Frank, Eberhard (1921 Bad Cannstadt - Maulbronn 2004). Mother with child - Orien…

Description

Frank, Eberhard

(1921 Bad Cannstadt - Maulbronn 2004). Mother with child - Oriental rider. 1983/84. 42.5 x 32 and 64 x 48 cm respectively. Signed, dated and numbered R

3507

Frank, Eberhard

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Estim. 1 200 EUR

Baden

Estim. 24 000 - 26 000 EUR

JOSÉ MONGRELL TORRENT (Valencia, 1870 - Barcelona, 1937). "Waiting for Fishing", 1921. Oil on canvas. Signed and dated in the lower left corner. It has a small patch in the central right area. Measurements: 130 x 104 cm; 148 x 120 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 that which 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. The mastery of Mongrell's luminism, a key painter for understanding Valencian Impressionism, is demonstrated in the present canvas. In it the artist gives us one of his favourite themes, the costumbrista, which unites a coastal landscape with everyday scenes of daily life, featuring two popular women captured with a dignity that puts them on a par with the ancient classical heroes. This is perfectly visible in the present work, in which our gaze is irremediably caught by the magnetic expression of what appears to be a mother and daughter depicted in Mongrell's humble style. The mother, dressed in the folk costume of Valencian fishermen, gazes into the distance, waiting for the catch, while the daughter is inside the boat, waiting for her mother's orders. The figures appear in the foreground, occupying most of the pictorial surface, standing out against a magnificently worked beach landscape, the tones of which seem to echo the colours of the figures' clothes.

Estim. 120 - 180 EUR

Olympic Games/ Summer, 1948/ London/ Blankers-Koen/ Fanny Blankers-Koen (1918-2004) Six plays about London's Jesse Owens. At 30, mother of two, the "flying nurse" lit up the London Games. Her bib, number 692, flies over the 100, the 200 in the rain (photo), the 80m hurdles (photo), and the 4x100 relay (photo K)...Fanny (1918-2004) has her statue, and her book and an indelible trace: a) her souvenir book (pocket), with superb color cover (Guust Keus): "Fanny" by Jan Blankers and Aad Van Leeuwen, 250p, 1949 (16.5 x 12 cm) (in Dutch) ; b) the official program for 7/31; c) three press photos, 80m hurdles, 200 in the rain, relay finish. Including one with its authentic signature (Rare). A modern ad from the 2012 London Games, where she's still there, completes this selection.

Estim. 80 000 - 120 000 EUR

EXCEPTIONAL TABLEAU "NEW YORK" by Georges MATHIEU (1921-2012) Framed oil on canvas, signed and dated "54" lower left. Bears a glued label: "Elaine Graham Weitzen / Fine Arts in New York) with address and painting attribute on "Autor - Georges Mathieu, Oil on canvas, title : NY (New York), date : 1954, dimension :19,68in - 39,37in (measurements in inch = 50 x 100 in cm). On the central wooden frame on the back of the painting, there is an inscription in oil by the author (English: NY). Appraisal certificate enclosed. Provenance: Private collection. Size: 50 x 100 cm Two small holes in the lower right corner and a tiny bump in the upper right corner. Georges Mathieu is a French artist of the Tachisme school. Mathieu is one of the leading exponents of Art Informel (the French version of Abstract Expressionism) and is best known for his sharp abstract paintings in a calligraphic style, characterized by broad gestures, with a lyrical abstraction style, but also with tachism. Mathieu's expressive art combined with a natural talent for self-promotion earned him an international reputation in the 1950s. It's curious that Mathieu doesn't see himself as a practitioner of non-objective art, but rather as a historical artist using abstract forms. Be that as it may, his distinctive style has made him one of the most recognizable artists of the twentieth century in the language of Art Informel. In 1967, Air France commissioned him to paint fourteen pictures to be used as advertisements for the company. The basis for these paintings was (New York) 1954. Mathieu's gestural style was influenced by many people, including Taschist Hans Hartung (1904-89), American Jackson Pollock (1912-56), the inventor of action painting, and members of Japan's Gutai Artists Association (1954-72). A natural self-promoter, Mathieu painted many of his pictures at public appearances, usually applying the paint directly from the tube onto the canvas. At the height of his career, Mathieu was one of France's most successful artists and, in 1974, appeared in the documentary film Georges Mathieu, ou la fureur de l'être. Regarding the gallery's owner, Elaine Graham Weitzen (1920-2017) was a private New York art dealer and committed philanthropist whose keen eye and interest in new and emerging artists helped create an eclectic and personal collection. Inspired by her mother's passion for music and art, Mrs. Weitzen began collecting art in the 1950s and quickly forged friendships with artists Mark Tobey, Charles Seliger, George Rickey and Arnold Newman, among others. A dedicated member of the Sculpture Center's Board of Trustees, Elaine G. Weitzen's collection is rich in sculpture and champions the work of both young and established sculptors. It includes works by George Rickey, Jean Arp, Ronald Bladen, Menashe Kadishman and José de Rivera. Seeing herself as a bridge between the art world and the artists themselves, Ms. Weitzen understood the challenges artists face when trying to create their art and earn a living. Ms. Weitzen's passion for the arts and her commitment to young emerging artists are supported by the Elaine G. Weitzen Foundation for the Fine Arts.

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