Friday, April 22, 2016

20 Paintings by the Orientalist Artists, with foot notes, 6

Philippe-Jacques van Bree ANTWERP 1786 - 1871 BRUSSELS, BELGIUM SCHOOL GENTILE BELLINI À LA COUR DE MAHOMET II PHILIPPE-JACQUES VAN BREE; GIOVANNI BELLINI IN MAHOMET II'S COURT; SIGNED LOWER LEFT; OIL HEIGHTENED WITH GOLD ON PANEL Signed lower left P. van Bree Oil heightened with gold on panel  58.5 x 73.5 cm; 23 by 29 3/4 in:
Philippe-Jacques van Bree
ANTWERP 1786 - 1871 BRUSSELS, BELGIUM SCHOOL
PHILIPPE-JACQUES VAN BREE; GIOVANNI BELLINI IN MAHOMET II'S COURT; SIGNED LOWER LEFT; OIL HEIGHTENED WITH GOLD ON PANEL
Signed lower left P. van Bree
Oil heightened with gold on panel 
58.5 x 73.5 cm; 23 by 29 3/4 in

Sultan Mohammed II, famous conqueror who besieged and captured Constantinople in 1453, was an avid collector of works of art. He brought the famous Venetian painter Gentile Bellini (circa 1429-1507) in Constantinople, on the occasion of the peace agreements signed between the Republic of Venice and the Ottoman Empire in 1479. On that occasion, the famous Bellini executed portrait Mahomet II, now preserved in the National Gallery in London. More, (See below)

Philippe-Jacques van Bree (1786 - 1871), scholar of his brother Mattheas, was born at Antwerp in 1786. He studied at Antwerp, in Paris (where he became a scholar of Girodet), and at Rome; and also visited Germany and England. He employed himself on historical, fancy, and architectural subjects. Of the last, the Belgian Government purchased his 'View of the Interior of the Church of St. Peter at Rome,' and presented him with a gold medal in addition to the price. He was made conservator of the Museum at Brussels, where he died in 1871. More

Portrait de Mehmed II par Gentile Bellini (1479).
Gentile Bellini (1429–1507) 
العربية: بورتريه للسلطان محمد الفاتح للرسام جنتيلي بلليني, 1480
The Portrait of Ottoman Sultan Mehmed the Conqueror by İtalian painter Gentile Bellini, 1480.
Oil on canvas
Height: 69.9 cm (27.5 in). Width: 52.1 cm (20.5 in).
National Gallery 

The attribution to Bellini is not proved, but the sitter is reasonably identified as Mehmet II (1432 - 1481). Gentile Bellini visited his court in Constantinople. There is insufficient evidence for deciding whether the picture is a copy or a very damaged original."

FRENCH SCHOOL OF NINETEENTH CENTURY FEMMES ET ENFANTS DANS UNE COUR INTÉRIEURE *** DURAND; WOMEN AND CHILDREN IN A COURTYARD; SIGNED LOWER RIGHT; WATERCOLOR ON PAPER; SEE ILLUSTRATION ON THE NEXT PAGE Signed lower right Durand Watercolour on paper  48 x 39.5 cm; 18 7/8 by 15 1/2 in:
Jean-Baptiste Henri Durand-Brager
FRENCH SCHOOL OF NINETEENTH CENTURY
WOMEN AND CHILDREN IN A COURTYARD
Signed lower right Durand
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Art historian Marion Vidal-Bue was born and lived in Algiers until its independence. She comes from a family of builders established in the country in 1832. She has written books on painters of Algeria, especially to witness the artistic importance and influence of her native country at the time of the French presence. 

She participated in the artistic illustration of the works of the Scientific Exploration of Algeria, published in 1844-1867, commissioned by the Minister of War in 1837. These watercolours form a rare and interesting set which shows scenes of life in Algiers 1830-1840 years; in the early days of the arrival of the French in Algeria. 

