All lots "Arms, hunting weapons and military mementoes" Advanced search

Reset all filters
3432 results

Tue 11 Jun

FRANCISCO MASRIERA Y MANOVENS (Barcelona, 1842-1902). "Lady". 1880. Oil on canvas. Signed and dated in the central left part. Golden frame with some faults. Measurements: 33 x 21 cm; 43 x 31,5 cm (frame). Masriera, one of the greatest Catalan portraitists of his time, always put special interest in the feminine figure. Here, a young woman wearing a felt hat adorned with feathers seems to want to hide her face behind the fluffy cloud formed by the fur stole wrapped in her hands. Her silhouette is carved in a burgundy velvet dress, her graceful curves are cut out against a gray background. Her feet disappear under a blanket of white flowers and she almost seems to float, which gives her an ethereal and carnal essence at the same time. Spanish painter, writer and goldsmith, he began his training in the jewelry workshop of his father José María Masriera and in that of José Serra y Porson. Always concerned about improving and approaching new horizons, he refined his technique after traveling to Geneva where he learned the enamel process, which will be one of the main hallmarks of his goldsmith designs. As for his facet as a painter, there is evidence that he traveled to Paris for the first time in 1865, where he went to Cabanel's workshop. On repeated occasions he visited the French capital, the epicenter of the artistic modernity of the time, where he acquired first-hand the rapid brushstrokes, luminosity and vivid chromatism of the first impressionists, features that can be seen in this magnificent painting. As can also be seen in the work presented here, Masriera had the ability to combine the freshness of the new plastic trends emerging in Paris at the time, with the long neoclassical tradition marked by the Academy: a careful dedication to drawing, the care of the composition and the rigorous study of the old masters. In fact, there is evidence that in the Louvre he devoted himself to copying the main works in order to acquire the mastery of the classics, and in Paris he participated in the Universal Exhibitions of 1867, 1878 and 1889. There is also evidence of his trips to Rome, where he began to paint Orientalist canvases. As a writer and columnist he collaborated in the magazine El Recuerdo. In Spain, he won the second medal at the National Exhibition of Fine Arts in 1878 for the work entitled La esclava, and also exhibited his works at the Bosch Gallery in Madrid in 1882 and at the Sala Parés in Barcelona in 1889. As we observe in this exquisite painting, Masriera's technique is characterized by the perfection of the drawing, the careful composition and a color full of strength and luminosity, which is manifested especially in the iridescence of the canvases. He stood out for his preciousness full of fantasy, as well as for the freshness of his colors.

