Null Floris de Vriendt, Frans
1564 Gorichem/Netherlands - 1651 Utrecht. Oil on c…

Description

Floris de Vriendt, Frans 1564 Gorichem/Netherlands - 1651 Utrecht. Oil on canvas. Allegory of fertility. Venus is seated in the center flanked by Ceres adorned with ears of corn and Bacchus holding grapes. In front a putto reaching for the grapes. (Doubl., color fading, craquelure, abrasions). 100 x 99 cm. An expertise by Dr. Heinrich Zimmermann, Berlin 1948, attributes the painting to Floris de Vriendt.

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Floris de Vriendt, Frans 1564 Gorichem/Netherlands - 1651 Utrecht. Oil on canvas. Allegory of fertility. Venus is seated in the center flanked by Ceres adorned with ears of corn and Bacchus holding grapes. In front a putto reaching for the grapes. (Doubl., color fading, craquelure, abrasions). 100 x 99 cm. An expertise by Dr. Heinrich Zimmermann, Berlin 1948, attributes the painting to Floris de Vriendt.

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Estim. 2 500 - 3 000 EUR

OOLEN Jan van (Entourage de) Amsterdam 1651 - 1698 Bird of prey in a courtyard Oil on canvas (Re-tooled; small trace of accident on the right perimeter; small restorations on the lower right and perimeter. Old varnish yellowed and dirty). H. 103 - L. 127 cm Gilded wood frame.

Estim. 2 800 - 4 200 EUR

Baroque still life after Martinus Nellius The 17th century brought the Netherlands unexpected economic and cultural prosperity. Thanks to favourable conditions, the 17th century brought the Netherlands an unprecedented economic and cultural boom - it went down in history as the so-called "Golden Age of the Netherlands", a prosperous economy brought the young republic widespread prosperity and abundance, and artistic production in particular took on unprecedented proportions, with over 300 painters and graphic artists working in Antwerp at one point alongside 78 butchers and 169 bakers, The new self-image of the wealthy Protestant bourgeoisie demanded new pictorial themes that were able to represent the wealth and lifestyle of this broad class, resulting in magnificent table still lifes that displayed valuable tableware, exotic animals and fruit alongside an abundance of fine foods, among other subjects, Today's famous masters such as Frans Snyders, Willem Kalf, Abraham van Beijeren, Cornelis de Heem and Willem Claeszoon Heda competed for the public's favour; the present motif probably originates from the circle of Martinus Nellius (1621-1716), who artfully layered his arrangements in front of the viewer's eyes against a dark background; next to the central - almost obligatory - forest glass roaster with a berry stem, there is a lobster, oysters, grapes, a bowl of cherries, figs, pomegranates, peaches and skilfully peeled lemons. Some of the objects depicted can also be found in Nellius's secured works, for example the bowl of cherries with other fillings can be found in various paintings by the artist, but the most characteristic feature is the lemon peel hanging out of the wine glass, which the painter usually depicts as here or with an attached lemon in the centre. placed in the Roman with an attached lemon, effective baroque still life painting, oil on coarse canvas, 17th century, indistinctly monogrammed probably "F. v. E. SA. f." lower left on the table edge, old owner's label of the von Nell family "H. v. N. Perl." on the stretcher verso, craquelure, old relining and restoration, somewhat in need of restoration, provenance according to previous owner: Palais von Nell in Perl/Saarland, framed in old moulding in second use, rebate dimensions approx. 90 x 81.5 cm.