ECOLE FRANÇAISE DU XIXE SIÈCLE FEMMES DANS UN INTÉRIEUR AVEC UNE NOURRICE S'OCCUPANT D'UN BÉBÉ *** DURAND; WOMEN IN AN INTERIOR WITH A SITTER NURSING A BABY; SIGNED LOWER LEFT; WATERCOLOR ON PAPER; SEE ILLUSTRATION ON THE NEXT PAGE Signé en bas à gauche Durand Aquarelle sur papier 48 x 39,5 cm ; 18 7/8 by 15 1/2 in:
Jean-Baptiste Henri Durand-Brager
FRENCH SCHOOL OF NINETEENTH CENTURY
WOMEN IN AN INTERIOR WITH NURSE CONCERNED FOR A BABY 
Signed lower left Durand
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand FRENCH SCHOOL OF NINETEENTH CENTURY SCÈNE DE CAFÉ *** DURAND; SCENE IN A CAFE; SIGNED LOWER LEFT; WATERCOLOR ON PAPER Signed lower left Durand Watercolour on paper  48 x 39.5 cm; 18 7/8 by 15 1/2 in:
FRENCH SCHOOL OF NINETEENTH CENTURY
SCENE IN A CAFE
Signed lower left Durand
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand FRENCH SCHOOL OF NINETEENTH CENTURY DANSEUSE ET MUSICIENNES *** DURAND; DANCER AND MUSICIANS; SIGNED, SITUATED AND DATED LOWER LEFT ALGER 1840 (?); WATERCOLOR ON PAPER; SEE ILLUSTRATION ON PREVIOUS PAGE Signed, located and dated lower left Durand Algiers in 1840 (?)  Watercolour on paper  48 x 39.5 cm; 18 7/8 by 15 1/2 in:
FRENCH SCHOOL OF NINETEENTH CENTURY
DANCER AND MUSICIANS
Signed, located and dated lower left Durand Algiers in 1840 (?) 
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand FRENCH SCHOOL OF NINETEENTH CENTURY FÊTE DE NUIT DANS UN PALAIS *** DURAND; RECEPTION BY NIGHT IN A PALACE; SIGNED LOWER LEFT; WATERCOLOR ON PAPER. SEE ILLUSTRATION ON PREVIOUS PAGE. Signed lower left Durand Watercolour on paper  48 x 39.5 cm; 18 7/8 by 15 1/2 in:
FRENCH SCHOOL OF NINETEENTH CENTURY
RECEPTION BY NIGHT IN A PALACE
Signed lower left Durand
Watercolour on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand ECOLE FRANÇAISE DU XIXE SIÈCLE MUSICIENS ET DANSEUSES AFRICAINES DANS LA COUR D'UN PALAIS *** DURAND; MUSICIANS AND AFRICAN DANCERS IN THE COURTYARD OF A PALACE; WATERCOLOR ON PAPER Aquarelle sur papier 48 x 39,5 cm ; 18 7/8 by 15 1/2 in:
FRENCH SCHOOL OF NINETEENTH CENTURY 
MUSICIANS AND AFRICAN DANCERS IN THE COURTYARD OF A PALACE
Watercolor on paper 
48 x 39.5 cm; 18 7/8 by 15 1/2 in

Durand ECOLE FRANÇAISE DU XIXE SIÈCLE LES ACROBATES *** DURAND; ACROBATS; SIGNED LOWER RIGHT; WATERCOLOR ON PAPER Signé en bas à droite Durand Aquarelle sur papier 25,5 x 40 cm ; 10 by 15 3/4 in:
FRENCH SCHOOL OF NINETEENTH CENTURY
ACROBATS
Signed lower right Durand
Watercolour on paper 
25.5 x 40 cm; 10 by 15 3/4 in

Jean-Leon Gerome VESOUL 1824 - 1904 PARIS STUDY FOR A MOORISH BATH, TURKISH WOMAN IN BATH  JOHN LEON GÉRÔME; STUDY FOR A Moorish BATH, TURKISH WOMAN BATHING; SIGNED AND DEDICATED LOWER LEFT HIS FRIEND BOURGAIN GÉRÔME JL; OIL ON CANVAS Signed and dedicated lower left To his friend Bourgain JL Gérôme Oil on canvas  50.5 x 40.5 cm; 20 by 16 in:
Jean-Leon Gerome
VESOUL 1824 - 1904 PARIS
STUDY FOR A MOORISH BATH, TURKISH WOMAN IN BATH 
Signed and dedicated lower left To his friend Bourgain JL Gérôme
Oil on canvas 
50.5 x 40.5 cm; 20 by 16 in

This study is a preparatory sketch for the large painting (81,5 x 65,5cm) A Moorish bath, Turkish woman bathing, painted in the 1870s and kept in a private collection (See Below). There are some other known preparatory studies: a drawing of the same composition and the same dimensions as our sketch and two oil sketches, larger format than the one presented here.

For Gérôme, a good academician, the creative process was primarily intellectual. He reflected on a conception of the final composition, which he then seized on an initial study that was the basis for the further work. This  is probably the first study of a Turkish bath, a Turkish woman bathing, which explains its freshness and spontaneity.
Gérôme worked hard on the silhouette and the attitude of the nude bather.