Estim. 2 500 - 3 000 EUR

Wed 12 Jun

THOMAS DANIELL AND WILLIAM DANIELL, DUSASUMADE GAUT, BERNARES, UTTAR PRADESH - THOMAS DANIELL (BRITISH 1749-1840) AND WILLIAM DANIELL (BRITISH 1769-1837)DUSASUMADE GAUT, BERNARES, UTTAR PRADESHWatercolour and pencil, with watermark 'J WHITMAN'Inscribed with title (to the mount); further inscribed and numbered '52' (verso)37 x 54cm (14½ x 21¼ in.)Provenance:The collection of the artistThe Bromley-Davenport family, Capesthorne Hall, CheshireThence by descent until 1951The Peninsular and Oriental Steam Navigation Company (P&O) 1952 - 1996Sale, Christie's, London, India Observed, 24 September 1996, lot 22Spink, London, No. K3 11110A Private CollectionExhibited:London, Commonwealth Institute, 1960, No. 21Washington D.C, Smithsonian Institute, 1962, No. 9London, Spink and Son, 1974, No. 41Literature:Archer, M, Early Views of India: The Picturesque Journeys of Thomas and William Daniell 1786 - 1794, Thames and Hudson, 1980, p. 123, ill. No. 71 (aquatint engraving for Part I, Oriental Scenery, No.16) Engraved:T. Daniell, aquatint engraving, May 1796, for Oriental Scenery, vol.I, No. 16The Dasasamadhi Ghat is one of the five most celebrated places of pilgrimage in Bernares, and is where Brahma was said to have sacrificed ten horses. On 22 August 1812, Lady Nugent said of Bernares: 'The city is situated on a high semicircular bank and reaches down to the water's edge. Mosques, pagodas, temples, houses of different sorts - long flights of steps, leading to places of worship - the river, magnificently extended...nothing can be more striking and imposing than the first view of Bernares'. (Archer, p. 123)The series of aquatints of India were published by Thomas and William Daniell between 1795 and 1810. At the time, the aquatint technique was very new in Britain, being introduced by Paul Sandy in 1775. These prints were engraved by the Daniells themselves from their own drawings and watercolours. The present lot is one of the watercolour sketches for number sixteen in Part I of the Oriental Scenery series. In her book, Mildred Archer arranges the illustrations produced by the Daniells in order of their journey, rather than the order in which the aquatints were eventually published, often accompanied by unpublished quotes taken from the small octavo booklets of comments which Thomas Daniell issued with each part of Oriental Scenery. This places the creation of Dusasumade Gaut at circa 17-25 November 1789. Thomas Daniell (1749-1840) was William's (1769 - 1837) uncle. After his father's death Wiliam's mother was left with five children and the burden of running the family pub, which had previously belonged to Thomas's father before passing to his brother. It is thought that Thomas took over responsibility for his nephew to help ease the pressures placed on his sister-in-law.In 1784, when the pair left for India, they were relatively unknown. William was barely fifteen when the pair set sail, and despite having some success in London, in 1773 Thomas had entered the Royal Academy schools, exhibiting thirty pictures over the next decade or so, William had yet to decide what type of painter he should be. When in 1781 he secured a commission for six paintings of West Wycombe Park, and went on to paint the landscapes of Somerset, Yorkshire, and Oxfordshire over the course of the following three years, he seems to have settled on landscapes. However, opportunities for landscape painters were few. As a result, most British artists focused on portraiture with Reynolds and Gainsborough as the leading names. Fueled by the voyages of Captain Cook, it was also around this time that a general interest in the 'exotic', ''picturesque' and the 'sublime' was starting to creep in to British culture. A perfect backdrop then, for the Daniells to explore the opportunities on offer in this exciting new area of the world.During this time, the East India Company had grown substantially and held increasing power in large areas of the British controlled subcontinent. As such, it was possible for English artists to travel freely, and rely on hospitality from fellow countrymen. In addition, many wealthy residents of the Presidency cities of Calcutta and Madras needed pictures to furnish their large mansions, with several artistic fortunes being made in India. As was the case in Britain, of the well-established artists already working in India during the last quarter of the 18th century, those such as Tilly Kettle, George Chinnery, Ozias Humphry, John Zoffany, and George Wilson almost all enjoyed their success by focusing on portraits. However, more interesting to Daniells was the landscape painter William Hodges (1744-97), who visited India between 1780 and 1783 and received the patronage of Augustus Cleveland, the District Officer of Bhagalpur. Upon arriving in India, on 17 July 1786, Thomas placed an announcement in the Calcutta Chronical: 'Mr Daniell proposes to publish twelve views of Calcutta at twelve gold Mohurs the set, from complete plates and finished watercolours. The subscription list is open till Jan. 1, 1787'. Upo

Estim. 30 000 - 50 000 GBP
Security
Online payments are secured by Ingenico and encrypted transactions.
Guarantees
Each lot has been authenticated and appraised by an Auction House.
Support
Consult our FAQ or contact us
Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.
More about Drouot
Drouot certified auction houses
To buy
How to buy on Drouot.com
How to buy at the Hôtel Drouot
Glossary
Useful links
To sell
Value your property
Auctions at the Hôtel Drouot
Subscribe
SERVICES FOR PROFESSIONALS
Auctioneers
Contacts
HÔTEL DROUOT
9, rue Drouot 75009 Paris, France
+33 (0)1 48 00 20 00
[email protected]

DROUOT.com
[email protected]
Press Center
Private events
CGU and legal notice - Privacy Statement - Copyright © Drouot.com