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TRITONS AND NEREIDS. PAINTING, GLASS. POSSIBLY ITALIAN SCHOOL, LATE 16...

Tritons defending Nereids. Oil on glass (reverse). Possibly Italian school (perhaps Naples), late 16th-17th century. Framed glass plate with a painting, probably an oil painting, beneath it. A landscape can be seen in the background and a series of figures in the foreground, from the waist up. A man is holding two women on the right, while, on the left, two semi-nude male figures appear attacking a sea monster (very similar to those inspired by ancient Roman works, common in painting since the Renaissance). It is first necessary to differentiate between two painting techniques that employ glass: one that uses it as a base, such as a canvas, and the other, in which the glass sits "above" the paint, with the latter applied "beneath" and inversely. This work belongs to the second method, highly prized in cabinetmaking for decorating chests, wastepaper baskets, etc., and for its similarity to enamel. It should also be remembered that glass painting was especially appreciated by the upper class between the late 17th and early 18th centuries. Ferdinand de' Medici, for example, included glass paintings by Luca Giordano in his collection in 1702. Followers of this master specialized in these years in decorating important furniture with painting under glass. In 1679, for example, Giovanni Battista Tara was paid for having created "a pair of ebony writers' tables inlaid with different paintings on glass," while Carlo Garofalo, a student of Luca Giordano and considered the best glass painter active in Naples in the second half of the 17th century, was called by Charles II of Spain to paint glass for chests and other decorations in prominent royal salons; again, Domenico Coscia is mentioned in documents as a painter "who made those glass pieces very well, which were used by writers." The list of Neapolitan painters who were disciples of Giordano, remembered for their painting on glass, can also be enriched with many other names, such as Domenico Perrone, Francesco della Torre, or Andrea Vincenti.

· Size: 41,5x2,5x18 cms. int: 8x32 cms.
ANTIQUES

Ref.: ZF1420
FOUR MOMENTS OF THE DAY. OIL ON CANVAS. MANUEL BARRÓN, SPAIN, 19TH CEN...

Four Moments of the Day, Seville. Oil on canvas. Barrón y Carrillo, Manuel. 19th century. Signed (bottom right). Labels on the back. Manuel Barrón y Carrillo (Seville, 1814-1884) was a Spanish painter considered the representative of Romantic landscape painting and Andalusian costumbrismo. He trained with Antonio Cabral Bejarano and at the School of Fine Arts in Seville (where he eventually became a teacher and director). He was one of the founders of the Liceo Artístico de Sevilla (1838) and a member of the Sociedad Económica de Amigos del País (Economic Society of Friends of the Country) in that city, as well as a member of the Academy of Santa Isabel de Hungría. It is known that he already presented works at the Liceo and the Sociedad Económica de Sevilla exhibitions in 1838, although his first known work is dated 1852. He devoted himself primarily to landscapes, although his costumbrista paintings (especially those dedicated to everyday life in Seville), still lifes, and portraits are also highly valued. His paintings are held in several private collections and in institutions such as the Prado Museum in Madrid, the Museum of Fine Arts in Seville, the National Museum of Romanticism (Madrid, Spain), the Carmen Thyssen Museum in Malaga, and others. These four landscapes are a good example of what is common and often highlighted in this painter's work. Compare one of the paintings with the View of the Guadalquivir painted in 1854 in the Carmen Thyssen Museum in Málaga (inventory CTB.2002.18), which has a very similar composition to the present one, even down to the figures depicted. The Museum of Fine Arts in Seville also has a pair of vertical landscapes dated 1854 by the same master, titled Sunset (inventory DJ1306P) and Dawn (DJ1307P).

· Size: 70x4x58 cms. int. 63x50 cms.
ANTIQUES

Ref.: ZF1431
HOLY FACE. OIL ON CANVAS. SPANISH SCHOOL, 16TH CENTURY.

Holy Face. Oil on canvas. Spanish School, 16th century. A canvas depicting a face on a light background with no other elements. Iconographically, this is what is commonly called a Holy Face or the Face of Christ or the Holy Face, linked to both the Passion and the Veronica, or the Mandylion of Edessa. Compare this example with the Holy Face of the Monastery of the Holy Face in Alicante or, much more similar, with the Holy Face of the Cathedral of Jaén, both in Spain.

