Null FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1…
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FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1921). "The jewelers of St. Mark's Square in Venice, at dusk", 1877. Oil on cardboard. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 17 x 27 cm; 36 x 46 cm (frame). Francisco Pradilla begins his formation as apprentice of Mariano Pescador, and in the School of Fine Arts of San Luis de Zaragoza. In 1868 he continued his studies at the San Fernando School of Fine Arts in Madrid, where he was a disciple of Federico de Madrazo and Carlos de Haes. In 1874 he won the Drawing Prize of the "Spanish and American Enlightenment", and obtained a scholarship to study in Rome, where he lived for twenty-three years, until his appointment as director of the Prado in 1897. In 1878, he took part in the National Exhibition in Madrid and won the Medal of Honor, the same distinction he won that same year at the Universal Exhibition in Paris. As a result of these successes he received numerous commissions not only from Spain and France, but also from America and other European countries. He travels around Spain and is interested in capturing scenes of local customs full of grace and color. His works were part of exhibitions and competitions in cities around the world, such as London, Paris, Berlin, Sao Paulo and Buenos Aires. He was director of the Spanish Academy in Rome, and a member of the Royal Academies of San Fernando and San Luis, the French Academy and the Hispanic Society of New York. He was awarded, among other decorations, the Cross of Isabella the Catholic and the Legion of Honor. Francisco Pradilla's work is present in the Prado Museum, the Fine Arts Museums of Bilbao, Buenos Aires, Havana and São Paulo, the MACBA in Barcelona, the Christchurch Art Gallery in New Zealand and the Romantic Museum in Madrid, among others.

FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1921). "The jewelers of St. Mark's Square in Venice, at dusk", 1877. Oil on cardboard. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 17 x 27 cm; 36 x 46 cm (frame). Francisco Pradilla begins his formation as apprentice of Mariano Pescador, and in the School of Fine Arts of San Luis de Zaragoza. In 1868 he continued his studies at the San Fernando School of Fine Arts in Madrid, where he was a disciple of Federico de Madrazo and Carlos de Haes. In 1874 he won the Drawing Prize of the "Spanish and American Enlightenment", and obtained a scholarship to study in Rome, where he lived for twenty-three years, until his appointment as director of the Prado in 1897. In 1878, he took part in the National Exhibition in Madrid and won the Medal of Honor, the same distinction he won that same year at the Universal Exhibition in Paris. As a result of these successes he received numerous commissions not only from Spain and France, but also from America and other European countries. He travels around Spain and is interested in capturing scenes of local customs full of grace and color. His works were part of exhibitions and competitions in cities around the world, such as London, Paris, Berlin, Sao Paulo and Buenos Aires. He was director of the Spanish Academy in Rome, and a member of the Royal Academies of San Fernando and San Luis, the French Academy and the Hispanic Society of New York. He was awarded, among other decorations, the Cross of Isabella the Catholic and the Legion of Honor. Francisco Pradilla's work is present in the Prado Museum, the Fine Arts Museums of Bilbao, Buenos Aires, Havana and São Paulo, the MACBA in Barcelona, the Christchurch Art Gallery in New Zealand and the Romantic Museum in Madrid, among others.

