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Lot 559
Julius Paul Junghanns (1876-1958) Stillleben mit Pfau und Parforcejagd, floral still life with peacock and a parforce hunt,Öl/Platte, u. links monogrammiert J.P.J., im Vordergrund Blumenstillleben mit Pfau, Echse und Schmetterling, im Hintergrund findet eine Parforce-Jagd statt, Passepartout-Ausschnitt H 24 x B 23 cm, Holzrahmen 42,5 x 41,5 cm, Riss in der Platteoil/plate, monogrammed on lower left J.P.J., in the foreground flower still life with peacock, lizard and butterfly, in the background a parforce hunt, passepartout cutout H 24 x W 23 cm, frame 42.5 x 41.5 cm, tear on plate
Lot 566
Unbekannter Maler des 20. Jahrhunderts - großes Blumenstillleben, unknown painter 20th century - large flower still life,Öl/Platte, letztes Drittel 20. Jahrhundert, keine erkennbare Signatur, H 100 x B 90 cm, Rahmen (Conzen) 102 x 92 cmOil/panel, last third of the 20th century, no recognizable signature, H 100 x W 90 cm, frame (Conzen) 102 x 92 cm
Lot 920
MARY NEWBERRY STURROCK (SCOTTISH 1892-1985) STILL LIFE OF SPRING FLOWERS Watercolour and pencil on paper, signed lower right, 28 x 24cm (11 x 9.5") Together with Still Life with Carnations and Corncockles, likely to be by the same hand, 36 x 26cm (14.25 x 10.25") Condition Report:Available upon request
Lot 927
DOROTHEA SHARP ROI RBA (BRITISH 1874-1955) STILL LIFE "A MIXED BUNCH" Oil on panel, signed lower left, 43 x 38cm (17 x 15") Title inscribed to attached label verso Condition Report:On inspection there is cracking throughout and paint loss. Paint loss is most severe in the lower right quarter.
Lot 151
FRANCISCO RODRÍGUEZ LOBO (Cantillana, Seville, 1965)."Asphalt I".Mixed media on wood.Signed.Measurements: 48 x 74 cm.A painter specialising in landscape, although he also tackles other themes such as still life, Francisco Rodríguez Lobo belongs to the Sevillian school of reality, and is currently considered one of its most brilliant representatives. Throughout his career, Rodríguez Lobo has held almost forty solo exhibitions, as well as taking part in more than fifty group shows throughout Spain. Among the most recent is the solo exhibition held at the Haurie gallery in Seville in 2014. He has taken part in numerous competitions, winning first prize in the IV Certamen Provincial de Dibujo de Sevilla (1982), the prize at the Caja Rural Exhibition in the same city (1994) and the Medalla de Honor Premio BMW in 2011, a competition in which he had been a finalist the previous year. This painter develops a luminist and calm work, generally contemplative landscapes that invite to silent meditation, melancholic recreation and slowness.
Lot 18
JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Still life". 1950s.Oil on canvas.Signed in the lower right corner.Size: 20 x 40 cm; 34 x 54 cm (frame).Painter and draughtsman, he trained in Barcelona, in the workshop of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972).
Lot 119
Spanish school of the late 18th century, early 19th century."Still life with flowers".Oil on canvas.Unsigned.Size: 60 x 44 cm; 76 x 61 cm (frame).In this canvas the author presents us a still life of flowers of clear baroque influence, directly inspired by the great Spanish masters who shaped the genre in our country: Sánchez Cotán, Van der Hamen, Tomás Yepes, Pedro de Camprobín and -to a greater extent because we are in front of the typology of still life of flowers- Juan de Arellano, this last one born in Madrid in 1614 and died in the same city in 1676.The origin of the still-life genre in Spain dates back to the early 17th century, when it was still approached in a rational, rigorous style of Mannerist inheritance. However, as the Baroque progressed, still lifes and flower paintings became increasingly more dynamic, the compositions became more open and more naturalistic and theatrical. The flowers of the full Baroque period are shown, as we see here, completely open, almost on the point of wilting and very volumetric, bringing dynamism and a sense of scenography to the image, thus leaving behind the static and contemplative mood of the still life of the early Baroque. The composition is also rooted in the Spanish Baroque, with the elements that make up the still life set against a classicist landscape background, open on one side and closed on the other. Other typical features of the traditional Spanish still life, which the artist mastered with mastery, are the careful study of the light, which creates sharp contrasts to enhance the volume of the various elements; the care taken with the qualities of the different fruits, flowers and objects; and the accentuated realism with an almost illusionistic accent, supported by rigorous drawing and the skilful use of chiaroscuro.
