Sanchez Palacio

'Young Woman', Mid-Century Chinoiserie Portrait, Laughing Buddha, Tea Ceremony

1950

Scandinavian School, early twentieth century. Inscribed, verso, on stretcher bar, 'Anna Ancher' with indistinct inscription and painted circa 1910. A psychologically-penetrating portrait of a young woman shown in profile, wearing a gold earring and a polychrome silk headscarf...

Initialed lower right 'A.H.'; signed verso, "Alfred Helberger", inscribed "Gertrúd" and dated 1914. Bearing the original 1962 exhibition label from the Senator fur Folksbildung, Ber...

An early 19th century, figural oil of a young woman with chestnut hair, shown wearing a headscarf and glancing towards the viewers left. A detail from a copy of 'Rebeca at the Well',...

Initialed upper right 'A.B.' for Axel Bentzen (Danish, 1893-1952) painted circa 1925. Axel Bentzen studied art as a child and, by the age of 14, was copying Old Master paintings at Copenhagen's National Museum of Art. He traveled to Italy in 1919 and, from 1923-1939, spent every second year there or in Paris, painting and furthering his understanding of the principles of Modernism. Bentzen was the recipient of numerous scholarships including the prestigious Hielmstierne-Rosencrone scholarship which he was awarded twice (1925, 1927) and the Copenhagen Akademie scholarship which he received three times (1927, 1929, 1931). He exhibited internationally with success including, from 1922, at the Charlottenborg as well as at prominent salons in Paris, Berlin, Venice, Budapest, Riga and Belgrade. The artist is listed in all relevant art reference works including both Benezit's Dictionary of Artists and Thieme-Becker's Kunstlexikon (Vollmer Supplement). We are pleased to offer this dramatic and psychologically penetrating oil study of a young man dating to circa 1925. Reference: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 2, p. 122; Vollmer Allgemeines Lexikon der Bildenden Künstler des 20. Jarhhunderts, Hans Vollmer, Deutscher Taschenbuch Verlag 1992, Vol. 1, p. 173; et al. Scholarships: Hielmstierne-Rosencrone 1925, 1927; Raben-Levetzau 1926; Bielke 1926; Carlson's Pr. 1926; Akkadian. 1927, 1929, 1931; Oluf Hartmann 1928, 1930; Eckersberg Med. 1930; Kaufmann 1930; March 1931; Zach. Jacobsen 1932, 1936. Exhibitions: KE 1922-26; Charles. Spring 1925; The free Exhibition 1927-38 (inc. from 1930); Association of painters, Helsinki, 1928; Funen Spring Exhibition. 1930, 1938; Tour exhibition 1930-36; Newer Painting, Germany 1932; in Venice 1934, 1954; as exhibited in Budapest, Riga, Bucharest and Belgrade 1936-37; Nerd Mässhallen, Gothenburg 1939; Grønningen 1939-47, 1952 (commemorative issue), 1953, (commemorative issue), 1955, 1965; Icelandic, Swedish art, Mässhallen, Gothenburg 1941; Ny Carlsbergfondet Jubilee Charlottenborg and others 1952; That then buying convention, Fr. 1952 (commemorative issue); The Freeman's Memorial Exhibition, Kunstforen, Kbh 1966; Easter 1974, Skive Museum 1974; Modern art owned by Vejle, Vejle Kunstmuseum 1977; Inside, outside, Mouse at Koldinghus 1981. Solo exhibitions: Anton Hansen, Copenhagen 1917; The free Exhibition building, 1921; Kunstforen, Copenhagen 1937; Jugelsalan, Aarhus 1946-47, 1950; Storstrøm's Kunstmuseum 1953 (commemorative issue); Open Mouse, 1972. Artworks: Egyptian Woman on Balcony (1920); Self-Portrait (1925, Stat. Museum for Art); The Hospital Garden (1925); The Dreamer (1925, Storstrøm Art Museum); The Blind (1925, Carlsons Pr for 3 last names); Marsk Stig's daughters (1926, Nordjyll Kunstmuseum); Young Italian woman on a chair...

