Null Circle of Charles Henri Joseph Leickert,
Belgian 1816-1907-

Winter scene, …

Description

Circle of Charles Henri Joseph Leickert, Belgian 1816-1907- Winter scene, with figures standing and skating on a frozen lake, and towers beyond; oil on board, indistinctly signed and dated 'pi Fani Baumruck / 1870' verso, 24.1 x 28.6 cm. Provenance: Property of a Private European Collection. Note: Leickert studied under Andreas Schelfhout (1787-1870) and Bartholomeus van Hove (1790-1880), artists whose influences are immediately evident in Leickert's output. Leickert specialised in the depiction of winter landscapes, depicting figures walking, skating, and playing on frozen waterways, amongst the windmills and towers of Dutch towns, much like the present work.

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Circle of Charles Henri Joseph Leickert, Belgian 1816-1907- Winter scene, with figures standing and skating on a frozen lake, and towers beyond; oil on board, indistinctly signed and dated 'pi Fani Baumruck / 1870' verso, 24.1 x 28.6 cm. Provenance: Property of a Private European Collection. Note: Leickert studied under Andreas Schelfhout (1787-1870) and Bartholomeus van Hove (1790-1880), artists whose influences are immediately evident in Leickert's output. Leickert specialised in the depiction of winter landscapes, depicting figures walking, skating, and playing on frozen waterways, amongst the windmills and towers of Dutch towns, much like the present work.

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[Autograph] Lot of 7 photos signed or dedicated, including : Charles Maurras (small tear on photo) General Sauvage de Brantes Joseph Paul Boncour General Henri Guisan Jean d'Orléans (1874-1940) two unidentified figures A CPA of Foch (printed signature) and three miscellaneous photos are included. Provenance: Robert Milliat, sub-prefect of Saumur.

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Circle of PEDRO MACHUCA (Toledo, ca. 1490-Granada, 1550); 16th century. "The Assumption of the Virgin. Oil on panel. The original frame is preserved. It shows faults and losses on the pictorial surface. It shows damage caused by xylophages. Measurements: 187 x 104 cm; 204 x 119 cm (frame). It is a composition full of movement and dynamism, where each one of the characters is studied individually and as a whole, showing different postures and planes. This mastery in the profusion of figures and the mastery of a complex composition. This majestic panel depicts the Assumption of the Virgin, carried body and soul into Heaven, in a triumphal and scenographic manner. Behind her is the Glory, represented by a faint divine light, an elaborate break in the margins of which we see angels in different positions, some looking towards the earth and others towards the Virgin. On the earthly plane, clearly differentiated from the heavenly plane by the line of clouds, the figures gather around the Virgin's open tomb. They are the apostles who, having witnessed Mary's death, marvel at her Assumption. Some of them are depicted with their backs to the tomb, closing a circular composition defined around the tomb, classical and orderly despite the apparent crowding of the figures in favour of the theatricality and, above all, the dynamism of the scene. Most of the figures are shown looking up towards the sky, with their hands raised in surprise as well as veneration, a skilful aspect of the narrative. We see how Mary does not ascend to heaven by her own means, like Christ, but is raised to Paradise by the angels. As is customary in Western art, the artist depicts her bodily Assumption outside the tomb where the apostles had buried her. Formally the work falls within the circle of Pedro Machuca, who is chiefly remembered as the Spanish architect responsible for the design of the Palace of Charles V (begun in 1528) adjacent to the Alcazar in Granada. The details of his life are little known. Born in Toledo, he is said to have been a pupil or friend of Michelangelo and Pontormo. His presence is documented in Italy as early as 1517, when he signed The Virgin and the Souls in Purgatory (Prado), whose style has led him to be associated with the workshop of Raphael. On his return to Spain in 1520, he worked as a painter in the Royal Chapel of Granada, as well as in Jaén, Toledo and Uclés.

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Circle by CHARLES LE BRUN (Paris, 1619-1690); circa 1700. "The Family of Darius before Alexander". Oil on canvas. Re-retouched. It presents repainting and old restorations. Measurements: 65 x 98 cm; 85 x 118 cm (frame). This work follows the model established by the artist Charles Le Brun in 1660, when he made a painting of the same subject, which is nowadays kept in the Palace of Versailles. Le Brun's work has the same composition; however, in this particular case, the landscape format allows a larger number of figures to be depicted. In the central area is the same composition as the one mentioned above, with the Mother of Darius kneeling on the ground in front of the upright figures of Alexander and Hephaestius. Several figures, forming a large procession, are sheltered under the canvas of a tent, as in Le Brun's painting. In this particular case, however, the artist has allowed himself a little licence by depicting a group of soldiers on the right-hand side of the painting. The scene depicts the moment when, after the battle of Issus, Alexander and his friend Hephaestius decided to visit the family of Darius, who had been defeated. Because of Alexander's youth, Darius' mother was confused and knelt down before Hephaestius. Charles Le Brun was a French painter and an important art theorist. He trained in the studio of Simon Vouet as a child, receiving commissions from Cardinal Richeliu at the age of fifteen. Between 1642 and 1646 he was in Rome, where he came into contact with works by Raphael, Guido Reni, the Bolognese school, etc., and where he was also a pupil of Poussin. He returned to Paris and continued with an important body of work, reaching his stylistic maturity towards the middle of the century (classicist and elegant painting). He was ennobled by Louis XIV, who appointed him Premier Peintre du Roi in 1664. His work can be found in the Louvre in Paris, Versailles, the Los Angeles County Museum of Art, the J. Paul Getty Museum (Los Angeles, USA), the Metropolitan Museum in New York, the Musée des Beaux-Arts in Lyon (France), the Hermitage in Saint Petersburg (Russia), the National Gallery of Art in Washington D.C. (USA), the Rijksmuseum in Amsterdam, etc.

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Circle of John Frederick Herring Jnr (1820-1907) British. Horses, Pigs and Chickens in a Farmyard, with a hunting scene in the distance, Oil on canvas, Bears a signature, 21.5" x 26" (54.7 x 66.1cm)

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