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⚓ Adolphe Carbon BONQUART (1864-1915) Peintre officiel de la Marine (?) Goélette dans la tempête Huile sur toile H. 73 cm - L. 116 cm Restauration

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⚓ Adolphe Carbon BONQUART (1864-1915) Peintre officiel de la Marine (?) Goélette dans la tempête Huile sur toile H. 73 cm - L. 116 cm Restauration

Estimate 550 - 600 EUR

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For sale on Thursday 12 Sep : 14:00 (CEST)
marseille, France
De Baecque et Associés
+33158408292

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jeudi 12 septembre - 10:00/12:00, Marseille
mercredi 11 septembre - 09:00/10:00, Marseille
mardi 10 septembre - 10:00/12:00, Marseille
mardi 10 septembre - 14:00/18:00, Marseille
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NAVETTE MARSEILLE - LYON - PARIS
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Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit. Size: 103 x 82 cm; 126 x 104 cm (frame). The portrait shows a physiognomy of the gentleman characterised with verism and detailed brushstrokes, with a miniaturist's pulse. A fig leaf covers his private parts. The moving posture breathes life into the body, which is aided by the pronounced musculature and the concentrated face, as each element is resolved with extreme precision. Esquivel was the most representative and prolific painter of Sevillian Romanticism and one of the most outstanding of his time in Spain. His life was a true Romantic plea; he lost his fortune after his father's death, was orphaned and left poor, and at the age of seventeen he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until he moved to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Seville Academy of Fine Arts, he was appointed chamber painter in 1843 and a member of the San Fernando Royal Academy in 1847, contributed to the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He was also an art critic and wrote on history painting and the German Nazarenes. As a painter he fully identified with Romanticism, which he expressed through the sentiment and aesthetic correctness of his work. His style, which is partly eclectic, is characterised by a great technical mastery that manages to harmoniously balance the correctness of the drawing and the quality of the colours. Although he dealt with a wide range of subjects, portraiture is an essential part of his career. In addition to his artistic merit, his portraits illustrate the society of his time with historical rigour, without neglecting affective values. He received many commissions for portraits in various formats, and also produced several self-portraits, one of which is in the Museo del Prado. He also executed group portraits, which reflect his fascination with the Dutch Baroque and his corporate portraits. With regard to religious themes, he was a follower of Murillo, in connection with his own status as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the Romantic atmosphere in which he lived. His official awards include the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Seville Academy of Fine Arts, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca Town Hall, the Lázaro Galdiano Museum, the Fine Arts Museum in Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others.

JUAN RUIZ SORIANO (Higuera de la Sierra, Huelva, 1701 - Seville, 1763). "The Death of Saint Francis", 1743. Oil on canvas. Relined. It has repainting and restorations. Presents inscription with date. Measurements. 139 x 275 cm. The semicircular format of this work indicates that it is a painting intended as a decorative element, perhaps with the intention of ornamenting the upper areas of an opening, or another architectural space. Of a devotional nature, the artist has depicted the death of Saint Francis, who is lying in the centre of the composition with his eyes closed and his hands with the stigmata on his chest. Saint Francis, the protagonist of the scene, is surrounded by numerous religious of his order who are watching over his corpse, all of whom adopt a different attitude and have different physical features, which shows the artist's mastery. The central image, of a sober and austere character, is relieved by the artist through three elements: the glory break located in the upper area, the family on the left, perhaps representing some donors, whose clothes stand out against the rigorous black of the friars, and finally the presence of a small space on the right, where the official burial of Saint Francis can be seen, already in his coffin. Born in the town of Higuera de Aracena, now Higuera de la Sierra, Juan Ruiz Soriano trained in Seville with his cousin Alonso Miguel de Tovar (Higuera de la Sierra, 1678 - Madrid, 1752), and began painting in 1725. As a disciple of Tovar, it is logical that Ruiz Soriano's art should at the same time derive from that of Murillo, which is why his pictorial production is characterised by a soft, gentle drawing. We know that he worked for numerous religious orders, which asked him to produce a series of paintings to decorate their cloister walls. He must also have worked extensively for private individuals. The present canvas shows the direct influences of both Ruiz Soriano and Tovar, so it could be deduced that the artist is a painter from the circle of the former and a follower of the latter. Both masters derived their models from Murillo, as was common among 18th-century Sevillian painters, and this influence is also evident in this canvas, both in the sketchy treatment, with its elaborate classical tones, and in the figures themselves, which are painted with a marked sense of expressive affability and serenity. Within Alonso Miguel de Tovar's production we frequently find the same theme as the present painting, depicted in a very similar compositional model. In the "Divinas Pastoras" in the parish church of Cortelazor, the one in Higuera de la Sierra and the one in the Museo del Prado, all typical of Tovar's style, Mary appears seated on a rock against a landscape background enclosed on the left, dressed in a pink tunic, blue cloak and sheepskin sackcloth, holding a rose in her left hand and caressing a sheep's head with her right. In all of them, moreover, the animals approaching the figure hold roses in their mouths as an offering to Mary. The rest of the elements of the composition are identical to those in Tovar's, including the secondary scene in the background, in which an archangel is depicted fighting a demon who intends to attack a lamb holding a phylactery with the text "Ave Maria" in its mouth. Thus, the only iconographic differences with respect to Tovar's work are the Virgin's crown and the archangel, who in the work by the master from Higueras de la Sierra carries a flaming sword, while here he appears unarmed. Another differentiating element, although secondary in terms of iconography, is that in this work an angel appears holding Mary's staff, while in Tovar's works the staff appears leaning against the rock.