Antonio Piatti

"Rose e Spine"

1901

American School, Portrait of a Woman with Flowers, Oil on Canvas, late 19th century, illegibly signed lower left, carved giltwood frame. Image: 24" H x 18" W; frame: 34.5" H x 26.5" W.

Anton Ebert (Austrian, 1845-1896), Portrait of a Woman, Oil on Oval Canvas laid on Board, 19th century, signed "A. Ebert / Wien" to mid right, original ova...

French School, "The Proposal", Oil on Oak Panel, 19th century, depicting a gentleman presenting a bouquet of flowers to a young lady and her chaperone, unsigned, giltwood frame. Imag...

Gusztav Magyar-Mannheimer (Hungarian, 1859-1937), Reclining Nude Woman, Oil on Panel, signed upper right, inscribed "Magyar-Mannheimer / De Kay Collection / Parke-Bernet Gallery / Ja...

Romantic Scene - Figurative Oil on canvas painting cm.100x80 this painting is a reinterpretation of the painting 'a Cautious Approach' by Master Roberts ...

Lady's portrait - Ciro de Rosa Italia 2002 - Oil on canvas cm. 63x47 The painting by Ciro De Rosa portrays a beautiful noblewoman with an elegant and sophisticated dress, he reinterp...

Unconscious Rivals- Angelo Granati Italia 2004 - This is his reinterpretation of a greatest old master painting by Lawrence Alma-Tadema. Oil on canvas cm.80x60. The painting is a true form of the romantic style of Alma-Tadema. It is an image of two women; one sitting, the other standing and apparently waiting for someone...

Signed oil on panel nude circa 1920 by French post impressionist painter Georges D'Espagnat. The work depicts a nude woman laying a patch of green grass on top of a hill with a view of the valley in the distance. Signature: Signed lower right Dimensions: Framed: 16"x20" Unframed: 9"x13" Provenance: A certificate of authenticity for this work is available from Mr. Jean Dominique Jacquemond upon request Private French collection From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style. D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...