Results 1 to 24 of 161

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AMEYALTEPEC, GUERRERO. VENANCIO, EUGENIO. MEXICO, 20TH CENTURY.

Ameyaltepec, Guerrero. Tempera on paper. Venancio, Eugenio. Mexico, 20th century. Naïve rural landscape titled in the lower right and signed in the lower left, with people, buildings, animals, and plants in various poses, framed by lines and stripes of plant elements, all in flat, vivid colors. Eugenio Venancio was an artist active in the 20th century, with work held in several private collections and institutions such as the Musée International dÀrt Naïf de Magog in Canada.

· Size: 39x0,1x59,5 cms
DECORATIVE ANTIQUES

Ref.: ZF135454
ABSTRACTION. PAINTING. LUIS FEITO, 1965.

Abstraction. Painting. FEITO, Luis, 1965. Oil on paper. Signed and dated (lower left, double). Luis Feito López (Madrid, October 31, 1929 - Rascafría, February 7, 2021) was a Spanish painter who began his academic training at the Royal Academy of Fine Arts of San Fernando in Madrid. Afterwards, he devoted himself to Cubist experimentation and later held his first solo exhibition of non-figurative work in Madrid. After completing his studies, he settled in Paris in 1956 with a scholarship, maintaining contact with the group of painters who would later form the well-known El Paso group, founded by him in 1957. Feito's painting, during this period and according to experts, is influenced by automatism, with material surfaces in white, black, and ochre colors, made with a mixture of oil and sand. He introduced red as a counterpoint starting in 1962. In 1970, color became the norm, and from 1975 onward, he tended toward geometric design in his works, ending the decade in what is known as "his refined period of white paintings." Between 1981 and 1983, he lived in Montreal, then moved to New York, where he lived until the early 1990s. He was recognized with the distinction of Officier des Arts et des Lettres of France in 1985, Commander of the Order of Arts and Lettres of France in 1993, the Gold Medal of Fine Arts in 1998, and was also elected to the Royal Academy of Fine Arts of San Fernando in Madrid. His work is held in some important private collections, but also in institutions such as the Montreal Museum of Fine Arts, the Guggenheim Foundation (New York, USA), the Museum of Modern Art in Mexico City, the National Museum of Modern Art in Paris (France), the Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain), etc.

· Size: 70,5x2x51 cms
ANTIQUES

Ref.: ZF136804
STILL LIFE WITH FRUITS. OIL ON CANVAS. SPANISH SCHOOL, 19TH CENTURY.

Still Life with Fruit. Oil on canvas. Spanish School, 19th century. Still life of assorted fruits placed on a simple horizontal surface, accompanied by a light-colored vase of flowers and two other ceramic pieces toward the right of the composition. The work is clearly inspired by 17th-century Baroque still lifes from the Spanish school, not the sober ones (Zurbarán), but rather those created when the influence of Flemish still lifes began to penetrate (much more complex and full of details, figures, etc.).

· Size: 101x4x80 cms. int: 85x63 cms.
DECORATIVE ANTIQUES

Ref.: ZF1000
SAINT JEROME. OIL ON BOARD. CIRCLE OF WILLEM KEY, 16TH CENTURY.

Saint Jerome. Oil on slatted panel. Surroundings of KEY, Willem. 16th century. With monogram (illegible) and dated (right ear of the saint). Oil on oak panel showing a thin, elderly male figure, dressed from the waist down in cloth, sitting on a stone bench on which a skull and a scroll of parchment appear, along with other elements. To the right of the composition, a cloth can be seen in the background, a crucified Christ on a book, a red cap on a wall, placed on a closed book and a mechanical pencil; below, a lion. Eusebius Hieronymus (c. 340-420), better known as Saint Jerome or Saint Jerome of Stridon, was a Christian saint and Father of the Church, who translated the Bible from Hebrew and Greek into Latin at the request of Pope Damasus I (called The Vulgate, declared in 1546, at the Council of Trent, to be the authentic edition for the Latin Catholic Church). He is usually represented as in the present panel because of his desire during his life to live in asceticism and do penance for his sins. The lion is the beast that he rescued while meditating on the banks of the Jordan River and that never left the saint's side again. In the area of the saint's right ear there is an inscription, which seems to be a monogram with a date (possibly 1576). The present panel is related to the circle of Willem Key (Breda, 1516-Antwerp, 1568), a Flemish Renaissance painter specialising in portraits who, like his brother Wouters, trained in Antwerp (he with Pieter Coecke). Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to his portraits and historical paintings, painted with a learned hand according to Lamposonio's verses on his portrait. His religious paintings were also highly appreciated. His work is preserved by important institutions such as the Dordrecht Museum, the collection of the House of Alba, the Rijksmuseum in Amsterdam, etc.

