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”ABSTRACTION”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MADRID...

“Abstraction”. Oil on canvas. Signed (bottom right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Trades, Libertarian Athenaeum of the People of Vallecas during the Civil War, Higher School of Painting, Sculpture and Engraving at the National Library), beginning during the time of the conflict his first artistic works in the world of literature. At the end of the war, he was imprisoned for a year, at which time he devoted himself entirely to painting. In the 40s he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to becoming known by critics at the end of the decade; the 50s were very important in his pictorial training, he toured Spain and presented his work in several national and international exhibitions, in addition to being from these years when he was framed within the "School of Madrid" (he presented many collective works together with other members of the same, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque and Cézanne. In 1960 he obtained another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years, reflecting in his work an aesthetic transformation that brought his painting closer to a language closer to abstraction, also modifying his concept of light. He has received numerous awards (Painting Prize at the II Hispano-American Biennial in 1953 in Havana, Cuba; in 1962 he obtained First Medal at the National Exhibition of Fine Arts; in 1999 he was awarded the Gold Medal of the Arte-Santander Fair in recognition of his artistic career, etc.) and his work has been seen all over the world (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art in Madrid, the Museum of Albacete, the Mapfre Foundation, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50 x 61 cm; 69 x 79,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6264
”ANDALOUSIAN PARTY”, OIL ON TABLEX, JEAN-LOUIS PAGUENAUD (1876-1952).

“Andalusian Festival”, oil on tablex, Jean-Louis Paguenaud (1876-1952). Signed and dedicated (“cantatrice Dupré”) in the lower right corner. Jean-Louis Paguenaud is the pseudonym of Jean-Philippe Paguenaud (1876-1952). He spent his childhood in Algiers, where he discovered the sea. When his father moved to Limoges, he studied at the School of Decorative Arts and worked in a porcelain factory. He furthered his training with William Bouguereau, delving into the world of seascapes and undertook numerous trips to Martinique and North Africa, which he captured in gouaches and drawings, which he exhibited in 1905 at the Salon des Indépendants. His brother Joseph-Louis was killed in combat in 1914 and, to honour his memory, he decided to sign his work with one of the deceased's names. Appointed Official Painter of the French Navy in 1922, he lived for a time in Paris before returning to Limoges. He took part in a famous voyage on the ship “Lamotte-Piquet”, which took him to Central and South America. His career can be divided into three periods: his training period (1876-1902), the “orientalist” period (1902-1921) and a third period (1921-1942), when he became an official painter for the Navy; he produced a few more works between 1942 and 1952. His work can be seen in important private collections and in museums such as the Navy Museum in Paris, the Naval School in Bourdeaux, the Town Hall of Coussac-Bonneval, etc. The present work shows an exterior, a square in an Andalusian village, with a large number of characters dressed in the regional costume of the area celebrating a great festival. The movement is provided by couples and groups dancing in the centre, an orchestra on the left, diners on the right and several couples riding horses throughout the composition. This whole scene shares the spotlight with the landscape: the façade of a church stands before a house and an old bridge, with a mountain in the background under a blue sky. Several characteristics of Paguenaud's work can be clearly appreciated: the light, which he would have taken from Algiers and from all his travels; the compositional mastery with which he knows how to place a large number of figures; the blue sky, which is also seen in his seascapes, etc. Likewise, it is necessary to highlight the originality of the oil painting in the painter's artistic career due to its subject matter.

· Size: 233x5x175 int 213x152 cms
ANTIQUES
PAINTINGS

Ref.: Z6476
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
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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
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still Life with Fruit Bowl. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the lower right corner and on the back. 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: 75,55x65 cms / int: 59x49 cms
ANTIQUES

Ref.: ZE296
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still life. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the top right corner and on the back. 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: 75,55x65 cms / int: 59x49 cms
ANTIQUES

Ref.: ZE297
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
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
LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

Landscape with lake. Oil on canvas. 18th century. Landscape with a sunset on a lake, with mountains in the background and trees and a hut in the foreground. The composition is slightly enlivened by the presence of boats of various types with people on board, as well as two groups of buildings towards the right of the painting. The painting has many points in common with landscapes from European schools painted in the second half of the 18th century.

· Size: 116x3x50 cms. int: 35,5x102 cms
ANTIQUES

Ref.: ZF0973
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
WATERCOLOUR. LANDSCAPE BY CIRILO MARTINEZ NOVILLO

MARTINEZ NOVILLO, Cirilo (Madrid, 1921 - 2008). “Landscape”, 1972. Watercolor. Signed and dated in the lower right corner. Cirilo Martínez Novillo is one of the most prominent representatives of the so-called Madrid School, where he began his training at the School of Arts and Trades. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In 1946 he presented his work for the first time, as part of a collective exhibition held at the Bucholz gallery in Madrid. The following year he held his first solo exhibition at this same gallery. In 1948 he held an exhibition in the print room of the Museum of Modern Art in Madrid. Critics began to take note of his work and he was selected to participate in the exhibition “Arte Español”, held in Buenos Aires and organized by the Ministry of Education. From this moment on he held exhibitions in various Spanish cities and in France, and participated in collective exhibitions such as the Venice Biennial (1950) or the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris on three occasions thanks to various scholarships. His mature period began with a new visit to Paris at the beginning of the sixties, and then he travelled to Switzerland, Germany, Holland and Belgium, where he won several medals at the National Fine Arts Exhibitions, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Cirilo Martínez Novillo is represented at the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.

