Null Circle of Colin Hunter,
Scottish 1841-1904-

Expansive coastal view, possib…

Description

Circle of Colin Hunter, Scottish 1841-1904- Expansive coastal view, possibly the beach at Criccieth; oil on canvas, signed with initials and dated 'ER. / 80' (lower right), 76.5 x 122 cm. Note: This coastal landscape is reminiscent of Hunter's beach scenes, often executed in a similarly wide, almost panoramic format, and typically of the shores of Devon and Cornwall and, most often, the atmospheric Scottish coast.

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Circle of Colin Hunter, Scottish 1841-1904- Expansive coastal view, possibly the beach at Criccieth; oil on canvas, signed with initials and dated 'ER. / 80' (lower right), 76.5 x 122 cm. Note: This coastal landscape is reminiscent of Hunter's beach scenes, often executed in a similarly wide, almost panoramic format, and typically of the shores of Devon and Cornwall and, most often, the atmospheric Scottish coast.

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Estim. 3 000 - 4 000 GBP

Circle by BARTOLOMEO PEDON (Venice, 1665-1732), ca. 1700. "Coastal View". Circa 1700 Oil on canvas. Re-coloured. It presents repainting and very slight losses in the left margin. Measurements: 72 x 99 cm; 88 x 114,5 cm. In this lacustrine composition of Venetian school, the proximity of Bartolomeo Pedon and his bewitching "caprices" is evident: the real geography is transfigured by a sensualist imagination typical of the rococo period. Several scenes take place in a wide panorama bordered in the background by imposing rocks blurred by mist. In the foreground, gondoliers ply the calm waters and fishermen converse on a promontory. In the middle ground, Renaissance architecture alternates between turrets and domes, which the light makes silver sparkles. The pre-Romantic sensibility that flourished in Venice around Pedon is evident. Bartolomeo Pedon was an Italian painter of the late Baroque period. He painted mainly landscapes, often nocturnal or whimsical architectural whimsy in a wild landscape. In this he seems to have been influenced by Marco Ricci and Antonio Marini, but also by Magnasco and Salvatore Rosa. Many of his works are in private hands. In terms of public institutions, he is in the Walters Art Museum collection in Baltimore, among others. According to other sources, he was born in 1655 in Padua and worked in the monastery of San Benedetto.

Estim. 190 - 285 GBP

Herdsman in Arcadian Landscape Poetic, probably Italian summer landscape, with wandering boy with dog, at the foot of jagged sandstone rocks on the lakeshore, romantic, glazed, partially slightly impasto genre painting in warm-toned colours, oil on canvas, ligatured monogrammed and dated "HK 1864" at lower right, partly concealed by the fold, possibly a work by Hermann Reichsfreiherr von Königsbrunn [cf. Monogrammlexikon Goldstein], about whom Wurzbach remarks in the "Biographisches Lexikon des Kaiserthums Oesterreich" (1864) "... In the Austrian Art Society only two oil paintings by him were exhibited, namely in November 1860: "Courtyard of an Indian Temple with the Sacred Fig Tree together with a Dagoba", and in September 1863: "Tank in Northern Ceylon", both attesting a significant talent for the landscape and the latter of such charming and eye-catching quality that it ... [against prominent competition]. ...", in our present painting the influence of Johann Fischbach, on whom Wikipedia notes "... Along with Moritz von Schwind and Ludwig Richter, Fischbach is one of the most respected representatives of the Austrian Biedermeier period, who, with great painterly sensitivity, depicted above all the cosiness, the dreamy and the cosy, but never lost touch with reality. In his constant search for an "intact world" and a perfect harmony between nature and man, he found these ideals of Romanticism and Biedermeier best realised in rural life. He ... paints fishermen, smugglers and hunters, shepherds and dairymaids in the landscape, without ever lapsing into the smoothness of salon-style painting. ...", minor retouches, beautifully framed in Florentine moulding, folded dimensions approx. 40 x 58 cm. Artist's information on Hermann von Königsbrunn: actually Hermann Reichsfreiherr von Königsbrunn, also Königsbrun Austrian lawyer, landscape painter, draughtsman and illustrator (1823 Radkersburg/Styria to 1907 Graz), initially destined to become a lawyer and studied law in Graz, where he was a private pupil in drawing under Josef Kuwasseg, then studied law at the Theresian Academy in Vienna, from 1845 in the Austrian civil service, in 1848 took part in the March Revolution in Vienna, in December 1848 dismissed from the civil service and fled to Munich, where he turned to painting and became a pupil of Leopold Rottmann in Munich, created copies after Eduard Schleich in Munich, 1849 stay in Graz and 1850 in Salzburg, where he joined Johann Fischbach, then walked to Bruck an der Mur and Graz, at the end of 1852 accompanied by the Styrian industrialist Franz Ritter von Friedau the Younger, together with the zoologist Ludwig Karl Schmarda, 10-month expedition to Greece, Egypt and Ceylon, then three years of further artistic training in Düsseldorf with the support of Franz Ritter von Friedau, was received during a stay in Berlin by the King of Prussia Friedrich Wilhelm IV. and Alexander von Humboldt during a stay in Berlin, ca. 1856 return to Graz, undertook a two-month study trip to Corfu with a state scholarship, his "Great View of Gastouri" created here was purchased by Emperor Franz Josef, 1863/64 trip to Rome with the support of the Styrian State Committee, 1868 appointed professor at the Styrian State School of Art in Graz, active here until 1892, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Monogrammlexikon Goldstein, Constantin von Wurzbach "Biographisches Lexikon des Kaiserthums Oesterreich", Fuchs, autobiography from 1894, Müller-Singer and Wikipedia.

