Art Blog

01 Works The amorous game, Potentially Gillis Mostaert's Couple in love on a stormy sea, with Footnotes #98

Flemish school, Second half of the 16th century

Potentially Gillis Mostaert (1534-1598)

Couple in love on a stormy sea

Oil on panel

13.2 x 18cm.

Private collection

This painting was Estimate at €800 - €1,200 in May 2023

Gillis Mostaert the Elder (27 or 28 November 1528 – 28 December 1598) was a Flemish Renaissance painter and draughtsman active in Antwerp in the second half of the 16th century. He was a versatile artist who worked in various genres including landscape, genre and history painting. Gillis Mostaert was known in particular for his winter landscapes and his scenes with fires and nocturnal scenes and his works in this genre were among the most sought after pieces of his time. The artist operated a large workshop in Antwerp, which supplied works to prominent patrons. He was a regular collaborator with leading Antwerp artists of his time. More on Gillis Mostaert the Elder

Flemish painting flourished from the early 15th century until the 17th century, gradually becoming distinct from the painting of the rest of the Low Countries, especially the modern Netherlands. In the early period, up to about 1520, the painting of the whole area is typically considered as a whole, as Early Netherlandish painting. This was dominated by the Flemish south, but painters from the north were also important. Dutch and Flemish Renaissance painting, of which Antwerp became the centre, covers the period up to about 1580 or later, by the end of which the north and south Netherlands had become politically separated. Flemish Baroque painting was especially important in the first half of the 17th century, dominated by Rubens.

In theory the term does not refer to modern Flanders but to the County of Flanders and neighbouring areas of the Low Countries. Flanders delivered the leading painters in Northern Europe and attracted many promising young painters from other countries. More on Flemish painting

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04 Works, The amorous game, Cornelis Bega's Peasants in a Tavern, with Footnotes, #98

Cornelis Bega (Artist, 1620-1664) Haarlem, Netherlands

Young Couple in a Tavernc. 1661

Oil on canvas

height: 39 cm (15.3 in); width: 34.5 cm (13.5 in)

Hallwyl Museum

The man on the left, facing the woman' and sitting on a rough gray bench, right arm in front of his chest, in his hand a chalk pipe, his left hand resting on his thigh and holding a red-brown four-sided dish on his knee. The woman seated apparently on the same bench, next to the man but in the opposite direction, her upper body facing him, in her right hand a tall glass, mostly hidden by the man's cap, her left hand on the man's left wris. Behind the man on another bench, a man sitting facing away in a dark brown beret-like cap. To the right, somewhat in the background, a seated man facing him in a brown hat with a dented peak and folded brim. Next to these on the left, a standing barrel with wooden bands, each containing a large four-sided glass bottle with yellowish-brown contents and a white paper. On golf course in front of the barrel is a grey-brown plank stump. To the right, behind the woman, a seated man, supporting his crossed arms against stacked dark packages. More on this painting

Cornelis Bega (Artist, 1620-1664) Haarlem, Netherlands

Peasants in a Tavern, c. 1662

Oil on canvas

48.6 x 41.5 cm

Szépművészeti Múzeum

Cornelis Bega (Artist, 1620-1664) Haarlem, Netherlands

A peasant woman seduced by a man in an interior

Oil on canvas

37.2 x 32.7 cm.

Private collection

Sold for EUR 213,600 in May 2005

HThe present work is afine example of the low-life genres Bega liked to paint. The influence of Adriaen van Ostade is evident in style, in the restrained palette, vivid accents and subject matter, and would suggest that the painting is a relatively early work by the artist. The attractive, balanced composition and intimate atmosphere of only a few people in an interior points however towards an already personalized style and therefore at least not from the artist's very earliest career. More on this painting

Cornelis Pietersz Bega, attributed to

Tavern Scene (Ill Matched Couple)

Oil on panel

32.5 x 24 cm.

Private collection

Estimated for €2,500 EUR - €3,500 EUR in May 2023

Cornelis Pietersz Bega, or Cornelis Pietersz Begijn (1631/32 – 27 August 1664) was a Dutch Golden Age painter and engraver.

