Claude Guilleminet Art

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card in blue folder/ thick paper, unframed drawing: 12 x 19 inch...

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card in black folder/ thick paper, unframed drawing: 11.75 x 18 inches overall size: 19.75 x 13 in...

Up for sale is a beautiful original painting by Valentine Thomas GARLAND (1868-1914). Garland was a painter of animal and genre subjects, working in both oil and watercolor. He was ...

The painting is signed and dated 1894 Description: Eugene Alexis Girardet (1853-1907) was a prominent Swiss painter known for his remarkable attention to detail and his ability to capture vivid and dynamic scenes. Born in Paris, France, Girardet came from a family of artists and received early artistic training from his father, Paul Girardet, and his uncle, Jules Girardet, both respected engravers. He later studied at the prestigious École des Beaux-Arts in Paris, where he honed his skills and developed a deep appreciation for historical and orientalist subjects. He was interred at the Père-Lachaise Cemetery. In addition to several museums in France, his works may be seen at the Dahesh Museum of Art and the National Museum of Fine Arts of Algiers, as well as at museums in Switzerland and New York City. Girardet’s artwork often depicted historical and exotic scenes, particularly focusing on Middle Eastern and North African themes. His meticulous attention to detail and his ability to convey a sense of movement and drama made his works highly sought after. One of his most renowned paintings, “The Charge,” exemplifies his exceptional talent and his ability to create a captivating and immersive experience for viewers. In “The Charge,” Girardet presents an army of Arab camel...

This monumental painting is by the celebrated Dutch artist Otto Eerelman, one of 19th-century Europe's most popular and important animal portraitists, an...

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card/ thick paper, unframed size: 11.25 x 15.5 overall size: 12....

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card in blue folder/ thick paper, unframed top drawing: 7.25 x 9...

