César Fernández Ardavín

César Fernández Ardavín, Portrait Of A Girl Before A Mirror

c. 1940

US buyers pay no import tariffs on this item. This early 19th-century central European oil painting depicts Christ The Saviour standing atop an orb and carrying a cross over his left shoulder. An unusual composition, Christ’s rather striking posture is perhaps more ‘Saturday Night Fever’ than it is sacramental. However, the iconography is archaic and derived ultimately from New Testament illustrations dating to the Middle Ages. Depictions of orbs are usually symbolic of the universe, while the cross alludes to redemption. Hence, it’s a visual representation of Christ as the Saviour of humanity. Francisco de Zurbarán...

US buyers pay no import tariffs on this item. This early 19th-century oil painting by Hungarian artist Joszef Schmidt (1810-1875) depicts the Mater Dolorosa. It’s after a work by It...

US buyers pay no import tariffs on this item. This fine late 19th-century portrait by renowned Italian artist Jean Baptiste Discart (1856-1944) depicts a lady wearing a black dress embellished with a lace collar, together with a single yellow rose. It’s catalogued (#3) in Theo P.G. Kralt’s book, Jean Baptiste Discart, Orientalist Paintings and Dutch Portraits. A provocative rose draws one’s eye to the ‘décolletage’. Was it her idea or the bold suggestion of a young Discart, just 21, and bursting with energy? The style of dress came to the fore during the late 19th century and was regarded as somewhat improper by a stoic older generation. But, of course, the glaring eyes only encouraged young ladies to rebel and adopt the fashion regardless. Little is known about the sitter, but it’s conceivable that she’s either Austrian or French, given Discart’s known locations in 1879. It was completed during his training. It bears all the hallmarks of a young and confident painter looking to establish himself. Born in Modena, Italy, Discart’s father, Francesco Ferdinando, moved in particularly distinguished circles and worked for the Duke of Modena. Indeed, the Duke became young Jean’s godfather, so the pair were well-connected. One can only imagine the ostentatious interiors that he witnessed during childhood, and it’s conceivable that these experiences inspired his appreciation for the finer things in life. At 14, he was enrolled at the Academy of Fine Arts in Vienna, where he trained under the German painter, Anselm Feuerbach (1829-1880). It seems that he stayed here until Feuerbach’s retirement in 1877 when the course was handed over to Leopold Carl Müller (1834-1892). His short time under Müller, known for his exquisite ‘orientalist’ work, would be transformative. From here, he left Vienna to immerse himself in the cosmopolitan environs of the French Capital and exhibited at the Paris Salon in 1884. At that point in time, Paris was an exciting place for an emerging artist. In 1884, the Société des Artistes Indépendants held their first show, which included works by Paul Cézanne...

This exceedingly charming early 19th-century half-length portrait by a follower of Thomas Gainsborough RA FRSA (1727-1788) depicts a lady traditionally identified as ‘Miss Sparrow’. ...