· Size: 125x5x120 cms. / Int 104x99 cms.
ANTIQUES

Ref.: ZF126
FRAMED DRAWING. AFTER ADOLPH VON MENDEL, 20TH CENTURY.

Study. Drawing on framed paper. After VON MENZEL, Adolph. 20th century. Inscription (lower left area). Study inspired (as indicated by the handwritten text in the lower left area, “d'après Menzel”) by a work by Adolph Friedrich Erdmann von Menzel (Breslava, 1815-Berlin, 1905) made for “The Broken Jug” (Der zerbrochene Krug), a deluxe edition by the publishing house A. Hoffmann & Co. of Berlin made to commemorate the centenary of the birth of Heinrich von Kleist in 1877. Knighted in 1898, the man formerly known as Adolph Menzel was a German painter known for his works on historical themes and for being the main representative of 19th-century German pictorial realism.

· Size: 46x2,5x36 cms
DECORATIVE ANTIQUES

Ref.: ZF136813
FRAMED DRAWING. SUBIRACHS, JOSÉ MARÍA. BARCELONA, SPAIN, 1967.

Signed drawing. Paper, framed. SUBIRACHS I SITJAR, Jose María. Barcelona, May 1967. Signed, located and dated. Framed drawing in which you can clearly see a dedication, the artist's signature and the location and date of the work. Josep Maria Subirachs i Sitjar (Barcelona, 1927-2014) was a Spanish sculptor, painter, stage designer, engraver and art critic of great international prestige and numerous awards. His work is held in important private collections and institutions such as the Middleheim Museum in Antwerp (Belgium), the Espai Subirachs in Barcelona, the MUVACC, the MACBA, etc.

· Size: 36x2,5x46 cms
DECORATIVE ANTIQUES

Ref.: ZF136811
ALLEGORY OR VENUS WITH CUPIDS. OIL ON CANVAS. 18TH CENTURY

Allegory of Venus with Cupids. Oil on canvas. Enthroned by BOUCHER, François (Paris, 1703-1770). The scene presents, in the background, an idyllic natural landscape, with trees to the left and an open horizon to the right, revealing orange clouds alluding to a sunset over rocky mountains. In the foreground, a young woman appears reclining, dressed in a white tunic, a red skirt and a blue cloak, and a red ribbon in her hair; to her left, two cupids or cherubs appear, one with a garland of flowers and the other seems to be holding the young woman by the cloak. Iconographically, it could be Venus, although it is more common for the goddess to be presented half-naked or completely naked, so it is also possible that it is an allegory (given the crown of flowers, perhaps of Spring). Or, being a Rococo painting, it could also allude allegorically to a more abstract concept (virtue in the purity of love, etc.). The oil painting is set in the environment of François Boucher, a French painter considered one of the most important of the gallant style, situated within the Rococo. He was highly appreciated for his paintings of idyllic themes, the voluptuousness of his treatment, his mythological, allegorical and pastoral works and for several portraits of Madame de Pompadour. He sought a very detailed finish in his works, with a somewhat peculiar palette. After a somewhat troubled apprenticeship, he won the Prix de Rome in 1723 (which he could not enjoy due to lack of funds until four years later). Upon his return, he entered the Royal Academy of Painting and Sculpture, of which he became rector, and was also director of the Royal Gobelin Tapestry Factory, being named First Painter to the king in 1765. In addition to paintings, usually small in format, he also made illustrations for books, designed theatre costumes and sets, tapestries, porcelain, etc. His work is preserved in institutions such as the Alte Pinakothek in Munich, the Louvre Museum in Paris, the Thyssen-Bornemisza Museum in Madrid, the Metropolitan Museum in New York, etc.

· Size: 87x4x123 cms / int. 67x103 cms.
ANTIQUES

Ref.: ZF1127
GENERAL PRIM IN THE TETUÁN BATTLE. OIL ON CANVAS. 19TH CENTURY, AFTER ...

