Null ÉCOLE DES PEINTRES VOYAGEURS.
The Full Moon Dance in Rangoon.
Watercolor o…

Description

ÉCOLE DES PEINTRES VOYAGEURS. The Full Moon Dance in Rangoon. Watercolor on card signed, dated 1876 and located Ranguun (Rangoon in Burma) lower right. The background shows the Shwedagon pagoda, in front of which the annual full moon festival is held. 19th century. Dimensions: 23x31.5 cm.

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ÉCOLE DES PEINTRES VOYAGEURS. The Full Moon Dance in Rangoon. Watercolor on card signed, dated 1876 and located Ranguun (Rangoon in Burma) lower right. The background shows the Shwedagon pagoda, in front of which the annual full moon festival is held. 19th century. Dimensions: 23x31.5 cm.

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Estim. 3 500 - 4 500 EUR

Lovely oil painting of Gypsy Traveller family, Ramón Martí Alsina (Barcelona, 1826 - 1894), 19th century Catalan school Oil on canvas, with label from the Artistic Treasure Board of the Second Republic. Measurements with frame: 72 X 52cm. Measurements without frame: 55 X 35cm. He was a Spanish realism painter. Considered the creator of the Catalan landscape school, a circle in which he developed work similar to that of Carlos de Haes, and as a teacher of the generation of painters that includes Modest Urgell, Simó Gómez, Joaquín Vayreda, Baldomero Galofré, José Luis Pellicer , Lluís Armet or Francesc Torrescassana. Born into a humble family, he lost his father at the age of eight, passing at that age under the authority of his godfather, who, under his direction, studied philosophy. He took his first steps as a painter and draftsman in the town of Mataró, where his mother's family was from. There he began to gain a reputation as a portraitist among the local bourgeoisie, his first stage being defined by a naturalistic objectivism alien to official dogmas. From that time on he began to focus on nature as a direct inspiration, going out to paint on holidays in the mountains and coasts of the El Maresme region, looking for themes for his landscapes and seascapes. Martí i Alsina shows himself in this way as an author with a fresh artistic instinct that, from his early years, manifests itself as opposed to the corsets of the prevailing officialdom. In 1848 he traveled to Paris, where he visited the Louvre and where he became familiar with the work of authors such as Horace Vernet and Eugène Delacroix. Later he will learn about the work of Gustave Courbet, the greatest international exponent of pictorial realism and the work of the Barbizon School. In 1850 he married Carlota Aguiló, a moment from which, furthermore, his career as an artist strengthened. In 1852 he obtained the chair of drawing at the Escuela de La Lonja in Barcelona, and two years later he ...

Estim. 6 600 - 7 000 EUR

VERY NICE PAINTING "JEUNE FEMME NUE ALLONGÉE" by Georges D'ESPAGNAT (1870-1950) Framed oil on canvas Monogrammed lower left Circa 1931 89 x 116.5 cm French painter and engraver Georges d'Espagnat enrolled at the École des Arts Décoratifs and the École des Beaux-Arts, before training as a copyist at the Louvre. In 1892, he took part in the Salon des Indépendants. An avid traveler, he visited Morocco in 1898, then Europe from 1905 to 1910. From 1904, he exhibited frequently with Durand-Ruel, Bernheim and Druet. D'Espagnat produced more than a thousand canvases, using the bold colors of the Fauves and underlining them with strong rings, in a style close to that of Renoir, whom he frequented. His intimate paintings evoke Bonnard and Vuillard in portraits of writers and artists (Paul Valéry, 1910; André Mare, 1931), outdoor scenes, multi-figure compositions and still lifes.

Estim. 1 400 - 1 600 EUR

Spanish or Novo-Hispanic school; second half of the 18th century. "Saint Anthony of Padua and Saint Christopher". Oil on canvas. Relined. It has a frame of the nineteenth century, c. 1860. Measurements: 66 x 59 cm; 83 x 73 cm (frame). During the baroque and in a more consolidated way in later times, scenes were popularized where several saints starred in images together with a didactic purpose, since they represented analogous concepts. In this particular case it is the representation of St. Anthony of Padua holding Jesus in his hands and next to him we recognize the legend of St. Christopher, that giant who carried on his shoulders a child he did not know, only out of kindness, to help him cross a river. That child turned out to be Christ, which made him the patron saint of travelers. The two monumental and placed figures cover the entire scene that develops in an open landscape, in whose distance another religious figure can be appreciated, located in the right zone of the composition. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.

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