· Size: 31x3,5x37x5 cms. int: 22,5x29,5 cms.
ANTIQUES

Ref.: ZF136831
HEALING THE PARALYTIC. OIL ON WOOD. CASTILLIAN SCHOOL, SPAIN, 16TH CEN...

Healing of the Paralytic. Oil on panel. Castilian School, 16th century. Partially rebuilt. A religious scene set in a prestigious interior, made of two-tone stone, depicting a series of male figures interacting with each other. Ten of them are standing, with golden halos engraved with architectural motifs (one of them carries a palm tree, another a walking stick); one rests a bare foot on a footstool, which also appears to hold the head or upper part of another figure, who appears lying down, looking up, with a bandaged foot. It is important to note the restorations on the panel, in which a series of elements have been drawn, continuing what was preserved where possible. Iconographically, this is an unclear issue: given the presence of a crutch in the hand, the bandaged foot of the recumbent figure is logical and, if Christ is the central character, we could be looking at a healing (perhaps that of the paralytic in Capernaum which took place in a house, or the healings in the temple of God mentioned by Matthew [21:14-15]...), although the presence of the palm suggests a burial (according to some apocryphal gospels, church fathers... an angel appeared to Mary three days before she died/ascended to give her a palm from Paradise which she was to give to the Apostles to take to her body) or a saint who has been martyred. Stylistically, the Flemish influences presented in the panel are clear (faces, fabrics, etc.), along with details more characteristic of Spanish Gothic painting (golden halos, architecture, etc.), which may place the work within the Hispano-Flemish movement. The oculus with two-tone red and white voussoirs was common in Spanish architecture, and this element in the panel can be compared with that of the Church of Santa María la Mayor de Abiesgo in Huesca (without colors), the Mudejar Church of the Virgin of Tobed in Zaragoza (with oculi with latticework in these colors), or the Church of San Pedro de Palencia (with an oculus with similar lines on the interior). Pink and green tiles (although not arranged as in this work) are found in The Virgin of the Catholic Monarchs, preserved in the Prado Museum, dated between 1491 and 1493 and linked to a Castilian Hispano-Flemish painter. The National Art Museum of Catalonia houses a Virgin of the Milk with a donor linked to León and dated to the second half of the 15th century. In it, Jesus wears a halo similar to those on this panel. Some see a strong influence of Pedro Berruguete (Paredes de Nava, Palencia c. 1450 - Madrid? 1503) in this panel; compare it with the Birth of the Virgin in the Altarpiece of the Church of San Martín de Becerril de Campos (circa 1495, Diocesan Museum of Palencia), the Lamentation over the Dead Christ (Palencia Cathedral, circa 1490), etc.

· Size: 99x4x128 cms
ANTIQUES

Ref.: ZF1396
RAISING OF LAZARUS WITH SAINT ROCH. OIL ON WOOD. CASTILLIAN SCHOOL, SP...

Raising of Lazarus with Saint Roch and two donors. Oil on panel. Castilian School, 16th century. Oil on panel depicting an interior scene with semicircular arches and Ionic capitals, an entrance to the left, a tiled floor, and a tomb to the right. In front of it are two three-quarter-length figures dressed in dark clothing, clasping their hands in prayer, contemplating the scene. Towards the center of the panel, Jesus, dressed in green, is blessing the figure emerging from the tomb, accompanied by a series of figures. On the left side, a male figure appears accompanied by a dog (Saint Roch). The scene depicts the resurrection of Lazarus of Bethany, which appears in the New Testament (John 11). It is no longer common in Spanish Renaissance painting to depict a scene with a saint who does not appear in it, as is the case with the Raising of Lazarus and Saint Roch, but it is not entirely unusual either (it could be due to the donor's devotion, etc.). It is common to see donors contemplating the scene. The attire of these figures clearly places them within the Spanish school and in the 16th century (compare "The Gentleman with His Hand on His Chest" from 1580 by El Greco, preserved in the Prado Museum in Madrid). What is not entirely common is to present this New Testament theme in an interior (Pedro Machuca places it in an interior, in his work from around 1520 in the Provincial Museum of Fine Arts in Granada).