· Size: 24 x 30 cm; 55 x 61,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z3533
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
OIL ON CANVAS. ALEJANDRO GOMEZ MARCO

Signed in the lower left corner "GOMEZ MARCO". Alejandro Gomez Marco Born in Madrid. Studied at the National School of Graphic Arts and the School of Fine Arts of San Fernando. In 1968 he received a scholarship from the Institute of International Education to visit the United States, where he lived for several years. He represented Spain at the International Congress of Artistic Education in New York in 1970. Professor of Art at Jersey City State College and lecturer in Spanish at the Metropolitan Museum of Art in New York. Numerous solo exhibitions since 1964. He also participated in numerous international exhibitions since 1965: Alexandria Biennial, Paris Biennial, Krakow Engraving Triennial in Poland, Ljubljana Biennial, former Yugoslavia, etc. Painting and drawing awards: Provincial Council of Ciudad Real, Francisco Alcantara (Circle of Fine Arts, Granada City Council, Engraving Hall of the General Directorate of Fine Arts, Bronze Medal of the City of Bordeaux, and many others. He is an Associate Professor at the Faculty of Fine Arts of the Complutense University in the subject of Printing Techniques II and Planographic Techniques from 1988 to 2007, the year of his retirement.

· Size: 114x150 cms.
ANTIQUES
PAINTINGS

Ref.: Z3546
WATER PAINTING.\'LANDSCAPE WITH SHRINE\'. AGUSTÍN REDONDELA

REDONDELA, Agustín (Madrid, 1922). "Hermitage". Watercolor. Signed and titled at the bottom. A painter who was mainly self-taught, Agustín González Alonso trained alongside his father, the painter and stage designer José González “Redondela”. After the civil war he attended classes at the School of Arts and Crafts in Madrid with the landscape artist José Ordoñez, and in 1945 he sent his first painting to the National Exhibition of Fine Arts, signed with the pseudonym Redondela. That same year he held his first solo exhibition at the Estilo gallery in Madrid. It was during this period that he came into contact with the Madrid School, and in 1947 he was selected to exhibit at the Salón de los Once at the Academia Breve e Crítica de Arte de Eugenio d'Ors. In the fifties Redondela received a scholarship from the Catherword Foundation in Philadelphia (1954), the National Painting Prize (1953) and the first medal at the National Exhibition (1957). In 1996 the Royal Academy of Fine Arts of San Fernando awarded him the José González de la Peña Prize, and two years later the Cultural Centre of the Villa de Madrid dedicated an important anthological exhibition to him. He is currently represented in the Museum of Fine Arts in La Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Museum of Fine Arts in Bilbao, the Camón Aznar Museum in Zaragoza, the Museums of Buenos Aires, Caracas and Havana and the Oswaldo Guayasamín House-Museum in Quito, among other public and private collections.

· Size: 16 x 23 cm; 44 x 52 cm con marco
ANTIQUES
PAINTINGS

Ref.: Z3942
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
WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA

Augustin Redondela (Madrid, October 29, 1922) A practically self-taught painter, he is considered one of the most original Spanish landscape artists of the 20th century.

· Size: 24x16 cms.
ANTIQUES
PAINTINGS

Ref.: Z3943
BANDIT AND MILITARY, PAIR. OIL ON BOARD. LUCAS VILLAAMIL, EUGENIO (185...

Bandit and soldier, couple. Oil paintings on panels. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present signature and remains of signature. The present pair of panels shows, on a blue background, two male busts. Despite their detail and naturalism, they are not portraits per se, but rather “paintings of types”, showing the concept that was held at the time of a bandit or a general, in line with certain postulates common in Spanish Romanticism. Eugenio Lucas Villaamil began his training with his father, Eugenio Lucas Velázquez, and continued at the Escuela Especial de Pintura in Madrid. His work was notable for largely following his father's line, with a strong Goya influence in both style and subject matter (he also copied some of Goya's paintings), and he was a protégé of José Lázaro Galdiano. Thus, in addition to his traditional Madrid, bullfights, etc., he was also known for his portraits, his urban prints (of the upper and lower classes), etc. His work is preserved in numerous private collections and institutions such as the Museo del Prado (Madrid), the Museo Carmen Thyssen (Málaga), the Museo Lázaro Galdiano (Madrid), the Real Academia de Bellas Artes de San Fernando (Madrid), the Museo Nacional del Romanticismo (Madrid), etc.