He was a student of Adriaen van Ostade, and produced genre scenes of similar subjects, typically groups of a few peasant figures, often in interior settings.

From 1653 to 1654 he traveled by horse and boat on a Grand Tour with fellow painters Dirk Helmbreker, Vincent van der Vinne and Guillam Dubois through Germany, Switzerland and France. This trip was recorded in Vincent van der Vinne's diaries and gives an accurate view of the art in the cities they visited in those times. His dated works begin in 1652, and in 1654 he was accepted into the Haarlem Guild of St. Luke, dying only ten years later, which according to Houbraken was due to the plague. He was close friends with the Haarlem painter Leendert van der Cooghen. When he died he was buried in the grave of his grandfather Cornelis van Haarlem. More on Cornelis Pietersz Bega

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02 Paintings, Streets of Paris, Frank Boggs and Eugène Galien- Laloue's Images of Notre-Dame Cathedral in Paris , with footnotes, Part 95

Frank Boggs

Boats on the River Seine with Notre Dame in the Background

Oil on Canvas

21 x 26" (54 x 67cm)

Available

Available for £6,800 in Dec 2024

Notre-Dame Cathedral , commonly known as Notre-Dame , is one of the most iconic monuments in Paris and France. It is located on the Île de la Cité and is a Catholic place of worship , seat of the Archdiocese of Paris , dedicated to the Virgin Mary. More on Notre-Dame Cathedral

Frank Myers Boggs was born in Springfield, Ohio, but left Ohio in 1876 for study with Jean-Léon Gérôme at the École des Beaux Arts in Paris. He lived in Paris and New York, residing the last thirty years of his life in Paris. In Paris he won wide recognition for his atmospheric paintings of the ports of France and the quays along the Seine. His works were exhibited frequently in France. Between 1879 and 1916, his work was also shown in the United States, most often at the National Academy of Design, in New York, and at the Pennsylvania Academy of the Fine Arts, in Philadelphia.

Known as a master of plein-air painting, Boggs delighted in capturing the fleeting effects of the constantly changing skies of northern France and southern England. With lush and broad brush strokes, Boggs created rich and spacious paintings, orchestrating a subtle and restrained palette of grays, deep and dusty blues, and earthy tans. Although his palette is more subtle and tonal than that of the French Impressionist Claude Monet, Boggs’ paintings demonstrate clear affinities with the early French Impressionist school. Like his fellow Impressionists, it was the transitory aspects of nature, as well as the documentation of everyday reality, to which Boggs was keenly sensitive. More on Frank Myers Boggs

Eugène Galien- Laloue (French, 1854-1941)

Notre Dame de Paris, vue du Quai de Montebello

Gouache on paper

9-1/2 x 12 inches (24.1 x 30.5 cm)

Private collection

Sold for $16,250.00 in Dec 2024

Eugène Galien-Laloue (1854–1941) was a French artist of French-Italian parents and was born in Paris on December 11, 1854. He was a populariser of street scenes, usually painted in autumn or winter. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, la Belle Époque, with horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th-century art, but for the actual history, which they document. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France.

A typical Galien-Laloue painting depicts sidewalks and avenues crowded with people or tourists mingling before the capital's monuments. He also painted the landscapes of Normandy and Seine-et-Marne, as well as military scenes he was commissioned to produce in 1914. The Republic of France selected Galien-Laloue to work as a 'war artist,' both during the Franco-Prussian War and World War I, chiefly in watercolor. More on Eugène Galien-Laloue

1 Work , The Art of War, Philip Francis Stephanoff's An armourer's shop, with footnotes

JAMES STEPHANOFF (BRITISH, 1787-1874)

An armourer's shop, c. 1841

Pencil, watercolour and bodycolour heightened with touches of gum arabic

73⁄8 x 103⁄8 in. (18.7 x 26.4 cm.)