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JOSÉ MASRIERA MANOVENS (Barcelona, 1841 - 1912). "Landscape. Oil on cardboard. Signed in the lower right corner. Measurements: 22 x 27 cm; 27 x 32 cm (frame). The one we now bid is the sketch for the 1909 work published in "100 years of painting in Spain and Portugal", pp. 354-355. José Masriera offers us a spring landscape, starring a lush vegetation of great tonal richness and subtlety in the chromatic treatment. Formally, the scene is structured around a central path that emerges from the very edge of the painting, guiding our gaze towards the forest that occupies the right side. On its sides is the figure of a donkey that carefully observes a young lady who, with her back to the viewer, directs her hands to her head, taking off the scarf that has accompanied her during the long day. The painter rigorously organizes the composition, clearly separating the foreground from the background. Thus, we find in the foreground the road. In its center, the space develops in depth, being closed in the background by the mountains. Painter and silversmith, he began his artistic training in the workshop of his father, Josep Masriera Vidal. He then entered the School of Fine Arts of La Lonja in Barcelona, where he was influenced by the landscape painter Luis Rigalt, to finally complete his studies in Paris. As a painter he dedicated himself to detailed landscapes, usually inspired by the surroundings of San Andrés de Llavaneras, in the province of Barcelona. He participated in exhibitions in Barcelona, Madrid, Zaragoza, Munich, Berlin and many other cities. His successive trips to Paris brought him into contact with the different tendencies of French landscape painting, and he soon achieved success thanks to the works he presented at the International Exhibition in Paris (third medal) and at the National Fine Arts Exhibitions in Madrid (third medal in 1878 and 1897) and in Barcelona (first medal in 1909). He was an academician of Sciences and Arts (1873) and of the Fine Arts of Sant Jordi, and presided over the Artistic Circle. He published biographies of Catalan artists of the generation before his own, such as Luis Rigalt, Claudio Lorenzale and Francisco Miquel, as well as works on aesthetics such as "Influencia del estilo japonés en las artes europeas" (1885). He is represented in the Museo Nacional de Arte de Cataluña and the Museo del Prado among others, as well as in important international private collections.

LEOPOLDO ROMANACH (Sierra Morena, Villa Clara, 1862 - Havana, 1951). "Blessing the table". Oil on canvas. Signed in the lower right corner. It presents visible restorations on the back. Measurements: 91 x 61 cm. Leopoldo Romanach was a Cuban painter, considered one of the great Cuban masters of the plastic arts of the 19th century. Although at the age of five he was orphaned and was taken to live in Spain, since then, his love for the Cuban landscape is clearly represented in his attempts to capture it on paper, contrary to the wishes of his father, who wanted to direct him in the world of commerce. He returns to Cuba at the age of 14 and is then sent to study in the United States to study English and commerce, but due to his artistic hobby he abandons his studies and returns to Cuba without great achievements. Then he convinces the teacher Miguel Melero, director of the San Alejandro Academy of Fine Arts to allow him to enter the Academy to take coloring classes. Upon his return to Caibarién, Francisco Ducassi encourages him to follow his vocation and gets him a scholarship at the School of Fine Arts in Rome, Italy, where he has as teachers Enrique Serra, Francisco Pradilla and Filippo Prosperi, director of the school. After graduating and returning to Cuba, he gets the position of professor of the Coloring Chair of the Academy of Fine Arts and then travels to Paris to study the new pictorial theories of impressionism, with which he changes the traditional schemes of teaching in the academy. The first stage of his work shows a marked tendency towards a pathetic conception influenced by the historical-social moment in which he develops and includes works such as: Nido de miseria, La convaleciente, La abandonada and others. In the second period, the new advances in pictorial technique, trichromy and impressionism are more marked. For his artistic work Romañach achieved numerous awards, for example, bronze medal at the "Universal Exposition of Paris", 1900; gold medal at the Exposition of St. Louis, Missouri in 1904; silver medal at the Exposition of Buffalo, 1904; gold medal in Charleston; first prize in Cuba, 1912; in Panama, 1915 and Seville in 1929. Due to all these results he was conferred the title of Member of the International Artistic Circle of Rome, member of Number of the National Academy of Arts and Letters of Cuba, the medal of Honor of the Circle of Fine Arts and the Cross of the Order of Carlos Manuel de Céspedes. For his achievements he was named Professor Emeritus of his Chair and Honorary Director of the San Alejandro National School of Fine Arts and its Annex.