In all known studies to a Turkish bath, a Turkish woman bathing, the African servant is outlined. It is only in the finished work that the face appears clearly. 

Gérôme tried to create an intense psychological relationship between bather's surprise at a specific time of her dress, and her maid; he is leaning over the basin, hands resting on the edge, tense, waiting impatiently for the moment when she will feel, just out of the bath, the delicious sensation of cold foam soap.


Studies and sketches of Gerome oils were often completed by other painters, to make them more commercial. Our sketch was lucky to escape the retouching and remain intact, unaltered and entirely Gérôme's hand. More

Jean-Léon Gérôme (11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as Academicism. The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits and other subjects, bringing the Academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period, and in addition to being a painter, he was also a teacher with a long list of students. More

Jean-Leon Gerome
VESOUL 1824 - 1904 PARIS
A MOORISH BATH, TURKISH WOMAN IN BATH, 1885
The final painting

Frederik-Jan-Pieter Portielje AMSTERDAM 1829 - 1895 ANTWERP, DUTCH SCHOOL JEUNE FILLE EN COSTUME MOYEN-ORIENTAL JAN-FREDERICK-PIETER PORTIELJE; YOUNG LADY WEARING A MIDDLE-EASTERN COSTUME; SIGNED LOWER RIGHT; OIL ON PANEL Signed lower right Portielje Oil on panel  59 x 48 cm; 23 1/4 by 18 7/8 in:
Frederik-Jan-Pieter Portielje
AMSTERDAM 1829 - 1895 ANTWERP, DUTCH SCHOOL
YOUNG LADY WEARING A MIDDLE-EASTERN COSTUME
Signed lower right Portielje
Oil on panel 
59 x 48 cm; 23 1/4 by 18 7/8 in

Jan Frederik Pieter Portielje (Amsterdam, 1829 - 1908) was a Dutch-Belgian painter. He was the tenth child by Gerrit Portielje, bookseller and publisher in Amsterdam, and Jacoba Zeegers. He studied at the Academy of Amsterdam from 1842 to 1849 with, among others, Valentine Bing and Jan von Braet Uberfeldt. Between 1851 and 1853 he stayed several times for extended periods of time in Paris, possibly during the summer months when the Academy was closed due to holidays. He also worked as a portraitist and as such had a growing clientele in Brussels and Antwerp.

His oeuvre includes portraits, scenes of elegant ladies in gardens, parks, or luxurious interiors. The interiors are either heavy or elegant neo-Baroque Napoleon III. He painted Western and Southern or Oriental women, often adorned with jewels. His painting are realistic, with an eye for detail and texture, intended as an elegant genre painting without much depth.

On some paintings he collaborated with another artist. There are paintings known, together with Frans Lebret (1820-1909) and Eugène Remy Maes (1849-1931).


After his studies Portielje remained in Antwerp. He married there in 1853. More

Emile Régnault de Maulmain LONS-LE-SAUNIER 1836 - 1897 NEVY-SUR-SEILLE SCÈNE DE MARCHÉ DANS UNE RUE EMILE RÉGNAULT DE MAULMAIN; MARKET SCENE IN A STREET; SIGNED AND DATED LOWER RIGHT '78; OIL ON CANVAS Signed and dated lower right G. Regnault '78 Oil on canvas  55.5 x 40.8 cm; 21 7/8 by 16 in:
Emile Régnault de Maulmain
LONS-LE-SAUNIER 1836 - 1897 NEVY-SUR-SEILLE
MARKET SCENE IN A STREET
Signed and dated lower right G. Regnault '78
Oil on canvas 
55.5 x 40.8 cm; 21 7/8 by 16 in

Emile Regnault de Maulmain LONS-LE-SAUNIER 1836 - 1897 NEVY-SUR-SEILLE LA HALTE À L'OASIS EMILE REGNAULT DE MAULMAIN ; THE REST IN THE OASIS ; SIGNED LOWER LEFT ; OIL ON CANVAS Signed lower left Regnault Oil on canvas  47 x 73 cm; 18 1/2 by 28 3/4 in:
Emile Regnault de Maulmain
LONS-LE-SAUNIER 1836 - 1897 NEVY-SUR-SEILLE
THE REST IN THE OASIS
Signed lower left Regnault
Oil on canvas 
47 x 73 cm; 18 1/2 by 28 3/4 in

Maulmain Emile Regnault, 1836-1897, French school. Maulmain was a pupil of Miss Lamotte Lobrichon and Alberto Pasini. He exhibited at the Salon from 1863 until 1882, especially scenes of Algeria.