Private collection

Sold for GBP 1,008 in Jul 2022

Philip Francis Stephanoff, sometimes Francis Philip Stephanoff (1787/88–1860) was an English painter.

He was born in Brompton Row, London. His father, Fileter N. Stephanoff, was a Russian who settled in England and worked painting ceilings and stage scenery, until he committed suicide around 1790; his mother Gertrude Stephanoff (died 7 January 1808) was a flower-painter with Sir Joseph Banks as patron. James Stephanoff (1788?–1874), also an artist, was his elder brother.

Stephanoff became a popular painter of historical and domestic subjects, working both in oils and watercolours. He exhibited at the Royal Academy and British Institution from 1807 to 1845, and with the Old Watercolour Society from 1815 to 1820.

His wife, Selina Roland, died suddenly. Stephanoff ceased to work as artist many years before his own death, which occurred at West Hanham, near Bristol, on 15 May 1860. More on Philip Francis Stephanoff

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01 Work, The Art of War, Kent Monkman's Welcoming the Newcomers, with Footnotes

Kent Monkman (Cree, b. 1965)

Welcoming the Newcomers, c. 2019

Acrylic on canvas

132 x 264 in. (335.28 x 670.6 cm)

The Metropolitan Museum of Art

The truism that (art) history is written by the victors has a particular relevance to the narratives and images created during the heyday of European colonial empires in the Americas. Sculptures and paintings made from the beginning of contact through to the twentieth century show Indigenous North Americans as figures who are destined to fade out of history. Kent Monkman’s mistikôsiwak (Wooden Boat People) turns these stereotypical and romanticized images on their heads by confronting the viewer with a counter-narrative of the past, present, and future of Indigenous-settler relationships. More on this painting

Kent Monkman, The Order of Canada, (born 13 November 1965) is a Canadian First Nations artist of Cree ancestry. He is a member of the Fisher River band situated in Manitoba's Interlake Region. Monkman lives and works in Toronto, Ontario.

He works in painting, film/video, and installation. In the early 2000s, Monkman developed his gender-fluid alter ego, Miss Chief Eagle Testickle. He has had many solo exhibitions at museums and galleries in Canada, the United States, and Europe. He has achieved international recognition for colourful and richly detailed works that combine genre conventions to recast historical narrative. More on Kent Monkman

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01 Work, Jan Sluijters Junior's Cairo Market in Centrum , with footnotes

Jan Sluijters Junior (Netherlands, 1914 - 2005)

Cairo Market in Centrum

Oil on canvas

22 x 30 inches / 55 x 76 cm

Private collection

Estimated for Estimate $2,700-$3,400 in Jun 2023

Traffic congestion is a serious problem in Cairo with large and adverse effects on both the quality of life and the economy. In addition to the time wasted standing still in traffic, time that could be put to more productive uses, congestion results in unnecessary fuel consumption, causes additional wear and tear on vehicles, increases harmful emissions lowering air quality, increases the costs of transport for business... More on Cairo Traffic Congestion

Jan Sluijters Jr. was son of Jan Sluijters Sr. and Greet van Cooten, had been familiar with painting from an early age through the profession of his father. He was educated at the Rijksnormaalschool voor Teekenonderwijs and at the Rijksacademie in Amsterdam and he specilalized in painting, drawing and watercolouring of cityscapes, still lifes and especially landscapes. His colourful and expressive impressionism is somewhat reminiscent of his father's. The artist lived and worked in Amsterdam and from 1945 in Baambrugge. He was a member of the Amsterdam painting associations. More on Jan Sluijters Jr.

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03 Works, The amorous game, Edward Portielje's Courtships, with Footnotes, #97

Edward Portielje (1861- 1949)

Courtship

Oil on panel

16in x 12.5in

Private collection

Estimated for $4,000 USD - $6,000 USD in Mar 2023

Signed in the lower left. Depicting a young woman knitting next to an open window as a fisherman peers in for a conversation.