Estim. 20 000 - 30 000 EUR

Felix TOBEEN (Bordeaux 1880 - Saint Valery en somme 1938) Harvest in the Corbières, circa 1914-1915 Original oil on canvas 65 x 54 cm Signed lower right in sgraffito Tobeen Exhibition label Musée des Beaux Arts Bordeaux 2012 on the back. Provenance : Sale by Maîtres Paul et Jacques Martin, Versailles, March 4, 1979, no. 93 Exhibition: Galerie Blot, 1917 Galerie Haussmann, 1921 Exhibition Felix Tobeen, Un poète du Cubisme, Musée Bordeaux, May 31 to September 3, 2012 Bibliography : Jean Richard, Catalogue Raisonné de l'Oeuvre de Félix Tobeen, n°71, reproduced Michel Charzat, La jeune peinture française 1910-1940, Une époque, un Art de vivre, Paris, Hazan, 2010, page 184, described and reproduced Originally from Bordeaux, Félix Elie Bonnet, known as Tobeen, came from a family of artists and decorators based in the historic center of Bordeaux. In the family workshops, he discovered and practiced wood engraving. During these early years, Tobeen met a number of Bordeaux artists - Georges de Sonneville, André Lhote and Odilon Redon, for example - while also making the acquaintance of second-hand dealer Pascal Désir Maisonneuve. Tobeen's vision of Gauguin's works inspired him in his work, particularly in the use of solid colors and the delimitation of shapes by a circle. In 1907, Tobeen moved to Paris, settling in a studio at La Ruche in Montparnasse, then rue Trudaine. In contact with the Ruche artists, who were close to Picasso, but also with the artists of the Puteaux circle who took part in the "Section d'Or" Salon in 1912 (Gleizes, Metzinger, Jacques Villon, Picabia, La Fresnaye...), Tobeen became interested in the Cubist movement. During his lifetime, the artist took part in some thirty exhibitions, in France and abroad, particularly in the Netherlands. His work was regularly shown in Salons and galleries, especially in Paris (Bernheim Jeune, Druet, Berthe Weill, Blot, Katia Granoff...).These various activities and encounters contributed to his success in later years, during which time he also frequently visited the Basque country, which regularly became the subject of some of his paintings. In 1920, the painter discovered Saint-Valéry-sur-Somme, where he settled a few years later. Tobeen enjoyed great success, particularly in the Netherlands, for his many flower paintings. He also joined the Jeune Peinture Française group. Still lifes and female figures dominated the last twenty years of his career. ---- Félix-Elie Bonnet dit Tobeen, from Bordeaux of Basque-French descent, was a self-taught painter who was introduced to painting by Olivier Hourcade, the introducer of Cubism in Aquitaine. After a post-impressionist period, then a Fauvist one (his Consolation evokes the pre-1914 Girieud), he moved to Paris, meeting the artists of the Puteaux circle in 1910 and taking part in the first Section d'or exhibition (1912). He set out to achieve a synthesis between cubism and tradition. His Pelotaris, a large-scale composition for the Indépendants, was noticed by Apollinaire. After the Great War, he fled the capital and settled in Saint-Valéry-en-Caux. Breaking with Cubism to join the Jpf movement, he exhibited frequently at the Bernheim gallery and in Holland (Nieuwenhuizen Segaar gallery in The Hague). From then on, his painting was realistic and poetic, with light colors and geometric plasticity. His subjects are still lifes, precious bouquets and landscapes, particularly of the Basque country, which are similar to those of La Fresnaye in the early 1920s. A man of high moral and artistic standards, Tobeen is said to have created just three hundred canvases. He also drew and painted on wood. Several museums preserve his works, in France (Bordeaux, Bayonne, Nancy) and the Netherlands (Kröller-Müller Museum, Otterlo Central Museum, Utrecht). A monograph on Tobeen is currently in preparation. Michel Charzat, La Jeune peinture française, 1910-1940 une époque, un art de vivre, Paris, Hazan, 2010

Estim. 1 200 - 1 500 EUR

Rumen Rachev, born April 15, 1956, graduate of the National Academy of Fine Arts Sofia, works in the fields of painting, printmaking, drawing, frescoes and design, more than 35 solo exhibitions in the USA, Finland, the Netherlands, Germany, Sweden, Switzerland, Italy, Belgium, England, Russia, orig. painting, oil, palette knife technique, LW on stretcher, on the reverse titled "Women in garden", u. r. sign. "Rachev 89", dimensions approx. 82 x 101cm, from Bremen private collection Internal no. A0201400038

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