Hugues Merle

A Young Mother (Un Jeune Mère)

1865

Provenance: Palazzo Pisani at San Stefano, Venice Mrs. F. Craighead (possibly Mrs. Fay Stinson Craighead, Evansville, Indiana) Sale, Sotheby Parke Bernet, New York, 7 June 1978, lot 310, as Bonifazio Veronese Daniel M. Friedenberg, New York, until 2011; and by descent to: Russell Friedenberg, until 2014 Literature: Giuseppe Pavanello, Gli Inventari di Pietro Edwards nella Biblioteca del Seminario Patriarcale di Venezia, Venice 2006, pp. 132, 140, as no. 10 in Pietro Edwards’ inventory of the Palazzo Pisani: “Giuseppe che fugge dalla moglie di Pitifarre” by Bonifacio Veronese. Philip Cottrell and Peter Humfrey, Bonifacio de’ Pitati, (forthcoming), cat. no. 166h. Antonio Palma is the least well-known member of the illustrious Palma family of Venetian painters of the 16th century. He was the nephew of Jacopo Palma—Palma il Vecchio—and upon his uncle’s death in 1528, he began to work with Palma Vecchio’s principal student and the inheritor of the elder artist’s studio, Bonifazio de’ Pitati (Bonifazio Veronese). Antonio worked with Bonifazio as his principal assistant and right-hand man until Bonifazio’s death in 1553, after which he continued his independent career. He married a niece of his master, and their second son, Jacopo, born in 1648, would achieve fame as Palma il Giovane...

Provenance: Loyd Taylor and Paxton Gremillion, Dallas, TX, until 2021. Giovanni Antonio Sogliani’s artistic career mirrored the transition of Florentine art from High Renaissance to early Mannerism. Sogliani trained as a painter in the workshop of Lorenzo di Credi, who himself had studied alongside Leonardo da Vinci in the workshop of Andrea del Verrocchio. After Verrocchio left for Venice around 1480 and Leonardo da Vinci departed for Milan around 1482–1483, Lorenzo assumed control of his master’s workshop. He took the workshop in a new direction, focusing less on large ecclesiastical commissions than on more modestly scaled works for private patrons that reflected his own artistic identity. It was precisely in this environment that Sogliani received his artistic formation, although he later ventured in new directions in the mature phase of his career. Although he remained close to Lorenzo di Credi, collaborating on commissions with him and later serving as the executor of his will, Sogliani broke off on his own in 1515. After establishing his own independent workshop, he began to cultivate a distinct personal style. He fell under the influence of Fra Bartolomeo and Andrea del Sarto—even finishing a work left incomplete by the latter—and increasingly employed the sfumato technique that was in vogue in contemporary Florentine painting. Sogliani’s style was so advanced for the time that the Dominican friars at San Marco even rejected his initial plans for the Supper of Saint Dominic (1536) as being too modern, resulting in the more conservative design of the final fresco. This panel once formed part of a larger private devotional painting depicting the Virgin and Child with Saint John the Baptist...

Provenance: Private Collection, Copenhagen Private Collection, New York In her lifetime the work of Elisabeth Jerichau-Baumann was greatly acclaimed across Europe, but especially in Denmark, her adopted country where she lived for the majority of her career. She contributed paintings to the World’s Fair in Paris (1855 and 1867), London (1862), and Vienna (1873). At an exhibition in London in 1852, her works caught the attention of Queen Victoria, who requested a private exhibition at Buckingham Palace and acquired her portrait of an Icelandic woman now in The Royal Collection. She achieved considerable success as a portraitist, and painted several members of European royalty and aristocracy, as well as fellow artists and other notable people of her time. An intimate Self-portrait at age thirty-one reveals the sensitivity of Baumann, both as artist and subject, while a later portrait photograph presents her as a consummate professional, at a table easel—brush, palette and mahlstick in hand—intently studying the subject that she is painting (Figs. 1-2). Baumann was born to German parents in Warsaw, Poland. At the age of nineteen she entered the Kunstakademie in Düsseldorf—then one of the premier art centers in Europe—and spent her formative years working in the context of the Düsseldorf school. Her early subject matter was drawn from Polish life and her native country’s struggles during its rebellion against Russia. Her paintings of a destitute Polish family in the ruins of their burned hut and of a refugee mother with a child were exhibited in Cologne and sold to prominent European collectors. The earnings from these early sales allowed her to travel to Italy—an essential part of artistic development in the early nineteenth century. Baumann arrived in Rome in 1845. There, she met her husband, the renowned sculptor Jens Adolf Jerichau...

Signed, lower right: Fantin Provenance: Gustave Tempelaere (1840–1904), Paris; possibly by descent to his son: Julien Tempelaere (1876–1961) and with F. & J. Tempelaere, Paris, prob...

Signed and dated, lower left: Niels Holsøe 1905 Provenance: with Omell Galleries, London, 1985; where acquired by: Private Collection, Connecticut Exhib...

Charming watercolor of an intimate family scene in beautiful painted period frame. Signed in the lower right-hand corner.

Bachir Badawi’s work is of two themes, urban landscape in Aleppo, and figurative of ordinary innocent faces, particularly of women and children. The first theme of inspired by Aleppo...

This is an original unique oil painting by the artist. Bernard Pothast was born on 30th November, 1882 in Hal, Belgium. He studied painting at the Rijksakademie in Amsterdam between ...

Woman with Two Children in Red - Interior Scene in Oil on Canvas Lovely interior scene by notable artist Joseph Tomanek (Cech-American, 1889-1974). A woman sits near a window, holding a small child dressed in bright red in her lap. Another child, somewhat older, stands next to her, looking at the young child. Soft lights spills though the window, illuminating the scene in a warm glow. A plant with red flowers sits on the windowsill, and foliage can be seen outside. Signed "Tomanek" in the lower right corner (note that the shape above the signature is a toy train) Presented in a carved wood frame with a linen liner. Frame size: 30.75"H x 26.75"W Canvas size: 24"H x 20"W Tomanek, the son of a carpenter, was born in Moravia. His family discouraged his art talent and wanted him to be a shoemaker. He studied in his homeland of Czechoslovakia at the School of Design in Prague. He emigrated to America around the turn of the century and arrived in Chicago in 1910 and worked as an interior decorator. He attended the Art Institute of Chicago and studied with Antonin Sterba. He also studied with Albert Krehbiel and K.A. Buehr. He was a member of the Bohemian Artist Club, Association of Chicago Painters, and Sculptors, and the Chicago Gallery Association. His work is included in the collection of the Vanderpoel Art Association (Chicago). He exhibited from the 1910s-40s, including exhibitions at the Art Institute of Chicago and the Georgia Museum of Art. Of the difficulty of posing nudes in Chicago, he said, "In Paris you can rent little gardens studios and pose your models there in privacy. Here, if I work out of doors, I have to pose the girls in bathing suits...

Georges-Antoine Rochegrosse 1859-1938 French La Princesse Bleue Oil on canvas Signed lower left Canvas: 27 1/8" high x 32 1/8" wide Frame : 37 3/8" high x 41 3/4" wide Exposed...

Mid Century oil on canvas portrait of a wistful reclining beauty in a garden setting by Argentinian artist Richard Durando Togo. Signed bottom left. Presented in gilt wood frame. A ...

Oil on canvas Canvas size: 32 x 45 inches Framed size: 35.5 x 50 inches Signed lower right