Georges Washington MARSEILLE 1827 - 1910 PARIS SCÈNE DE COMBAT GEORGES WASHINGTON; BATTLE SCENE; SIGNED LOWER LEFT; OIL ON CANVAS Signé en bas à gauche G. Washington Huile sur toile 46 x 55 cm ; 18 1/8 by 21 2/3 in:
Georges Washington
MARSEILLE 1827 - 1910 PARIS
BATTLE SCENE;
Signed lower left G. Washington
Oil on canvas 
46 x 55 cm; 18 1/8 by 21 2/3 in

Georges Washington  1827 - 1910.  Pupil of Francois Picot, Washington exhibited  in the years 1857 to 1901 almost exclusively with oriental scenes. He received in 1893 a medal. He had become primarily known as a painter of horses. Works his hand in Dunkirk, Limoges and LiIle in public collections.. He traveled to North Africa where he brought many views of Algeria and Morocco. He executed many animated scenes of horses rearing, which earned him a great reputation.

Henri Rousseau CAIRO 1875 - 1933 AIX EN PROVENCE THE FANTASIA OF NEMENCHAS, ALGERIA  HENRI-EMILIEN ROUSSEAU; NEMENCHAS FANTASIA, ALGERIA; SIGNED AND DATED LOWER LEFT AND TITLED ON THE BACK; ON THE BACK, WITH BEARS LABELS NUMERS; OIL ON CANVAS Signed and dated lower left Henri Rousseau '19; titrated back; the back door of old numbers 14, 804 and 3838 Oil on canvas 65 x 92 cm; 25 5/8 by 36 1/4 in:
Henri Rousseau
CAIRO 1875 - 1933 AIX EN PROVENCE
THE FANTASIA OF NEMENCHAS, ALGERIA 
Signed and dated lower left Henri Rousseau 
Oil on canvas 
65 x 92 cm; 25 5/8 by 36 1/4 in

Rousseau creates a  fantasy he chooses to place on the plateau of Nemenchas, Algeria. The tight framing on the group of riders launched in full immerses the viewer in the scene. The proximity thus created communicates a feeling of intense movement. The determination and pride of the riders and their horses, some of which rear up in a frenzy, is beautifully rendered in vibrant color buttons.

Henri Rousseau Henry, Emilien Rousseau (Cairo 1875 - Aix-en-Provence in 1933) is an Orientalist painter. A pupil of Jean-Léon Gérôme at the Beaux Arts in Paris, he won the second Grand Prix de Rome in 1900 and a travel grant at the Salon of French Artists. He traveled to Belgium, the Netherlands, North Africa, Spain and Italy where he admired the great masters (Rubens, Rembrandt, Velasquez, Murillo, the Titian, Raphael etc ...)

After this initiatory journey, he settled in Versailles and set up his studio at the Villa des Arts in Paris. In 1919 he moved to Aix in Provence with his large family (seven children). Knight of the Legion of Honour in arts. His work  is dedicated to Tunisia, Algeria and especially Morocco, Provence and the Camargue remained its anchor points. His success was with a bourgeois and wealthy clientele, where he sold his work at numerous exhibitions in Paris, Brussels, Stockholm, Marseilles. More

Jules-Pierre van Biesbroeck PORTICI 1873 - 1965 BRUXELLES, ECOLE BELGE FEMME À L'AMPHORE JULES-PIERRE VAN BIESBROECK; WOMAN CARRYING AN AMPHORA; SIGNED LOWER LEFT; OIL ON PANEL Signé en bas à gauche Van Biesbroeck Huile sur panneau 58 x 32,4 cm ; 22 4/5 by 12 1/4 in:
Jules-Pierre van Biesbroeck
PORTICI 1873 - 1965 BRUXELLES, ECOLE BELGE
WOMAN CARRYING AN AMPHORA
Signed lower left Van Biesbroeck
Oil on panel 
58 x 32.4 cm; 22 4/5 by 12 1/4 in

Jules Pierre van Biesbroeck (1873 - 1965) was a Belgian painter of landscapes and portraits, as well as sculptures.

He gained his artistic skills from his father Jules Evarist van Biesbroeck. He studied at the Academy of Fine Arts in Ghent.  Debuted in 1888 at the Salon des Champs-Elysées in Paris with his large-format painting "Le lancement d'Argos", which created a scandal. He was like his father, a professor of the Academy in Ghent. On a  trip to North Africa in 1926, he began to treat themes of the Orient. He experimented mainly with light effects in his paintings. Until 1935 he also maintained a studio in Algiers.