General Prim at the Battle of Tetouan. Oil on canvas. 19th century, based on the model by SANS CABOT, Francisco. Requires restoration. Oil on canvas inspired by a painting made in 1865 by the painter Francisco Sans Cabot (Barcelona, 1828-Madrid, 1881) which is kept in the National Art Museum of Catalonia (catalogue number 010618-000; according to other sources it is in the Palace of the Captaincy General of Barcelona) and depicts General Prim (Juan Prim y Prats, Reus, 1814-Madrid, 1870) second of Catalan volunteers and the Alba de Tormes battalion, crossing the trenches of the Tetouan camp in 1860, in the context of the African War or First Moroccan War (1859-1860).

· Size: 159x179 cms.
DECORATIVE ANTIQUES

Ref.: Z6573
POSTER, JOSÉ MARÍA DE MORALES, JEREZ DE LA FRONTERA. CARDBOARD. POSSIB...

Advertising poster, José María de Morales, Jerez de la Frontera. Cardboard. Possibly Spain, first half of the 20th century. Presents brands. Miguel Morales y Morales (Arcos 1826) and Cayetana Ubreva Bardayo (1840-1920) were the parents of José María de Morales, who had nine siblings and a wine cellar mainly for storage on Ávila Street in Jerez. He was known, above all, for the brandy called “Uno, Dos y Tres Racimos” and died at the age of 38, although his widow kept the business going until 1909. There is evidence of a photograph entitled “Interior of the extraction and bottling cellar of the widow's house of José María de Morales, Jerez, directed by Mr. Aureliano Valenzuela Pérez”, dated January 6, 1908, which would have appeared in the newspaper ABC.

· Size: 39x0,1x44 cms
DECORATIVE ANTIQUES

Ref.: ZF135413
BULLFIGHTING POSTER, INAUGURATION OF SAN SEBASTIÁN BULLRING. OIL ON CA...

Bullfighting poster, Inauguration of the San Sebastian bullring. Oil on canvas. PÉREZ SAAVEDRA, Manuel (doc. Circa 1903). 1903. Original poster for a bullfighting event for the opening bullfight at the San Sebastián bullring (known as Coso de El Chofre), which was attended by Alfonso XIII. It is a work in a clear Modernist style by Manuel Pérez Saavedra, and this was the original poster for the event. There are references to a Manuel Pérez Saavedra in the documents of the Royal Academy of Fine Arts of San Fernando in Madrid of the Provincial Commission of Monuments of Lugo (minutes of the session, 1921), in the Regional Exhibition of Galician Art of 1917 held in La Coruña, in the catalogue (as a native of Madrid) of the General Exhibition of Fine Arts of 1897, etc.

· Size: 52,5x6x85 cms. Int 37x70 cms
ANTIQUES

Ref.: ZF135401
BULLFIGHTIN SCENE. OIL PANEL,

“Bullfighting scene”. Oil on panel, early 20th century. Oil painting depicting a bullfighting scene inspired by an illustration (lithography by J. Palacios made in Madrid, based on a work by Perea and Boruanova) from La Lidia: bullfighting magazine (specifically, the issue of July 27, 1885; Year IV, Number 18). The painting is signed in the lower right area.

· Size: 37x3,6x50 cms. Int 24x32,5 cms
DECORATIVE ANTIQUES

Ref.: ZF1360A
LANDSCAPE. OIL ON WOOD. JUAN ALMAGRO, 1903.

Landscape. Oil on panel. ALMAGRO, Juan, 1903. Signed and dated (lower left area). Contains errors. Juan Almagro (Pegalajar 1886-Jaén, 1965) was a Spanish painter who began his training in Jaén, winning prizes and receiving a pension from the Provincial Council to continue his studies in Madrid (Special School of Painting, Sculpture and Engraving). In the capital he was a student of Muñoz Degrain, and also received recognition. Apart from making caricatures, he is also known for his landscapes, posters, works on bullfighting themes, still lifes, portraits, etc. After the Civil War he restored and decorated churches. His work is preserved in private collections and in institutions such as the Museum of Fine Arts of Jaén or the Provincial Council of Jaén.

· Size: 41,5x2x28,5 cms. Int 35x22,5 cms
DECORATIVE ANTIQUES

Ref.: ZF136801
CHRIST WITH AN ANGEL. OIL ON CANVAS. 18TH CENTURY.