Edward Portielje (1861- 1949)

Courting

Oil on panel

l. 14.96 inch X H. 18.11 inch

Private collection

Estimated for $4,000 USD - $6,000 USD in Mar 2023

In this painting we can see a young woman being courted by a young fisherman. The woman is wearing traditional Zeeland clothing that is often seen in Portielje’s paintings. The man is dressed in a white shirt and blue vest, wearing a basket on his back. He’s softly holding the hand of the woman, while grabbing her shoulder. His actions are making the woman blush, while she is looking away from her suitor. More on this painting

Edward Portielje (1861- 1949)

The Declaration

Oil on panel

46 x 35.5 cm

Private collection

Edward Antoon Portielje (8 February 1861, Antwerp - 18 December 1949, Antwerp) was a Belgian genre painter.

His first art lessons came from his father. Next, he attended the Royal Atheneum [nl] and, from 1873, took after-school classes at the Royal Academy of Fine Arts, with Edward Dujardin. From 1877 to 1881, he was a full-time student there, under the tutelage of Polydore Beaufaux, Charles Verlat and Nicaise de Keyser.

Genre scenes were his speciality, with an occasional portrait or seascape. Much of his inspiration came from the fishing communities in Zeeland. Many of his works are series of similar interior scenes, created according to the wishes of his agents, Albert D'Huyvetter [nl] and Guillaume Campo (1880-1952). They generally consist of a room with a sunny window, occupied by women in traditional costume, engaged in some daily activity. These paintings were very popular; selling throughout Europe and the United States.

In 1894, he worked together with Edouard de Jans and Joseph Dierickx to create murals for the Exposition Internationale d'Anvers. More on Edward Antoon Portielje

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03 Works , Pal Fried's Spanish Dancers, with footnotes

Pal Fried (Hungarian/American, 1893 - 1976)

Fandango

Oil on canvas

29 - 1/2" x 23 - 1/2"

Private collection

Sold for $1,845 in Jun 2013

Fandango is a lively partner dance originating in Portugal and Spain, usually in triple meter, traditionally accompanied by guitars, castanets, or hand-clapping. Fandango can both be sung and danced.

Pal Fried (Hungarian/American, 1893 - 1976)

Spanish Dancers

Oil on canvas

28 3/4" x 22 3/4" 2"

Private collection

Sold for $300.00 in Feb 2024

Pal Fried (Hungarian/American, 1893 - 1976)

Spanish Dancers #2

Oil on canvas

28 3/4" x 22 3/4" 2"

Private collection

Sold for $800 USD in Jan 2022

Pál Fried (16 June 1893 in Hungary – 6 March 1976 in New York City) was a Hungarian artist best known for his eroticized paintings of female dancers and nudes.

Fried was born in Budapest in 1893. He received his art education at the Académie hongroise des arts (Hungarian Academy of Arts) where he was a pupil of Hugo Pohl who became one of his major influences. While under Pohl's direction, he executed many portraits of female nudes and Orientalist works. Later he studied in Paris at the Académie Julian, where he was the pupil of Claude Monet and Lucien Simone. In Paris, he was greatly influenced by the French Impressionists, especially Pierre-Auguste Renoir and Edgar Degas. This inspired him to prepare many paintings of ballerinas, dancers and circus performers.

Fried emigrated to the United States in 1946 after World War II, where he taught at the New York Academy of Art. He prepared portraits of American celebrities such as Marilyn Monroe. Through his work in portraiture, he gained considerable financial success.

He worked in oils and pastels and experimented with light and movement. His oil paintings were usually of dancers, nudes, and portraits, and while his subjects were primarily female, he also painted Paris, seascapes, cowboys and landscapes of the American West as well as Orientalist subject matter. He signed his paintings, as is usual in Hungarian, with his surname first as "Fried Pál". At times, this particular artist would make several, almost identical versions of the same oil painting, except he would use slightly different facial expressions and/or would try different colour schemes. More on Pál Fried

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01 Work, The amorous game, Berthold Woltze's The annoying cavalier, with Footnotes, #96

Berthold Woltze (1829–1896)

The troublesome cavalier/ The Irritating Gentleman, c. 1874

Oil on canvas

height: 75 cm (29.5 in); width: 57 cm (22.4 in)

Deutsches Historisches Museum in Berlin

The painting is set in a railway carriage, where there are two men and a young woman. She is dressed completely in black, and stares towards the viewer with tears in her eyes.