· Size: 105x10x138 cms int: 90x122 cms
ANTIQUES

Ref.: ZE382
COUNTRYMAN. OIL ON CANVAS. VELA ZANETTI, JOSÉ. 1972.

Peasant. Oil on canvas. VELA ZANETTI, José. 1972. Signed and dated (bottom right). José Vela Zanetti (Milagros, Burgos, 1913–Burgos, 1999) was a painter best known for his murals. He began his training in León, where he moved with his family and held his first exhibition in 1931. Supported by his father, he traveled to Madrid for a few months to see exhibitions and visit the Prado Museum. Shortly afterward, he received a scholarship to visit Italy, awarded by the Provincial Council of León. As a result of the Spanish Civil War, he moved to the Dominican Republic, where he remained until 1960. In Santo Domingo, along with other exiled artists, he founded the National School of Fine Arts. During this period, he held exhibitions and projects in Mexico, Colombia, Puerto Rico, and the United States. Throughout his life, he received important public commissions, such as the mural inaugurated in 1953 at the UN headquarters, commemorating the fiftieth anniversary of the Universal Declaration of Human Rights, considered his most important work. Also notable are his historic murals for the Provincial Council of Burgos and the frescoes of the former Ercilia Theater in Barahona, Dominican Republic. He was a member of the San Fernando Academy and awarded an Honorary Doctorate by the University of Burgos. In 2001, the Cultural Center of the City of Madrid held a retrospective exhibition on Vela Zanetti's work, entitled "Anthological," the most important to date. A commemorative exhibition for the tenth anniversary of his death was recently held at the Ángeles Penche gallery in Madrid. His works are held in the collections of the Caja Rural de Burgos and the Vela Zanetti Foundation in León, as well as murals in various cities in Spain, Santo Domingo, the United States, Colombia, and Switzerland. In 2013, the Fórum Evolución in Burgos held an important exhibition dedicated to Vela Zanetti's work, commemorating the centenary of his birth.

· Size: 83x5x99 cms. int 65x81 cms.
ANTIQUES

Ref.: ZF1406
VALDELATEJA. OIL ON CANVAS. SANTA MARÍA, MARCELIANO. 1925.

View of Valdelateja. Oil on canvas. SANTA MARÍA SEDANO, Marceliano (Burgos, 1866-Madrid, 1952). 1925. Titled, signed and dated (bottom right). Bibliography: La Esfera Magazine (Madrid.1914), issue number 589 of 4/18/1925, page 28 (color illustration). Marceliano Santa María demonstrated his artistic ability as a child, beginning his training in this field at the Provincial Academy of Drawing in Burgos. He moved to Madrid in 1885, where he continued his studies at the Círculo de Bellas Artes, the San Fernando School of Fine Arts, and the studio of Manuel Domínguez Sánchez. He furthered his studies thanks to a grant from the Burgos Provincial Council, which allowed him to spend time in Rome between 1891 and 1895. He returned to Spain that year, settling in Burgos, painting and teaching, until he was appointed director of the School of Arts and Crafts in Madrid in 1934. During the Civil War, he had to reduce his output due to his health, but continued his work after the war ended. His work was recognized with several awards (the sole medal at the 1933 Chicago World's Fair, the Medal of Honor at the 1934 National Exhibition of Fine Arts in Spain, the Grand Cross of Alfonso X the Wise, etc.) and is held in important private collections as well as in institutions such as his own museum in Burgos (the Monastery of San Juan), the Museum of the Royal Academy of Fine Arts of San Fernando in Madrid, the Museum of Modern Art in Barcelona, etc. Although he was highly appreciated for his portraits, he is also known for his Castilian landscapes. This painting shows a landscape of Valdelateja, a town in the province of Burgos located in the Páramos region, and was published in the magazine La Esfera in issue 589, under the title “Castilian Landscapes” and with the title “A Corner of Valdelateja (Burgos)”.

· Size: 87,5x6x108 cms. int: 70x90 cms
ANTIQUES

Ref.: ZF1404
LAST SUPPER. OIL ON BOARD. CASILLIAN SCHOOL, SPAIN, 16TH CENTURY.

