01 Work, Adrienne, Antwerp School's A painter in his studio, with Footnotes #84

Antwerp School, 17th Century

A painter in his studio

Oil on panel

20½ by 26½ in.; 52.1 by 67.3 cm.

Private collection

Sold for 252,000 USD in January 2023

The tradition of depicting painters, dealers, and collectors in interiors, surrounded by both identifiable and anonymous paintings from various countries and centuries, was firmly established in Flanders by the first quarter of the 17th century.

The present example has been previously thought to be a work by Frans Francken the Younger, who excelled at this particular type of work. The handling, however, would appear to suggest another Flemish hand. Though the painter shown at the center of the composition has not been firmly identified, his physiognomy bears close close resemblance to Peter Paul Rubens. More on this painting

Antwerp School, 17th Century: During the 17th century the Southern Netherlands, called Flanders, remained under the control of Catholic Spain. Antwerp was the primary commercial and artistic center of this region. It was there that Peter Paul Rubens painted the vivid and expressive portraits, mythological subjects, and religious scenes for which he is so renowned. The great Flemish portraitist Anthony van Dyck appealed to courtly patrons throughout Europe and England with his aristocratic and elegant images. Still lifes by Osias Beert the Elder and Jan Brueghel the Elder, as well as paintings of daily life by David Teniers the Younger, also testify to the exceptional quality and variety of Flemish painting in this period. More on Antwerp School, 17th Century

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01 Painting, The amorous game, Antoni Casanova Estorach's The Center of Attention, with Footnotes #84

Antoni Casanova Estorach, Spanish, 1847 - 1896

The Center of Attention, Paris 1883

Oil on canvas

15 by 20 in.; 38.1 by 50.8 cm

Private collection

Sold for 11,340 USD in January 2023

Antonio Casanova y Estorach was a Spanish painter known for his romanticized depictions of everyday scenes or Costumbrismo. He studied under masters such as Federico de Madrazo and Claudio Lorenzale, and he showed great promise at a young age, exhibiting his work at major exhibitions in Madrid and Barcelona beginning at age 19. In 1876, he left Spain for Paris where he remained until his death.

While he often painted historic scenes and folklore, he was also known for his rosy-cheeked depictions of mischievous monks, cardinals, and other churchmen. Frequently plump and jolly, they are often represented as relishing the worldly aspects afforded to their lifestyle. More on Antonio Casanova y Estorach

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03 Works, Malcolm Liepke's Artist's Studio, with Footnotes #85

Malcolm Liepke

Artist's Studio, 1987

Oil on canvas

20 7/8 x 24 3/4 in. (53.02 x 62.87 cm.)

Private collection

Sold for  $12,000.00 in November 2021

Malcolm T. Liepke

Dressing the Model, c. 1987

Pastel on Paper

18 × 23 in | 45.7 × 58.4 cm

Private collection

Liepke favors portraits of ordinary women in glamorous contexts, producing voyeuristic nudes that are sexualized through a realistic lens rather than a pornographic one. Loose brushstrokes and dusty gray-green skin tones imbue his subjects with a fleshy sensuality, while simple gestures and expressions convey emotions. Liepke paints from photographs and works in a wet-on-wet technique, borrowed from artists like Sargent and Velázquez, in which layers of oil paint are built up without drying in between. More on this painting

Malcolm T. Liepke

Helping with the dress, c. 1996

Hand Drawn Lithograph

24 x 29 in61 x 74 cm

Private collection

Largely self-taught, Malcolm T. Liepke paints in a style that synthesizes the work of other artists—John Singer Sargent, Edgar Degas, Henri de Toulouse-Lautrec, Diego Velázquez, and James McNeill Whistler, among others—to create portraits that are both visually familiar and wholly unique. Liepke favors portraits of ordinary women in glamorous contexts, producing voyeuristic nudes that are sexualized through a realistic lens rather than a pornographic one. Loose brushstrokes and dusty gray-green skin tones imbue his subjects with a fleshy sensuality, while simple gestures and expressions convey emotions. Liepke paints from photographs and works in a wet-on-wet technique, borrowed from artists like Sargent and Velázquez, in which layers of oil paint are built up without drying in between. More on Malcolm T. Liepke

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07 Paintings by Csok, Istvan (1865-1961) of his "Studio Interior", with footnotes

Csok, Istvan (1865-1961)

Studio Interior, c. 1905

Oil on canvas

106 x 185 cm.

