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Ernesto Charton Sold at Auction Prices


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    • Charton Thiessen de Treville, Ernest Marc Jules
      Nov. 25, 2022

      Charton Thiessen de Treville, Ernest Marc Jules

      Est: -

      1816 Sens - 1877 Buenos Aires. Studium an der École des Beaux-Arts. Ein Künstler und Abenteurer, der 1843 mit seiner Familie in die chilenische Hauptstadt Santiago zog, durch Ecuador, Peru und Panama reiste, 1848 mit dem Schiff in die Goldgräberstadt San Francisco kam. Nach kurzem Aufenthalt in der Hafenstadt landete er in Valparaiso, er überquerte die Anden nach Buenos Aires, dort ist auch sein Werk im Museum de Bellas Artes 'Vista de la Cordillera de los Andes' ausgestellt. Öl/Lw. Blick auf eine Hacienda mit Damen im Garten, Spaziergänger, Reiter und Händler. U.r. sign. u. Valparaiso bet. 1859 dat. (Craquelé, rest., Farbabspl.). 43 x 75 cm. R. Lit.: 1,5,11,14.

      Peege Auktionshaus
    • ERNEST CHARTON (1815-1877) | View of Chorrillos, Peru
      Nov. 21, 2017

      ERNEST CHARTON (1815-1877) | View of Chorrillos, Peru

      Est: $80,000 - $120,000

      oil on canvas

    • Ernest Charton (1815-1877) View of Valparaíso
      Nov. 23, 2016

      Ernest Charton (1815-1877) View of Valparaíso

      Est: $60,000 - $80,000

      Ernest Charton (1815-1877) View of Valparaíso oil on canvas mounted on board 23 ¾ x 33 ½ in. (60.3 x 85 cm.)

    • ERNEST CHARTON (1815-1877) | Quito, Ecuador
      Nov. 20, 2015

      ERNEST CHARTON (1815-1877) | Quito, Ecuador

      Est: $50,000 - $70,000

      oil on canvas

    • Ernest Charton, Quito, Ecuador
      Jan. 24, 2015

      Ernest Charton, Quito, Ecuador

      Est: $20,000 - $30,000

      CHARTON, Ernest (1815 - 1877). Quito, Ecuador. Oil on canvas. Canvas size: 23 x 35 1/2 inches; framed size: 33 x 45 1/2 inches. The culture and landscape of South America has fascinated the outside world from the time of its discovery to the present day, and during the nineteenth century interest in this continent reached its zenith. Following Columbus's 1492 discovery of the New World, the Spanish government restricted travel to this territory and with only the early accounts of the conquistadors and missionaries as sources of information, the allure of South America grew. It was a continent filled with mystery, with recurring legends of El Dorado, the Enchanted City of Patagonia and the island of the Amazons. At the beginning of the nineteenth century, many of South America's countries began to gain independence from Spain and, now freed from the restrictions of this colonial power, many artists and scientists flocked to the continent's shores. An itinerant French painter, Ernest Charton arrived in Chile with his family in 1843. En route to California in 1848, he was diverted to Ecuador visiting Guayaquil and Quito in 1849 (the subject of an article "Aventures d'un peintre francais dan l'Amerique Meridional. Sejour a l'Ille Floriana, Quito" in L'llustration, no. 418, Paris, February 1851) and again returned in the 1860s, teaching in Quito at the University of Quito and the Liceo de Pintura Miguel de Santiago (later the Academy of Fine Arts). His passion for the region was formed out of obvious reasons, for the beauty of the landscape and clarity of light was unmatched anywhere else. For Charton, Ecuador inspired his Romantic ideals as he searched for spirit, feeling and symbolism behind the material realism of landscape. The Republic of Ecuador was one of three countries that emerged from the collapse of Simon Bolivar's Gran Colombia in 1830 (the others being Colombia and Venezuela). For many artists, including Charton, its landscape captured the popular imagination and conformed to the nineteenth century's Romantic vision of paradise. Its location on the equator at zero degrees latitude, the line dividing the northern from the southern hemisphere, gives it a timeless quality, where days are of equal length and the seasons constant, and thus Ecuador was rightly described by the Bavarian explorers Spix and Martius as "the place where heaven and earth were in equilibrium." Nature seemed to be at its most fertile in Ecuador and, for many nineteenth-century painters and scholars, here one could study the question of creation. As John Esaias Warren noted in his 1849 article, "The Romance of the Tropics," published in The Knickerbocker Magazine, "the nearer we approach the equator, the more prolific do we find the mysterious essence of life. The capital city of Quito, not far from the equatorial line, derived its particular reputation as the terrestrial paradise in part from these associations. The region took on something of the timelessness and vitalism characteristic of life at the equator, and of Eden itself. Ernest Charton's oil painting of the city fully explores this, as Quito appears to mystically arise between the majestic mountains and is blessed by clear blue skies. In Charton's hands, Quito has truly become a heavenly kingdom.

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