UNKNOWN ARTIST Compositions 5 graphics, unsigned Paper size: 72.5 x 50.8 cm each

Estimate 100 - 200 CHF

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muri-b-bern, Switzerland

Galerie Moenius

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Tomanova, Emilie

Lot 594

Estim. 200 - 300 CHF

Unknown artist of the 20th century. Chalk and pastel on card. Abstract composition, inscribed Wero 1.03 lower right, 100 x 70 cm, framed under glass.

Lot 45

Estim. 1 000 - 1 500 CHF

GAUTIER (Judith) - YAMAMOTO (Hōsui). Poëmes De la Libellule. Translated from the Japanese According to the literal version by M. Saionzi Conseiller d'État de S. M. l'Empereur du Japon. Paris : [L. Frinzine et Cie], Ch. Gillot, [1885]. - In-4, 313 x 243 : (55 ff.), 7 plates, illustrated cover. Full blue Bradel cloth, smooth spine, front cover preserved (20th century binding). First edition of this collection of Japanese poems translated into verse by Judith Gautier, with a preface by Tsoura-Youki. It is illustrated on each page with a composition by Japanese painter Hōsui YAMAMOTO (1850-1906), reproduced in chromotypography after the Gillot processes, each printed with a different color ink. In addition, there are 8 color illustrations by the same artist, including one on the title and 7 hors texte. Edition of 820 copies on Japanese imperial paper; this is ONE OF 20 VERY RARE RETOUCHED EXEMPLAIRES, justified in violet ink and bearing the letter N. This edition is unknown to Vicaire, Talvart and Place. Virtually all the illustrations were enhanced by Judith Gautier herself, who signed the cover with her first name in Japanese. A precious copy enriched with TWO ORIGINAL PAINTINGS SIGNED BY HÖSUI YAMAMOTO, one on silk glue, and the second on Japanese paper depicting a floral composition. It also includes an autograph poem signed by the poetess, a copy of the translation of Princess Sikisi's poem in the collection: "Sweet flowers that brush // The roof of our home, // When the hour flees // Or I see you in my tears // Don't forget me, O flowers! // Judith Gautier." The silk painting opposite seems to be an illustration of this poem. A copy in a modest 20th-century binding; a few stains on the boards. First cover only preserved. Spotting and foxing on the front cover and facing leaf. We would like to thank Mr. Frantz Fray for identifying the signatures.

Lot 84

Estim. 3 500 - 4 000 CHF

JUAN PABLO SALINAS TERUEL (Madrid, 1871 - Rome, 1946). "Orientalist scene". Watercolor on paper. Presents label on the back of the D'Arte Gallery, Italy. Signed and located (Rome) in the lower left corner. Measurements. 68 x 39 cm; 93 x 65 cm (frame). In this work realized in Rome, the author presents a scene of great crudeness when portraying a man restrained by chains. Both his turban and his clothes take us to the oriental world. A trend that was born in the 19th century as a consequence of the romantic spirit of escape in time and space. The first orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the beginning to failure. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimeter, but ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new orientalist school leaves behind the beautiful odalisques, the harems and the slave markets to paint nothing but what they see, the real Orient in all its daily dimension. Juan Pablo Salinas began his artistic training at the Academy of Fine Arts of San Fernando, in Madrid, although his time in the classrooms was probably ephemeral. He began to make himself known in 1885, the year in which he participated in the exhibition organized by the Association of Writers and Artists and in the Aragonese Exhibition, being awarded a third class medal in both. Around 1886 he moved to Rome to further his studies thanks to a scholarship granted by the Diputación Provincial de Zaragoza. There he attended the International Circle of Fine Arts, as well as the evening classes of the Chigi Academy. He also joined the Spanish artistic colony residing in the city, and worked with his brother, the painter Agustín Salinas, who had been living in Rome since 1883. Both brothers submitted works to the National Exhibition of Fine Arts in Madrid in 1887; Juan Pablo sent "Mark Antony and Cleopatra", a classical theme. Like his brother, his true master, Salinas also recreated medieval themes of notable Tuscan influence, with works such as "Romeo and Juliet" or "Scene from the Decameron". His style evolved towards costumbrismo, with special attention to popular Spanish and Italian scenes, such as "Una boda en Aragón" (A Wedding in Aragón), "Regreso de los vendimiadores" (Return of the Grape Harvesters) and other works. His career remained closely linked to that of his brother until he met, on a trip to Paris, the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great sales success in France, Italy, Central Europe, Russia and America. During these years he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which characters dressed in the fashion of the time appear in the context of luxurious interiors, meticulously detailed through a precious technique, which is recreated in the colorful description of clothes and lace, but, above all, in the masterful treatment of female flesh tones, deliberately sensual. Also at this stage Salinas made several series for the decoration of large salons. In addition to these themes, he also painted orientalist scenes and church interiors. In the last stage of his career there is a decrease in detail, a looser and less descriptive character. Juan Pablo Salinas is currently represented in the Prado Museum (his work is on deposit at the Asturias Fine Arts Museum in Oviedo), the Bellver Collection in Seville and other public and private collections.

UNKNOWN ARTIST Compositions 5 graphics, unsigned Paper size: 72.5 x 50.8 cm each

UNKNOWN ARTIST Compositions 5 graphics, unsigned Paper size: 72.5 x 50.8 cm each

Tomanova, Emilie

Unknown artist of the 20th century. Chalk and pastel on card. Abstract composition, inscribed Wero 1.03 lower right, 100 x 70 cm, framed under glass.

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