Christ with angel. Oil on canvas. 18th century. The painting depicts Christ, dressed, supported by the shoulders or back by an angel, both figures situated in an indeterminate space, accompanied by various symbols of the Passion (cross, chalice). The theme of the dead Christ supported by an angel has been treated several times in art (Antonello da Mesina in the 15th century, Fernando Yáñez de la Almedina, Alonso Cano, Jacob Backer the Elder, etc.), with the peculiarity that, following the text that inspired it, Jesus appears with the loincloth and not fully dressed as in the present work.

· Size: 102x8x125 cms. Int 84x107 cms
ANTIQUES

Ref.: ZF1331
LANDSCAPE. OIL ON CANVAS. 19TH CENTURY.

Landscape. Oil on canvas. 19th century. Horizontal landscape with a watercourse in the background with islands and a series of trees and rocky shapes in the foreground, which help, together with the light, to highlight a character with an animal that appears towards the centre of the composition. Stylistically, it is a typical work in certain European painting movements of the 19th century.

· Size: 55,5x6,5x41 cms. Int 38,5x27,5 cms
DECORATIVE ANTIQUES

Ref.: ZF1348
ERATO. FRAMED ENGRAVING. TORRAS, FRANCESC. SPAIN, CIRCA 1874.

Erato. Framed engraving. TORRAS ARMENGOL, Francesc. Spain, circa 1874. Framed etching showing a female figure in a natural landscape, holding a stringed musical instrument in one arm. In ancient Greek mythology, Erato was the muse of choral lyricism and love and, since the Renaissance, she has been depicted crowned with myrtle and roses and carrying a small lyre or a zither, sometimes with a golden arrow, etc. This etching was originally part of the first volume (number 45, as indicated in the upper corner) of the El Grabador al Aguafuerte collection, which went on sale in 1874. It is a print created by Francisco Torras y Armengol (Tarrasa, 1832 - Madrid, 1878).

· Size: 43x1,5x57 cms. int:22x27,5 cms.
DECORATIVE ANTIQUES

Ref.: Z4675L
THE LAST SUPPER. METAL, WOOD. SPANISH SCHOOL, CIRCA MID 20TH CENTURY.

Last Supper. Silver-plated metal, wood. Spanish school, mid-20th century. Wall painting with a silver-plated metal relief depicting the Last Supper (title in the lower area), with Christ in the centre of the table and the composition, the Apostles around him in various attitudes and an architectural frame in metal, recalling classicist models common in the European school since the Renaissance. Weight: 3.5 kg.

· Size: 79x3x56 cms
DECORATIVE ANTIQUES

Ref.: ZF1357
IMMACULATE CONCEPTION. OIL ON CANVAS. SOUTH AMERICA, 18TH CENTURY

Immaculate Conception. Oil on canvas. Colonial school, 18th century. Oil on canvas showing the Virgin Mary among angels, in a landscape and standing on a crescent moon, wearing a white tunic and a blue cloak, following the usual iconography of the Immaculate Conception in the Spanish school, especially since the works of Murillo. Note, however, that instead of stars around the head, here there are a series of angel heads, something unusual.

· Size: 88,5x3x119 cms. Int 68,5x100 cms
DECORATIVE ANTIQUES

Ref.: ZF1341
SAINT, DOMINICAN ORDER. OIL ON CANVAS. SPANISH SCHOOL, 18TH CENTURY.

Saint Dominic. Oil on canvas. Spanish school, 18th century. Oil on canvas with a horizontal layout depicting a Dominican wearing the characteristic habit of the order holding a Holy Host and a chalice in the other hand. He is surrounded by figures, some of whom appear frightened. Note the fire to the right and a child figure with goat or ram legs and horns (demon). This may possibly be Saint Vincent Ferrer fighting against heretics. It is possible that this is a sketch for a large-format work.

· Size: 65,5x3,5x42 cms. Int 56,5x33,5 cms
ANTIQUES

Ref.: ZF1346
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ASSUMPTION OF MARY. OIL ON COOPER. 17TH CENTURY. AFTER GUIDO RENI (157...

