Claude Vignon, TOURS 1593 - 1670 PARIS
JOSEPH INTERPRETING DREAMS IN PRISON
Oil on canvas
53 7/8 by 74 in.; 136 by 188 cm.
Private collection
Claude Vignon (19 May 1593 – 10 May 1670) was
a leading French painter and engraver working in the Baroque manner. He was
born at Tours and received early training in Paris. About 1610 he travelled to
Rome where his mature style was formed in the circle of French painters there
that included Simon Vouet and Valentin de Boulogne, a prominent member of the
Caravaggisti working, like Bartolomeo Manfredi, in the manner established by
Caravaggio.
He returned from Italy, after a tour in Spain, in 1623. His
paintings are represented in most of the major museums. More on Claude Vignon
John Henry Amshewitz, R.B.A., 1882 - 1942
DEATH'S ARREST
oil on canvas
75 by 55 in., 190.5 by 139.7 cm
Private collection
The subject of this large and theatrical canvas shows a young troubadour pursued by the figure of Death. Accompanying him and oblivious to the singer’s plight are a court jester, Cupid, and a beautiful maiden in fantastic costume who appears to glide mysteriously along the bottom of the canvas. The setting is the garden of an imaginary coastal villa.
John Henry Amshewitz, R.B.A., 1882 - 1942
DEATH'S ARREST
Detail
John Henry Amshewitz, R.B.A., 1882 - 1942 was a precocious talent and in 1902 won a scholarship to the Royal Academy schools, where he studied under John Singer Sargent, Sir George Clausen and Solomon J. Solomon (see lot 14). Like his contemporaries, John Byam Shaw and Frank Cadogan Cowper, Amshewitz won a number of important civic commissions, including four fresco murals for the Centenary Memorial at the Liverpool City Hall in 1907, and a large mural for the Royal Exchange, London in 1910. He exhibited regularly at the Royal Academy.
John Henry Amshewitz, R.B.A., 1882 - 1942
DEATH'S ARREST
Detail
In 1917, he was elected a member of the South African Society of Artists. He was also a founding member of the Johannesburg Sketch Club, subsequently becoming its President, and served as a mentor and critic to other Johannesburg artists. Although Amshewitz only lived in South Africa from 1916 to 1922), he is perhaps best known as a South African artist, where his works can be found in numerous public collections. More on John Henry Amshewitz
Solomon Joseph Solomon, R.A., P.R.B.A., 1860-1927
EVE
Oil on canvas
122 by 56 in., 310 by 142.2 cm
Private collection
Solomon Joseph Solomon’s Eve was first exhibited at the Royal Academy in 1908, when the artist was at the height of his powers. His subject, the first woman, was a popular source of inspiration for Victorian artists, and gallery walls had displayed countless interpretations of her creation. Yet, when encountering Solomon’s monumental composition with its life-size Eve held aloft by great-winged angels against a sky of swirling clouds, exhibition-goers and critics alike were little prepared for its dynamic impact. More on Eve
Solomon Joseph Solomon, R.A., P.R.B.A., 1860-1927
EVE
Detail
Solomon Joseph Solomon RA (16 September 1860 – 27 July
1927) was a British painter, a founding member of the New English
Art Club and member of the Royal Academy. He made an important
contribution to the development of camouflage in the First World War, working
in particular on tree observation posts and arguing tirelessly for camouflage
netting.
Born in London in 1860, Solomon studied at various art
schools, sequentially, Heatherley School of Fine Art, the Royal Academy
Schools, the Munich Academy, and École des Beaux-Arts (under Alexandre
Cabanel). Solomon also studied separately under Rev. S. Singer. He exhibited
his first works as early as 1881, and showed at the Royal Academy, the New
Gallery, and the Society of British Artists. In 1886, he became one of the
founding members of the New English Art Club. In 1896, he became an associate
of the Royal Academy, with full membership following in 1906. He joined, and
became president of, the Royal Society of British Artists in 1919. More Solomon
Joseph Solomon
Alfred Dehodencq, 1822 - 1882
RUTH AND NAOMI
Oil on canvas
65 1/2 by 86 in., 166.4 by 218.4 cm
Private collection
The Book of Ruth is included in the third division, or the Writings of the Hebrew Bible; in most Christian canons it is treated as a history book and placed between Judges and 1 Samuel, although the Syriac Christian tradition places it later, between Ecclesiastes and the Song of Songs. It is named after its central figure, Ruth the Moabitess, the great-grandmother of David.
Elimelech, his wife Naomi and their two sons moved to a place called Moab. as there was more food there than where they used to live. After a while Elimelech died but Naomi wasn't alone she still had two sons.