Last Supper. Oil on panel. Castilian School, 16th century. It has faults. An oil on panel painting depicting a figurative image against a neutral background, with a checkered tile floor arranged, like everything else, in focal perspective. Around a rectangular table (with two figures at the corners, their backs to the viewer), are a total of twelve figures dressed in tunics and cloaks, and in the center of the painting, another man, surrounded by light. On the table, covered with a white cloth, food can be seen arranged on plates, jugs, bottles, round loaves of bread, glasses, etc. This Last Supper follows typical European Renaissance patterns (compare, noting the differences, with the painting by Leonardo da Vinci, made between 1495 and 1498 for the refectory of the Dominican convent of Santa Maria delle Grazie in Milan, Italy, for example). Italian influence can be seen, but without directly following those models. Compare with the Last Supper attributed to the workshop of Pedro Berruguete from around 1495-1500, which is housed in the Los Angeles County Museum of Art (USA), or, especially noting the lack of expressiveness in this panel, with the Last Supper from around 1562 by Juan de Juanes (Museo del Prado, Madrid, Spain). Iconographically, the abundant use of yellow in the clothing is striking, given that it was usually reserved for the attire of Judas (the figure on the left, with his back to the viewer, holding a bag of coins in his hand) and that the moment of the revelation of the betrayal of one of the disciples was chosen (expressiveness is absent from the faces but not from the hands of the rest of the characters).

· Size: 141x10x90 cms. int. 122x73 cms.
ANTIQUES

Ref.: ZE383
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
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
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
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
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
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SAINT ANNE WITH VIRGIN MARY. OIL ON COPPER. SPANISH SCHOOL, 18TH CENTU...

Saint Anne teaching the Virgin to read. Oil on copper. Spanish school, 18th century. Small copper depicting Saint Anne seated, with a book on her knees, and accompanied by the Virgin Mary as a child and an angel at her side. In the background we can see a fragment of curtains and a bit of architecture. Both iconographically and stylistically, this is a frequent theme in Christian European art, with some Italian influence and a composition common in works from the Spanish school.

· Size: 10,5x2,5x11,5 / int: 6,5 x 7,5 cms.
ANTIQUES

Ref.: ZF1294
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PORTRAIT, FERNANDO FERNÁNDEZ DE CÓRDOBA Y VALCÁRCEL. OIL ON CANVAS. SP...

Portrait of Fernando Fernández de Córdoba y Valcárcel. Oil on canvas. Spanish School, 19th century. Unframed canvas. Shows damage. Requires restoration. Full-length portrait of a male figure in an interior decorated with carpets, a gilded wooden chest of drawers with a Rococo influence, a wall relief, moldings, an inkwell, maps, books, a writing desk, etc. On the left, next to a curtain, a window opens the composition, revealing a building. The man, in military uniform, holds a sword in one hand and a bicorn in the other, while looking directly at the viewer. Fernando Fernández de Córdova y Valcárcel (Buenos Aires, September 2, 1809 – Madrid, October 30, 1883), 2nd Marquis of Mendigorría, was a Spanish military man, son of José María Fernández de Córdova y Rojas, a frigate captain in the Royal Navy, and María de la Paz Rodríguez de Valcárcel y O'Conrry, 1st Marchioness of Mendigorría. With his brother Luis, he fought in the First Carlist War. He belonged to the Moderate Party and later to the Radical Democratic Party. He was Prime Minister for a single day. He was Senator for life from 1847 to 1868 and for the province of Soria from 1871 to 1873, during the reign of Amadeo of Savoy. In the portrait, it is possible to clearly see his decorations, located on the left side of his chest. Starting from the top: Knight Grand Cross of the Royal and Distinguished Spanish Order of Charles III (established by this monarch in 1771); on the left, the Knight Grand Cross of the Royal Order of Isabella the Catholic (instituted by Ferdinand VII in 1815); below the former, the insignia of Knight of the Insigne and Royal Order of Saint Januarius (military order of the House of Bourbon-Two Sicilies, established in 1738). And almost covered by the lapel is the one awarded in 1850 when he was named Knight Grand Cross of the Royal and Military Order of Saint Ferdinand (established in 1811). The one that remains to be identified, next to the former, may be the decoration of Knight Grand Cross of the Royal and Military Order of Saint Hermenegild. In addition, he was awarded the recognition of Knight Grand Cross in brilliants of the Order of Pius IX.

