Circle of Colin Hunter,
Scottish 1841-1904-

Expansive coastal view, possibly th…

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,

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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.

Estim. 10 000 - 12 000 GBP

Majorcan school, circle of MIQUEL BESTARD (Palma de Mallorca, 1592 - 1633); second half of the 17th century. "The Martyrdom of Blessed Ramon Llull". Oil on canvas. It conserves its period frame. Measurements: 85 x 210 cm. In this landscape scene the author presents us with a numerous group of characters who are arranged to the sides of a saint situated in the centre of the scene, whose black clothes on the lighter tones used by the painter, show the preponderance of this figure. The artist accentuates the drama and commotion of the scene, which is clearly Flemish in origin, with a large number of figures, each captured individually, some of them showing forced foreshortening and exaggerated counterposts. Furthermore, the construction of the space in depth helps to enhance the dynamism that the author achieves in the foregrounds. The scene in general is treated with a descriptive and highly narrative language, typical of Bestard. Iconographically, the work depicts the martyrdom of Ramon Llull (c. 1232 - 1315/1316), who was a philosopher, theologian, poet, missionary and Christian apologist from the Kingdom of Mallorca. He invented a philosophical system known as the Art, conceived as a kind of universal logic to demonstrate the truth of Christian doctrine to interlocutors of all religions and nationalities. The Art consists of a set of general principles and combinatorial operations. In 1314, at the age of 82, Llull travelled again to Tunis, possibly motivated by correspondence between King James II of Aragon and al-Lihyani, the Hafsid caliph, indicating that the caliph wished to convert to Christianity. Although Llull had encountered difficulties during his previous visits to North Africa, this time he was allowed to operate without interference from the authorities due to improved relations between Tunisia and Aragon. The circumstances of his death remain unknown. He probably died sometime between then and March 1316, either in Tunis, on the ship on the return voyage, or in Mallorca on his return. From its formal characteristics we can attribute this work to Miquel Bestard, a Mallorcan painter trained in the Mannerist tradition and active in the early Baroque. His production can be grouped into two distinct blocks: religious painting on the one hand, executed for different Mallorcan churches and convents, and profane motifs on the other, which include views of Mallorca from the port, the fires of Troy and naval battles. The latter are large works, and earned the artist the nickname of "the mad painter" due to the fantasy and extravagance of his landscapes. He also produced works related to the figure of Ramon Llull, such as "Scenes from the life of Ramon Llull" (private collection), "Stoning of Ramon Llull" (Sant Francesc church, Palma), "Ramon Llull at the Council of Vienne" (idem) and "Ramon Llull" (Col-legi de la Sapiència, Palma). Within his religious production, his canvases dedicated to the Inmaculada de Can Vivot and the churches of Monti-Sion, Sant Francesc and San Alonso Rodríguez (Palma) are particularly noteworthy. On occasions, Bestard combined religious themes with landscape painting, generally in works of considerable size, including paintings such as "Martyrdom of Saints" (private collection, Palma) and "Mythological Fable" (idem). Bestard was, despite his early death, a successful painter, with abundant and ambitious commissions, as can be deduced from his use of monumental formats, and hence he was able to devote himself freely to such a varied subject matter, which included landscape and mythology as well as the religious themes typical of the period. He was even known outside Mallorca, as evidenced by several commissions from Catalonia. Property inventories of the period confirm that there were many works by his hand in Mallorca, probably part of a serial production that the painter easily sold.

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