Assumption of the Virgin Mary. Oil on copper, 17th century Following the models of Guido Reni (Bologna, 1575-1642). Oil on copper showing the Virgin Mary seated on clouds, dressed in a red tunic and blue mantle, in a golden-toned Glory and surrounded by clouds and musician and singing angels, dressed in tunics, cloths, etc. and others naked, and represented both as small children and in the form of adolescents. Iconographically, the work combines two main themes: the Coronation of Mary (note the two angels placed above the Virgin's head), and the Assumption (a doctrine developed in the Western Church from the 12th century, according to tradition by Saint Augustine, which later became a dogma of Faith, and which maintains that, at the end of her life, Mary was taken up to heaven in body and soul). This oil painting is inspired by two works titled "Coronation of the Virgin," one housed in the Bonnat Museum in Baoyona (nicknamed "The Guide") and the other in the National Gallery in London. These, in turn, follow the composition of a painting in the Prado Museum in Madrid by the same master, also titled "Coronation of the Virgin," executed around 1602 or 1603.

· Size: 59,5x4,5x77 cms. int 49,5x67 cms.
ANTIQUES

Ref.: ZF0974
THE COURT OF CLEOPATRA AND SALOMON AND THE QUEEN OF SHEBA. AFTER OBERH...

“The Court of Cleopatra” and “The Queen of Sheba before Solomon”. Framed illustrations. Based on the model of OBERHAUSER, Emanuel. Early 20th century. The work entitled “The Court of Cleopatra” is a photogravure inspired by a work by Emanuel Oberhauser (note the “signature” and the inscription below the image) published by Louis Wolf around 1906 (indicated above the image), and later coloured. The one entitled “La Reine de Saba rendant visita à Salomon” is based on another painting by the same master as the previous one, and is another photogravure also published by Louis Wolf, surely at a similar date, and also coloured.

· Size: 119x1,5x84 cms.
DECORATIVE ANTIQUES

Ref.: ZA6649
LANDSCAPE. OIL ON CANVAS. SPANISH SCHOOL, 20TH CENTURY.

Landscape. Oil on canvas. Spanish School (J. Boe), 20th century. Signed (lower right); stamp on back. Oil on canvas showing a rural landscape with mountains in the background and relatively low whitewashed buildings in the foreground. The composition, the subject, the brushstrokes, the absence of drawing, the volumes, etc. show clear influences from European avant-garde paintings of the 20th century.

· Size: 55x2x46 cms
DECORATIVE ANTIQUES

Ref.: Z4492
PORTRAIT. FRAMED ENGRAVING. JUAN JOSÉ MARTÍNEZ. BERNARDO BLANCO. SPAIN...

Portrait. Framed engraving. Spain, possibly 1870s. Male portrait based on a design by Bernardo Blanco y Pérez (Madrid, 1828-1876) made by Juan José Martínez de Espinosa y Tacón (Cádiz, 1826-?; active in Madrid 1856-1876), as indicated in the area below the image. Below the oval, there is a signature.

· Size: 43x1,5x55 cms. Int 20x23 cms
DECORATIVE ANTIQUES

Ref.: Z4424
SAINT JOHN THE BAPTIST. FRAMED ENGRAVING. BARTOLOMÉ MAURA. SPAIN, 1876...

Saint John. Framed engraving. MAURA Y MONTANER, Bartolomé. Spain, 1876. Handwritten inscription in lower area. Print inspired by a work by Murillo by Bartolomé Maura y Montaner (Palma de Mallorca, 1844-Madrid, 1926), published by the Society of Artists and with the Calcografía Nacional as the printer. It originally belonged to the third volume of El Grabador al Aguafuerte, which went on sale in the third installment of 1876.

· Size: 41x1,5x55,5 cms. Int 22x28 cms
DECORATIVE ANTIQUES

Ref.: Z4619
LA MAJA. FRAMED ENGRAVING. DEZARROIS. PARIS, FRANCE, CIRCA 1900.

The Naked Maja. Framed engraving. DEZARROIS. Paris, France, circa 1900. Engraving inspired by the famous Goya painting which, when it was made, was in the Royal Academy of Fine Arts of San Fernando in Madrid (Spain). As indicated below the image, it is the work of Antoine-François Dezarrois for an article about the painter in La Revue de l'art ancien et moderne, a periodical founded by Jules Comte in 1987 and directed by him (until his death in 1912).

· Size: 41x1,5x31,5 cms. Int 21x14 cms
DECORATIVE ANTIQUES

Ref.: Z4624

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