· Size: 138x218 cms.
ANTIQUES

Ref.: Z6572
LANDSCAPE. OIL ON CANVAS. FRAU, JOSÉ (SPAIN, 1898-1976).

Landscape. Oil on canvas. FRAU, José (Spain, 1898-1976). Signed (lower right area). José María Isidro Frau y Ruiz (Vigo, 15 May 1898 – Madrid, 24 March 1976) was a Spanish painter and academic, appreciated for his landscapes and for being part of the School of Painters of El Paular (created by Royal Decree on 22 February 1918, within the Chair of Landscape that the Academy of Fine Arts of San Fernando established in 1845 as part of the official teaching of its pedagogical programs in art; it ceased to operate in 1936 and was recovered in 2018). Known as José Frau, he began his pictorial training in Huelva with Antonio de la Torre and Eugenio Hermoso Huelva. In 1916 he entered the Academy of Fine Arts of San Fernando, and, from 1917, he participated in the National Exhibitions of Madrid, showing his work also in Barcelona, Buenos Aires, Montevideo, Mexico City, New York, etc. He travelled through South America in 1947, settling in Mexico three years later and returning to Spain in 1966. His work is preserved in notable private collections and institutions such as the Museo Municipal Quiñones de León (Spain), the Museo de Bellas Artes de La Coruña, the Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain), the Museo de la Real Academia de Bellas Artes de San Fernando in Madrid, etc. He has been considered one of the representatives of the equivalent of “magical realism” in Spain. His pictorial work is based on figurative premises and a naturalistic and symbolic formation. He participated in the process of renewal of Spanish painting in the twenties and thirties, evolving towards a post-impressionist style. Later he focused on a calm post-Cézanne modernity in which he portrayed landscapes with figures recreated in fantastic and magical environments. During the post-war years he returned to a looser and more nervous brushstroke. In his later works he used a Fauvist chromatic palette in which greens, blues, earth tones and highly contrasting blacks predominated, while at the same time a progressive process of stylization occurred in his works in addition to the loss of the prominence of the human figure.

· Size: 91x3x71 cms. int: 79x59 cms.
ANTIQUES

Ref.: ZF1266
AN ARCHITECTURAL CAPRICCIO OF ROMAN RUINS. OIL ON CANVAS. ATT TO GINER...

Landscape with classical ruins. Oil on canvas. Attributed to GINER, Vicente (ca. 1636-1681). Relined. Landscape with rocks and buildings in the background, which shows, in the foreground, buildings with a marked classical air, accompanied by two female sculptures on pedestals. At the foot of this building, there is a group of people dressed in classical style (women, children and a soldier with a lance). Vicente Giner, a canon and artist originally from Castellón, is documented as working in Rome during the last quarter of the 17th century (until his death here in 1681), where he, along with others, requested that Charles II create an Academy of Spanish artists in the city. Experts place him as a collaborator and outstanding follower of Viviano Codazzi (in whose workshop he worked in the 1670s, possibly coming from that of Cornelio de Wael). He painted perspectives of classicist temples and palaces, accompanied by representations normally of popular themes and in which the figures (in small numbers) are barely anecdotal elements in front of these architectures. His work is preserved in various private collections and institutions such as the Museum of Fine Arts in Valencia, the Collection of the Bank of Spain (Madrid), collections of the National Trust (Scotland), etc.

· Size: 76x3x91 cms. int 71x87 cms.
ANTIQUES

Ref.: ZF0795
LANDSCAPE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (1884-1942).

Landscape. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed (lower right area). Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued his training at the San Fernando Academy in Madrid, the city where he became better known at National Fine Arts Exhibitions (he won a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 68x4x59 cms. int: 55x46,5 cms.
ANTIQUES

Ref.: ZE428
MARY MAGDALENE TRAVELLING TO MARSEILLE. OIL ON BOARD. CASTILLIAN SCHOO...

