Null Hans Richter (1888-1976)
Variation on the theme Punto Dissoluto [Dissolved …

Description

Hans Richter (1888-1976) Variation on the theme Punto Dissoluto [Dissolved Point] Oil on canvas Artist's inventory label "Hans Richter Private collection N. 379 Z" on reverse 73.5 x 48.2 cm Provenance: > Cornette de St-Cyr, Paris, sale from the artist's estate November 28, 2007 - lot 88 > Private collection, Belgium Condition report: Framed

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Hans Richter (1888-1976) Variation on the theme Punto Dissoluto [Dissolved Point] Oil on canvas Artist's inventory label "Hans Richter Private collection N. 379 Z" on reverse 73.5 x 48.2 cm Provenance: > Cornette de St-Cyr, Paris, sale from the artist's estate November 28, 2007 - lot 88 > Private collection, Belgium Condition report: Framed

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Estim. 400 - 500 EUR

Spanish school; 17th century. ‘Christ’. Carved and polychrome wood. It presents faults. Measurements: 40 x 11 x 9 cm. The crucifixion of Christ is the central theme of Christian and especially Catholic iconography. Christ was subjected to the suffering that befell slaves who were fugitives or in rebellion, a condemnation that was essentially Roman but of Persian origin. This episode in the life of Christ is the most strictly proven historical fact and is also the main argument for the redemption of Christian doctrine: the blood of God incarnate as man is shed for the redemption of all sins. The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the ‘Agnus Dei’, the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour is not due to an organic process but to an act of divine will, Christ is represented, as in our work, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the Passion, provoking commiseration, as Psalm 22 refers to when it prays: ‘My God, my God, why hast thou forsaken me? (...) a mob of wicked men is near me: they have pierced my hands and my feet (...) they have divided my garments and cast lots for my tunic’.

Estim. 1 000 - 12 000 EUR

Spanish or Italian school; 17th century. Carved and polychrome wood. It has faults. Measurements: 94 x 40 x 20 cm. The crucifixion of Christ is the central theme of the Christian iconography and especially of the catholic one. Christ was inflicted the suffering that corresponded to the suffering of slaves who were fugitives or in rebellion, an essentially Roman condemnation but of Persian origin. This episode in the life of Christ is the most strictly proven historical fact and is also the main argument for the redemption of Christian doctrine: the blood of God incarnate as man is shed for the redemption of all sins. The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the "Agnus Dei", the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour is not due to an organic process but to an act of divine will, Christ is represented, as in our work, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the passion, provoking commiseration, as referred to in Psalm 22 when he says: "My God, my God, why hast thou forsaken me? (...) a mob of the wicked is near me: they have pierced my hands and my feet (...) they have divided my garments and cast lots for my tunic".

Estim. 600 - 800 EUR

17th century Spanish school. "Christ". Carved and polychrome wood. It presents repainting. Measurements: 80 x 32,5 x 17 cm. The crucifixion of Christ is the central theme of the Christian iconography and especially of the catholic one. Christ was inflicted with the suffering that corresponded to slaves who were fugitives or in rebellion, an essentially Roman condemnation but of Persian origin. This episode in the life of Christ is the most strictly proven historical fact and is also the main argument for the redemption of Christian doctrine: the blood of God incarnate as man is shed for the redemption of all sins. The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the "Agnus Dei", the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour is not due to an organic process but to an act of divine will, Christ is represented, as in our work, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the passion, provoking commiseration, as referred to in Psalm 22 when he says: "My God, my God, why hast thou forsaken me? (...) a mob of the wicked is near me: they have pierced my hands and my feet (...) they have divided my garments and cast lots for my tunic".

Estim. 20 000 - 30 000 EUR

ATTRIBUTED TO HENRI MATISSE (FRENCH 1869-1954): A BRUSH AND INK DRAWING ON PAPER 'TÊTE DE FEMME', 74cm x 53cm Mounted in a frame and glazed. 89cm x 70cm. Provenance: Property of a gentleman, Esher, Surrey. This work was purchased by the present owner in 1981 from a private French collector who acquired it from Simon Abitbol, a notable Parisian art dealer with premises at 2 Rue Drouot, next to where the famous Hotel Drouot auction house is located. According to a leading Matisse authenticator, it appears to have been inspired by a comparable drawing which is very similar in style and is published in Matisse’s 1943 illustrated book Themes & variations. However, it is generally acknowledged that in the later years of Matisse's career, he continued the refinement of the "Tête de Femme" series. Whilst the drawing has not been definitively authenticated, it possesses several attributes that suggest that it could be part of the Tête de Femme series. Matisse’s “Tête de Femme" drawings have had a lasting impact on the art world. They are notable for their elegance, simplicity and expressive quality. These drawings highlight Matisse's mastery in capturing the essence of his subjects with minimal lines and a keen sense of form. Despite the simplicity, the drawings are highly expressive and convey a range of emotions and personality traits through subtle variations in line and form. They exemplify his innovative approach to portraiture and his significant contributions to modern art. For other examples of Matisse 'Tete de Femme' works at auction, see below: 1. Christies, Impressionist and Modern Day Sale. Property from the Collection of Lew and Edie Wasserman, Lot 202, 2nd November 2011. https://www.christies.com/en/lot/lot-5492960 2. Sotheby's, The Emily Fisher Landau Collection: An Era Defined, Lot 130, November 9th, 2023. https://www.sothebys.com/en/buy/auction/2023/the-emily-fisher-landau-collection-an-era-defined-day-auction/tete-de-femme 3. Sotheby's, Impressionist and Modern Art: Part two, Lot 294. https://www.sothebys.com/en/auctions/ecatalogue/2003/impressionist-modern-art-part-two-n07936/lot.294.html

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