Lot 24
Dutch School, ca. 1600."Village in a Landscape.Oil on panel.It has micro-cracking, but it is in very good condition.It can make pair with the lot 35266808.Measurements: 26 x 32,5 cm; 39,5 x 46,5 cm (frame).Scene in which a lake landscape is presented embedded in rich autumnal shades. Compared to other European schools, Dutch painting developed an early interest in landscape painting as an independent genre. Although in the 17th century landscape painting continued to depend on genre themes, it became an undeniable protagonist, as can be seen in scenes such as the present one. The lake is impregnated with an infinite number of tonal cadences, which are jaspered with glaucous and blue tones amidst the golds that catch the last rays of a fading sun. Humble houses border the lake, with peasants in the foreground working in silence, oblivious to the viewer.It was undoubtedly in Dutch painting that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, a taste for the real and material, and sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideals that were alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Lot 25
Dutch School, ca. 1600."Village in a Landscape.Oil on panel.It has micro-cracking, but it is in very good condition.It can make pair with the lot 35266807.Measurements: 26 x 32,5 cm; 39,5 x 46,5 cm (frame).The flat orography characteristic of the Netherlands is expressed in this landscape with sown fields that escape towards a bluish horizon. A golden halo toasts the surface of the fields, and behind them is a city (perhaps Utrecht or Rotterdam), with the Gothic cathedral standing out among the houses. The perspective has been intuitively worked by superimposing chromatic shifts from plot to plot, demarcated by the thickness of the vegetation. Compared to other European schools, Dutch painting was interested in landscape painting as an independent genre at an early stage. Although in the 17th century landscape painting continued to depend on genre subjects, it became undeniably important, as can be seen in scenes such as the present one.It was undoubtedly in Dutch painting that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, a taste for the real and material, and sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideals that were alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Lot 29
Flemish school, Follower of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640); 17th century."Adoration of the Shepherds".Oil on copper.It has faults and repainting.It has a Spanish or Italian frame with xylophagous remains.Measurements: 35 x 26 cm; 44 x 35 cm (frame).The present work is a follower of the painting that Rubens made for the church of San Filippo in Fermo, in 1608, which is currently in the Fermo Civic Art Gallery. There are certain differences in both the figures and the poses. However, the gesture so characteristic of Rubens' works, in which the Child is shown to his adorers, has been preserved. In this case, the monumentality typical of Rubens' figures is preserved, especially in the female figure kneeling before the Child. In addition, the finesse of the faces and the delicacy of the forms are outstanding.Both the dynamic composition of the scene and the anatomical conception of the figures are very reminiscent of works by the artist Peter Paul Rubens. Peter Paul Rubens was a painter of the Flemish school who, nevertheless, competed on equal terms with contemporary Italian artists, and enjoyed a very important international importance, given that his influence was also key in other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. His mother, Maria Pypelincks, was a very important figure in his life. She gave him a courtly and cultural education, which included the study of Latin and Greek, as well as the Bible. It was in fact his mother who brought him into contact, while still very young, with the best painters of the day. Rubens had three teachers, the first of whom was Tobias Verhaecht, a painter with a precise and meticulous technique who had travelled to Italy and who taught the young artist the first artistic rudiments. It is also possible that Rubens travelled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter who was also influenced by the Italianate style but whose language was still Mannerist and who must also have influenced the young artist to visit Italy. Finally, his third teacher was Otto van Veen, the most notable and last of them. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he remained between 1600 and 1608.