Mary Magdalene on the way to Marseille. Oil on panel. Castilian school, towards the end of the 15th century. Oil on panel showing a landscape with a walled city in the background, some mountains and the edge of a waterway (it is clear from the subject that it is the seashore). In the foreground, full-length, there is a boat with a sail and a circus of richly dressed figures with their respective halos (these decorated with geometric elements and engraved plants), two women and three men. Note the anecdotal detail of the fish crossing the waters beneath the ship. In the Golden Legend, chapter XCVI is dedicated to the figure of Mary Magdalene, including the journey she made with Saint Maximinus, Lazarus, Martha, her servant Martila and Saint Cedonius ("the man born blind and cured of his blindness by Christ), along with other Christians, after being expelled by the infidels who lived in the region they went to evangelise. They left the ship at sea, without oars or sails or anything that could help in navigation, with the idea that it would sink, but God saw to it that it reached Marseille. The Catholic Christian tradition ended this journey from the Holy Land in Saintes Maries de la Mer (near Arles), from where Mary Magdalene went to Marseille, undertaking the evangelisation of Provence. Note that the characters represented here are Saint Mary Magdalene, as the main figure of the group, Saint Maximinus, Lazarus, Saint Cedonius and Martha. There are some known examples in which the Saint is seen accompanied, with all the characters placed on a boat or related to it. However, this is not a very common iconography and it seems that it will be even less common after the Council of Trent. Let us cite, as examples, the altarpiece by Pere Mates (Museum of the Cathedral of Girona) from the 16th century with this legend (Provençal legend) in which the Saint appears already on land, with the boat in the background; she appears entering the boat in the altarpiece by Jean Béguin (Altarpiece of the Rosary of the Basilica of Saint Maximin in Var, France); she appears preaching in the port of Marseille in a painting by Ronzen (early 16th century, Museum of History of Marseille); in the Scrovegni Chapel in Padua Giotto painted the theme of the Miracle of the Governor of Marseille (theme related to this arrival) with figures in the boat and the governor's wife on the island; Magdalene Altarpiece by Lucas Moser (Church of St. Mary Magdalene, Tiefenbronn). Stylistically, a clear Flemish influence can be seen in the painting: note the details of the jewels on the garments, the qualities, the faces and the naturalism sought in them (within the idealization that corresponds to the sacred characters), the landscape and the fortress in the background, etc. The influence of Flemish art on the Castilian school began thanks to the patronage of the Mendozas, shortly after the middle of the century, and its development was also contributed to by the growing relations with Flanders (it is worth remembering the journey of Jan van Eyck in 1427) and the importation of Flemish works. Thus, the Hispano-Flemish style reached a great development in the last quarter of the 15th century as far as the Kingdom of Castile is concerned, with a series of interconnected minor schools, thereby providing a certain unitary character to the art of this style in this geographical area. As for names (and remembering that there are a large number of anonymous works and authors of whom we do not know the details), we have the one considered to be the introducer, Jorge Inglés, and figures such as Fernando Gallego, centres such as Valladolid and outstanding workshops such as those of Burgos or Toledo.

· Size: 83x11x128 cms int 73x118 cms
ANTIQUES

Ref.: ZF1052
VIEW OF THE PIER OF ANTWERP. OIL ON CANVAS. 18TH CENTURY.

View of the port of Antwerp. Oil on canvas. Flemish school, 18th century. Numerous ships and boats appear in the landscape, accompanied by small figures. In the background there is a city, with walls, houses, towers, etc., among which a tall structure stands out, which, together with the presence and shape of the port, allows the view to be clearly identified. The structure mentioned above is one of the towers of the Cathedral of Our Lady (built between 1352 and 1521), and it appears prominently in numerous views of the city. Compare this with a 16th-century copper engraving with copies in several museums, the View of the Port of Antwerp from the Vlaams Hoofd by Bonaventura Peeters the Elder (1614-1652) made between 1614 and 1652 (Museum aan de Stroom), the View by Mathys Schoevaerdts painted between 1660 and 1702 (same museum), etc.