The young woman is dressed in a black cloak over a black button-up shirt and a black skirt. She has a black hair circle, and wears a pair of mostly black gloves, while her black hat sits beside her; she is holding a maroon coin purse and a white handkerchief.

The young woman has suffered a recent bereavement, and may even be travelling back after a funeral. She looks likely that she has just lost her last parent, and is now living alone, and prey to the likes of this annoying and abusive man. More on this painting

Berthold Woltze (born 24 August 1829 in Havelberg; died 29 November 1896 in Weimar) was a German genre painter, portrait painter, and illustrator.

Berthold Woltze was a professor at Weimar Saxon Grand Ducal Art School. In the period from 1871 to 1878 he published numerous oworks in the Gartenlaube newspaper. One of his most famous works is Der lästige Kavalier, translated as "The Irritating Gentleman" or "The Annoying Cavalier."

He is the father of the architectural painter Peter Woltze (1860–1925). More on Berthold Woltze

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01 Work, The amorous game, Henry Raleigh's Tea Time, with Footnotes, #92

Henry Raleigh (American, 1880-1944)

Tea Time, c. 1927

Watercolor on paper

16 x 21-1/2 inches (40.6 x 54.6 cm)

Private collection

Sold for $2,312.50 in Apr 25, 2023

Henry Raleigh was an American illustrator, active between 1910-1940. He created illustrations for many well-known authors, including F. Scott Fitzgerald and H.G. Wells.

Raleigh started as a newspaper artist but became widely respected and sought after for his unique and distinct style of illustration. In addition to producing work for prominent magazines such as The Saturday Evening Post and Harper’s Bazaar, he created several posters to promote the efforts of World War I.

Raleigh’s career spanned 25 years and during this time he completed over 20,000 illustrations. He even remained active through the Great Depression and was considered a heavy-hitter during the Golden Age of illustration. Raleigh’s career ended in the 1940s and it is believed that he found it difficult to adapt to the changing social norms of the late 1930s. More on Henry Raleigh

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01 Work The Artist's Studio, Eduardo Sívori's In the workshop, with Footnotes #90

Eduardo Sívori (1847–1918

In the workshop, c. 1891

Oil on canvas

132 x 90 cm,

National Museum of Fine Arts

Eduardo Sívori (October 13, 1847 – June 5, 1918) was an Argentine artist widely regarded as his country's first realist painter.

Sívori ha arbored artistic leanings during childhood that, for family reasons, went unfulfilled. Asked by his father to join him on a business trip to Paris in 1874, Sívori took the opportunity to frequent Parisian ateliers. Returning to Buenos Aires, the experience drew him to other local painters, including his brother, Alejandro, José Aguyari and Eduardo Schiaffino, who would later become one of Argentina's best-known symbolist painters. Together, they founded the Society for the Promotion of Fine Arts in 1875, an important early milestone in the development of artisan guilds in Argentina.

He returned to Paris in 1882, eventually earning an apprenticeship in the prestigious Jean Paul Laurens atelier, following which he created El despertar de la criada ("Waking of the Servant"), perhaps his best remembered work. Increasingly renowned, his travels took him to the United States, where he was awarded a second gold medal at the St. Louis Exposition of 1884 for Dolce far niente.

Sívori thereafter focused his efforts on commercial art, creating portraits and landscapes for clients. His bucolic landscapes soon earned him renown as the "portraiteur of the pampas." These relationships helped result in the designation of his guild as an official entity within the National Academy of Fine Arts in 1905, of which he was named president in 1910. Eduardo Sívori died in Buenos Aires in 1918 at the age of seventy, and was honored posthumously with the naming of the new Eduardo Sívori Museum in his honor, in 1938. More on Eduardo Sívori

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