Oil paint on canvas Signed lower right

Provenance: Suida-Manning Collection, New York Private Collection Exhibited: Venetian Paintings of the Sixteenth Century, Finch College Museum of Art, New York, October 30-December 15, 1963, no. 31. Veronese & His Studio in North American Collections, Birmingham Museum of Art, Oct. 1-Nov. 15, 1972, and Montgomery Museum of Fine Arts, Dec. 5-Dec. 31, 1972 Literature: Robert L. Manning, A Loan Exhibition of Venetian Paintings of the Sixteenth Century, exh. cat. New York 1963, cat. no. 31ill., as by Veronese Stephen Clayton and Edward Weeks, eds., introduction by David Rosand, Veronese & His Studio in North American Collections, Birmingham 1972, as by Veronese, p. 38 ill. Terisio Pignatti, Veronese, Venice 1976, I, p. 199, cat. no. A225, II, fig. 908, as attributed to Veronese Terisio Pignatti and Filippo Pedrocco, Veronese; catalogo completo dei dipinti, Florence 1991, no. 54°, as attributed to Veronese. Terisio Pignatti and Filippo Pedrocco, Veronese, Milan 1995, II, pp. 517-518ill., cat. no. A 56, under attributed paintings, by Veronese and workshop) John Garton, Grace and Grandeur; The Portraiture of Paolo Veronese, London-Turnhout 2008, p. 237, fig. 77, cat. no. R16, as workshop of Veronese. Scarsellino’s art is widely regarded as critical link between the Renaissance and the Baroque styles in Emilian painting; not only was he an important transmitter of the heritage of the Renaissance, but he was also open to innovative ideas, and was one of the earliest to experiment with the trend to naturalism that would become fundamental to art of the new century. Born around 1550, he received his earliest training from his father Sigismondo, an architect and painter; it was probably while working at his father’s side as a youth that he acquired the nickname Scarsellino, or “little Scarsella”. After absorbing the principles of his art in Ferrara and Parma, he went to Venice in 1570, staying for four years and working in the shop of Veronese. In the following decade, his art —especially in terms of its piety and its development of landscape— demonstrates a strong sympathy with that of the Carracci, with whom he worked in 1592-1593 at the Palazzo dei Diamanti in Ferrara. Maria Angela Novelli and later Alessandra Frabetti both propose that Scarsellino traveled to Rome, although such a trip has not been documented; if he did travel to Rome, it probably would have occurred during the years that Scarsellino’s colleagues Agostino and Annibale Carracci were there, that is, beginning in 1595 and until 1609. The last decades of Scarsellino’s career again involve stylistic experimentation, this time in a manner that would bring his work very close to the progressive figurative naturalism of Carlo Bononi and prepare the way for Guercino. The present portrait of a distinguished gentleman had been long thought to be by Paolo Veronese and was in fact attributed to him by such distinguished connoisseurs as Adolfo Venturi and Wilhelm Suida. The portrait’s style is, however, distinct from Veronese’s, although clearly indebted to it, and the attribution to the young Scarsellino is wholly convincing. The painting would then date from the 1570s – a date confirmed by the costume the subject wears. The puffed hat that appears in the painting had a rather short-lived vogue in the early 1570s. One sees it in Giambattista Moroni’s Portrait of Count...

Provenance: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA One of the leading artists in Genoa during the second half of the seventeenth century, Domenico Piola came from a successful family of artists, renowned for their many illusionistic ceiling programs throughout Genoese churches and palaces. A prolific draughtsman and painter, Domenico oversaw an extremely productive studio. In addition to his collaborations with numerous other artists, Domenico also provided many designs for book illustrations and prints that circulated throughout Europe, earning him international exposure and high acclaim in his own day. As Dr. Anna Orlando has indicated (written communication), the present work is an early work by Piola, datable from the late 1640s. At this time the young artist came strongly under the influence of Castiglione and Valerio Castello, while admiring the works of Giulio Cesare Procaccini. Piola’s works from this period are exuberant and fluid, and the artist’s love of portraying children is evident from the angels and putti that populate both his altarpieces and more intimate paintings. The present work depicts three angels...

Inscribed, upper left: “Miss Laura Keppel” Provenance: Commissioned from the artist and by descent in the Keppel family estate, Lexham Hall, Norfolk, to: Major Bertram William Arnol...