Alis Auction

8.77 - NICOALE N.TONITZA (1886-1940), "Filed Flowers", signed at top right in brown, oil on cardboard, 29.5x24.5cm, present in thepainting and graphics exhibition Nicolae Tonitza from SRR ArtMuseum, June-July 1979, cat no.215, hasbelonged to Mihaela Tonitza Iordache collection

8.76 - NICOLAE GRIGORESCU (1838-1907), "Nude Study", signed at bottom right in brown on the colour box, oil on canvas, the genuine canvas is doubled by sack canvas, 1863-1864, 73x33.5cm, present in the retrospective exhibition from PRR Art Museum - Bucuresti/1957, pg.8 in the exhibition catalogue made by art historian Remus Niculescu; reproduced in Virgil Cioflec's monograph The nude study has been known at least since 1924 when Cioflec reproduces it in his book about Grigorescu, without comment upon it though. In 1957 it shows at the Bucharest Museum of art in an important retrospective exhibit. Remus Niculescu, the author of the exhibit's catalogue, sets it at the 8th catalogue number between 1862 and 1869. Most porbably, the piece dates back to Grigorescu's studies along with Sebastien Cornu at the school of beaux-arts in Paris, and proves the high level of knowledge the painter was showing. The Stamp Cabinet of the Romanian Academy Library also holds a few other nude studies done approximately in the same period as the one on topic. As Remus Niculescu states, the nude was the main inspiration for the painter aside from the didactic inspirations at that time. Grigorescu would have certainly become a brilliant academic painter, if the plein-air painting, the bond with nature and the bohemic life style wouldn't have appealed to him as much. One thing to take into account is that the piece in question is signed, which shows Grigorescu considered it as a representative work. Furthermore, the siganture is placed right on the color box, rather than the usual placing on the neutral parts or the corners of paintings. This suggests Grigorescu intended to subtly instate himself as a painter, an artist, rather than a simple beginner in arts. The delicate modelling of the body structure and the quality of the paint strokes, far from the cold and dry school studies, entitle Grigorescu to present himself without any false modesties. Bibliography: Virgil Cioflec, Grigorescu, National Culture, Bucharest, 1925 Remus Niculescu, Grigorescu between classicism and romanticism, in Studies and research of art history, no. 3-4, july-decembre, 1956, p. 127-172. [the piece is commented upon at p. 154 and reproduced at p. 157] Nicolae Grigorescu exhibit. Catalogue by Remus Niculescu. Bucharest, 1957

8.46 - EMANOIL PANAITESCU BARDASARE (1850-1935), "Man Portrait", signed at bottom right in white, oil on canvas, 59x47cm, located and dated Iassi 1893 January, present in the retrospective exhibition organised at Iasi Art Museum in 1970, cat.no.53, reproduced at p.84, without frame

8.81 - THEODOR PALLADY (1871-1956), "Seine Quay (Bridge over the Seine", unsigned oil on cardboard, 73x60cm, present in the following exhibitions: Th.Pallady Retrospective at PRR Art Museum 23 VI-8 VIII 1956, Moscow August 1973, Bordeaux March, April 1974 and Modern Art Museum of Paris. From Elena and dr.I.N.Dona; Maruca Dona; dr. Gabriel Iliescu collection

7.08 - GHEORGHE TUDOR (1882-1944), "The Mower", signed at bottom right at the back, bronze with patina, sole issue 50 copies, made in Guran Brothers/Bucuresti, dated 1925, 22.5x36x27cm, retrospective exhibition at Ploiesti Art Museum/1974, cat. No.16 and reproduced. NOTE: All Gheorghe Tudor's works come from col. lawer Dumitru Dimitriu's collection and can be adjudicated together starting at 42000 RON starting price: 5500 lei