· Size: 100x8x74 cms. int: 82x57 cms.
ANTIQUES

Ref.: ZF0975
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony the Abbot. Oil on canvas. 17th century, based on the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene set inside a cave. To the right, a standing cross can be seen, leaning against it; to the left, a hut; and in the centre of the painting, an older, bearded man appears, leaning on a table on which there is a ceramic jar and a skull, with an open book at the foot of the table. The man looks towards a woman, who points to something outside, and is accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly coloured clothes and clothing. Saint Anthony the Abbot or Anthony the Great (251-356) was a Christian monk, considered the founder of the eremitic movement. He was tempted on numerous occasions by the devil while he was in the desert, which became a frequent theme in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of Saint Anthony (Hospitallers) placed themselves under his patronage, being the colour of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by them). David Teniers II or the Younger was a prominent Flemish painter and engraver, son of David Teniers the Elder or I and father of David Teniers III, highly appreciated in his time for his scenes of villagers and common people, his paintings of painting monkeys, etc. He dealt with the subject of the Temptations of Saint Anthony on numerous occasions: Museo del Prado in Madrid, National Museum of Western Art (Tokyo, Japan), Wallraf–Richartz Museum (Cologne, Germany), etc. In the case of the present work, it is necessary to mention and compare it both with an oil painting kept in a private Parisian collection and with another sold at Christie's in 2018, which was in a Belgian collection, has been dated between 1630 and 1680 and is signed. It should also be noted that there are known engravings with this theme made from works by the painter (work in the Fine Arts Museum of San Francisco, United States of America, according to Frans van der Wyngaerde and dated in the 17th century; at UCLA in California, United States of America, also by Frans van der Wyngaerde and from the 17th century).

· Size: 52x4x47,5 cms. int: 42x35.5 cms.
ANTIQUES

Ref.: ZF0996
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THE SACRIFICE OF THE OLD COVENANT. OIL ON BOARD. 17TH CENTURY, AFTER R...

Sacrifice of the Mosaic Law. Oil on copper. 17th century, inspired by Rubens, Peter Paul (Siegen, 1577-Antwerp, 1640). Oil on panel depicting a figurative scene located in a building of great importance due to the columns shown. To the right, an altar with a priest, a sacrificed lamb, and bread on a table. In the center, a kneeling man offers another lamb. Towards the left, a crowd gathers around the Ark of the Covenant, above which is a crown held by two angels. When the Lord chose the children of Israel as His people, He established through Moses the worship that was to be given to Him, distinguishing between bloody and unbloody sacrifices. This work addresses this theme, depicting an altar with bloody sacrifices and the Ark of the Covenant. This work is somewhat loosely inspired by a work by Peter Paul Rubens (Siegen, 1577–Antwerp, 1640). It is one of the tapestries that make up the series known as The Triumph of the Eucharist (manufactured by Jan Il Raes, Hans Vervoert, and Jacques Fobert, c. 1625–33, wool and silk, 490 x 670 cm, National Heritage Madrid, Monastery of the Descalzas Reales, inv. no. 00614220). The original handwritten sketch by Rubens, dated around 1626, is held at the Museum of Fine Arts in Boston (USA).

· Size: 59x5x53 cms. int: 34,5x27,5 cms
ANTIQUES

Ref.: ZF1233
THREE FRAMED MINIATURES.19TH CENTURY

Frame with three miniatures. 19th century. Rectangular frame with a textile background showing three oval miniatures with female portraits, enhanced with gilded bronze frames (the side ones with lace trim, the central one crowned). On the back there are two rings at the top to hang the piece on a wall. Starting from the left and identified by small metal labels with black letters, we have “Madame Elisabeth” (Elisabeth of France [1764-1794] was the sister of Louis XVI and eldest daughter of Louis, Dauphin of France, and Duchess Maria Josefa of Saxony), “Marie Antoinette” (Marie Antoinette [1755-1793], Archduchess of Austria and Queen of France, was the daughter of Emperor Francis I and Empress Maria Theresa), and “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun [1755-1842], was the painter of Queen Marie Antoinette and a member of the French Academy since 1783). The three paintings, signed “Lebrun”, are inspired by works from the 17th century. In the same order as above: portrait painted by Vigée LeBrun around 1782 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. mv 8143); portrait of Marie Antoinette with roses painted by Vigée LeBrun in 1783 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. 3063); this miniature, made from a print, copies the self-portrait by Vigée LeBrun painted in 1782 and currently kept at the National Gallery in London (NG1653). It should be noted that the Museo del Prado (Madrid) has a composition similar to that present in both the miniatures and the frame (inventory O000657, O000658 and O000659).

· Size: 41,5x1,5x22,5 cms.
ANTIQUES

Ref.: ZF1151