Estim. 420 - 630 GBP

Eugen Dücker, "Heidemoor" Flat moorland landscape under a cloudy sky, strongly impastoed, with a broad brushstroke, especially in the area of the sky, partly executed in spatula technique, oil study on painting cardboard with partial exposure of the painting ground, in the present study Dücker provides the viewer with a direct access to nature in colour and perspective, In this study, Dücker provides the viewer with a direct, unobstructed approach to nature in terms of colour and perspective, with which Dücker was to become "downright epoch-making" (Thieme-Becker) for the Düsseldorf school of landscape painting; Dücker was influential with this sober-realistic approach because he thus replaced the romantic style of the Achenbach brothers, as the Düsseldorf painter Friedrich Schaarschmidt remarked at the time: "As if with a single stroke, the traditional woodland style disappeared from the academ. The traditional forest and meadow pictures, as they had always been painted as an old legacy with the application of a great deal of humour, disappeared from the academic studios as if with a stroke.", signed "E. DÜCKER" at the bottom left, label on the reverse: "Große Düsseldorfer Kunstausstellung in Köln//Verein 1904//E. Dücker: Heidemoor//Sale price and insurance value 1850 Goldmark", the catalogue for the 1904 International Düsseldorf Art Exhibition paid tribute to Dücker in a way that illustrated his importance: "Among the landscape painters, Eugéne Dücker and his school stood in the foreground as always.", quoted from Hermann Board, Die Internationale Kunstausstellung, p. 173, also with two modern adhesive labels "Lennartz" on the reverse, extensive retouching, very attractively framed in bronzed moulding, folded dimensions approx. 44 x 62 cm. Artist information: also Eugène Gustav, German landscape painter and etcher (1841 Arensburg to 1916 Düsseldorf), 1858 to 1863 attended the Imperial Academy of Arts St. Petersburg, travelled to Germany, France, Belgium, Holland and Italy, settled permanently in Düsseldorf, where he became a professor in the landscape class in 1872, replacing the romantic Düsseldorf landscape style of the Achenbach brothers with his sober and realistic approach, his numerous pupils included Max Clarenbach, he was represented in the major galleries of Berlin, Düsseldorf, Bonn, Breslau, Dresden, Hanover, Königsberg, Budapest, St. Petersburg, Moscow and Riga. Petersburg, St Petersburg, Moscow and Riga, he was already sought after in contemporary collectors' circles for his maritime motifs; Dücker focussed on beach landscapes, particularly of the North and Baltic Seas, Source: Thieme-Becker, Vollmer and Internet.

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