· Size: 23,5x4,5x28 cms. int: 11x15,5 cms
ANTIQUES

Ref.: ZF1117
R.DOMINGO 1901. \'ARTILLERY MANEUVERS\'

DOMINGO FALLOLA, Roberto (Paris, 1883 – Madrid, 1956). “The Burden”, Paris. Watercolor on paper. Signed and located in the lower right corner. Domingo studied in Paris with his father, the painter Francisco Domingo Marqués, and later at the Academy of Fine Arts of San Fernando, where he was a student of Antonio Muñoz Degraín. He participated in national and international exhibitions, winning third medal at the National Exhibition of Fine Arts in 1908, second in the 1910 edition and first in 1915. He also held exhibitions in Rome and London. A costumbrista painter, he specialized in bullfighting themes, which brought him great fame and prestige. Roberto Domingo is represented in the Prado Museum, the Fine Arts Museum in Granada, the Provincial Museum in Cádiz, the Municipal Museum in Madrid, the Bullfighting Museums of Las Ventas in Madrid, La Maestranza in Seville, Valencia and Viana de Cega (Valladolid), the Drawing Museum of Castillo de Larrés (Huesca) and those of Havana and Hemingway in Cuba, among many others.

· Size: 42x51 cms. int: 30.5x22.9 cms
ANTIQUES
PAINTINGS

Ref.: Z4092
MARTYRDOM OF SAINT STEPHEM. OIL ON CANVAS. 17TH CENTURY, AFTER AEGIDIU...

Saint Stephen. Oil on canvas. 17th century, after the engraving by Aegidius Sadeler (inspired by Jacopo Palma). The figure of the Saint appears in the foreground, with his arms raised to the sky; to the left of the viewer, the martyrdom of Saint Stephen is shown, under the heavenly apparition of Christ and God the Father; on the other side, there are some buildings and spectators. Both in the composition and in the figures, one can see an influence, directly or indirectly from other paintings, of an engraving by Aegidius Sadeler II (1570-1629) based on a Martyrdom of Saint Stephen by Jacopo Palma the Younger (1548-1628).

· Size: 67x6x83 cms. int 43x58 cms
ANTIQUES

Ref.: ZF0760
OIL ON CANVAS STILL LIFE ASTERIO MAÑANOS

Asterio Mañanós Martínez began his painting studies at the Municipal School of Drawing in Palencia with Justo María de Velasco and, from 1877, at the School of Fine Arts of San Fernando in Madrid, in the classes of Casto Plasencia and Casado del Alisal. He also frequently visited the Prado Museum, making copies of Velázquez. From 1881, he participated in the National Fine Arts Exhibitions. He alternated his stay between Madrid and Palencia, where he was commissioned to design the curtains and stage curtains for the Teatro de Recreo Palentino. In 1885 he received a grant from the Provincial Council of Palencia to further his painting training at the Royal Academy of Spain in Rome, which lasted a year. Back in his hometown, he decorated, together with Sabino Ojero, the Teatro de la Peña Palentina. He also opened, in collaboration with Isidro Mallol, a drawing academy, called "Casado del Alisal" in honour of his teacher. In 1889 he moved to Paris for a year to study under the brush of the pictorial realism of Léon Bonnat. Upon his return to Spain he set up his studio in Madrid, where he painted Doña Sancha before the corpse of her husband and the portrait of Tomás Bretón. In 1908, the Senate's Government Commission appointed him curator of the Upper House's works of art. The result of this experience are the large parliamentary paintings that have the sessions and halls of the Senate as their subject. One of his last canvases was an allegory of the Second Republic, the painting belongs to the Senate collection. The place and circumstances of his death are unknown, although it is known that he was alive in 1935.

· Size: int. 60x40 cms.
ANTIQUES
PAINTINGS

Ref.: Z6229
VENETIAN URBAN SCENERIES. MARIANNE LUCY LE POER TRENCH (ENGLAND, 1888-...

Pair of urban views. “Venice”. Marianne Lucy Le Poer Trench (England, 1888-1940). Signed in the lower right corner. Pair of paintings depicting urban views of the Italian city of Venice. Marianne Lucy Le Poer was a landscape painter and teacher who studied at the Slade and exhibited regularly from 1920 at the Royal Society of British Artists, the Royal College of Art, the Royal Scottish Academy, the Royal Academy, etc., becoming an Associate Professor of the Royal Society of British Artists in 1926.

· Size: int. 30x35 cms.
ANTIQUES
PAINTINGS

Ref.: Z3730
WATERCOLOUR LANDSCAPE WILLIAM FREDERIC CASWELL

CASWELL, William Frederick (United Kingdom, act. 1870 – 1914). "Landscape". Watercolor on paper. Signed with initials in the lower right corner. . In this work, Caswell offers us an evocative landscape with romantic roots, typical of the English landscaping of the time, worked with a light and translucent chromatism that gives a special luminosity to the scene, while enhancing its mysterious atmosphere. British painter active between 1870 and 1914, William F. Caswell worked in landscapes and portraits in oils and watercolours, and also produced series of prints such as “Le Barnabooth et autres bêtes modernes”. He was a member of the Royal Birmingham Society of Artists, where he frequently exhibited his works.

· Size: 78x103 int 49x71 cms
ANTIQUES
PAINTINGS

Ref.: Z6194
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