Hungarian National Gallery, Budapest

The first picture - shown here - was taken in 1905 (Above). The success of the picture at the time is clearly shown by the fact that Csók made several copies of the composition in many versions, some of its details can be seen again in his later pictures. A 1910 version is attached.

Csók István 1865-1961 

Studio Corner (Painter and his Model)

Oil, wood

66x82 cm

Private collection

Csók István 1865-1961 

Studio Corner (Painter and his Model)

Oil, wood

Private collection

Csók István 1865-1961 

Studio Corner (Painter and his Model)

Oil, wood

68×81 cm

Private collection

István Csók. Hungarian, (1865 - 1961)

Studio corner, late 1920's

Oil on Wood

Private collection

István Csók. Hungarian, (1865 - 1961)

Studio corner

Oil on Wood

Private collection

Istvan Csók

Nu allongé

Oil on cardboard

43 x 57,5 cm

Private collection

István Csók (13 February 1865, Sáregres – 1 February 1961) of Methuselah-like longevity, belonged to the generation of Hungarian artists who were now studying in their own country, at the Budapest College of Decorative Arts. The child of a well-to-do miller's family, he was a young man leading the carefree life of the Bohemian art student when he came up against the incomprehension surrounding Pál Szinyei Merse's return at the beginning of the 1880s. Since the vivid and exciting colouring of the near-Impressionistic style of the painter of Picnic in May was decidedly to his liking, he left the institution and went to Munich. At Simon Hollósy's private school he came into contact with the spirit of the new movement that was getting under way - naturalism. The products of his first period belong under that heading. He went to stay in Paris and then, after getting married, settled there from 1903 onwards: that was when he painted the pictures that teem with ever richer colours. After 1910, when he had returned to Hungary, his oeuvre took a new direction: the pictures he painted of his family and surroundings celebrate the joys of a balanced middle-class life. His art, which glorifies beauty, was increasingly revered; from 1920 he was the president of the Szinyei Society and between 1923 and 1933 he was a liberal-minded professor at the Academy of Fine Art. His portraits, nudes and still-lifes recall the mature Renoir, both in their cheerful colours and in their swirling brushstrokes. He contemplated the world with wise understanding, and was thus pensioned off by the conservative regime, but placed on a pedestal after 1945 by the new order; he was twice awarded the Kossuth Prize in the last period of his life.d to freeze to death in the snow. The original painting was destroyed in World War II. More on István Csók

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01 Painting, Streets of Paris, Victor Gabriel Gilbert's Marché aux fleurs, with footnotes, Part 87

Victor Gabriel Gilbert, French, 1847 - 1935

Marché aux fleurs

Oil on canvas

25¾ by 21½ in.; 65.4 by 54.6 cm

Private collection

Sold for 44,100 USD in January 2023

Victor Gilbert was celebrated as the foremost painter of Parisian marchés during the final decades of the 19th century, when daily markets proliferated throughout the French capital to satisfy the growing upper and middle classes. 

Located on Place Louis Lépine between the Notre-Dame Cathedral and Sainte-Chapelle chapel, the flower market has attracted avid gardeners and curious passersby since 1830. Both covered and open-air, the market is mainly formed by pavilions from the 1900s. 

Victor Gabriel Gilbert born in Paris the 13 February 1847 and died in the 21 July 1933. He was a French painter. He is buried in Montmartre cemetery in Paris. In 1860 he apprenticed to a painter and decorator. He followed with evening art classes under the direction of Father Levasseur, the School of the City of Paris. In the late 1870s, his taste for naturalism is developed and he turned to genre painting with scenes of streets, cafes, markets, especially that of Halles . He obtained a second class medal at the Salon of 1880 and a silver medal at the 1889 World Fair . It becomes a member of the French Society of Artists in 1914.

Victor Gilbert was appointed Knight of the Legion of Honour in 1897, and received the Prix Léon Bonnat in 1926. More on Victor Gabriel Gilbert

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