Rosa Bonheur was the most famous female artist of the 19th Century. We are grateful to Annie-Paule Quinsac for confirming the authenticity of this painting. The work is best viewed with top gallery light to bring out colors ____________________________________________ Rosa Bonheur: Three Bucks in the Fontainebleau Forest, erroneously Stags or Monarchs in the forest Oil on canvas, 29 x 24 inches [74 x 61cm], signed and dated lower left, Rosa Bonheur 1886 The discovery of this painting, a reinterpretation of Bonheur’s most iconic work Le roi de la Foret, [Monarch in the forest]is a significant event in the artist’s scholarship. In forty years of study, I was not aware of its existence and did not find any reproduction of it throughout my extensive reading. Bought by the present owner at the Stamford Winter Auction in 2008, it had been the property of a certain Captain [ name illegible] until January 29, 1920, or from that date {?}. The label on the back of the canvas reads: “Collection of Captain J.H.Gaucis Jan.29,1920”. [the handwriting on the label is extremely unusual; my deciphering of it induces me to propose this last name, Latvian in origin] […] This work could not have been offered among the 95 paintings that compose the catalog section titled “Stags, Hinds, Roebucks,” [ NN.320-415] in the catalog of the Rosa Bonheur Posthumous Sale organized by the Galerie Georges Petit in Paris, which included over two thousand pieces kept in the studio and not sold during her life time : it does not correspond to any of the description or measurements given in these catalog entries. The number 5527inscribed in red on the back of the canvas could refer to the painting having be handled by the Knoedler Galerie, Paris and New York, which after Bonheur’s death, that of Ernest Gambart (1814-1902and George Petit, (1856-1920) was instrumental in the continued diffusion of her work in the US, maintaining her prices that had crashed elsewhere in Europe. Despite difficulties in tracing the provenance history, the attribution to Rosa Bonheur, cannot be denied. Stylistic and iconographic characters are typical of her expressive means in the late 80’s. Also, it cannot be questioned that the calligraphy of signature and date is hers. The work depicts three male deers- or bucks- of different age, in a trail, deep in the forest at twilight, just after sunset toward the end of Fall. The two big ones, have stopped in their track, facing the beholder frontally; the small one, in profile, seems ready to move in another direction. The umbrella term deer, or the more specific one buck {male deer} could both be used as title to this painting, rather than stag, which implies an old majestic senior male deer, considered the King of the forest also called Monarch. In the Cervidae family, the number of points of a deer’s antler is one of the indicators of age, along with body mass and overall size. In our painting, the most prominent stag is massive and has a twelve points antler – qualifying as Monarch. The one immediately behind him exhibits an eight points antler and appears strong and imposing as well does not possess but not his companion’s poise. It is a mature stag. The last one, slender, shoulders not quite muscular yet, with barely six points to his antler, could not be more than two years old. The intensity of expression of the two older stags and their presence in the landscape which is rendered as their stage, are characteristic of Bonheur’s rapport to animals and nature. The painting’s varnish has deteriorated and forms a film that will need to be removed through a cautious cleaning. It is particularly important that the transparent haze that evokes the humidity of the forest at that crucial moment of the light be preserved. It contributes to the painting vibrance. Since 1860, when Rosa Bonheur moved to the Chateau of By, which she had bought with her companion Nathalie Micas, the Fontainebleau Forest which was at a stone through of her property, became ground of studies and the Cervidae a common subject. By then, she would already sketch en plein air, and months or years later, create paintings from start to finish in the studio using the visual material collected while walking through nature or observing animal in their milieu. Her first image of the Great Monarch in the forest, represented frontally and in a similar forest background is the 1868 painting Le cerf de Saint Hubert [Hubertus’ Stag], an illustration of the legend of Saint Hubertus in which she included a cross between the stag’s antlers. As the story as it, Hubertus was a passionate hunter and would often forget his religious duties to go hunting. On a certain Sunday in the depth of a forest, where he had ventured alone, he began to pursue a stag The animal faced him and while a cross appeared between his antlers, the voice of God was heard, directing him to repent ad respect all animals. Rosa Bonheur was herself a hunter but also a spiritualist, influenced by the Saint Simonian creeds and by spiritism. She believed that certain animals had a soul. I personally think that magnificent monarchs and the St Hubertus...

The Anatomy of a Horse by Robert Ladou (French 1929-2014) original drawing stuck on card in black folder/ thick paper, unframed drawing: 12 x 17.75 ...

"Horse Sketch 2" is Amy Florence's study of an Alfred Munnings painting, an artist she takes inspiration from. Artist Bio Amy Florence is a London born artist working out of her st...

Signed lower left, 'John Fulton' (American, 1933-1998) and painted circa 1995. The original oil painting for the poster advertising the appearance of Manolo Gonzalez at the prestigious Maestranza bullring in Seville and showing famous bullfighter in an emerald suit of lights, holding his espada at the ready while deflecting the enraged bull with his red cape. John Fulton was an American bullfighter and painter who settled in Seville. Born in Philadelphia, he received a scholarship to an art school in San Miguel de Allende, Mexico, in the early 1950s. During this time, he studied both painting and bullfighting, killing his first calf there in 1953. In 1954, Fulton joined the U.S. Army and continued and continued painting and bullfighting on his downtime. After his release in 1956, he moved to Spain where he studied bullfighting under Juan Belmonte and performed as a novillero (novice) with some of Spain’s leading matadors. In July 1963, Fulton was sponsored by José María Montilla to take his 'alternativa' at the Plaza de toros...

Julius von Blaas (1845-1923) At The Gallops circa 1905 Oil on canvas Signed and dated “Julius von Blass / 1905” (lower left) 110 x 200 cm (140 x 230 cms framed ish) This enormous and grand depiction of horses exercising is an iconic image not only of the edwardien era but also of today’s racing elite. Julius von Blaas was taught by his father Carl von Blaas (1815-1994) and trained in Venice, Florence and Rome. He was also influenced by his celebrated brother Eugen von Blaas...