Nathan Gutman (1914 Warsaw – 1990 Paris), Female Nude, oil on cardboard, Paris (?)
The painting depicts a nude woman in a semi-recumbent position on a bed or sofa; she supports her body with one hand and holds the other behind her head. The figure of the model, the piece of furniture and a small picture in the upper left corner (with a vase of flowers) were painted with a black outline, contrasting with a multicolored background composed of saturated patches of color in various shades of red, yellow, blue and green. The intense color palette clearly refers to the aesthetics of fauvism. The lower left corner bears Gutman's signature. All framed in a contemporary frame.
Portrait of Franciszka Krasinska, oil on canvas, Poland, ca. 1760
The portrait of Franciszka Krasinska, aged about 18, was painted in Poland around 1760 by an unspecified artist. The painting is a classic example of a representative aristocratic portrait of the Rococo era. The image shows the future Polish princess dressed in an elegant lilac gown with open shoulders and a wide skirt. The figure is shown in a 3/4 view; with one hand she holds the dark fur coat imposed over her shoulder, while the other hand is bent at the elbow and rests in front of the figure. The calm expression on her face, her delicate blush and her carefully arranged curls have been rendered with great precision.
Stanislaw Debicki (1866 – 1924), Portrait of a hunter with a shotgun, watercolor on paper
Portrait of an elegant hunter. The painting depicts a middle-aged man, shown from the right semi-profile. He is dressed in a light gray hunting outfit, hat and black gloves; in his left hand he holds the barrel of a double-barrelled shotgun. Signed in lower right corner: St. Debicki. Done in watercolor technique on paper. Subdued colors - dominated by grays, beiges, greens and blues.
Stanislaw Gibinski (1882-1971), Winter scene “On the way to church”, watercolor and gouache on cardboard, Poland, ca. 1930-1940
Image by Stanislaw Gibinski (1882-1971), depicting a winter landscape with a wooden church and people going to the service. A composition of character realistic-folk, maintained in a subdued palette of cool colors, shows the artist's typical sacred motif set in everyday village life.
Work made technique of watercolor and gouache on cardboard, with a sense of light and space. Visible signature of the author in the lower right corner. Original profiled frame with gilt elements.
Gibinski was among the artists who documented the Polish landscape and religiosity of the first half of the 20th century. Gibinski's characteristic subtle tonal transitions and warm colors make his winter landscapes bring peace and harmony to interiors.
Dutch School, Ships in a Storm, oil on canvas, Netherlands (?), 2nd half of the 18th century.
This painting depicts an atmospheric seascape with ships on a tumultuous sea. The composition centers on a large sailing vessel, shown bow-on, occupying the middle ground. Its sails are furled, and the ship is heavily listing under the force of the wind and waves, which crash against the hull, creating high sprays of foam. The dramatic struggle against the elements is intensified by a torn jib, the triangular sail at the front of the ship. In the background, to the left and right, two other vessels are visible, battling the storm. The sky is covered by heavy storm clouds, interspersed with streaks of lighter clouds. The light is diffused and subdued, enhancing the sense of unease. Birds soar low over the frothing surface of the sea. Dark, cool colors (shades of blue, gray, black) with hints of green dominate, contrasting with the foamy waves and a few bright clouds. Both in terms of composition and mood, the painting aligns with the tradition of Dutch Baroque marine painting. The artwork is presented in an old Dutch-style frame, shellac-coated, which accentuates its Baroque character.
Epitaph portrait of Jan Czapski (1699-1742), oil on copper, Poland, 1740s.
The circular-shaped painting was executed in oil technique on a forged, convex copper sheet, fire-gilded. The portrait shows a middle-aged man framed in bust, en trois quarts to the left. Oval, plump face with high forehead and second chin. On his head is a white powdered curly wig. The costume is a steel breastplate, from under which parts of the garment, including a white shirt collar, protrude. To the right of the portrait is the Leliwa coat of arms in an ornamental shield topped by a knight's helmet with peacock feathers, on which the emblem of the Leliwa coat of arms is repeated. Around the shield is a floral ornament. The portrait is modeled on a painting by the brush of Szymon Czechowicz, painted before 1742.
Epitaph images, unlike coffin images, were generally oval or circular in shape. They were part of pictorial epitaphs - memorials in honor of the deceased or deceased (e.g. family), usually placed not at the burial site, but in another place associated with the person, most often in a church - on a wall or pillar. They consisted of the epitaph proper, i.e. a slab with an inscription, and a picture or pictures, most often painted or carved, less often made in other artistic techniques. A pictorial epitaph usually shows a portrait of the deceased or deceased, sometimes accompanied by his patron saint or patrons.
Diameter: 30 cm
Dimensions with frame: 43x43 cm
Fragment of an antiphonary page with illuminated initial, parchment, Europe, 15th century
The fragment of the page visible within the frame is entirely occupied by a historiated initial "O". The figural scene within depicts a haloed youth dressed in secular attire giving alms to an old beggar supported by crutches. He is accompanied by a young woman and an older man, with urban architecture visible in the background.
The reverse side features a fragment of Latin liturgical text written in Gothic minuscule and musical notation using square neumes (predecessors of notes used in medieval Europe) on a four-line staff, characteristic of Gregorian chant. The presence of the formula "Euouae" (a notation of vowels from the phrase saeculorum Amen), typical of psalm endings in antiphonal arrangement, allows identification of the notation as a fragment of an antiphon. The page also features a decorative initial "O" beginning a new antiphon.
The page is framed in a 19th-century gilded frame with a gently curved upper edge.
An object of extraordinary aesthetic and collectible value. A great rarity on the market!
Hendrik van Steenwijk II (ca. 1580 – 1649) – circle, Interior of a Gothic church, oil on board, Flemish school, 17th century.
The painting depicts the interior of a Gothic church, executed in the Flemish school of the 17th century, in the circle of Hendrick van Steenwijk i.e. one of the pioneers of perspective painting. The composition, built on an axis leading towards the main altar, shows a monumental interior with pillars, cross-ribbed vaults and side chapels. Figures of the faithful and clergy are visible in the space, introduced to emphasize the scale of the architecture and the mood of concentration.
The painting was made with oil technique on board, in typical Flemish school style. The frame is original, wooden, veneered, with preserved gilt edge.
The composition refers to the solutions used by Hendrick van Steenwijk the Elder and Younger, as well as Pieter Neefs and Bartholomeus van Bassen, developing the genre of architectural painting in Antwerp and Delft.
Pawel Wrobel (1913 – 1984), Merry Town, acrylic on canvas, 1973
Colorful, dynamic painting by Pawel Sparrow, one of the leading Polish primitivist painters of the 20th century. The work depicts a scene from an amusement park - a chain carousel, a crowd of people, children, a shooting gallery and city buildings in the background. The painting is signed and dated p.d.: Wróbel P. 1973.