NAGASAWA ROSETSU (1754-1799): PERSIMMON WITH RED AUTUMN LEAVES AND PUPPIES NAGASAWA ROSETSU (1754-1799): PERSIMMON WITH RED AUTUMN LEAVES AND PUPPIES Japan, 18 th century. Ink and watercolor on silk. Mounted as a hanging scroll, with a silk brocade coated paper frame and wooden handles. The free brushwork and playful composition depicting two recumbent puppies sitting under a tree. Inscriptions: To the bottom-left, signed ‘Rosetsu.’ One seal, ‘Gyo’ 魚. The tomobako (storage box) with inscriptions, to the cover, inscribed ‘Rosetsu, Two Puppies,’ a collector’s label to one side ‘Rosetsu komainu-ko (hakushi)’ 蘆雪狛子 (‘Puppies by Rosetsu’), the other side 第三一七號、蘆雪、柿紅葉狛 (‘Number 317, Rosetsu, Persimmon with red autumn leaves and puppies’). Provenance: Collection of Baron Masuda Takashi, Tokyo, Japan, by repute. Louis Pappas Works of Art, San Francisco, 8 August 1969. The James and Marilynn Alsdorf Collection, Chicago, acquired from the above and thence by descent. Baron Masuda Takashi (1848-1938) was a Japanese industrialist, investor, and art collector. He was a prominent entrepreneur in Meiji, Taishō and early Shōwa period Japan, responsible for transforming Mitsui into a zaibatsu through the creation of a general trading company, Mitsui Bussan. Masuda's collection was a legend during his lifetime but was sold by his son after Masuda's death in 1938. Most of the collection is said to have been purchased at that time by Tokyo art dealer Setsu Inosuke. Louis Pappas (1926 - 2018) was an important art dealer in San Francisco, United States. James and Marilynn Alsdorf got married in 1952 and built a life that was centered on art, philanthropy and family. Studying and collecting art was their all-consuming passion, and it took them all over the world. Their spirit of adventure was unique; they went places that few collectors at the time were curious and confident enough to explore. As their interests diversified, so did their collection. ‘They were not strategic in their collecting,’ recalls Bridget Alsdorf, the couple’s granddaughter. ‘They were guided by what fascinated them and gave them pleasure, by knowledge and instinct. They were an incredible team.’ As well as being great collectors, the Alsdorfs were loyal supporters of museums and cultural institutions across Chicago and the wider United States, including the National Gallery of Art in Washington, D.C., the Leigh Block Museum of Art at Northwestern University and the Art Institute of Chicago. James Alsdorf served as Chairman of the AIC from 1975 to 1978, and Marilynn sat on various committees. In 1967, the Alsdorfs joined other prominent Chicago collectors, including, Edwin and Lindy Bergman and Robert and Beatrice Mayer, in founding the Museum of Contemporary Art Chicago, an institution to which they would provide extensive financial and personal leadership. After James’s passing in 1990, Marilynn, who was known as ‘the queen of the Chicago arts community’, continued to build upon her husband’s legacy in art and philanthropy, making a transformative bequest to the AIC in 1997, and funding a curatorial position in Indian and Southeast Asian Art at the AIC in 2006. Condition: Excellent condition with only minor wear. The silk brocade mounting in excellent condition with expected wear. Dimensions: Image size 118.8 x 46 cm, Size incl. mounting 211 x 58.5 cm With an inscribed tomobako storage box. (2) Following the style of his early teacher Maruyama Ōkyo, especially his naturalistic depiction of animals, birds, and fish, Rosetsu established a reputation as an unrestrained and imaginative painter. Nagasawa Rosetsu (1754-1799) was an 18 th-century Japanese painter of the Maruyama School, known for his versatile style. He was born to the family of a low-ranking samurai. He studied with Maruyama Ōkyo in Kyoto. Rosetsu's early period works are in the style of Maruyama Ōkyo, although critics agree that the pupil's skill quickly surpassed his master's. Finally, they had a falling out and Rosetsu left the school. After the break, he worked under the patronage of the feudal lord of Yodo and accepted commissions at several temples. His works are kept in many museums worldwide, including the Dallas Museum of Art, the Walters Art Museum, the Princeton University Art Museum, the Harvard Art Museums, the Los Angeles County Museum of Art, the British Museum, the Minneapolis Institute of Art, and many more. Museum comparison: Compare a closely related painting by Nagasaw Rosetsu in The Walters Art Museum, Baltimore, USA, accession no. 35.74.