BEADWORK FRAMED PANEL OF A KING CHARLES SPANIEL with wool tapestry background, 26cm x 22cm; together with an ovoid shaped beadwork tray of flower sprays 20cm x 48cm; a wool tapestry of a bouquet highlighted with beads; and a wool tapestry of flowers on a turquoise band 104cm x 20.5cm (4)Provenance: Selected contents of 137 Gloucester Road, London.
A South American white metal wirework necklace, the central oval wirework panel set with a floral carved Sodulite, bordered by mystical animals, four further wirework panels two set with floral carved Sodulites; a Peruvian 0.900 silver five panel bracelet, three with centrally mounted Llamas 55.36g gross
A Louis XV style ormolu mounted kingwood and tulipwood two-tier gueridon, the rectangular lifting top on square cabriole legs, applied with a Sèvres-style porcelain panel, 70cm high, 30cm wide, 22cm diameterVeneer losses to cross banding of top and legs and other veneer losses throughout as pictured. Metal fittings a little corroded. Velvet interior with wear and pressure marks. Lock and locking plate missing, lacking key. One sabot detached but present
A Chinese small black and gilt lacquer cabinet on stand, mid 18th Century, the two doors enclosing ten small drawers, decorated overall with deer and pagodas in a wooded river landscape, mounted with engraved brass angle plate, hinges and swing carrying handles, on associated ebonised oak stand, 54.5cm wide, 40cm deep, the stand 63.5cm wide, total height 99cmCollection label of Henry Berkeley Viscount Portman 1922With worn paper label reading 'Berkeley [Visc]ount Portman, 1922'Base associated, the back panel with splits and movement cracks, movement has caused a crack approximately 5mm into the top, approximately 7cm gouge to top, slight chips and losses to lacquer throughout, base and cabinet separate, the base heavily scuffed and scratched, heavily pattinated fittings throughout, split to interior left door of cabinet, the drawer surrounds to lower drawers heavily worn and with loss to gilding, upper right drawer with crack across the centre drawer front, with the half drawer front cracked but present, missing original key, moulding around base with sone chips and cracking, one of the left hinge plates loose and lacking pin, general scuffs, scratches and wear acceptable with age and usage
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327022 item(s)/page