Paintings

Painting. Tax collectors or Publicans. Follower of Marinus van Reymerswaele. Turn of the 17th18th century.

The painting, executed in the manner of Marinus van Reymerswaele, depicts two tax collectors with grotesque faces, sitting at a table in clothes typical of the 15th century. The character closest to the viewer, dressed in a black turban and pince-nez, with a concentrated expression on his face, writes text in a book reminding tax evaders of their obligations before the law. The second collector, in a dark blue turban and red caftan, looking meaningfully at the viewer, points his hand to this text, clutching an empty coin purse in the other hand, emphasizing the need to replenish the treasury. The collectors` clothes stand out against the background of the interior, indicating the status and class of the characters . The faces depicted by the author emphasize the satirical meaning of the picture, hinting at human greed and stinginess. In this plot, the master created a grandiose satirical image of predatory financial capitalism, which arose in the light of the economic and cultural boom in Antwerp in the 16th century, which actually turned the once small Flemish city into the financial center of the world. According to experts, the recognizable scene of two misers was borrowed and recreated in many variations by the artist Marinus van Reimerswaele from the great Flemish author Quentin Massys. This plot was one of the most popular and recognizable in Europe during the period of the 16th - 17th centuries. Similar works adorned royal collections as well as collections of aristocrats and nobility of the time. Nowadays, Marinus van Reimerswaele`s works on the theme of Tax Collectors are part of the exhibition of museums around the world, including the Louvre in Paris, the National Gallery in London and the Prado Museum in Madrid. The recognizable plot is located in Windsor Castle, in the king’s personal chambers, as well as in the Royal Collection of Liechtenstein. One of the paintings of Tax Collector attributed to Marinus van Reimerswaal is included in the collection of the State Hermitage Museum in St. Petersburg, acquired from the heirs of the first Prime Minister of England Sir Robert Walpole at the end of the 18th century by the Russian Empress Catherine II. Follower of Marinus van Reymerswaele (Marinus van Reymerswaele) 1493-1567 Period: Turn of the 17th-18th century. Material: Canvas, oil, duplicated canvas. Canvas dimensions: 117 x 97 cm.

Begins 30.11.2024

Painting "Lady with a Parrot"

Begins 30.11.2024 12:00:00

EMIL BAYES (EMILE BAES). 1889-1953. Nude on a canape.

Begins 30.11.2024 12:00:00

L. Libert. View of Paris from the Seine.

Begins 30.11.2024 12:00:00

Ludolfs Liberts (1895–1959) Embankment of the Seine.

Begins 30.11.2024 12:00:00

Ludolfs Liberts (1895–1959) The Seine Embankment in Paris.

Begins 30.11.2024 12:00:00

Winter Landscape. River Bank in Winter. Boris Bessonov (1862-1934)

Begins 30.11.2024 12:00:00

Peasant Troikas in Winter. Franz Alekseevich Roubaud, 1856 Odessa - 1928 Munich

Begins 30.11.2024 12:00:00

Yuli Yulievich Klever. Winter Sunset. 1912

Begins 30.11.2024 12:00:00

Erotic canvas MORNING AFTER THE WEDDING. Ivan Ivanovich SOKOLOV. 1876

Begins 30.11.2024 12:00:00

Felix Ziem (1821-1911). View of Venice: Doge`s Palace and Piazzetta Columns.

This impressive painting attributed to Felix Ziem (1821-1911) is an outstanding example of mastery and deep passion for architectural landscapes. The composition centers on the majestic Doge`s Palace, surrounded by architectural elements that are exquisitely decorative and in the typical Venetian style. In the foreground of the painting are the two iconic columns of the Piazzetta that lead to St. Mark`s Square. The eastern column is topped by a bronze statue of a winged lion, symbolizing St. Mark, the patron saint of the city. The western column is topped by a marble statue of St. Theodore, the founder of Venice. These architectural masterpieces highlight the cultural and historical wealth of Venice, being important elements of its unique urban landscape. The front of the painting attracts the viewer`s attention with a boat with seated passengers in bright clothes and a gondolier skillfully managing an oar, which emphasizes the liveliness and dynamism of the scene. The author, following the traditions of the Barbizon school, uses a bright palette and special attention to light, creating a contrast between the warm shades of the buildings and the deep blue sky. This technique not only conveys the architectural beauty, but also gives the painting expressiveness and atmosphere. This painting is one of a series of works created by the author after an inspiring trip to Venice, where every stroke and color conveys his admiration for this city. The painting demonstrates painting techniques that anticipate elements of impressionism, which makes it a valuable testimony to the artistic development of its time. The painting is enclosed in an exquisite gilded frame emphasizing the grandeur of this work. Dimensions of the painting: 55.5 cm x 38.5 cm. Canvas, oil.

Begins 30.11.2024

A.N. Mordvinov. Seascape. 1849.

Begins 30.11.2024 12:00:00

ALEXEY PETROVICH BOGOLYUBOV (1824-1896). Astrakhan. Admiralty.

Begins 30.11.2024 12:00:00

Semyon Fedorov. Landscape Summer day. Second half of the 19th century.

Begins 30.11.2024 12:00:00

Girv A. A. Still life with a bat game.

Begins 30.11.2024 12:00:00

Painting Allegorical motifs with Bacchus.

Begins 30.11.2024 12:00:00

Nude. William Etty. 19th century.

Begins 30.11.2024 12:00:00

Fruit in the style of Jan van Huysum.

Begins 30.11.2024 12:00:00

RENAULT Fernand Albert (1887-1939). Couple in love. Under the canopy of trees.

RENAULT Fernand Albert (1887-1939). Couple in love. It represents a symbiosis of classical themes, Fauvian technique and impressionistic relationships in the painting of neo-traditionalism of the 1930s. A monumental painting depicting a naked couple under the shade of trees against the backdrop of bridling horses not far from the sea. A couple in love, like Adam and Eve, talk with interest and study each other, as if getting used to each other. They are contrasted by skin color and light. She, under the spotlights of the sun, is white, voluminous and alluring. He is tanned in the shade, strong and brutal. With a look, a gesture, the enthusiasm of youth, he turns to her. The basis of their bed is made up of bright fabrics laid out on the ground. In them, scarlet spots complement the picturesque green foliage. The pastoral relaxation of the couple contrasts with the active background, where they throw a bridle on the horses. Which symbolically anticipates the young man’s luck in love. However, the topic is broader. They demonstrate the metaphysics of the mystery of the meeting and coexistence of the sexes. Authors signature lower right. Canvas, oil. 99Х132 cm.

Begins 30.11.2024

LUIS GARCÍA OLIVER. Still life with apples.

Begins 30.11.2024 12:00:00

Painting Nude girl, K.Somov, 1897

Begins 30.11.2024 12:00:00

Mythological scene The Judgement of Paris

Begins 30.11.2024 12:00:00

A. Zardinsh. On the dance floor.

2500 EUR

LUDOLFS LIBERTS. "Landscape in silvery tones", 1930.

6500 EUR

Painting Bouquet of Lilacs. 1950s.

Begins 07.12.2024 10:00:00

Girl with a pearl necklace

25000 EUR

Painting Recital K.Stepanov (1854—1910)

Begins 07.12.2024 10:00:00

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