Lot 31
Spanish school, Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666). 18th century."Penitent Magdalene".Oil on canvas.It preserves its original canvas.It has a Calos IV style frame, end of the 18th century.Measurements: 68 x 51 cm; 80 x 60,5 cm (frame).In this canvas, Mary Magdalene is represented as a penitent in the desert, dressed in a jet tunic, on which the bright tonality of her pearly skin stands out. This characteristic, together with the darkness of the scene and the theatrical gesture of the protagonist, with her right hand on her chest, her left hand pointing to the scriptures and her gaze fixed on the crucifix with her mouth half open, create a scene of restrained, symbolic and intimate emotion. The young woman is depicted next to the Scriptures and the skull. The composition of this work faithfully follows that of the painting executed by Mateo Cerezo in 1661, which is now in the collection of the Rijksmuseum in Amsterdam. Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also painted in other genres. In this respect, the treatise writer and biographer Palomino stated that he painted "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The work of this artist from Valladolid has also been identified as an offshoot of Cerezo's work, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences, like the one shown here. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh. She was most often depicted in this way in art, especially in the 17th century, a time when Catholic societies were particularly fascinated by the lives of mystics and saints who lived in solitude in the wilderness, dedicated to prayer and penance. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
Lot 35
Flemish school, second half of the 17th century. "Allegory of Abundance". Oil on canvas. Re-lined Presents restorations and repainting. Size: 113 x 136 cm; 145 x 168 cm (frame). In this Flemish painting of the Baroque period, the mythological figures occupy an idyllic place, resolved with great scenographic sense. Venus is seated in a forest clearing next to a woman with her hair covered by a white veil. The humble woman points to the abundant fruits scattered at her feet that make up a juicy still life in which each fruit. Venus carries a sickle, an element linked to the harvesting of the field, and therefore to the fecundity of the earth. She herself, as the goddess of carnal love, reinforces the meaning of the painting. Animals are also imbued with semantic intention: the monkey, which usually symbolizes gluttony and lust in Flemish paintings, and guinea pigs or rabbits, for their known fertility. Flemish painters contemporary to the author of this painting, such as Brueghel, often introduced these animals in their allegories of abundance and the seasons. The lightness of Venus's drapery contrasts with the draped figure that accompanies her. A skillful work of glazes reproduces the fine gauze hanging from one of the plump arms of the goddess, whose carnal sensuality and silky hair reproduces a feminine canon close to the women of Rubens. The nude figure of Cupid, with his bow of accurate arrows, occupies the background. His kinky hair covers a head of soft cheeks and fleshy lips. A solemn palatial architecture is silhouetted against a twilight sky, and before it unfolds a garden of flowerbeds trimmed in perfect geometry, welcoming fountains and beautiful paths.
Lot 75
Spanish school; 17th century."Still life of hunting with cat, mushrooms and figs".Oil on canvas.Measurements: 85 x 133 cm; 107 x 154 cm (frame).In this canvas the author offers us a still life of classic style, rooted in the Spanish tradition of the genre, with a clear and ordered composition and an expressive treatment of the light, which produces expressive shadows on the right side and enhances the volume of the different objects.In the present painting, the artist pays great attention to the precision of the brushstroke and the atmospheric and chromatic sensitivity of the artist; nothing distracts the eye, which remains attentive to the smallest detail. However, despite this apparent austerity and economy of means, there is still a taste for the theatricality and deception typical of the Baroque, precisely in the naturalism of the image, so precise and perfect that it is a deceptive illusionism.
Lot 97
Flemish school of the 17th century."Hunting scene".Oil on canvas. Retouching.The sky has restorations and repainting.Measurements: 95 x 115 cm.We see in this canvas a hunting scene with different animals (a bear and up to six dogs), a particularly violent moment full of tension and even pathos, features that are reflected in the composition, the light and the chromatism as well as in the expressions of the animals. The scene is accompanied by a human presence as the owner of the animals is shown unsheathing a spear while threatening the bear. During the 17th century in Flanders there was a growing demand for paintings to decorate the houses of the bourgeoisie. Apart from portraits and large canvases with religious, historical or mythological themes, artists specialised, painting medium-sized works that gradually increased in format, with still lifes, animals, landscapes and genre scenes. Paintings reproducing collectors' cabinets of the period are explicit in this respect, to the point of giving rise to a new, independent genre of painting. Undoubtedly, the future of this painting would have been different without Rubens, whose art revolutionised the Flemish art scene by introducing a new, fully Baroque approach and bringing a sense of unity and opulent sumptuousness to the ordered and encyclopaedic display of his countrymen's precious depictions. The specialists, either indebted to his manner or subordinate to his work, worked along new lines, adding an accessory object, a landscape or a decorative background to their compositions. Within 17th-century Flemish still-life painting two trends can be distinguished, the static, represented by Clara Peeters and Osias Beert, and the dynamic, with Frans Snyders and Paul de Vos. This work belongs to the second of these schools, which is characterised by following the Rubensian Baroque in a purely dynamic sense. Dynamic still lifes are characterised by compositions with pronounced diagonals, as seen here, and by the frequent presence of live animals interacting with the objects in the still life, captured in full movement.
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