Null Circle of Cornelius Johnson van Ceulen,
Anglo-Dutch 1593-1661-

Portrait of…

Beschreibung

Circle of Cornelius Johnson van Ceulen, Anglo-Dutch 1593-1661- Portrait of a young woman wearing a pearl necklace; oil on copper, oval, 5.9 x 4.4 cm.

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Circle of Cornelius Johnson van Ceulen, Anglo-Dutch 1593-1661- Portrait of a young woman wearing a pearl necklace; oil on copper, oval, 5.9 x 4.4 cm.

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Schätzw. 120 - 250 GBP

[Jacob Cats] Faces augustae, sive poematia, quibus illustriores Nuptiae, a nobili & illustri viro, D. Jacobo Catsio, eq. & praepot. Holl. Frisiae occidentalis ord. syndico, antehac Belgicis versibus concriptae, Jam a Caspare Barlaeo & Cornelio Boyo Latino carmine celebrantur. Ad Serenissimam Principem Elizabetham, Fred. Regis Bohemiae & Electoris Palatini Filiam. Dordraci, sumptibus Matthiae Havii, & Typis Henrici Essaei, 1643. One volume. 9 by 15 cm. 1 portrait-(62)-272 (Paradisus)-149-(1) (Dialogi aliquot nuptiales)-32 (Faces sacrae)-198 pages (Sermonum). 19th century green half-chagrin, 4-nerved spine. Edges slightly worn, otherwise a very fine copy. Few brown spots, otherwise very good condition of the text. 1 portrait and 14 figures engraved in the text, of fine artistic quality. First edition of this collection of four separately paginated texts on love and marriage, composed on the occasion of the second marriage of Jacob Cats, Flemish poet and statesman. Included are 14 poems on marriage, 9 by the great humanist Caspar Barleus (van Baerle), 1 by Jacob Cats, 4 by Cornelius Boyus; Jacob Lydius's treatise on matrimonial rites and divorce among various peoples. The work is dedicated to Elisabeth of Bohemia. It is decorated with a full-page portrait of her and 14 mid-page engravings. The illustration is by Crispin Van Queboorn, a Dutch draughtsman and engraver. Some of the figures bear his monogram. Bound at the beginning of the volume: CATS (Jacob): L'art du mariage. Latin poem by J. Cats, grand-pensionnaire of Holland, with commentary by Lidius, translated into French, with facing text. [Juxtalinear edition]. Paris, Barrois l'Aîné, 1830, pp. [3] to 121. Scattered foxing on this volume.

Schätzw. 15 000 - 20 000 GBP

Emile BERNARD (1868-1941) Portrait of Mademoiselle Antoinette C. Oil on canvas, signed and dated 1892 lower left 76 x 55 cm With certificate dated May 2, 2024 from Madame Béatrice Recchi Altariba (granddaughter of the artist) Provenance : - Former Eugène BOCH collection, younger brother of Anna BOCH, woman painter and major collector, to whom the Musée de Pont-Aven has just dedicated an exhibition "Anna Boch. An Impressionist Journey" from February 3 to May 26, 2024. - Private collection, Brittany In 1892, Emile Bernard was barely 24 years old, yet his career was already rich in encounters that had a decisive impact on the history of art. Not only was he close to Vincent van Gogh, but he also made a decisive contribution, alongside Paul Gauguin, to the birth of synthesism in Pont-Aven in 1888. His pictorial audacity is no less fascinating than his foresight in choosing the artists and patrons he rubbed shoulders with or admired. In the early 1890s, the young painter's activity was intense, and his creativity was spotted by great connoisseurs such as the Comte de la Rochefoucauld and, of course, Anna and Eugène Boch, both from a famous Belgian industrial dynasty. This portrait comes from just such a collection, and demonstrates the importance that enlightened art circles reserved for Emile Bernard's recent creations. On several occasions, the young painter had distinguished himself by the quality of his portraits, the one of his sister Madeleine (Musée d'Orsay) remaining a model of the genre. Keen to continue in this vein in 1892, Emile Bernard clearly affirmed his admiration for Paul Cézanne's portraits. Eluding anecdote, he imposes a distant, slightly sulky attitude on the model, accentuating the magnetism of his presence. The monochromatic blue-green background of the door is awakened by the piece of compote probably lying on a tablecloth. This nod to Paul Cézanne's famous still lifes reinforces the artistic complicity between the two painters. Bernard's precocious intelligence long ago grasped the major role that the painter from Aix was to play in the rise of Modern Art. Created at a pivotal moment in Emile Bernard's career, this portrait goes beyond the simplifying formulas of synthesism to meet another essential reference point in the history of painting, that of an art that aims to transcend ephemeral fashions. Preserved in the Palmer Museum of Art at Pennsylvania State University, a less accomplished version of this portrait retains the memory of the sitter, since the canvas in this museum is known as Mademoiselle Antoinette C. Signed and dated, the portrait offered in this sale is the perfect, definitive version, immediately spotted by the great collector Eugène Boch.

Startpreis 450 GBP

A. LEMOINE (1824) after DE KEYSER (1813), Rubens painting, around 1860, Etching Alfred Lemoine (1824 Paris - 1881 ibid.) after Nicaise de Keyser (1813 Antwerp - 1887 ibid.): Rubens painting the so-called Woman with the Straw Hat, c. 1860, Etching Technique: Etching and Copper engraving on Paper Inscription: At the lower part signed in the printing plate: "Peint par N. DeKeyser. / Gravé par Lemoine.". At the lower part inscribed in the printing plate: "Rubens peignant la femme dite au chapeau de Paille". lower left further inscription: "Delaire, Editeur, 18 rue J. J. Rousseau, Paris". At the lower part additional inscription: "Imp. Par Alfred Chardon jeune, 3, rue Racine Paris / E. Jouy, Eidteur, 56, Boulevard Sebastopol, Paris". Date: c. 1860 Description: Several people from Peter Paul Rubens' circle are depicted. Rubens himself sits in front of an easel and holds his painting utensils in his hand. Those present are listening to a singer singing in the foreground. To her right, Rubens' pupil, Anthonis van Dyck, is playing the lute. Ruben's wife, Hélène Fourment, sits in the centre of the picture. Behind her stands Ruben's patron, the regent and Archduke Albrecht VII. Person: Depicted: Peter Paul Rubens (1577 - 1640 ) Depicted: Anthonis van Dyck (1599 Antwerp - 1641 London) Flemish painter and graphic artist of the Flemish Baroque period Keywords: Baroque, Rubens, portrait, music, lute, singing, making music, painting, artist's studio, 19th century, Romanticism, Depiction of Artists, France, Size: Paper: 70,0 cm x 87,0 cm (27,6 x 34,3 in), Plate: 62,0 cm x 79,5 cm (24,4 x 31,3 in), Depiction: 49,8 cm x 69,8 cm (19,6 x 27,5 in)

Schätzw. 100 - 150 GBP

Gabriel van Schnell (1908-1946) Dutch. Portrait of a Lady, Watercolour and ink, Signed and dated 1932, 14.5" x 10.25" (36.8 x 26cm)

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