JP van Biesbroeck also had intensive contacts with the Socialist Workers' Movement in Ghent.


Attributed to George Derville Rowlandson 1861 - 1928, ENGLISH SCHOOL CAVALIERS SORTANT PAR UNE PORTE FORTIFIÉE ATTRIBUTED TO GEORGE-DERVILLE ROWLANDSON; CAVALIERS COMING OUT OF A FORTIFIED GATE; SIGNED AND DATED LOWER LEFT 1888; OIL ON CANVAS Signed and dated lower left GD Rowlandson 1888 Oil on canvas  83.5 x 61 cm; 32 7/8 by 24 in:
Attributed to George Derville Rowlandson
1861 - 1928, ENGLISH SCHOOL
CAVALIERS COMING OUT OF A FORTIFIED GATE
Signed and dated lower left GD Rowlandson 1888
Oil on canvas 
83.5 x 61 cm; 32 7/8 by 24 in

George Derville Rowlandson (1861–1928) was a British painter. He is best known for his equestrian portraits. Some of his work can be found at the Museum of Polo and Hall of Fame in Lake Worth, Florida.

Rowlandson was born in India in 1861 and studied art at Gloucester Art School, Westminster and Paris. He exhibited at the Royal Institute of Painters in Watercolour between 1911 and 1918 from 22 Priory Road, Bedford Park, London. He contributed illustrations to The Illustrated London News and the English llustrated Magazine, his work being mostly military or equestrian subjects, and a number of hunting scenes. More

Emmanuel Dieudonné GENEVA 1845 - 1889, SWISS SCHOOL OF NINETEENTH CENTURY LE MARCHAND D'ESCLAVES EMMANUEL DE DIEUDONNÉ; THE SLAVE MERCHANT; OIL ON CANVAS, UNFRAMED Oil on canvas, unframed  42 x 61 cm; 16 1/2 by 24 in:
Emmanuel Dieudonné
GENEVA 1845 - 1889, SWISS SCHOOL OF NINETEENTH CENTURY
THE SLAVE MERCHANT
Oil on canvas, unframed 
42 x 61 cm; 16 1/2 by 24 in

This is a preparatory sketch for the large painting, signed lower left E. DIEUDONNE, kept at the National Federation of André Maginot, Paris. A pupil of Cabanel, Emmanuel Dieudonné exhibited at the Salon from 1876. He made ​​many Orientalists compositions.

Karl Wilhelm Gentz- NEURUPPIN 1822 - 1890 BERLIN, ÉCOLE ALLEMANDE CHASSEURS NUBIENS KARL-WILHELM GENTZ; NUBIAN HUNTERS; SIGNED LOWER RIGHT; OIL ON CANVAS Signed lower right W. Gentz ​​Oil on canvas  166 x 139 cm; 65 1/3 by 54 3/4 in:
Karl Wilhelm Gentz-
NEURUPPIN 1822 - 1890 BERLIN, ÉCOLE ALLEMANDE
NUBIAN HUNTERS
Signed lower right W. Gentz
​​Oil on canvas 
166 x 139 cm; 65 1/3 by 54 3/4 in

Karl Wilhelm Gentz ​​(1822 - 1890) was a German painter. The second child of Johann Christian Gentz. Initially enrolled at Berlin's Friedrich Wilhelm University, he decided at age 21 to study painting. He attended the prestigious Atelier Kloeber and studied in 1845 for nine months at the Antwerp Academy of Fine Arts. He entered the school Atelier Paul Delaroche, which was then under the direction of Charles Gleyre. In 1847 he traveled to Spain and Morocco Returning to Paris, he painted The Prodigal Son in the desert, a life-size figure. In 1850 he went to Marseille and Malta, then Egypt and the Sinai; on his way back he traveled over Asia Minor, the Greek archipelago, Constantinople and Vienna.

In 1852, while living temporarily in Berlin, his first paintings of  oriental life emerged: "Slave Market" and "Egyptian School".  Not satisfied, Gentz returned to Paris and joined the studio of Thomas Couture. There painted two religious images with life-size figures, Christ and Magdalene and Simon and Chris.


In 1858, again in Berlin, he created a long series of Oriental Paintings, mostly Egyptian, for the Berlin Academy of Fine Arts. The oeuvre of the artist are very large; sometimes the figures are primarily, the character of the land and people are sharply defined. More





Images are copyright of their respective owners, assignees or others
Acknowledgement: Sothebeys