Her sons got married but after about ten years they died too. At least Naomi still had her sons wives to keep her company, their names were Orpah and Ruth.
Naomi called Orpah and Ruth and told them, "I am going to go back to where I used to live and I would like you also to go back to your family where you used to live. May God show you kindness as you have showed me."
Orpah didn't want to leave Naomi but Naomi told her not to worry, she would be fine. So Orpah left to go back to her family. But no matter what Naomi said to Ruth, Ruth would not leave. "Don't ask me to leave. Where you go I will go, and where you stay I will stay. Your friends will be my friends and your God will be my God."
So Ruth and Naomi returned to Bethlehem together. It was a good thing Ruth went with Naomi because Bethlehem was very far away and Naomi couldn't have traveled all that way by herself. More on Ruth and Naomi
Alfred Dehodencq (23 April 1822 – 2 January
1882) was a mid-19th-century French Orientalist painter born in
Paris. He was known for his vivid oil paintings, especially of Andalusian and
North African scenes. Dehodencq was born in Paris. During his early years, he
studied at the Ecole des Beaux Arts. During the French Revolution of 1848 he
was wounded in the arm and was sent to convalesce in the Pyrenees before moving
to Madrid. He spent five years in Spain where he became acquainted with the
works of Spanish painters Diego Velázquez and Francisco Goya which had a strong
influence on his approach to painting.
In 1853 he
travelled to Morocco, where for the following ten years he produced many of his
most famous paintings depicting scenes of the world he encountered. Dehodencq
was the first foreign artist known to have lived in Morocco for an extended
number of years.
Dehodencq married Maria Amelia Calderon in 1857 in Cadiz,
Spain, and they had three children. Dehodencq returned to Paris in 1863 with
his wife, and was decorated with the Legion of Honour in 1870. He committed
suicide on 2 January 1882 having been sick for a long time and is buried in the
Montmartre Cemetery. More Alfred
Dehodencq
Abraham Janssens the Elder, ANTWERP 1567 - 1632
SAINT JEROME
oil on canvas
74 5/8 by 58 5/8 in.; 189.5 by 149 cm.
Private collection
Jerome (c.
347 – 30 September 420) was a priest, confessor, theologian and historian. He
was the son of Eusebius, born at Stridon, a village near Emona on the border of
Dalmatia and Pannonia, then part of northeastern Italy. He is best known for
his translation of most of the Bible into Latin (the translation that became
known as the Vulgate), and his commentaries on the Gospels. His list of
writings is extensive.
The protégé of Pope Damasus I, who died in December of
384, Jerome was known for his teachings on Christian moral life, especially to
those living in cosmopolitan centers such as Rome. In many cases, he focused
his attention to the lives of women and identified how a woman devoted to Jesus
should live her life. This focus stemmed from his close patron relationships
with several prominent female ascetics who were members of affluent senatorial
families.
He is recognised as a Saint
and Doctor of the Church by the Roman Catholic Church, the Eastern Orthodox
Church, the Lutheran Church, and the Anglican Communion.[6] His feast day is 30
September. More on Jerome
Abraham Janssens I, Abraham Janssen I or Abraham Janssens van Nuyssen (1575–1632) was a Flemish painter, who is known principally for his large religious and mythological works, which show the influence of Caravaggio. He was the leading history painter in Flanders prior to the return of Rubens from Italy.
Abraham Janssens was born in Antwerp as the son of Jan Janssens and Roelofken van Huysen or Nuyssen.[2] There is some uncertainty regarding his year of birth. He was previously thought to have been born in the year 1567, but it is now more generally assumed that his date of birth was 1575.
Janssens studied under Jan Snellinck and was registered as a pupil in the local Guild of Saint Luke in 1585. He travelled to Italy where he resided mainly in Rome between 1597 and 1602. After returning to his home country he became a master in the Antwerp Guild in the guild year 1601-1602.
In 1607 he became the dean of the Antwerp Guild of St Luke. This is also the time when he received his first major commissions, which initiated the most important period of his career. Until the return of Rubens to Antwerp in 1608, Janssens was considered perhaps the best history painter of his time. After Rubens became the dominant force for large altarpieces in the Antwerp market, Janssens had to find commissions for large monumental works from provincial patrons.
Janssens joined in 1610 the Confrerie of Romanists, a society of Antwerp humanists and artists who had travelled to Rome. The diversity and high positions held by the Confrerie's membership offered him a good opportunity to meet with potential patrons. More on Abraham Janssens the Elder
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