Henry Thomas Schäfer
A Pair of Architectural Paintings
England, ca. 1880
Signed: ‘H. Schafer’, lower left.
Media: Oil painting on canvas.
Dimensions unframed: 7-7/8 X 6-1/6 inches;
Dimensions framed: 13-1/2 X 11-1/2 inches.
Condition: Fine, natural aging of canvas, stretcher and frame.
This pair of antique, ‘cabinet-size’ rectangular oil on canvas paintings depict classic European street scenes from the 19th century.
Set in elegant modern gilt wood frames, the paintings feature a market day in Antwerp, Belgium; and the other artwork depicts a
market day in Heidelberg, Germany. The paintings show the artist's strong mastery of perspective and architectural renderings.
The colors are rich, realistic, and have a beautiful golden glow. Both artworks signed on the lower left, H. Schafer.
Henry Thomas Schäfer (British, 1854-1915) was an important Victorian-era genre painter and sculptor, elected in 1889 to the Royal Society of British Artists. Henry Schäfer was very active from 1873 to 1915, and exhibited extensively in Great Britain - at the Royal Society, the Royal Academy, the Royal Scottish Academy, Suffolk Street; and again at the Royal Scottish Academy, in 1911.
This artist is listed in the Benezit catalogue.
Deeds of Manjushri
Tibetan Thangka Art
Natural Pigments on Cotton Painting
Unusually large for this type of Buddhist religious thangka art paintings, this 19th century work of art, depicting deeds of the most important Tibetan Buddhism deity, in all likelihood, served as a textbook in one of the Tibetan monasteries. Unframed.
Dimensions: Height: 34.75 | Width: 23.75”
Mañjuśrī is a botthisatva associated with prajñā (insight) in Mahayana Buddhism. In Tibetan Buddhism, he is also a yidam. His name means "Gentle Glory" (Chinese: 妙吉祥, 妙乐) in Sanskrit. Mañjuśrī is also known by the fuller name of Mañjuśrīkumārabhūta, literally "Mañjuśrī, Still a Youth" or, less literally, "Prince Mañjuśrī". Other deity name of
Mañjuśrī is Manjughosha
Scholars have identified Mañjuśrī as the oldest and most significant bodhisattva in Mahāyāna literature. Mañjuśrī is first referred to in early Mahayana sutras, such as the Prajnaparamita sutras and through this association; very early in the tradition he came to symbolize the embodiment of prajñā (transcendent wisdom). The Lotus Sutra assigns him a pure land called Vimala, which according to the Avatamsaka Sutra is located in the East.
Natural pigments in Tibetan thangka art paintings.
The application of color to the thangka canvas involved two main steps - first, filling in the areas of different base colors; and second, the subsequent shading and outlining of those areas. To these steps, there corresponded the two essentially different types of paint in the Tibetan palette:
· Mineral pigments (rdo tshon and sa tshon) and
· The organic dyes or lakes (tshos)
The mineral pigments had to be mixed with a binder before being applied as paints. The chief binder for these pigments was size or hide glue, the same gelatinous solution that was used in preparing the “:gesso” for the ground. Paints prepared in this way were used for the initial coat of colours. For the subsequent shading and outlining. However, the artists, for the most part, used dyes and lakes.
These needed little or no binder to unite them with the underlying layers of paint, and they could modify the hues and sharpen the borders of the painted areas without adding appreciably to the thickness of the paint layer.
After Sir Thomas Lawrence
King George IV of England
Sailing Ships in Distress
A Pair of Seascapes - England, Ca. 1800 - 1825
Height: 14 inches Width: 23 1/2 inches
This pair of oil on canvas dramatic seascapes is dated to ca. 1800 - 1825. Finely painted in the best traditions of the English Romanticism, they are signed by the same master illegibly. One of the paintings depicts two men in a lifeboat on a background of a sailing boat, sinking in rough, stormy sea. The second painting shows a sailing boat in flames, a huge column of smoke rises above it. Both painting are in equally excellent antique condition and have period frames.
AUSTRIAN Mountain Village Landscape
Height: 8 1/2 inches Width: 12 1/2 inches
Made in the best traditions of the era of realism paintings of the second half of the 19th century, this beautiful Austrian mountain village landscape is rendered in oil on board, with the precision of a miniature painting. The painting pleases the viewer with high level of the artistry skills and very close attention to the smallest details. This cheerful landscape really gives the feeling of a fresh alpine air and convey the atmosphere of peace and tranquility. Signed: Poldine Schmidt-Chwala. Excellent condition, period frame.