Painter: Zhao Guojing & Wang Meifang
Colors: 90
Price: 1500 Euro
Dimensions: 20 * 24.3 cm
Zhao Guojing (1950, Jingxian, Hebei Province) was among those young urbanites who were sent “up to the mountains and down to the villages” (上山下乡, shangshan xiaxiang). He joined a military rural reclamation unit in Heilongjiang Province in 1968. In 1973, he entered the National Painting Training Section of the Tianjin Art Academy. After his graduation in 1976, he was employed by the Tianjin Fine Arts Publishing House, where he now is a member of the Comic Strip Editorial Office.

Zhao specializes in figurative painting and comic strips. A number of his works has been included in national collections. He often collaborates with Ms. Wang Meifang.

Painter: Guido Reni
Colors: 90
Price: 5000 Euro
Dimensions: 30 * 39 cm

Guido Reni (4 November 1575 – 18 August 1642) was an Italian painter of high-Baroque style.

Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de’ Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the “newly embarked”, or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni’s painting was thematic and eclectic in style.

Jesus is shown after the Mocking of Christ when he was crowned with thorns. New Testament (e.g. John 19: 1-3).

This painting was inspired by one of the numerous versions of this subject painted by Guido Reni (such as that in Paris, Louvre). The picture, which may have been painted as late as the early 18th century, has a provenance from the collection of Cardinal Valenti Gonzaga in Rome. It can be seen in a painting by Giovanni Paolo Panini which shows a view of Valenti’s gallery, painted in 1749 (Hartford, Wadsworth Athenaeum).

Painter: Raphael Sanzio
Colors: 90
Price: 8000 Euro
Dimensions: 35 * 45.5 cm

The Veiled Woman, or La Donna Velata, c.1516, Palatine Gallery, Palazzo Pitti, Florence

Raphael Sanzio, usually known by his first name alone (1483 – 1520) was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.

Painter: Zhao Guojing & Wang Meifang
Colors: 90
Price: 1500 Euro
Dimensions: 20 * 24.3 cm
Zhao Guojing (1950, Jingxian, Hebei Province) was among those young urbanites who were sent “up to the mountains and down to the villages” (上山下乡, shangshan xiaxiang). He joined a military rural reclamation unit in Heilongjiang Province in 1968. In 1973, he entered the National Painting Training Section of the Tianjin Art Academy. After his graduation in 1976, he was employed by the Tianjin Fine Arts Publishing House, where he now is a member of the Comic Strip Editorial Office.

Zhao specializes in figurative painting and comic strips. A number of his works has been included in national collections. He often collaborates with Ms. Wang Meifang.

Painter: Emile Vernon
Colors: 90
Price: 3500 Euro
Dimensions: 25 * 30 cm

Emile Vernon (1872-1919) worked during the late 19th Century and lived for much of his life in Paris.

Vernon produced a number of charming portraits of women and children using the medium of oil with the ease and confidence of pastel. Vernon captured with his palette the fleeting transient, pale qualities of the female face and placed them against the silks and fine fabrics or natural settings in which he preferred to array his sitters. The artist excels rather as an academic than as a powerful painter. It would appear that the build up of his canvases never caused him the slightest trouble. He was also a talented flower painter.

Painter: Emile Vernon
Colors: 90
Price: 3500 Euro
Dimensions: 25 * 30 cm

Vernon produced a number of charming portraits of women and children using the medium of oil with the ease and confidence of pastel. Vernon captured with his palette the fleeting transient, pale qualities of the female face and placed them against the silks and fine fabrics or natural settings in which he preferred to array his sitters. The artist excels rather as an academic than as a powerful painter. It would appear that the build up of his canvases never caused him the slightest trouble. He was also a talented flower painter.

Painter: François-Joseph Navez
Colors: 90
Price: 6000 Euro
Dimensions: 40 * 34 cm

The Massacre of the Innocents, c. 1824
This unusual depiction of the Massacre of the Innocents, signed and dated 1824 on the golden bowl in the foreground, is one of a series of religious paintings which Navez executed following his return from Rome in 1821. Here, the slaughter of the children of Bethlehem of two years old and under, as King Herod sought to rid himself of the Christ Child (Matthew 2:16), is depicted only in a frenzied vignette on the upper left. Rather than mayhem, Navez explored the personal, intensely emotional dimensions of the tragedy.
His use of half-length figures close to the picture plane, and of saturated colors reminiscent of 17th-century Flemish traditions, recall the history paintings that David was executing at the same time. The painting moves away from Davidian naturalism, however, towards a more austere purity of line and stylization of form which owe a debt to Ingres, as does the languid arm that the mother in the center folds across her head. The enamel paint surface that Navez achieves is also reminiscent of Ingres. Original to Navez, perhaps, is the anticlockwise pinwheel movement of the four heads on the right which comes to a halt in the confrontation of profiles on the left.

François-Joseph Navez (Charleroi, 1787 - Brussels, 1869) was a Belgian neo-classical painter. A pupil of Jacques-Louis David, he spent five years in Italy between 1817 and 1822. He was a very successful portrait painter. He also painted many mythological and historic subjects.

Painter: Emile Vernon
Colors: 90
Price: 4000 Euro
Dimensions: 35 * 30 cm

Emile Vernon (1872-1919) worked during the late 19th Century and lived for much of his life in Paris.

Vernon produced a number of charming portraits of women and children using the medium of oil with the ease and confidence of pastel. Vernon captured with his palette the fleeting transient, pale qualities of the female face and placed them against the silks and fine fabrics or natural settings in which he preferred to array his sitters. The artist excels rather as an academic than as a powerful painter. It would appear that the build up of his canvases never caused him the slightest trouble. He was also a talented flower painter.

Artist: Natori Shunsen
Colors: 90
Price: 1000 Euro
Dimensions: 15.0 * 22.5 cm

c.1931 The actor ONOE BAICO depicted in bust as the beautiful courtesan ABURAYA OKON.

Natori Shunsen was born in Tokyo under the given name of Yoshinosuke. He studied traditional Japanese painting - Nihonga - as a student of Kubota Beisen and at the Tokyo School of Fine Arts. After finishing his art training, he could get an employment at a Tokyo newspaper as an illustrator.

Painter: Raphael Sanzio
Colors: 90
Price: 10000 Euro
Dimensions: 45 * 46.8 cm

Raphael’s Deposition was painted for Atalanta Baglioni in memory of her son Grifonetto, who was killed in the fighting for the dominance of Perugia, and housed in the church of S.Francesco in Perugia in 1507. It remained there for 101 years, until it was removed at night with the complicity of the priest and sent to Pope Paul V, who gave it to his nephew for his collection and it thus became the property of the Borghese family. After the Treaty of Tolentino the painting was sent to Paris in 1797. When it came back to Rome in 1816, only the central scene was returned to the Borghese collection, while the three theological virtues, Faith, Hope and Charity, remained in the Vatican Museums (the ornamentation surmounting it by Tiberio Alfani is in the National Gallery of Umbria).
This large altarpiece presents the scene like a Roman relief and is inspired by the reliefs on ancient Roman sarcophagi depicting the transportation of Meleager. It is interesting to note that in his preliminary sketch the artist has drawn Christ lying in the ground, as in the painting by Perugino, but when he executed the painting he decided on the antique form of transportation, as seen in a relief he probably studied on the Montalvo sarcophagus in Florence (now in the Torno Collection, Milan). But the influence of Michelangelo can also be seen in the composition of Christ (cf. the Pietà, St.Peter’s) and the figure seen in the profile supporting the Madonna repeats a similar pose in the Doni Tondo (in the Uffizi, completed a year before the Deposition).