Null Circle of Henriette Ronner-Knip,
Dutch/Belgian 1821-1909-

Portrait of a bl…

Description

Circle of Henriette Ronner-Knip, Dutch/Belgian 1821-1909- Portrait of a black cat with a white bib; oil on canvas laid to board, 31.5 x 25 cm. Note: The present work recalls the style of Ronner-Knip, an animal painter who was particularly well-known for her playful depictions of cats and dogs. Ronner-Knip's work was popular with her contemporaries, and the artist received numerous commissions to paint the lapdogs of the European aristocracy, including Marie Henriette of Austria (1836-1902) and Princess Marie of Hohenzollern-Sigmaringen (1845-1912).

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Circle of Henriette Ronner-Knip, Dutch/Belgian 1821-1909- Portrait of a black cat with a white bib; oil on canvas laid to board, 31.5 x 25 cm. Note: The present work recalls the style of Ronner-Knip, an animal painter who was particularly well-known for her playful depictions of cats and dogs. Ronner-Knip's work was popular with her contemporaries, and the artist received numerous commissions to paint the lapdogs of the European aristocracy, including Marie Henriette of Austria (1836-1902) and Princess Marie of Hohenzollern-Sigmaringen (1845-1912).

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Starting price 1450 EUR

Henriette Ronner 1821 / 1909 : Oil on mahogany panel, dog with bone, monogrammed lower left, dim: 19,4 x 16 cm

Unsigned - 19th century, "Herrenporträt", oil on canvas, chest portrait full of character of a young man in a black suit and white shirt collar, strong light-dark contrasts, typical portrait of German realism. In its style it is close to the so-called Leibl circle, the Munich Realists around Wilhelm Leibl. Unsigned, on the reverse. Description of another painting on the reverse, craquelure, color loss, scratches, slightly dam., approx. 38x31cm

Estim. 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.

Estim. 1 400 - 1 600 GBP

Flemish school; first half of the 17th century. "Gipsy.". Oil on oak panel. It has an opening in the central area of the panel and needs to be consolidated. It has some slight leaps in the painting, repainting and restorations. Measurements: 31 x 26,5 cm. In the flemish 17th century, portraiture was one of the pictorial genres most in demand among the gentry. Here we are before a characteristic example of the technical refinement that the painters used in the individual portraits: skill in the handling of the drawing, detail inherited from the art of the miniatures, excellent glazes, the delicate blond hair and a fine gauze headdress. The folds of the neckline of the dress are perfectly geometrical, but this does not detract from the naturalness of the portrait. The same goes for the jewellery which the sitter wears in the form of a rhythmic fretwork. In this way, no element is left to chance, and everything is integrated into an underlying order of lines and colours. The facial oval, thus framed, is modelled by a filtered light which brings out the right tones of the slightly rosy flesh tones. The black eyes look out of the corner of his eye, revealing insight. It was undoubtedly in the painting of the Dutch school 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, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was 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.

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